the bettajive review magazine #29
Roy Dee rocking out at the Rockabilly Blowout. Full review below
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Y'all will want to read about Rusti too
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Where have we been?
Yes, it’s been a while, hasn’t it? Have you missed us?
Truth be told loyal readers, the Bettajive Review always comes from a jolly place, and thanks to a 14mm gallstone, the place has not been so jolly. The knock-on effect from that was a kind of falling out of love with writing and producing this magazine. Many in creative jobs might associate with this. The number of writing ‘jobs’ that are advertised as unpaid positions, or to be part of your portfolio, or exposure, is shocking (insert photography, painting, design etc). Have you ever tried to pay a bill with ‘exposure’ or ‘likes’.
Then I’ve seen some of the twaddle that’s written by paid journalists, about vintage events. A 1940’s event was covered by a local paper in the summer, just past. Among the stereotypical images of land girls, home guard and a Churchill lookalike, was an accompanying text. Reading that, it became apparent that the contributor hadn’t actually gone to the event personally, and gleaned comments from social media, along with tired and formulaic copy. When we offered our services, not so much as a reply.
So, there’s not been that much inspiration to write anything. Fortunately, the mojo has returned, and we’re back. A couple of the reviews you will see here are from a while ago, but they needed to be reported, so that’s what we’ve done for you.
When we decided to pick up and start reviewing again, we’d already made up our mind to attend the Rhythm Riot as punters, the first time I’d been just a regular customer since 2004 would you believe. But another event caught our eye and we though that would be a good one to start reviewing again.
The person running the event for some reason didn’t answer our emails but got a third party to tell us they basically wanted editorial rights over the review before it was posted. Now readers, this is my 19th year writing reviews, and I have to tell you, no one gets to do that. Even the Holy Trinity of weekender bosses don’t, nor do they ask. It was quite a surprise that we weren’t trusted to provide a balanced review. And our review would not be close to some of the caustic social media comments!
Interestingly, since then, we went to back-to-back weekenders, the Rockabilly Blowout and Hemsby 65. With so much copy this month, we decided to hold the Hemsby review for the next issue, when we will also be back reviewing the latest record releases as well
Stones allowing……..
If you would like to donate to help us keep this magazine free, please use the button below
Yes, it’s been a while, hasn’t it? Have you missed us?
Truth be told loyal readers, the Bettajive Review always comes from a jolly place, and thanks to a 14mm gallstone, the place has not been so jolly. The knock-on effect from that was a kind of falling out of love with writing and producing this magazine. Many in creative jobs might associate with this. The number of writing ‘jobs’ that are advertised as unpaid positions, or to be part of your portfolio, or exposure, is shocking (insert photography, painting, design etc). Have you ever tried to pay a bill with ‘exposure’ or ‘likes’.
Then I’ve seen some of the twaddle that’s written by paid journalists, about vintage events. A 1940’s event was covered by a local paper in the summer, just past. Among the stereotypical images of land girls, home guard and a Churchill lookalike, was an accompanying text. Reading that, it became apparent that the contributor hadn’t actually gone to the event personally, and gleaned comments from social media, along with tired and formulaic copy. When we offered our services, not so much as a reply.
So, there’s not been that much inspiration to write anything. Fortunately, the mojo has returned, and we’re back. A couple of the reviews you will see here are from a while ago, but they needed to be reported, so that’s what we’ve done for you.
When we decided to pick up and start reviewing again, we’d already made up our mind to attend the Rhythm Riot as punters, the first time I’d been just a regular customer since 2004 would you believe. But another event caught our eye and we though that would be a good one to start reviewing again.
The person running the event for some reason didn’t answer our emails but got a third party to tell us they basically wanted editorial rights over the review before it was posted. Now readers, this is my 19th year writing reviews, and I have to tell you, no one gets to do that. Even the Holy Trinity of weekender bosses don’t, nor do they ask. It was quite a surprise that we weren’t trusted to provide a balanced review. And our review would not be close to some of the caustic social media comments!
Interestingly, since then, we went to back-to-back weekenders, the Rockabilly Blowout and Hemsby 65. With so much copy this month, we decided to hold the Hemsby review for the next issue, when we will also be back reviewing the latest record releases as well
Stones allowing……..
If you would like to donate to help us keep this magazine free, please use the button below
the bettajive review
Do they know their Arson Carson from their Elmore? As teenagers, just into the whole fifties music and clothes mindset, I can recall the Teds who had been into it since Haley first exclaimed ‘When the clock strikes one’, often bemoaning the fact that the scene would soon be deadin the 1970’s, as, ‘this lot won’t stick at it’. Well, a lot of us are still around, and there’s another healthy bunch of youngsters enjoying, playing, dancing to and collecting the music today.
Taking that sentiment though, what’s going to happen to the future of Rock n Roll, and I don’t mean U bloody 2 either. Recently on the tellybox, there’s been a plethora, nay, an overabundance, nay a superfluity, (loving the online Thesaurus) of reality shows. Yes, dear readers, those shows that have a number of contestants to start with, a few industry leaders that act as judges, increasingly difficult tasks based on the subject, and eliminations over a period of weeks. These would be announced using the requisite……pregnant………..pauses. Tattooists, Drag Queens, Jewellery making, Singers, non-Singers, Dancers, Cooking, Baking, Jungle survival, Black Smithery, Antique huntery, (not a word but sounds good) SAS-ery (see previous comment), Cocktail-ery (ditto), Pottery, Mobile Phone selling, Apprenticeships, Sewing and being someone on an island (I think)! Not forgetting the celebrity and professional versions of the same theme
Are we eventually heading for a ‘Rockin’ Idol’ type program? It can’t be any dafter than some of that other anodyne pap, can it? So, let’s get our retaliation in first and pitch (plus © it) from the Bettajive Review, and any similarity between this and any other such show, is purely coincidental. Contestants would have to undertake a number of tasks of increasing difficulty, based on Rock n Roll, Rockabilly, Jive, Blues, Western swing, Hillbilly, Rhythm and Blues and so on, as well as anything else 40’s and 50’s that fits the bill. The presenters reiterate with each task, just how tough it’s going to be. ‘Rockin’ doesn’t get tougher* than this!’ *hereinafter, pronounced ‘Tuffa’
Week one, and the contestants are dropped into a dark room. They have to listen to some 1950’s tracks and work out if they are Rockabilly, or R&B. “This is basic stuff, they should know if they want to progress in the competition” warns one presenter, in a theatrical whisper just off from the room. The first elimination takes place, with the departing contestant, who ‘didn’t do myself justice’ *blubs*, signing their own exit by failing to recognise ‘Etcetera’ and thinking Jackie Wilson had won the BDO World Darts Championship in ’82 & ’89.
“If they think that round was tough, it’s going to get tougher from here, as we ramp up the toughness to a higher form of toughness-ness” says the presenter, wide-eyed and hopelessly searching for another adjective (please spare me the Facebook wrist slap by pointing out ‘toughness’ is a noun. Thank you). Week two, and they are at Weekender Boot Camp, and they are split into two teams. Let’s be really original and suggest a red team and a blue team…. Initially they have to prove that they can style out the weekender reception challenge. They have to hand over their confirmation of booking slip and not sweat bullets and react to the rest of the queue tutting and eye rolling, while the staff flip through the envelopes in various boxes, call for assistance, all look suspiciously at the contestants like they haven’t actually booked the event, before eventually finding their chalet keys. Finding the accommodation, is the first challenge, with the contestants having to avoid the classic chalet two-step. If you’re not familiar with this, it involves walking into toward the centre of the chalet block, look blankly left and right, look at the map, take two steps, look blankly left and right and so on, while trying to locate the right unit.
The next challenge. On the gingham draped table in front of the contestants, are various food dishes under cloches, that are staples at some weekenders. Their initial challenge, is to eat them. The first cloche is removed, and reveals a meat ball dish. The contestants recoil in horror, as already, a dung beetle was trying to roll away one of the meat balls. It’s alright you lot laughing at them retching and gagging as they try and consume the uniformly beige, tepid slop, you’ve got to be able to eat in the holiday camp restaurant if you want to be ‘Rockin’ Idol’. Us who have done our time in the 70’s and 80’s at grub trucks outside of halls, (Lord knows what was in those rissoles) already have bullet-proof stomachs. These guys are whimps, they have yet to mix this scran with ten pints of gnat’s-wee strength lager, and bop-a-while. The second elimination, is the contestant, projectile vomiting, with their tongue wedged round the ‘S-bend’ of the toilet, despite them having let their family down, and this contest being ‘everything they’ve ever wanted to do’ *blubs*.
Week three, still at the camp, and it’s going to get even tougher! (illustrated by the presenter’s veins sticking out on his forehead and his face turning purple) This week, walking through the chalet/caravan blocks to the main hall. Sounds easy doesn’t it, but the contestant’s mettle will be tested to the limit as they have to pass through the two-tiered buildings or the statics, while selected weekender-ites call out various things at them. ‘Hey baby, is that a CD ya got there? You never heard of vinyl?”, “That shirt’s repro you know”, “Ave some moose milk** ya wuss” or ‘Look at them, some kind of (characterisation deleted) ain’t they’. Some may have to assist ‘Pascal’ with directions to his chalet (as he’s been trying to find it since 2017)
They mustn’t flinch when passing by the chalet where a sudden, exaggerated, guttural gale of laughter emits from the door, someone plays the Phantom’s ‘Love Me’, or a pyramid of empty beer cans falls over. No recoiling at the sound of a hot-rod revving up, and saying ‘tw*t’ would mean immediate elimination. They must avoid treading in puddles, rabbit holes and other ghastly sputum-based discharges. They must then return to their accommodation in the dark, avoiding the temptation to play ‘knock-down-ginger’ on darkened chalets, directing other contestants who are worse for drink, to the wrong chalet, ending up in a dumpster with their legs sticking out, and taking the toast out of the grill before the chalet turns black. Another contestant succumbs to the multi vocal ‘Waaayheyyaah’ as they tripped over and broke into tears as their carnal capability is called into question. Eliminated, *blubs* and ‘I feel like I’ve let everyone down’ Yep! Loser.
Week three, still at the camp, and it’s going to get even tougher! (illustrated by the presenter’s veins sticking out on his forehead and his face turning purple) This week, walking through the chalet/caravan blocks to the main hall. Sounds easy doesn’t it, but the contestant’s mettle will be tested to the limit as they have to pass through the two-tiered buildings or the statics, while selected weekender-ites call out various things at them. ‘Hey baby, is that a CD ya got there? You never heard of vinyl?”, “That shirt’s repro you know”, “Ave some moose milk** ya wuss” or ‘Look at them, some kind of (characterisation deleted) ain’t they’. Some may have to assist ‘Pascal’ with directions to his chalet (as he’s been trying to find it since 2017)
They mustn’t flinch when passing by the chalet where a sudden, exaggerated, guttural gale of laughter emits from the door, someone plays the Phantom’s ‘Love Me’, or a pyramid of empty beer cans falls over. No recoiling at the sound of a hot-rod revving up, and saying ‘tw*t’ would mean immediate elimination. They must avoid treading in puddles, rabbit holes and other ghastly sputum-based discharges. They must then return to their accommodation in the dark, avoiding the temptation to play ‘knock-down-ginger’ on darkened chalets, directing other contestants who are worse for drink, to the wrong chalet, ending up in a dumpster with their legs sticking out, and taking the toast out of the grill before the chalet turns black. Another contestant succumbs to the multi vocal ‘Waaayheyyaah’ as they tripped over and broke into tears as their carnal capability is called into question. Eliminated, *blubs* and ‘I feel like I’ve let everyone down’ Yep! Loser.
Correct way of searching through rails :)
The next week, the remaining contestants have to prove they can survive within the confines of a weekender hub. That includes, sliding through vintage clothing without mouthing ‘hundred and fifty quid for this piece of crap’, look at items on lower levels without touching bums with others, try a garment on in the makeshift changing cubicle without tipping it over, and walking like a crab through the racks. They have to master the ‘flip, flip, flip, lift, reject, flip, flip, flip, lift, stack, flip, flip’ of a record stall, and avoid saying ‘Oh I’ve got this on CD/ I downloaded this last week’. They have to jive to jive tunes without slipping on spilled beer and ending up on ‘You’ve Been Framed’, and bop without looking like they’ve been zapped with a cattle prod. The contestant that Charleston strolls, despite ‘doing it just for his family’ *blubs*, is eliminated.
The ensuing program, and there’s controversy. During the taping of the show, and the Newcastle Brown Ale challenge in Edwardian week, one contestant was found to have been drinking a shandy. To avoid them getting a 'spankin' and being called a ‘Slaaaaaaaaaag’, they are removed from the competition, returning their chukka boots, for their own safety.
We’re getting close now, and it’s getting even toooouugher! so reiterates the presenter as forcefully as smoke starts appearing out of his ears. They’ve become known at the most happening clubs, like the Habba Habba Bing Bing club, in the suburbs, listened to records and correctly pointed out they ‘preferred the originals’, been cool enough to have got their left elbow in a Bopflix video, made it known that they like the Sonics and Spade Cooley in equal amounts, identified an 80’s repro of a King label 45rpm, found a pair of vintage peg pants that fit immediately, and expressed disdain for other scenes through various social media platforms.
And….the….winner……of Rockin Idol………
IS…. *everyone blubs*
The ensuing program, and there’s controversy. During the taping of the show, and the Newcastle Brown Ale challenge in Edwardian week, one contestant was found to have been drinking a shandy. To avoid them getting a 'spankin' and being called a ‘Slaaaaaaaaaag’, they are removed from the competition, returning their chukka boots, for their own safety.
We’re getting close now, and it’s getting even toooouugher! so reiterates the presenter as forcefully as smoke starts appearing out of his ears. They’ve become known at the most happening clubs, like the Habba Habba Bing Bing club, in the suburbs, listened to records and correctly pointed out they ‘preferred the originals’, been cool enough to have got their left elbow in a Bopflix video, made it known that they like the Sonics and Spade Cooley in equal amounts, identified an 80’s repro of a King label 45rpm, found a pair of vintage peg pants that fit immediately, and expressed disdain for other scenes through various social media platforms.
And….the….winner……of Rockin Idol………
IS…. *everyone blubs*
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Dot….dot. Best tracks in the world ever ever to sizzle your sausage for this issue are Joey Thomas’ ‘Cherokee Boogie’, ‘Pachuko Hop’ by the Ike Carpenter Orchestra and The Planet Rockers ‘Voodoo Woman’…….Saw a group of 40’s dancers showcasing their dance to 40’s music. Well readers, most of the 40’s music we’ve listened to and heard played at events had much more bounce than this. So consequently, the dancing was such that I’ve seen continents drift faster……There has been fewer more controversial figures in Rock n Roll than Jerry Lee Lewis, who passed away on 28th October. Some incredible music that has filled floors for years, (‘I’m on Fire’ and ‘As Long as I Live’ are personal faves) one of the Million Dollar Quartet, a Sun Records legend, but his personal life raises many questions about his legacy……….Also sadly passing on, Bluecap, Tommy ‘Bubba’ Facenda, one of Gene’s iconic clapper boys in ‘Hot Rod Gang’, having joined in 1957……….**For those readers who don’t know what moose milk is, or what was in it, neither do I. However, things that would strip paint from doors shouldn’t really be imbibed, should they?........
Like what you see? Help us keep it free by popping a donation over using the button below. Many thanks
Like what you see? Help us keep it free by popping a donation over using the button below. Many thanks
Top R&B at Chesterfield, click flyer for details
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The Rockabilly Rave 2023 booking online is now open. Click flyer for details
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Jiving at Hubberts Bridge
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Jitterin’. There’s not many places we would travel to just for a record hop, but Hubbert’s Bridge in Boston is one such venue. Here is a place with a smashing wooden dancefloor and decent acoustics. Three DJs took the spinning duties to a decent population in the hall. Mark ‘Kicking the Boogie’ (Mark Bale) , Idaho Redd (Redd Bale) and Little Demon (Jenna Coote), tagged each other throughout the evening playing some top stuff for dancers.
These events welcome everyone, regardless of your 40’s/50’s preferences, be it Western Swing, R&B, Rock n Roll or Rockabilly. And you can have a bop, jive or stroll, whatever tickles your pickle. The floor is busy and the selections are stylish. There are plans afoot for a new venue in February 2023, check listings for details |
Jitterbugs meets Boston Jive
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Dylan Kirk and the Killers
Pumpin’. Chesterfield’s Birdholme WMC venue, had a bumper crowd show up for their gig with Dylan Kirk and the Killers. It was so good to see the club well populated and digging the sounds from the decks courtesy of Andy B and Steve O (those who play ‘Revenoor Man’ gets a ‘tick’ from us). Ace selection chaps.
Dylan Kirk, turned out sharply in his grey suit, took the stage and launched into his brand of butt kicking and merciless piano pounding with the likes of ‘She’s Mine’, Little Victor’s ‘Papa Lou and Gran’ and Carl Perkins’ ‘Put Your Cat Clothes On’. The crowd were well into it from the start, especially when he performed Gene Summers’ ‘School of Rock n Roll’, a perfect track for Dylan’s style and executed with consummate ease. Johnny ‘Guitar’ Watson’s ‘Looking Back’, I’d suggest more in the HBC style, got the strollers out, while classic floor fillers, including Larry Donn’s ‘Honey Bun’ and Jimmy Pritchett's ‘That’s The Way I Feel’.
Andy and Steve took over in the break, mixing up the flavours, including the universal approval to ‘Jungle Rock’, which those of a certain vintage will recall on TOTP, along with some British RnR.
Passing the baton back to Dylan for his second set, the tempo picked up where it left off, with Ray Smith’s ‘You Made a Hit’ lighting the blue touchpaper, with Mickey Gilley’s ‘Call Me Shorty’ hot on the heels. You know that Dot cut from ’58 readers, it’s the ‘big cigar, Cadillac car, great big diamond ring’ song. Cracking! It wouldn’t be a Killers show without some Jerry Lee Lewis, would it? Rattling versions of ‘Milkshake Mademoiselle’, ‘Down the Line’ and ‘High School Confidential’, which were a delight. Add to that, Ronnie Dawson’s ‘Monkey Beat’ and Mickey Lee Lane’s ‘Senior Class’ and the final tear-up of Ronnie Self’s ‘Bop a Lena’, and you have an idea of the breathless nature of a memorable show.
Great club this, readers, get yourselves along there for a top night out.
Dylan Kirk, turned out sharply in his grey suit, took the stage and launched into his brand of butt kicking and merciless piano pounding with the likes of ‘She’s Mine’, Little Victor’s ‘Papa Lou and Gran’ and Carl Perkins’ ‘Put Your Cat Clothes On’. The crowd were well into it from the start, especially when he performed Gene Summers’ ‘School of Rock n Roll’, a perfect track for Dylan’s style and executed with consummate ease. Johnny ‘Guitar’ Watson’s ‘Looking Back’, I’d suggest more in the HBC style, got the strollers out, while classic floor fillers, including Larry Donn’s ‘Honey Bun’ and Jimmy Pritchett's ‘That’s The Way I Feel’.
Andy and Steve took over in the break, mixing up the flavours, including the universal approval to ‘Jungle Rock’, which those of a certain vintage will recall on TOTP, along with some British RnR.
Passing the baton back to Dylan for his second set, the tempo picked up where it left off, with Ray Smith’s ‘You Made a Hit’ lighting the blue touchpaper, with Mickey Gilley’s ‘Call Me Shorty’ hot on the heels. You know that Dot cut from ’58 readers, it’s the ‘big cigar, Cadillac car, great big diamond ring’ song. Cracking! It wouldn’t be a Killers show without some Jerry Lee Lewis, would it? Rattling versions of ‘Milkshake Mademoiselle’, ‘Down the Line’ and ‘High School Confidential’, which were a delight. Add to that, Ronnie Dawson’s ‘Monkey Beat’ and Mickey Lee Lane’s ‘Senior Class’ and the final tear-up of Ronnie Self’s ‘Bop a Lena’, and you have an idea of the breathless nature of a memorable show.
Great club this, readers, get yourselves along there for a top night out.
Rusti Steel giving it some on stage at the Oakie Boogie
Hollerin’ To the Oakie Boogie next, Courtney Oakes’ occasional event at the Gedney Dyke Village Hall. The massive conurbation that is Gedney Dyke is situated near Spalding in Lincolnshire, and draws in folk from a considerable area, testament to the quality of the entertainment on hand. This particular evening, it was with additional ‘Yeeeehaw’ that they welcomed Rusti Steel and the Star Tones along with Gary Denton double DJing with Courtney himself.
Joining vocalist, lead guitarist and steel guitarist Rusti on the stage were the usual suspects of Stewart Dale on upright bass and Lloyd Mills strummin’ and pickin’ rhythm and occasional twin neck lead guitar, with London Jackk depping on drums. Good to see a mix of the locals and visitors bolstering the numbers in the hall ready for the first set.
Decked out in his red velvet shirt, Rusti characteristically launched into two fine sets of Rockabilly. His immersive vocals and performance, is quite infectious as they took on Lew Williams’ ‘Cat Talk’, Curtis Gordon’s ‘Draggin’ and with a nod to the event, ‘Oakie Boogie’. There’s a versatility to Rusti’s playlist, which takes in R&B, like Hank Ballard’s ‘Sexy Ways’ and a Rock n Roll classic, Chuck Berry’s ‘Almost Grown’, and you have to love Shorty Long’s ‘Nine Little Kisses’. A couple of slidey steel numbers rounded off the first set, Dick Lowry’s ‘Ballroom Baby’ and Bill Haley’s 1952 Essex cut ‘Real Rock Drive’.
Following some cool grooves from the decks, the lads took the stage for set two, blasting out Glenn Honeycutt’s ‘Rock All Night’. The floor filled with strollers to their versions of ‘Worrying Kind’, Ting-a-Ling’ and ‘Little Sister’, before a belting take on Gene Wyatt’s bop classic, ‘Lover Boy’. Always good to hear original compositions, and ‘Prisoner of Your Charms’ along with ‘Traffic Jam’ (quit honkin’ that horn!) were a treat. Add to that a supercool duet with Stewart, taking on Jimmy Lee and Wayne Walker’s ‘Love Me’ and more sumptuous slide to top off the show with ‘Catty Town’
Naturally they were called back, and another original, ‘Gone With the Wind’, was a fitting conclusion to a fine evening’s entertainment. The Oakie Boogie runs occasionally throughout the year, check out Courtney’s next event with Razor Holler in March 2023.
Joining vocalist, lead guitarist and steel guitarist Rusti on the stage were the usual suspects of Stewart Dale on upright bass and Lloyd Mills strummin’ and pickin’ rhythm and occasional twin neck lead guitar, with London Jackk depping on drums. Good to see a mix of the locals and visitors bolstering the numbers in the hall ready for the first set.
Decked out in his red velvet shirt, Rusti characteristically launched into two fine sets of Rockabilly. His immersive vocals and performance, is quite infectious as they took on Lew Williams’ ‘Cat Talk’, Curtis Gordon’s ‘Draggin’ and with a nod to the event, ‘Oakie Boogie’. There’s a versatility to Rusti’s playlist, which takes in R&B, like Hank Ballard’s ‘Sexy Ways’ and a Rock n Roll classic, Chuck Berry’s ‘Almost Grown’, and you have to love Shorty Long’s ‘Nine Little Kisses’. A couple of slidey steel numbers rounded off the first set, Dick Lowry’s ‘Ballroom Baby’ and Bill Haley’s 1952 Essex cut ‘Real Rock Drive’.
Following some cool grooves from the decks, the lads took the stage for set two, blasting out Glenn Honeycutt’s ‘Rock All Night’. The floor filled with strollers to their versions of ‘Worrying Kind’, Ting-a-Ling’ and ‘Little Sister’, before a belting take on Gene Wyatt’s bop classic, ‘Lover Boy’. Always good to hear original compositions, and ‘Prisoner of Your Charms’ along with ‘Traffic Jam’ (quit honkin’ that horn!) were a treat. Add to that a supercool duet with Stewart, taking on Jimmy Lee and Wayne Walker’s ‘Love Me’ and more sumptuous slide to top off the show with ‘Catty Town’
Naturally they were called back, and another original, ‘Gone With the Wind’, was a fitting conclusion to a fine evening’s entertainment. The Oakie Boogie runs occasionally throughout the year, check out Courtney’s next event with Razor Holler in March 2023.
The Lahdidah vintage vocals
Swingin’ Gainsborough’s, The Venue at Roses, hosted ‘A Step Back in Time’, which we recall was one of the first true post-covid events in 2021 we attended. This features living history groups, positioned in various areas of the Roses Sports Field, from Saxons (I think) to wartime displays. Mixing in with them, vintage traders, classic and military vehicles and memorabilia.
Live music when we arrived, and pretty much our main reason for going in the first place, was from vocal trio, the Lahdidah Vintage Vocals. The ladies sing to a backing track, which features songs from the early to mid-20th Century, vocalised in a really accomplished way. This event’s personnel, featured Bridget on alto, mezzo Karen and soprano Yvonne, and over the day, they presented a hugely popular selection of classic tunes, delivered in a fine style. Taking Carmen Miranda’s ‘South American Way’ from ‘Streets of Paris’ the Broadway musical. Many will be familiar with the Andrew Sisters’ version from 1940, and it was this style the Lahdidahs took on in the September sunshine. First class, as was their reworking of ‘Quien Sera’, more recognisable as ‘Sway’, the Dean Martin 1954, dance infatuation themed song.
Have you got the ‘Bei Mir Bist Du Schon’ and ‘In The Mood’ vibe? Then you get a basic feel for the type of music this trio presents. Try and catch them, (it’d be cool to see them play a gig in their own right) you’ll not be disappointed.
A well-run function, although if we had an observation, it would be that it was almost a copy of the 2021 event. Hopefully this will be one to continue in 2023.
Post script:- We hope to have an interview with Bridget Wood of the Lahdidah Vintage Vocal in our next issue
Live music when we arrived, and pretty much our main reason for going in the first place, was from vocal trio, the Lahdidah Vintage Vocals. The ladies sing to a backing track, which features songs from the early to mid-20th Century, vocalised in a really accomplished way. This event’s personnel, featured Bridget on alto, mezzo Karen and soprano Yvonne, and over the day, they presented a hugely popular selection of classic tunes, delivered in a fine style. Taking Carmen Miranda’s ‘South American Way’ from ‘Streets of Paris’ the Broadway musical. Many will be familiar with the Andrew Sisters’ version from 1940, and it was this style the Lahdidahs took on in the September sunshine. First class, as was their reworking of ‘Quien Sera’, more recognisable as ‘Sway’, the Dean Martin 1954, dance infatuation themed song.
Have you got the ‘Bei Mir Bist Du Schon’ and ‘In The Mood’ vibe? Then you get a basic feel for the type of music this trio presents. Try and catch them, (it’d be cool to see them play a gig in their own right) you’ll not be disappointed.
A well-run function, although if we had an observation, it would be that it was almost a copy of the 2021 event. Hopefully this will be one to continue in 2023.
Post script:- We hope to have an interview with Bridget Wood of the Lahdidah Vintage Vocal in our next issue
The McCurdy Brothers
Stompin’. The penultimate Thunder Valley event at MFN, Eastwood, Nottingham, featured one of the finest Rockabilly trios, Mischief! from Holland, supported by the McCurdy Brothers, a duo from Norfolk. Curiously, this was the first MFN event we’d attended indoors. Previous ones were between Covid lockdowns and restrictions, in the summer of 2021. Indeed, it was the first, and due to the situation surrounding the venue, probably the last time we entered the hall and experienced the interior.
Odd signs on the wall in the main stage area which read ‘Strictly no dancing on these premises’(!). That made it a bit difficult for DJ for the evening, Daniel Froggatt, who played some classic jivers, bop and stroll. Fortunately, the dance police were off for the evening.
First up were the McCurdy Brothers, Jerry and Adam, who are nephew and uncle respectively, playing their set using just drums and guitar (an occasional cigar-box stringed instrument thingy). My goodness they crank up the volume, and the result is a ballsy and, I guess, aggressive sound. Heck, even the ‘How are you doing?’ segue greeting sounded belligerent, that you dared not suggest you were doing anything, but good. The set opened with the modern-day classic ‘Sure Like The Look in Your Eyes’ and Rockabilly beaut ‘Stuttering Cindy’, and blues rocker ‘King Bee’. It was headbanging, hair flopping and butt kicking.
‘Hoochie Coochie Man’ was breathlessly followed by the Delta Bombers’ ‘The Wolf’ and a slidey take on Canned Heat’s ‘On The Road Again’, from 1968, although the vocal delivery differed from the Alan Wilson falsetto sound on the record. And why not, put your own stamp on it. A bit of Bo Diddley also featured with Willie Dixon’s ‘You Can’t Judge a Book By Looking at the Cover’, taking Bo’s sped-up walking beat and revving it up to a sprint. ‘Chillun’ Walk’ begat the encore which was a mash-up of ‘Baby Please Don’t Go’ and ‘Long Black Shiny Car’. A set that would ring in the ears.
Odd signs on the wall in the main stage area which read ‘Strictly no dancing on these premises’(!). That made it a bit difficult for DJ for the evening, Daniel Froggatt, who played some classic jivers, bop and stroll. Fortunately, the dance police were off for the evening.
First up were the McCurdy Brothers, Jerry and Adam, who are nephew and uncle respectively, playing their set using just drums and guitar (an occasional cigar-box stringed instrument thingy). My goodness they crank up the volume, and the result is a ballsy and, I guess, aggressive sound. Heck, even the ‘How are you doing?’ segue greeting sounded belligerent, that you dared not suggest you were doing anything, but good. The set opened with the modern-day classic ‘Sure Like The Look in Your Eyes’ and Rockabilly beaut ‘Stuttering Cindy’, and blues rocker ‘King Bee’. It was headbanging, hair flopping and butt kicking.
‘Hoochie Coochie Man’ was breathlessly followed by the Delta Bombers’ ‘The Wolf’ and a slidey take on Canned Heat’s ‘On The Road Again’, from 1968, although the vocal delivery differed from the Alan Wilson falsetto sound on the record. And why not, put your own stamp on it. A bit of Bo Diddley also featured with Willie Dixon’s ‘You Can’t Judge a Book By Looking at the Cover’, taking Bo’s sped-up walking beat and revving it up to a sprint. ‘Chillun’ Walk’ begat the encore which was a mash-up of ‘Baby Please Don’t Go’ and ‘Long Black Shiny Car’. A set that would ring in the ears.
Mischief!
Next up, nigh on two hours of total quality with Mischief! bringing their energetic stage show and rocking sound to the MFN stage. They are brothers Patrick (bass) and Daze (lead guitar) van der Erf, sharing vocals, with Richard Verhuel on drums. The show didn’t set out to be a two hour marathon, but that’s how it panned out. It started out with a brace of beauties in the shape of ‘At the TV Hop’, which is perfect for the brothers’ vocal style and ‘Doing Alright’, before one of their originals, the excellent ‘Sweet Loving Kind’. They do write a good song peeps, and later in the show the infectious tempo of ‘In Dreams’ delighted the crowd.
The visual aspect of the show, centres a lot around the antics of lead guitarist Daze, who combines the flicking footwork of early Carl Perkins with his own enthusiastic ad-lib terpsichorean innovation. All that while not missing a note on lead guitar, when many look on that can barely fret an ‘E’ chord sitting on the sofa at home. His vocals on Keith Coverdale’s ‘Trapped Love’ have a vibrato sound, which is very effective.
There’s something about brothers (and to balance it up, sisters as well) and harmonies. They just have ‘something’ extra. Examples of that show up well in Don & Dewey’s ‘I’m Leaving it all up to You’, Ray Price/Guy Mitchell’s ‘Heartaches by the Number’, George Jones’ ‘The Race Is On’ and a wonderful version of the Everly Brothers’ ‘This Little Girl of Mine’ which also benefitted from audience participation (ahem!).
They left the stage, they came back, with ‘Marie Marie’ (yep that one), ‘Let’s Dance’ and James Intveld’s ‘Crying Over You’, with some more top harmony in Jimmy and Johnny’s ‘I’ll Do It Every Time’. For us, it wouldn’t be a Mischief! show without their cover of Grandpa Jones’ ‘Hello Blues’ and that was a fitting climax to a brilliant show.
The visual aspect of the show, centres a lot around the antics of lead guitarist Daze, who combines the flicking footwork of early Carl Perkins with his own enthusiastic ad-lib terpsichorean innovation. All that while not missing a note on lead guitar, when many look on that can barely fret an ‘E’ chord sitting on the sofa at home. His vocals on Keith Coverdale’s ‘Trapped Love’ have a vibrato sound, which is very effective.
There’s something about brothers (and to balance it up, sisters as well) and harmonies. They just have ‘something’ extra. Examples of that show up well in Don & Dewey’s ‘I’m Leaving it all up to You’, Ray Price/Guy Mitchell’s ‘Heartaches by the Number’, George Jones’ ‘The Race Is On’ and a wonderful version of the Everly Brothers’ ‘This Little Girl of Mine’ which also benefitted from audience participation (ahem!).
They left the stage, they came back, with ‘Marie Marie’ (yep that one), ‘Let’s Dance’ and James Intveld’s ‘Crying Over You’, with some more top harmony in Jimmy and Johnny’s ‘I’ll Do It Every Time’. For us, it wouldn’t be a Mischief! show without their cover of Grandpa Jones’ ‘Hello Blues’ and that was a fitting climax to a brilliant show.
The Jets
Jettin’. Final club gig, and a double header at Huntington WMC in York, with the Memphis Cruisers and the Jets performing live and the wonderfully named, Mally the Bald Ted on sounds. Well readers, this was a popular gig, we arrived at just after half past seven and couldn’t get into the car park there were that many people in.
The double-header began with the Memphis Cruisers, from Bradford, a very popular trio that brought an energy and visual stage show to the event. The set was very much a jaunt through the Rock n Roll and Rockabilly soundtrack to our lives, Johnny Burnette, Charlie Feathers, the British sound, the Stray Cats sound, the anthemic ‘Rockabilly Rebel’, you get the picture.
The Jets playing a single set this particular evening, had all their best known rockers ready for the crowd, opening with the foot stomping ‘You Just Don’t Know How To Treat Your Man’. ‘Rockabilly Boogie’ got them out on the floor and ‘Nobody Loves You Like Your Mother Does’ kept them there. Stroll time next with the likes of ‘Charlene’, Billy Fury’s ‘Cross My Heart’ and their own ‘Talk All Night’.
I don’t think there is a vocalist that can capture Johnny Burnette’s ‘Please Don’t Leave Me’ as well as Bob Cotton. This classic bopper was sandwiched by two original compositions, ‘Talk All Night’ and the jive beat of ‘Lipsticks and Potions’. From the latest record, the super tempo of ‘Hey Little Doll’ provided lighter contrast to Gene Wyatt’s ‘Lover Boy’ and the Jets’ own ‘Thunder Road’. It was a gimmie that they were called back for more, and they delivered with a hit from the 80’s, in the shape of ‘Love Makes the World Go Round’, and their latest chart hit ‘Hear Me Now’, with the quintessential Rockabilly track ‘Pink ‘n’ Black’ to top everything off
Vintage Jets show in North Yorks
Gallery images below, click on them for full size pics
The double-header began with the Memphis Cruisers, from Bradford, a very popular trio that brought an energy and visual stage show to the event. The set was very much a jaunt through the Rock n Roll and Rockabilly soundtrack to our lives, Johnny Burnette, Charlie Feathers, the British sound, the Stray Cats sound, the anthemic ‘Rockabilly Rebel’, you get the picture.
The Jets playing a single set this particular evening, had all their best known rockers ready for the crowd, opening with the foot stomping ‘You Just Don’t Know How To Treat Your Man’. ‘Rockabilly Boogie’ got them out on the floor and ‘Nobody Loves You Like Your Mother Does’ kept them there. Stroll time next with the likes of ‘Charlene’, Billy Fury’s ‘Cross My Heart’ and their own ‘Talk All Night’.
I don’t think there is a vocalist that can capture Johnny Burnette’s ‘Please Don’t Leave Me’ as well as Bob Cotton. This classic bopper was sandwiched by two original compositions, ‘Talk All Night’ and the jive beat of ‘Lipsticks and Potions’. From the latest record, the super tempo of ‘Hey Little Doll’ provided lighter contrast to Gene Wyatt’s ‘Lover Boy’ and the Jets’ own ‘Thunder Road’. It was a gimmie that they were called back for more, and they delivered with a hit from the 80’s, in the shape of ‘Love Makes the World Go Round’, and their latest chart hit ‘Hear Me Now’, with the quintessential Rockabilly track ‘Pink ‘n’ Black’ to top everything off
Vintage Jets show in North Yorks
Gallery images below, click on them for full size pics
Rockin at the Hopetown in W. Yorks with Simon Flintstone on sounds and the Houserockers live on stage. Click flyer for details
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Over in Norfolk on the 10th December folks
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the rockabilly blowout #8
Delta 88
Drayton Manor theme park, may well be partially closed as far as the rides and attractions are concerned, with the 54m Apocalypse tower standing tall, without the seating and a couple of hardy souls working atop of it. You can’t help but think of Elvis in ‘It Happened at the World’s Fair’, although fortuitously, there were no young Kurt Russel lookalikes kicking the guys’ shins! It was however, open for the 8th Rockabilly Blowout event, which is a fundraiser for Asthma UK, in memory of Kev Robson’s son, James.
We’d secured a room at the hotel on site, an impressive building with 150 guest bedrooms and some themed with Thomas and Friends ™ (Thomas the Tank Engine in old money), for children, or ‘big kids’, shall we say.
The fun and musical frolics commence on the Friday afternoon, and the beauty of this event for us is that it has always bought in a band or a DJ we haven’t seen/heard before. This time, it was Delta 88, who we have interviewed in previous Bettajive Review issues, but never actually seen live. You have Nikki Clews on the cocktail drum kit, sharing vocals with husband Simon, who is also the lead guitarist, with Julian Wood keeping it real on upright bass. The Western Star recording artists, have three CD releases under their collective belt and immediately it became apparent that they are an accomplished musical outfit.
The set list was a mix of their own material and some classics, opening with their reworking of the seminal ‘Stutterin’ Cindy’. Simon Clews has a kind of falsetto vocal delivery with just the right amount of ‘hics’ for that authentic Rockabilly resonance, as ‘Bootprints’ attests. Similarly, the frenetic delivery of ‘Bettie and the Page Boys’. ‘Panther in the Night’ has an exquisite and almost sinister, slightly slower, delivery.
Nikki took over vocals from time to time, with the sci-fi influenced jaunt ‘Girl with a Ray Gun’, and the sequel from two years later, ‘Return of the Girl with a Ray Gun’, clever vocals and ideal scheduling. ‘Massachusetts Firefly’ offered a Rockabilly/Hillbilly bop sound, and ‘High Heeled Boots’ rocked out as did the wonderfully appetising ‘Cherry Pie Until I Die’. A pretty darn good start to the weekender.
We’d secured a room at the hotel on site, an impressive building with 150 guest bedrooms and some themed with Thomas and Friends ™ (Thomas the Tank Engine in old money), for children, or ‘big kids’, shall we say.
The fun and musical frolics commence on the Friday afternoon, and the beauty of this event for us is that it has always bought in a band or a DJ we haven’t seen/heard before. This time, it was Delta 88, who we have interviewed in previous Bettajive Review issues, but never actually seen live. You have Nikki Clews on the cocktail drum kit, sharing vocals with husband Simon, who is also the lead guitarist, with Julian Wood keeping it real on upright bass. The Western Star recording artists, have three CD releases under their collective belt and immediately it became apparent that they are an accomplished musical outfit.
The set list was a mix of their own material and some classics, opening with their reworking of the seminal ‘Stutterin’ Cindy’. Simon Clews has a kind of falsetto vocal delivery with just the right amount of ‘hics’ for that authentic Rockabilly resonance, as ‘Bootprints’ attests. Similarly, the frenetic delivery of ‘Bettie and the Page Boys’. ‘Panther in the Night’ has an exquisite and almost sinister, slightly slower, delivery.
Nikki took over vocals from time to time, with the sci-fi influenced jaunt ‘Girl with a Ray Gun’, and the sequel from two years later, ‘Return of the Girl with a Ray Gun’, clever vocals and ideal scheduling. ‘Massachusetts Firefly’ offered a Rockabilly/Hillbilly bop sound, and ‘High Heeled Boots’ rocked out as did the wonderfully appetising ‘Cherry Pie Until I Die’. A pretty darn good start to the weekender.
Rusti Steel and the Star Tones
Just like that with a ‘Yeeehaw’, the mighty neighbourly Rusti Steel and the Star Tones rocked on the stage. This time they were a trio, Rusti on lead vocals, guitar and slidey steel, with Andy Meadows on drums and Stewart Dale keeping rhythm on dawghouse bass. You’ll never be disappointed at a Rusti set, such is the diversity of song selection and the presentation. Here’s a selection form the treasure chest. Glenn Honeycutt’s ‘All Night Rock’ announced their arrival, followed by Thumper Jones’ ‘How Come It’, loads of vocal tremolo and modulations, matching the original Sun and Starday recordings
With Jerry Lee Lewis’ passing still fresh in people’s minds, the guys paid their tribute with the ’56 Sun cut, ‘Crazy Arms’, and Charlie Rich’s ‘Rebound’ was a frantic delight. A couple of their own songs made the set as well, with ‘Prisoner of Your Charms’, a cool stroller, and ‘Traffic Jam’ making welcome appearances. Bringing Stewart in on joint vocals, they performed a spot-on take of Jimmy Lee & Wayne Walker’s Chess cracker ‘Love Me’, and substituting the geetar for the ironing board (his words, not mine), some classic Western Swing with ‘Catty Town’ and ‘Ballroom Baby’. Just an ace set by Rusti, which is a gimmie
With Jerry Lee Lewis’ passing still fresh in people’s minds, the guys paid their tribute with the ’56 Sun cut, ‘Crazy Arms’, and Charlie Rich’s ‘Rebound’ was a frantic delight. A couple of their own songs made the set as well, with ‘Prisoner of Your Charms’, a cool stroller, and ‘Traffic Jam’ making welcome appearances. Bringing Stewart in on joint vocals, they performed a spot-on take of Jimmy Lee & Wayne Walker’s Chess cracker ‘Love Me’, and substituting the geetar for the ironing board (his words, not mine), some classic Western Swing with ‘Catty Town’ and ‘Ballroom Baby’. Just an ace set by Rusti, which is a gimmie
Colbert Hamilton
It's been a good six years since we last saw the talents of Colbert Hamilton and the Nitros. Here they were on the Blowout stage with their own Neo-Rockabilly style and a set of original songs barring two (I await the inevitable disputes, but I only heard two!). The original UK’s ‘Black Elvis’, Colbert has a knack of encompassing the fifties Rock n Roll style with the eighties Neo twist.
It's quite surprising when you hear the likes of ‘Get You Back’ which opened the show, and realise they are a few months off thirty years old from ‘Still Taggin’ Along’. Other offerings from that album included ‘Stop’, ‘Roller Coaster Rock’, ‘Get Out Of My Sight’ and ‘Cruel Hearted Girl’, all punchy and pacy rockers from the early/mid nineties. Add to that ’99 Girls’ from the follow up album in ’94, before we switch decades, and indeed centuries to ‘Roxette’, ‘I Was The One’ and ‘Bella Donna’.
Many (because we are old enough) might recall the collaboration Colbert was involved in with Phil Lynott (1949 – 1986) of Thin Lizzy, and he paid a super tribute with the encore of the rousing ‘The Boys Are Back In Town’.
It's quite surprising when you hear the likes of ‘Get You Back’ which opened the show, and realise they are a few months off thirty years old from ‘Still Taggin’ Along’. Other offerings from that album included ‘Stop’, ‘Roller Coaster Rock’, ‘Get Out Of My Sight’ and ‘Cruel Hearted Girl’, all punchy and pacy rockers from the early/mid nineties. Add to that ’99 Girls’ from the follow up album in ’94, before we switch decades, and indeed centuries to ‘Roxette’, ‘I Was The One’ and ‘Bella Donna’.
Many (because we are old enough) might recall the collaboration Colbert was involved in with Phil Lynott (1949 – 1986) of Thin Lizzy, and he paid a super tribute with the encore of the rousing ‘The Boys Are Back In Town’.
The Booze Bombs
Finally, for Friday, from Germany, the Booze Bombs, featuring the powerful pipes of Italian lead singer Annie Leopardo. The style, well ballsy, no-nonsense, no prisoners, kickin’ house rockin’ blues with a Rockabilly slew from time to time. I’ll guide you to ‘Hangover Blues’ as an initial example. Not the song some may be thinking of, this is different entirely, set to a classic blues bop rhythm and some maraca-tastic shaking along with the percussive drum beat. If this didn’t get you feeling the beat, nothing would.
Some Rockabilly in Italian? Why not, in the form of ‘Pazza Di Te’ which isn’t an anagram for pizza diet, it means Crazy About You. Cracking track this one readers. As is ‘You Done Me Wrong’, which has the embittered lyrics you’d kind of expect, with Annie’s vocal delivery reminding us of Big Mama Thornton. ‘Ice Cold Whiskey’, now there’s a tune where you’d be thinking where you’d heard the licks before. We narrowed it down to ‘I Want Candy’ (The Strangeloves or Bow Wow Wow, your call, and your age) and ‘Willie and the Hand Jive (Johnny Otis). Whatever, it’s a gem.
Don’t know whether ‘Pinch Your Hips’ was designed as an answer record to Slim Harpo’s ‘Shake Your Hips’, there are similarities in the composition of the song, but it’s a good one. The set wasn’t all in-yer-face bop beats, there was the haunting change of pace with an almost cowboy ramble ‘In The Night’, which was a hugely atmospheric track and an absolute peach. In fact so was the late night set they played, a great introduction to the Booze Bombs live, for us.
Some Rockabilly in Italian? Why not, in the form of ‘Pazza Di Te’ which isn’t an anagram for pizza diet, it means Crazy About You. Cracking track this one readers. As is ‘You Done Me Wrong’, which has the embittered lyrics you’d kind of expect, with Annie’s vocal delivery reminding us of Big Mama Thornton. ‘Ice Cold Whiskey’, now there’s a tune where you’d be thinking where you’d heard the licks before. We narrowed it down to ‘I Want Candy’ (The Strangeloves or Bow Wow Wow, your call, and your age) and ‘Willie and the Hand Jive (Johnny Otis). Whatever, it’s a gem.
Don’t know whether ‘Pinch Your Hips’ was designed as an answer record to Slim Harpo’s ‘Shake Your Hips’, there are similarities in the composition of the song, but it’s a good one. The set wasn’t all in-yer-face bop beats, there was the haunting change of pace with an almost cowboy ramble ‘In The Night’, which was a hugely atmospheric track and an absolute peach. In fact so was the late night set they played, a great introduction to the Booze Bombs live, for us.
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Blowout dot…dot. Best tracks in the world ever ever to blow your cobwebs out* for this year were Leroy Van Dyke ‘Walk On By’, Fabian’s ‘I’m Gonna Sit Right Down’ and Bob Luman’s ‘Envy’…….*OK, where did you think that was going, minds like sewers some people……. Got to address the elephant in the room. The sound wasn’t great. That is until the bands were given time to play a tune with no DJ sound, and thus the DJ could play without random bass slaps, thundering drums and guitar licks, over their set……… We haven’t reviewed every band this time, however we did get to stand back and enjoy the talents of Dylan Kirk, just as observers, in a typically expressive and high octane set…..Big up nuff respect in da house for the DJs we saw at this Blowout. Andy Barker’s Friday set, the bizzo, Dave Flattop Philips, Clive ‘Red Planet Rock’, Flintstone (especially the Sun session in the DJ Room) Neil Roope, Courtney Oakes, Little Carl, Sharky and the multi-tasking Be Bop Kaz. All playing tracks that had *some* people shazaming and sound-hounding regularly……Them chips from the wagon outside eh? Eh? 😊
A fine vintage stall at events or online. Click flyer for details
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June Hill's Juniper Fayre event is back in 2023 at a new venue. Click flyer for details
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Relentless
Saturday began with a thunderous set, courtesy of Lincolnshire trio Relentless, unfortunate victims of the sound early doors. Lead singer and guitarist Anthony Smith tore through their selection of tunes at breakneck speed, opening with Rockabilly standard, ‘All I Can Do Is Cry’. The bass and drums were reverberant throughout on rock-outs like ‘Long Black Shiny Car’, ‘My Baby Left Me’, ‘Looking Back’ and ‘Burning Love’.
From wherever you stood in the hall the effect was the same, searing guitar riffs and a rollocking back-beat. ‘John I’m Only Dancing’ and ‘Runaway Boys tilted toward a Neo sound, and ‘Dancing Shoes’ the British sound. Rip-roaring start to Saturday.
From wherever you stood in the hall the effect was the same, searing guitar riffs and a rollocking back-beat. ‘John I’m Only Dancing’ and ‘Runaway Boys tilted toward a Neo sound, and ‘Dancing Shoes’ the British sound. Rip-roaring start to Saturday.
The Honkabillies
Next cab off the rank, showcasing a new set and dare I suggest, new(ish) sound, the Honkabillies. Frankie Riedel vocalist, orator, and rhythm guitarist, along with newlyweds Frankie Junior (lead guitar) and drummer Claire Riedel, with Sam French on bass. There are tunes that are almost must-haves during a Honkabillies set, and these appeared throughout the show. More of those in a mo, the set began with a barn-burner called ‘Bye Bye Baby’, which has a terrific beat and earthy and growling guitar sound, and the Wild Records 45, ‘Drinkin Hidin’ and Runnin’, that followed, had a modern-day Burnette Trio feel about it.
There were classics from the Hillbilly Shakespeare Hank Williams, with ‘Mind Your Own Business’, Johnny Cash’s ‘So Doggone Lonesome’, ‘Get Rhythm’ and ‘Big River’, G. L. Crockett’s ‘Look Out Mabel’ and their regular parting shot, rocking -up of the Delmore Brothers’ ‘Freight Train Boogie’. Folks, check out ‘Wild Wild Cat’, one of the band’s Wild Records recordings which is out soon as the band’s next release. Loving the eclectic guitar sound to the maraca shaker delight. So is the twangy stroll sound of ‘Your Love’s on Fire’. Along with a couple of new unreleased tracks, this was a super-cool set, which the crowd loved (as did we!)
There were classics from the Hillbilly Shakespeare Hank Williams, with ‘Mind Your Own Business’, Johnny Cash’s ‘So Doggone Lonesome’, ‘Get Rhythm’ and ‘Big River’, G. L. Crockett’s ‘Look Out Mabel’ and their regular parting shot, rocking -up of the Delmore Brothers’ ‘Freight Train Boogie’. Folks, check out ‘Wild Wild Cat’, one of the band’s Wild Records recordings which is out soon as the band’s next release. Loving the eclectic guitar sound to the maraca shaker delight. So is the twangy stroll sound of ‘Your Love’s on Fire’. Along with a couple of new unreleased tracks, this was a super-cool set, which the crowd loved (as did we!)
Jo King and the Jesters
Rocking up a musical storm next were Jo King and the Jesters. This time out they were playing as a five piece, the animated Greg Escrader on rhythm guitar and vocals, backed by the uber-accomplished Andy Wren on lead guitar, Tony Hillebrandt on drums, keyboard from Dylan Kirk and Neil Roope slapping dawghouse. This was a blinding set, readers, one of those ‘had-to-be-there’ moments, such was the energy on stage which will never quite be done full justice in text.
Right from the opening bars of Larry Terry’s ‘Hep Cat’, everyone was into it. The frantic ‘Screamin’ Mimi Jeanie’ got the Jo King treatment, and switching the pace, so did ‘Lawdy Miss Clawdy’, ‘Mary Lou’ and Billy Harlan’s ‘I Wanna Bop’.
Song after song vie for attention, as they were delivered with an enthusiastic stage show and top-notch musicianship. Al Hendrix’s ‘Young and Wild’, Elvis’ ‘I’m Gonna Sit Right Down and Cry Over You’, Dwight Pullen’s ‘Sunglasses After Dark’ and the coolest take on Bill Reeder’s ‘Til I Waltz Again With You’. The wonderfully named Florian Monday and His Mondos recorded ‘Rip it Rip it up’, their debut single in 1964, in a 50’s style, and it was this lesser-known nugget that the guys concluded their set with. Well, that was never going to be the last song, was it? That went to Ronnie Dove’s ‘Lover Boy’. First class.
Right from the opening bars of Larry Terry’s ‘Hep Cat’, everyone was into it. The frantic ‘Screamin’ Mimi Jeanie’ got the Jo King treatment, and switching the pace, so did ‘Lawdy Miss Clawdy’, ‘Mary Lou’ and Billy Harlan’s ‘I Wanna Bop’.
Song after song vie for attention, as they were delivered with an enthusiastic stage show and top-notch musicianship. Al Hendrix’s ‘Young and Wild’, Elvis’ ‘I’m Gonna Sit Right Down and Cry Over You’, Dwight Pullen’s ‘Sunglasses After Dark’ and the coolest take on Bill Reeder’s ‘Til I Waltz Again With You’. The wonderfully named Florian Monday and His Mondos recorded ‘Rip it Rip it up’, their debut single in 1964, in a 50’s style, and it was this lesser-known nugget that the guys concluded their set with. Well, that was never going to be the last song, was it? That went to Ronnie Dove’s ‘Lover Boy’. First class.
The Radions
The Radions from Andalusia, Spain were a hit at the Rockabilly Rave and much anticipated by the audience here in Tamworth. The striking figure of lead singer Juan Carlos Montoro Ruiz in his red and white suit fronts the band with Vicente Antón on lead guitar Javi G. Salcedo on upright bass and drummer José Manuel Aguilar Yélamo. This set kicked like a burro from the get-go, made us wonder how Juan’s guitar ended up with all six strings intact by the end of the first song, let alone the last!
‘Corona Bop’ a wide-eyed and frenetic rocker, opened the show. There was so much to rave about in this set folks, like ‘El Santo’ (the Saint), with its haunting sounding vocals set to a bouncing and pulsing rhythm. ‘Brunette Woman’ is a hiccupping Rockabilly masterpiece, and there were some covers as well. Narvel Felts’ ‘Did You Tell Me’, perfectly suited to the band’s style, got the Radions treatment, as did ‘Tear It Up’ and Dale Hawkins’ ‘Little Pig’. ‘Fallen Angel’, ‘Valerie’ and the howling brilliance of ‘Who Combs the Werewolf’ also featured, and the encore of Charlie Feathers’ ‘Stutterin’ Cindy’ was a fitting end to a memorable set.
You couldn’t top that, we thought, and Fatboy didn’t reach the heights for us. We would tip hats in the direction of the hastily arranged set by Rampage, Brandon Ashington, Tony Hillebrandt and Sam French, deputising for the The Tin Cans, almost at the last minute. Serious talent amongst this trio readers. And further hat tipping for all those musicians and vocalists who took part in a highly entertaining jam session the following day.
‘Corona Bop’ a wide-eyed and frenetic rocker, opened the show. There was so much to rave about in this set folks, like ‘El Santo’ (the Saint), with its haunting sounding vocals set to a bouncing and pulsing rhythm. ‘Brunette Woman’ is a hiccupping Rockabilly masterpiece, and there were some covers as well. Narvel Felts’ ‘Did You Tell Me’, perfectly suited to the band’s style, got the Radions treatment, as did ‘Tear It Up’ and Dale Hawkins’ ‘Little Pig’. ‘Fallen Angel’, ‘Valerie’ and the howling brilliance of ‘Who Combs the Werewolf’ also featured, and the encore of Charlie Feathers’ ‘Stutterin’ Cindy’ was a fitting end to a memorable set.
You couldn’t top that, we thought, and Fatboy didn’t reach the heights for us. We would tip hats in the direction of the hastily arranged set by Rampage, Brandon Ashington, Tony Hillebrandt and Sam French, deputising for the The Tin Cans, almost at the last minute. Serious talent amongst this trio readers. And further hat tipping for all those musicians and vocalists who took part in a highly entertaining jam session the following day.
Red Hot Riot
The live music on Sunday began with a bang with Gloucester based trio, Red Hot Riot. Last time we saw these guys was at the Rockabilly Rave as they tore up a storm in the downstairs hall. Now on the Blowout stage, another intimate atmosphere, and a good crowd down the front to take in the show. For singer & lead guitarist Ricki Delaney, bassist Scott McParland and drummer Daniel West, their musical voyage has taken them from pub gigs through to Western Star recordings and appearances including, at Glastonbury, Red Rooster and the aforementioned Rave.
The crowd were jumping right from the get-go and indeed it’s easy to get carried along with the enthusiasm generated from the stage. The blend was original a few covers, and I’m going to immediately flag up ‘The Life You Get’ as a standout. This is (not to mix metaphors) classic 21st Century Rockabilly with an 80’s Neo touch and Setzer styled guitar riffs. Put all that into a melting pot and you get the Red Hot Riot sound. ‘The Mask’, a completely new song called ‘All We Know’ and ‘We’re in This Together’, nudged shoulders with covers of ‘Honey Hush’ (with a completely different delivery), ‘Tainted Love’ and the Stray Cats ‘Rock This Town’. Loving the encore of ‘Johnny B. Goode’ too, which topped off a top-drawer show.
The crowd were jumping right from the get-go and indeed it’s easy to get carried along with the enthusiasm generated from the stage. The blend was original a few covers, and I’m going to immediately flag up ‘The Life You Get’ as a standout. This is (not to mix metaphors) classic 21st Century Rockabilly with an 80’s Neo touch and Setzer styled guitar riffs. Put all that into a melting pot and you get the Red Hot Riot sound. ‘The Mask’, a completely new song called ‘All We Know’ and ‘We’re in This Together’, nudged shoulders with covers of ‘Honey Hush’ (with a completely different delivery), ‘Tainted Love’ and the Stray Cats ‘Rock This Town’. Loving the encore of ‘Johnny B. Goode’ too, which topped off a top-drawer show.
Lobo Jones and the Rhythm Hounds
It’s been a while since we’ve seen Lobo Jones and the Rhythm Hounds play live, so this was a much-anticipated set. Elliot ‘Lobo’ Jones takes the vocals and rhythm guitar, with Zack Godden behind the drum kit, bass player Mark Howells and lead guitarist Morgan Willis, make up the four-piece.
The opener, was a dip into the 50’s archive, with Larry Donn’s ‘Honey Bun’, and keeping with that tempo, a Jones original, the terrific ‘I’m Mad’, which is a track that could’ve come out of the Mercury vaults. Breathing down the neck of those two tracks, the title tune from their debut album ‘Howlin’, a kind of blues-meets-Rockabilly sound and the shout-back vocal style of ‘If You Ain’t Gonna Rock It’.
A couple of well-chosen covers, Bobby Lollar’s ‘Bad Bad Boy’ and Gene Brown’s ‘Big Door’ slotted in perfectly with their own ‘Wind Up Baby’, followed seamlessly by Ronnie Self’s ‘Pretty Bad Blues’ and Sonny Fisher’s Starday corker ‘Pink n Black’. Another original you might to search out would be ‘Your Love’, a pretty cool start-stop tune. Naturally the encore had to be the Jack Gotroe song that gave rise to the band’s name ‘Lobo Jones’ from 1958. An ace set readers.
The opener, was a dip into the 50’s archive, with Larry Donn’s ‘Honey Bun’, and keeping with that tempo, a Jones original, the terrific ‘I’m Mad’, which is a track that could’ve come out of the Mercury vaults. Breathing down the neck of those two tracks, the title tune from their debut album ‘Howlin’, a kind of blues-meets-Rockabilly sound and the shout-back vocal style of ‘If You Ain’t Gonna Rock It’.
A couple of well-chosen covers, Bobby Lollar’s ‘Bad Bad Boy’ and Gene Brown’s ‘Big Door’ slotted in perfectly with their own ‘Wind Up Baby’, followed seamlessly by Ronnie Self’s ‘Pretty Bad Blues’ and Sonny Fisher’s Starday corker ‘Pink n Black’. Another original you might to search out would be ‘Your Love’, a pretty cool start-stop tune. Naturally the encore had to be the Jack Gotroe song that gave rise to the band’s name ‘Lobo Jones’ from 1958. An ace set readers.
Gene Gambler and the Shufflers
We are nearing the conclusion of the weekend’s live acts, and one of the best was saved nearly until last. Gene Gambler and the Shufflers, from Wales. The name should be enough on it’s own but let’s just run through the personnel. David Williams on rhythm guitar, jumping around and vocals, Mark Kemlo and Neil Roope in the rhythm section on drums and bass respectively, Rob Nedin lead pickin’ and Billy Willliams on keyboards. Make a note of some of your favourite Rockabilly, the songs that bought you to the dance so-to-speak, and you’ll find them among a Gene Gambler set.
There aren’t many bands that can replicate songs like Billy Lee Riley’s ‘I Want You Baby’ with such accuracy, both vocally and musically with Rob Nedin’s guitar work something to marvel at. The Big O’s ‘You’re My Baby’, spot on, as was Carl Perkins ‘Sweetheart or Stranger’. Sid King and the Five Strings; ‘Let ‘er Roll’ could have been written for Gene Gambler, such was the joyous rendition of it. The crowd really appreciated the tribute to Jerry Lee Lewis as well, with ‘The End of the Road’ starring.
The sound was tight, the crowd were all over it and the band fed off the vibe, the perfect live music scenario. A couple of Sonny Burgess nuggets also popped up, ‘Find My Baby For Me’ and the frenzied ‘We Wanna Boogie’ which closed an excellent show.
There aren’t many bands that can replicate songs like Billy Lee Riley’s ‘I Want You Baby’ with such accuracy, both vocally and musically with Rob Nedin’s guitar work something to marvel at. The Big O’s ‘You’re My Baby’, spot on, as was Carl Perkins ‘Sweetheart or Stranger’. Sid King and the Five Strings; ‘Let ‘er Roll’ could have been written for Gene Gambler, such was the joyous rendition of it. The crowd really appreciated the tribute to Jerry Lee Lewis as well, with ‘The End of the Road’ starring.
The sound was tight, the crowd were all over it and the band fed off the vibe, the perfect live music scenario. A couple of Sonny Burgess nuggets also popped up, ‘Find My Baby For Me’ and the frenzied ‘We Wanna Boogie’ which closed an excellent show.
Roy Dee and the Spitfires
It was the job of Portugal’s Roy Dee and the Spitfires to close the event, with their own brand of turbo charged Rockabilly, and again another rhythm guitar that was pounded to within a inch of it’s life. Star of this particular show had to be ‘I Did It’ which has everything a solid Rockabilly tune should, thumping bass beat, intense guitar solos and cool lyrics. You could certainly tell that these guys are Wild Records artists, just by this song alone. ‘I Got Demons’ rocked, as did ‘A-B-C-D booze’ and ‘I Just Want To Know’ which has a spaghetti western feel about it.
Sunday nights at weekenders can be a bit of an anti-climax. Not when you get a band like Roy Dee and the Spitfires in the house, and a Blowout crowd rocking out to ‘Miss Froggie’, ‘Like a Rocket to My Baby’ and ‘You Fool Me No More’. What a fitting and raucous end to a top weekender.
It was confirmed from the stage that Blowout #8 would not be the last blowout, just that the pause button was being pressed until 2024. If it’s like this one, it’ll be worth the wait
Gallery images below, click on them for full sized pic
Sunday nights at weekenders can be a bit of an anti-climax. Not when you get a band like Roy Dee and the Spitfires in the house, and a Blowout crowd rocking out to ‘Miss Froggie’, ‘Like a Rocket to My Baby’ and ‘You Fool Me No More’. What a fitting and raucous end to a top weekender.
It was confirmed from the stage that Blowout #8 would not be the last blowout, just that the pause button was being pressed until 2024. If it’s like this one, it’ll be worth the wait
Gallery images below, click on them for full sized pic
Hemsby March 2023, what a great line up. Click flyer for details
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Racketeer Radio brings you the New Golden Age of Radio with over 20 scheduled radio programs from around the world, airing each week. Racketeer Radio features the longest running radio program on air, favorite radio programs from 1930s - 1950s as well as the latest programs in the vintage revival.
Hear your favorite classics, along with the newest released tunes from Big Band, Swing, Jump Rhythm and Blues to Lounge, Rockabilly and More. In the Racketeer Radio App find News, Updates, Events and More, go to linktr.ee/RacketeerRadio. to edit. |
It's the 4th Hot Rock n Boogie event in 2023, click either flyer for details
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Find out what's going on where by clicking the link
Notice to advertisers:- The advertisers in this issue, have paid for their adverts, if you would like to run one with us, and have your event/facility open to our 40,000 + viewers per month, drop us a line to [email protected] for details. If you have a company that makes and sells clothing or accessories, you have a themed event or location, you run a record label or shop, you can advertise with us as well. Anything associated with Rock n Roll music, or 1940’s, 1950’s related. We will include a brief article on your company and services if required, as well with your advert, and a clickable link attached to the flyer, which will take customers directly to your webpage or event page on social media. Adverts are £25.00 per month, much less than most printed magazines, and reaching far more potential customers and attendees, more bang for your buck.
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the button. This has to be a two way street for us to be able to continue beyond 2022. Many thanks
Bands and artists who would like their music or latest record release reviewed. We listen to records several times before writing a word about them. We research songs if they are covers, credit writers, performers and musicians. In effect, we pay true reverence to your recordings, not relying in on merely describing a song as a bopper, jiver or stroller. If we don't know about your release, we can't review it. You can send it to us in electronic form or the actual article, drop us an email and we'll arrange it. We do not plagiarise unlike some other sites and publications. Get in touch at [email protected] if you want your record included.
In these strange times, everyone is suffering, however the last people to be allowed to return to 'normal' are likely to be in the entertainment industry. When you get chance to, as seemingly the case is now, do go and support live music, gigs, clubs and bands. Never before has the industry needed it's customers than now. It's much more exiting than two cans and a takeaway in front of the telly. Whether this will continue through 2022, is up to the powers that be
When we are able to get out and about, if you would like us to cover your event or club night, please get in touch. For two press passes, we will review your event, or your band's show at a gig, in detail, in both words and pictures. We are out there, boots on the ground, front, centre and right and most points in between.
Photographs in this magazine have been provided by the subjects, for use here, or are from our own library. All are copyright
NB, Events and all advertised services are supplied by the advertisers themselves. We do not accept any responsibility for any alterations or adjustments, cancellations or disputes between customers and the advertisers. Please check before booking, travelling to, or buying from advertisers in our magazine
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please avoid copying and pasting articles or parts of articles to your websites or social media, we'd much prefer people to visit our site direct. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome. We do not share links to adult sites here, although adults are welcome to read it. We are considering deleting some early issues and we're interested in your thoughts on whether we should keep them or not. Drop us a note with your thoughts sometime.
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Cheers 'til next month
Andrew and June
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. This is the way we can continue beyond 2022
Many thanks
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the button. This has to be a two way street for us to be able to continue beyond 2022. Many thanks
Bands and artists who would like their music or latest record release reviewed. We listen to records several times before writing a word about them. We research songs if they are covers, credit writers, performers and musicians. In effect, we pay true reverence to your recordings, not relying in on merely describing a song as a bopper, jiver or stroller. If we don't know about your release, we can't review it. You can send it to us in electronic form or the actual article, drop us an email and we'll arrange it. We do not plagiarise unlike some other sites and publications. Get in touch at [email protected] if you want your record included.
In these strange times, everyone is suffering, however the last people to be allowed to return to 'normal' are likely to be in the entertainment industry. When you get chance to, as seemingly the case is now, do go and support live music, gigs, clubs and bands. Never before has the industry needed it's customers than now. It's much more exiting than two cans and a takeaway in front of the telly. Whether this will continue through 2022, is up to the powers that be
When we are able to get out and about, if you would like us to cover your event or club night, please get in touch. For two press passes, we will review your event, or your band's show at a gig, in detail, in both words and pictures. We are out there, boots on the ground, front, centre and right and most points in between.
Photographs in this magazine have been provided by the subjects, for use here, or are from our own library. All are copyright
NB, Events and all advertised services are supplied by the advertisers themselves. We do not accept any responsibility for any alterations or adjustments, cancellations or disputes between customers and the advertisers. Please check before booking, travelling to, or buying from advertisers in our magazine
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please avoid copying and pasting articles or parts of articles to your websites or social media, we'd much prefer people to visit our site direct. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome. We do not share links to adult sites here, although adults are welcome to read it. We are considering deleting some early issues and we're interested in your thoughts on whether we should keep them or not. Drop us a note with your thoughts sometime.
Keep up to date with us here, or on our various platforms:-
Facebook https://www.facebook.com/The-Bettajive-Review-569161136474404/
Instagram https://www.instagram.com/bettajivereview/
Twitter https://twitter.com/AndrewBettajive
email:- [email protected]
https://www.linkedin.com/in/andrew-smith-b626aa63/
Cheers 'til next month
Andrew and June
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. This is the way we can continue beyond 2022
Many thanks
