the bettajive review #3
The Bettajive Review
Primary poison. Over the first couple if issues readers, I’ve given you the gist on how I got into Rock n Roll. It was by choice, hearing stuff I liked, and following up thereafter. But early in my life, I got all but poisoned by impenetrably dull music that I was exposed to at primary school.
I never worked out why (why, WHY!) when we had music and singing lessons, it was always Folk music. Traditional songs, that we all had to sit cross legged on the floor and join in with, while the teacher played the black notes on the piano. In an era when your spelling and grammar was under scrutiny, it is with a retrospective irony that I note the way we were accepting olde phrasing, as correct. ‘The Lincolnshire Poacher’, ‘The Raggle Taggle Gipsies-O’ and ‘Strawberry Fair’ are three examples, etched on my mind forty five years later.
The latter song was, I suggest parodied, by Anthony Newley in 1960, a little light relief from the original ‘rifle rifle told a riddle I-do’. ‘A Frog he would a-Wooing Go’, oh the joy of it readers, hey ho says Anthony bloody Rowley! Keep in mind, I’m recalling a time when I’m eight, nine, or ten years old readers. And by the time we’d got to learning ‘MacPherson’s Lament’, I’d had it. This was the story of Jamie MacPherson who composed this lament on the eve of his execution and smashed his fiddle so no one else could play it. It is a long song, and we had our headmaster insisting we sing it with enthusiasm and joy. The poor bloke was being hung, for primarily being and ‘Egyptian’ (Gypsy)! Mind you by the end of it, I think I’d have happily joined him ‘abou thi gallis tree’
Anytime we had a performing musical act show up, we’d all file into the assembly hall, sit on the varnished floor and wait for them to start. One of the teachers was a rather curious woman who had the ‘Woodstock’ look about her, so I’d suggest it was her that was the catalyst for some of the live acts (not that there were many, this was the 70’s!) Oh joy, it’s two acoustic six string and one twelve string guitars, I wonder what they will be singing, ah yes, some nonsense about a chip potato cart. ‘Join in everybody’ *rasp!* Another was ‘Star of the County Down’, and the teacher trying to stop us pronouncing ‘quay’ as ‘kwaye’, even though, we as children pointed out, that’s what it said, and should rhyme with Bantry Bay in the previous line!
Primary poison. Over the first couple if issues readers, I’ve given you the gist on how I got into Rock n Roll. It was by choice, hearing stuff I liked, and following up thereafter. But early in my life, I got all but poisoned by impenetrably dull music that I was exposed to at primary school.
I never worked out why (why, WHY!) when we had music and singing lessons, it was always Folk music. Traditional songs, that we all had to sit cross legged on the floor and join in with, while the teacher played the black notes on the piano. In an era when your spelling and grammar was under scrutiny, it is with a retrospective irony that I note the way we were accepting olde phrasing, as correct. ‘The Lincolnshire Poacher’, ‘The Raggle Taggle Gipsies-O’ and ‘Strawberry Fair’ are three examples, etched on my mind forty five years later.
The latter song was, I suggest parodied, by Anthony Newley in 1960, a little light relief from the original ‘rifle rifle told a riddle I-do’. ‘A Frog he would a-Wooing Go’, oh the joy of it readers, hey ho says Anthony bloody Rowley! Keep in mind, I’m recalling a time when I’m eight, nine, or ten years old readers. And by the time we’d got to learning ‘MacPherson’s Lament’, I’d had it. This was the story of Jamie MacPherson who composed this lament on the eve of his execution and smashed his fiddle so no one else could play it. It is a long song, and we had our headmaster insisting we sing it with enthusiasm and joy. The poor bloke was being hung, for primarily being and ‘Egyptian’ (Gypsy)! Mind you by the end of it, I think I’d have happily joined him ‘abou thi gallis tree’
Anytime we had a performing musical act show up, we’d all file into the assembly hall, sit on the varnished floor and wait for them to start. One of the teachers was a rather curious woman who had the ‘Woodstock’ look about her, so I’d suggest it was her that was the catalyst for some of the live acts (not that there were many, this was the 70’s!) Oh joy, it’s two acoustic six string and one twelve string guitars, I wonder what they will be singing, ah yes, some nonsense about a chip potato cart. ‘Join in everybody’ *rasp!* Another was ‘Star of the County Down’, and the teacher trying to stop us pronouncing ‘quay’ as ‘kwaye’, even though, we as children pointed out, that’s what it said, and should rhyme with Bantry Bay in the previous line!
With all that though, it is interesting when you delve into our music, how much we owe to traditional or folk music. Take Bill Haley’s ‘Rockin’ Through the Rye’ for example. This comes from the Robbie Burns poem ‘Coming Thro’ the Rye’. At the above school we had to sing the ‘Gin a body’ version, which apparently is less sexually explicit that many versions, but if you read it, it’s filth! And we were ten, and singing it, and what a b*ll*cking anyone would get for not doing so. That was getting on for twenty years after Bill Haley’s version, was banned by the BBC, as it contravened British standards with it’s more hep lyrics like ‘When and the lassies rock with me when rocking through the rye’.
The sad story of Tom Dula (Dooley) and Laura Foster from 1866, spawned the folk song ‘Tom Dooley’. Curtis Hobeck and the Stardusters in 1959 recorded a rockin’ version, where Laura became ‘Laro’ I suspect to rhyme with ‘you’ll hang tomorrow’.
Some of our artists today have taken folk songs and added their little something. ‘Hey Joe’, synonymous with being the last song Jimi Hendrix played at Woodstock, was actually a folk song written by Billy Roberts, who was part of the Greenwich Village folk scene in the early 60’s. Anyone who has seen a Paul Ansell’s Number Nine show will probably be familiar with his take on it. Much of original Skiffle, relied on traditional or folk for it’s material, ‘Rock Island Line’ by Clarence Wilson and ‘Pick a Bale of Cotton’ by Leadbelly for example. The Rimshots presents the latter as an increasing tempo track, with a frantic finish. And of course, as you would have read last month, Darrel Higham’s rocked up version of Donovan’s ‘Sunshine Superman’.
The sad story of Tom Dula (Dooley) and Laura Foster from 1866, spawned the folk song ‘Tom Dooley’. Curtis Hobeck and the Stardusters in 1959 recorded a rockin’ version, where Laura became ‘Laro’ I suspect to rhyme with ‘you’ll hang tomorrow’.
Some of our artists today have taken folk songs and added their little something. ‘Hey Joe’, synonymous with being the last song Jimi Hendrix played at Woodstock, was actually a folk song written by Billy Roberts, who was part of the Greenwich Village folk scene in the early 60’s. Anyone who has seen a Paul Ansell’s Number Nine show will probably be familiar with his take on it. Much of original Skiffle, relied on traditional or folk for it’s material, ‘Rock Island Line’ by Clarence Wilson and ‘Pick a Bale of Cotton’ by Leadbelly for example. The Rimshots presents the latter as an increasing tempo track, with a frantic finish. And of course, as you would have read last month, Darrel Higham’s rocked up version of Donovan’s ‘Sunshine Superman’.
Now today readers, I love to dance, in fact it’s frustrating if we don’t, although some people outside of this music, seem to think we do everything dance wise. If you’re at a non-rock n roll wedding, how many times do you get ‘Oh you can dance, let’s see you get on the floor then’ to the Birdy Song, ‘YMCA’, or some other such nonsense. Yeah, we can dance, but not to this sh*te. But again, at my primary school we had Country dancing, a loose term for formation dances which was my introduction to formal, step by step dancing.
It must’ve been like trying to herd kittens for the teachers, with eight year old kids going off in different directions and generally arsing about. ‘Blaydon Races’ was one, where you had to walk with your hands crossed with a partner, around in a circle, then palm to palm and round and round and a hokey cokey style into the middle and out again as a group. Another ‘favourite’ was the Gay Gordons, another partner dance that had you hold onto the other’s hands across the shoulder. That developed into a spin around and around section, that everyone sung ‘Auntie Mary had a canary up the leg of her drawers’ to (or was this an Essex thing??)
Try keeping thirty some, largely uninterested kids who’d have rather been running around the playground, in sync, had one teacher reach the end of their tether once with the class finishing before ours started. Anyone caught messing about would be slippered (different times younger readers) came the threat. The next class, e-v-e-r-b-o-d-y danced. 😊.
With all that in my younger years, it’s a wonder I like any music or any dance, but I do. However, not necessarily ‘with a hey down ho down derry derry down, among the leaves so green-o’.
Dot…dot. Best tracks in the world ever ever to pump the wind in your donut for this month are ‘Money and Gold (Part Two)’ by Teddy and the Rough Riders, Bill Haley’s ‘Ida Sweet as Apple Cider’ and Anita Tucker’s ‘Hop Skip and Jump’……It must be an age thing, I’ve been trying to delete an rogue apostrophe on this laptop, only to find it was a piece of stroopwafel stuck to the screen……..Another curio, my spellchecker throws a wobbly at the word ‘Rockin’, but doesn’t flinch at ‘Catz’……..A big box of records doth not a DJ make…….Poor Harold Burrage on his track ‘Betty Jean’, right at the end, sounds like someone jumped on his toe……
It must’ve been like trying to herd kittens for the teachers, with eight year old kids going off in different directions and generally arsing about. ‘Blaydon Races’ was one, where you had to walk with your hands crossed with a partner, around in a circle, then palm to palm and round and round and a hokey cokey style into the middle and out again as a group. Another ‘favourite’ was the Gay Gordons, another partner dance that had you hold onto the other’s hands across the shoulder. That developed into a spin around and around section, that everyone sung ‘Auntie Mary had a canary up the leg of her drawers’ to (or was this an Essex thing??)
Try keeping thirty some, largely uninterested kids who’d have rather been running around the playground, in sync, had one teacher reach the end of their tether once with the class finishing before ours started. Anyone caught messing about would be slippered (different times younger readers) came the threat. The next class, e-v-e-r-b-o-d-y danced. 😊.
With all that in my younger years, it’s a wonder I like any music or any dance, but I do. However, not necessarily ‘with a hey down ho down derry derry down, among the leaves so green-o’.
Dot…dot. Best tracks in the world ever ever to pump the wind in your donut for this month are ‘Money and Gold (Part Two)’ by Teddy and the Rough Riders, Bill Haley’s ‘Ida Sweet as Apple Cider’ and Anita Tucker’s ‘Hop Skip and Jump’……It must be an age thing, I’ve been trying to delete an rogue apostrophe on this laptop, only to find it was a piece of stroopwafel stuck to the screen……..Another curio, my spellchecker throws a wobbly at the word ‘Rockin’, but doesn’t flinch at ‘Catz’……..A big box of records doth not a DJ make…….Poor Harold Burrage on his track ‘Betty Jean’, right at the end, sounds like someone jumped on his toe……
H-Bomb. Looking for a gig on the guide, we happened across one in a village in Norfolk we had no experience of. Heacham, and the village hall there, somewhere in North West Norfolk. After the journey from Essex, we wondered if you could actually go much further in Norfolk without ending up in the drink. The actual village, has historic connections to Pocohontas, and the Heacham sign depicts this.
This gig, featured the Hicksville Bombers with Bootlegger’s DJ Daffy on sounds, all in aid of the East Anglian Children’s Hospice. Good to see a bumper crowd in for the night too. The Bombers, if you don’t know, are Dave Brown on lead vocals and lead guitar, with Landon Filer slapping the bass and drummer Paul Saunders. Their mix, is a lot of their own material and some covers slotted in for good measure.
With a volunteer in place to wind up the crank handle on the air raid siren, it was ‘Bombs Away’ and we were off as the Bombers ballsy instrumental theme tune rattled around the room. Well that got your attention didn’t it. You kind of know what you’ll get in a Bombers show, but kind of don’t, in equal parts, such is their versatility.
Two sets of hard-hitting sounds like the bluesy bop beat of ‘Low On Gas’, and ‘Love Substitute’ for example, and some stroll sounds including their cover of the Bodyrockers 2005 hit, ‘I Like the Way You Move’, with slightly altered lyrics slipped in, shall we say.
I think we could have done with some extra lighting on the stage, but the sound was good, as Dave challenged the audience to dare to phone him during Peaky Blinders the following night, after their version of ‘Red Right Hand’ (Nick Cave and the Bad Seeds). And now for a song first recorded in 1956, hmmm, just after five to eight maybe methinks. That was ‘Whole Lotta Rosie’ with Dave doing the Angus Young bits on the orange Gretsch. More original stuff with Landon Filer’s ‘Stand Up and Fight’, and a slow-down with ‘I’ve Changed My Mind’
It’s a rarity of a Bombers show without Bob Denton’s ‘Playboy’, and the lads duly obliged in the second set. Loving the inclusion of ‘The Man You Want Me To Be’ and ‘Goodbye Roger and Out’, along with the thumping take on Hank Mizell’s ‘Jungle Rock’. Brilliant stuff, loads of great sounds and top stage show, and frequent references to their ten inch (record)
Click on the gallery images for full size pics below
This gig, featured the Hicksville Bombers with Bootlegger’s DJ Daffy on sounds, all in aid of the East Anglian Children’s Hospice. Good to see a bumper crowd in for the night too. The Bombers, if you don’t know, are Dave Brown on lead vocals and lead guitar, with Landon Filer slapping the bass and drummer Paul Saunders. Their mix, is a lot of their own material and some covers slotted in for good measure.
With a volunteer in place to wind up the crank handle on the air raid siren, it was ‘Bombs Away’ and we were off as the Bombers ballsy instrumental theme tune rattled around the room. Well that got your attention didn’t it. You kind of know what you’ll get in a Bombers show, but kind of don’t, in equal parts, such is their versatility.
Two sets of hard-hitting sounds like the bluesy bop beat of ‘Low On Gas’, and ‘Love Substitute’ for example, and some stroll sounds including their cover of the Bodyrockers 2005 hit, ‘I Like the Way You Move’, with slightly altered lyrics slipped in, shall we say.
I think we could have done with some extra lighting on the stage, but the sound was good, as Dave challenged the audience to dare to phone him during Peaky Blinders the following night, after their version of ‘Red Right Hand’ (Nick Cave and the Bad Seeds). And now for a song first recorded in 1956, hmmm, just after five to eight maybe methinks. That was ‘Whole Lotta Rosie’ with Dave doing the Angus Young bits on the orange Gretsch. More original stuff with Landon Filer’s ‘Stand Up and Fight’, and a slow-down with ‘I’ve Changed My Mind’
It’s a rarity of a Bombers show without Bob Denton’s ‘Playboy’, and the lads duly obliged in the second set. Loving the inclusion of ‘The Man You Want Me To Be’ and ‘Goodbye Roger and Out’, along with the thumping take on Hank Mizell’s ‘Jungle Rock’. Brilliant stuff, loads of great sounds and top stage show, and frequent references to their ten inch (record)
Click on the gallery images for full size pics below
Feast in the East. A long overdue revisit to the Fireball club in Lowestoft, Suffolk. This is the most easterly Rock n Roll club in the country, any further east and you’ll only find a few cod to engage with. It was a particularly long trek for that night’s band, Razor Holler.
Hang on a minute, haven’t we read about this band already? Well yes, in the festival arena, but this was the first time we’d seen the band in the club setting. That and also the Fireball is a club that really deserves support. Ian ‘Shades’ Soanes is the head honcho (though wife Jo might do some finger jabbing at me for saying so) and resident DJ. Cool amounts of tuneage from the decks, as diverse as Webb Pierce’s ‘Cigarettes and Coffee Blues’ to Johnny and the Roccos’ ‘Tarzan Boogie’. And anyone who plays ‘Jitterbop Baby’ and ‘Rampage’ is a good elliptical shaped object in my book.
It was good to see a fair headcount turn up, there’s always room for more, at the Lowestoft Football Club, in time for the band’s first set. Razor Holler are a four-piece featuring Rusty Williams on rhythm guitar and vocals, Danny Ibison, lead guitar and vocals, Helen Blank, bass and vocals and Alan Bentley on skins. They opened with a classic from as far back as 1940, ‘Down the Road a-Piece’, switching effortlessly to ‘That’s the Way I Feel’ and ‘Little Pig’.
‘There’s not enough people called Ersel’ said Rusty, as they took on Mr Hickey’s ‘Going Down That Road’, and a tip top take on Jimmy (or Jimmie if you will) Skinner’s ‘How Low Can You Feel’. Spot on. Given it was the anniversary of Eddie Cochran’s birthday, there was a fitting tribute with ‘Twenty Flight Rock’ and ‘Cut Across Shorty’, and two of their own tunes, the excellent ‘Picky’ and ‘Rheumatism Boogie’ (not the Moon Mullican song of the same name), which contains the brilliant line ‘Jumping from six to five past six’. Final track for the first set, ‘Shortnin’ Bread’, which has it’s origins in the 1890’s would you believe.
Set two picked up where the first one ended. In amongst the gems, a top drawer version on Alton and Jimmy’s ‘No More Crying the Blues’, and (I’m pretty sure) Jonathan Richman’s ‘You’re Crazy For Taking the Bus’. A couple of George Jones hits featured as well, ‘The Race Is On’ and ‘Tall Tall Trees’, as well as a brace of Johnny Horton crackers ‘One Woman Man’ and ‘Bull By the Horns’, and by request (June) a super cool take on Carl Perkins’ ‘Lend Me Your Comb’.
Three encores ended a pair of super sets, to conclude the Fireball’s gig nights for 2019. Look this club up in 2020 folks, as Razor Holler may well be making a return
Gallery images below, click on them for full size
Hang on a minute, haven’t we read about this band already? Well yes, in the festival arena, but this was the first time we’d seen the band in the club setting. That and also the Fireball is a club that really deserves support. Ian ‘Shades’ Soanes is the head honcho (though wife Jo might do some finger jabbing at me for saying so) and resident DJ. Cool amounts of tuneage from the decks, as diverse as Webb Pierce’s ‘Cigarettes and Coffee Blues’ to Johnny and the Roccos’ ‘Tarzan Boogie’. And anyone who plays ‘Jitterbop Baby’ and ‘Rampage’ is a good elliptical shaped object in my book.
It was good to see a fair headcount turn up, there’s always room for more, at the Lowestoft Football Club, in time for the band’s first set. Razor Holler are a four-piece featuring Rusty Williams on rhythm guitar and vocals, Danny Ibison, lead guitar and vocals, Helen Blank, bass and vocals and Alan Bentley on skins. They opened with a classic from as far back as 1940, ‘Down the Road a-Piece’, switching effortlessly to ‘That’s the Way I Feel’ and ‘Little Pig’.
‘There’s not enough people called Ersel’ said Rusty, as they took on Mr Hickey’s ‘Going Down That Road’, and a tip top take on Jimmy (or Jimmie if you will) Skinner’s ‘How Low Can You Feel’. Spot on. Given it was the anniversary of Eddie Cochran’s birthday, there was a fitting tribute with ‘Twenty Flight Rock’ and ‘Cut Across Shorty’, and two of their own tunes, the excellent ‘Picky’ and ‘Rheumatism Boogie’ (not the Moon Mullican song of the same name), which contains the brilliant line ‘Jumping from six to five past six’. Final track for the first set, ‘Shortnin’ Bread’, which has it’s origins in the 1890’s would you believe.
Set two picked up where the first one ended. In amongst the gems, a top drawer version on Alton and Jimmy’s ‘No More Crying the Blues’, and (I’m pretty sure) Jonathan Richman’s ‘You’re Crazy For Taking the Bus’. A couple of George Jones hits featured as well, ‘The Race Is On’ and ‘Tall Tall Trees’, as well as a brace of Johnny Horton crackers ‘One Woman Man’ and ‘Bull By the Horns’, and by request (June) a super cool take on Carl Perkins’ ‘Lend Me Your Comb’.
Three encores ended a pair of super sets, to conclude the Fireball’s gig nights for 2019. Look this club up in 2020 folks, as Razor Holler may well be making a return
Gallery images below, click on them for full size
Your host, DJ Domino, Nigel Babb, has built the Domino’s club up to become one of the places to go to in Hertfordshire. Mixing up the styles of bands and DJs, means there’s something different each time. Nigel and his partner, Beverly, have a few gigs left in 2019, check ‘em out on the flyer.
And look out for Nigel's interview in next month's issue |
Your host for Rockin' at the Retreat, is Eddie Gibbs. This I believe is his first event at the Northampton venue that Eddie has arranged. It's a well known venue locally, and one we are looking forward to seeing
He has the Devil’s Cut Combo and their own brand of early 50’s Rock n Roll and R&B, playing live, with Kelv’s Red Hot Rhythm supporting on the decks |
Interview with Jackson Sloan
The sub-six foot stature of Jackson Sloan has been a towering presence (most people tower over us anyway) on the Rock n Roll and R&B scene for many years now. Here he is giving us the run down on his life in music.
BJR. You’ve been a performer of R&B, Swing and Rock n Roll for many years now. So where did it all start?
I began by collecting records and going to live gigs, Southend-on-Sea is a rock’n’roll town and has a history of iconic venues, The Kursaal, the Long Bar, The Palace Hotel, The Esplanade, The Grand Hotel and had two great record shops. “The Record Museum” run by Derek Glenisten and “Pete Edews” on the London road stocked great 45’s and LP’s, so with my collection of records which included classic rhythm’n’blues vocalists, Big Joe Turner, Wynonie Harris, Roy Brown, Roy Milton and the King of Jump Louis Jon Dan. I decided to form a band called Rent Party playing this style of music.
About 1981 I started to contact some friends who played instruments, finding a bassists, guitar and a drummer, Piano and Brass was harder to find. But bumped into a friend who already was a Sax player, and he told me that he was teaching someone, and lucky for me his sister played Sax as well! We also found a trumpet player at my local Fish n chips shop just by chance.
First gigs were at the Railway pub were we only had 6 numbers and kept repeating them. Some Louis Jordan, Clarence ‘Frogman’ Henry, and Big Joe Turner, but it gave us experience live. From 12 people, 6 months later you couldn’t get in the pub! We were then approached by The Queens Hotel and started a regular Friday night which attracted people from the Rockin scene throughout Essex to London. This again got us invites to play Gaz’s rockin blues club Dingwall’s, the Marquee and the 100 Club, and was then signed to London Music Agency. I was still learning but gave it my all.
BJR Who are your major influences musically, and who influenced you to be a performer?
My influences are many, but I was lucky to have friends who had video shorts of Louis Jordan, Big Joe Turner and this was a big learning curve to then watch them live, keeping an eye on the London clubs. During the early 80’s Eddie Cleanhead, Jimmy Witherspoon, played the 100 club, Roy Brown and Hank Ballard were brought over the late great radio presenter Stuart Colman. To see these guys and musicians up close, and for me it was all about passion they showed while singing, that got me.
BJR Do you recall your first live performance as a vocalist in front of people?
My first performance as a vocalist was at the Railway Pub in Southend, followed by The Queens Hotel, sadly no longer there, were great to learn your craft, getting your sound together, your presentation. I was nervous its true but remembering the passion I witnessed from the greats spurred me on.
BJR And your first band?
The first band was called ‘Rent Party’ which I thought was a good name. The band recorded for a smaller label run by double bass player Dave Hatfield. Roots music distributor projection records, the label was called Waterfront, we recorded 3 45’s, a live EP at the Dublin Castle London, “Honk that saxophone’ and a 12” 4 track with Legendary Rhythm n blues producer Mike Vernon. The band also recorded a full album for RCA Victor in Japan, never released in the UK.
The sub-six foot stature of Jackson Sloan has been a towering presence (most people tower over us anyway) on the Rock n Roll and R&B scene for many years now. Here he is giving us the run down on his life in music.
BJR. You’ve been a performer of R&B, Swing and Rock n Roll for many years now. So where did it all start?
I began by collecting records and going to live gigs, Southend-on-Sea is a rock’n’roll town and has a history of iconic venues, The Kursaal, the Long Bar, The Palace Hotel, The Esplanade, The Grand Hotel and had two great record shops. “The Record Museum” run by Derek Glenisten and “Pete Edews” on the London road stocked great 45’s and LP’s, so with my collection of records which included classic rhythm’n’blues vocalists, Big Joe Turner, Wynonie Harris, Roy Brown, Roy Milton and the King of Jump Louis Jon Dan. I decided to form a band called Rent Party playing this style of music.
About 1981 I started to contact some friends who played instruments, finding a bassists, guitar and a drummer, Piano and Brass was harder to find. But bumped into a friend who already was a Sax player, and he told me that he was teaching someone, and lucky for me his sister played Sax as well! We also found a trumpet player at my local Fish n chips shop just by chance.
First gigs were at the Railway pub were we only had 6 numbers and kept repeating them. Some Louis Jordan, Clarence ‘Frogman’ Henry, and Big Joe Turner, but it gave us experience live. From 12 people, 6 months later you couldn’t get in the pub! We were then approached by The Queens Hotel and started a regular Friday night which attracted people from the Rockin scene throughout Essex to London. This again got us invites to play Gaz’s rockin blues club Dingwall’s, the Marquee and the 100 Club, and was then signed to London Music Agency. I was still learning but gave it my all.
BJR Who are your major influences musically, and who influenced you to be a performer?
My influences are many, but I was lucky to have friends who had video shorts of Louis Jordan, Big Joe Turner and this was a big learning curve to then watch them live, keeping an eye on the London clubs. During the early 80’s Eddie Cleanhead, Jimmy Witherspoon, played the 100 club, Roy Brown and Hank Ballard were brought over the late great radio presenter Stuart Colman. To see these guys and musicians up close, and for me it was all about passion they showed while singing, that got me.
BJR Do you recall your first live performance as a vocalist in front of people?
My first performance as a vocalist was at the Railway Pub in Southend, followed by The Queens Hotel, sadly no longer there, were great to learn your craft, getting your sound together, your presentation. I was nervous its true but remembering the passion I witnessed from the greats spurred me on.
BJR And your first band?
The first band was called ‘Rent Party’ which I thought was a good name. The band recorded for a smaller label run by double bass player Dave Hatfield. Roots music distributor projection records, the label was called Waterfront, we recorded 3 45’s, a live EP at the Dublin Castle London, “Honk that saxophone’ and a 12” 4 track with Legendary Rhythm n blues producer Mike Vernon. The band also recorded a full album for RCA Victor in Japan, never released in the UK.
BJR Most people know you as a vocalist. Do you play any instruments?
I learnt a lot over the years musically and played with some very talented musicians the late John Parry, Laurence Parry’s father who was the trumpet player in the band, taught me a lot. He was a professional Bass Vocalist with the Royal Opera House and always said “Don’t lose that passion, don’t overlearn, do what you do”
I’ve always threatened to play guitar, maybe one day!
BJR 2013, and the Shack Sessions album. That produced one of the dancefloor classics of modern times, ‘Kickin’ Up The Dust’, and the subsequent single with another corker ‘Big Talk’. When you were writing the songs for the Shack Sessions album, did you think that ‘Kickin up the Dust’ was ‘the one’? We’ve been to your shows and the expectation for that track is palpable among the audience, so I guess it’s a ‘must-do’ now.
The Shack Sessions was great fun and brought in special guests to mix it up, it carried on with my original songs, it was my good friend Ray Gelato, who phoned me back in 2010 and said “Lets do an album together which resulted in ‘Saturday Clothes’, myself and Ray go way back. I first met him when he played with the Dynamite band at The Queens Hotel, little did I know, my passion for Jump Blues was matched by his band, and Rent Party met the ‘Chevalier Brothers’ in 1982. At a disco called Xenon in Kent for a college, this started a solid friendship and lost count of the number of Double Bills we would both do together and this really inspired lots of bands to form and DJ’s to play this great jumpin music which had been overlooked for too many years. But all the people who were there at the start, know the huge impact Rent Party and the Chevalier Brothers made in the scene at the time.
BJR Other bands are now covering your original songs, how does that feel if you’re in the house and a group plays your song?
I have always covered songs and still do, but it was a double header with Maria Vincent and The Millionaires, the bass player Rick Buck said an important thing to me: “The trouble is everyone’s fishing out the same pond”. That Stuck with me, and now it’s a mixture of originals and covers. “Kickin up the dust”, “Big Talk”, I’m very proud of, they get people on the dancefloor, and people have reacted like it’s a song from the 50’s, so it will always be a staple part of a Jackson Sloan set, the fact the bands now cover these songs, leaves me very proud and every songwriter wants musicians to cover their songs.
I learnt a lot over the years musically and played with some very talented musicians the late John Parry, Laurence Parry’s father who was the trumpet player in the band, taught me a lot. He was a professional Bass Vocalist with the Royal Opera House and always said “Don’t lose that passion, don’t overlearn, do what you do”
I’ve always threatened to play guitar, maybe one day!
BJR 2013, and the Shack Sessions album. That produced one of the dancefloor classics of modern times, ‘Kickin’ Up The Dust’, and the subsequent single with another corker ‘Big Talk’. When you were writing the songs for the Shack Sessions album, did you think that ‘Kickin up the Dust’ was ‘the one’? We’ve been to your shows and the expectation for that track is palpable among the audience, so I guess it’s a ‘must-do’ now.
The Shack Sessions was great fun and brought in special guests to mix it up, it carried on with my original songs, it was my good friend Ray Gelato, who phoned me back in 2010 and said “Lets do an album together which resulted in ‘Saturday Clothes’, myself and Ray go way back. I first met him when he played with the Dynamite band at The Queens Hotel, little did I know, my passion for Jump Blues was matched by his band, and Rent Party met the ‘Chevalier Brothers’ in 1982. At a disco called Xenon in Kent for a college, this started a solid friendship and lost count of the number of Double Bills we would both do together and this really inspired lots of bands to form and DJ’s to play this great jumpin music which had been overlooked for too many years. But all the people who were there at the start, know the huge impact Rent Party and the Chevalier Brothers made in the scene at the time.
BJR Other bands are now covering your original songs, how does that feel if you’re in the house and a group plays your song?
I have always covered songs and still do, but it was a double header with Maria Vincent and The Millionaires, the bass player Rick Buck said an important thing to me: “The trouble is everyone’s fishing out the same pond”. That Stuck with me, and now it’s a mixture of originals and covers. “Kickin up the dust”, “Big Talk”, I’m very proud of, they get people on the dancefloor, and people have reacted like it’s a song from the 50’s, so it will always be a staple part of a Jackson Sloan set, the fact the bands now cover these songs, leaves me very proud and every songwriter wants musicians to cover their songs.
BJR Your music style, by its very nature has catchy rhythms and dance beats. Do you consider the dance aspect at all? Especially being an enthusiastic dancer yourself.
Big thanks to all the musicians who played with us on Shack Sessions and special mention to Paul Richardson who engineered and produced the songs at Shack studios. For me it’s all about tempo, this I learnt from John Parry, if the tempo and groove sit right together people will dance. Too frantic or chaotic, there’s no feel to it. I love to dance and watch people dance, that’s the great scene. We are all part of whether its Rock’n’roll, Rockabilly, Rhythm’n’blues, Doo-wop, Western Swing. We all love to kick up a bit of dust on the Dancefloor!
BJR What’s next?
At the moment, I’m working with some new musicians, with a new line up which I am very excited about, and a new studio album planned to start recording in Jan 2020.
BJR Thank you for doing this interview with us, how would readers get in touch with you for further info about yourself, the band or upcoming shows and record releases?
You can visit the website jacksonsloan.com and follow our Facebook page “Jackson Sloan” or “Jackson Sloan & The Rhythmtones” to check up on our upcoming shows and news about the band.
To contact for bookings; www.Jacksonsloan.com and [email protected]
Footnote, as we chatted to Jackson after the interview, he hinted at being part of an R&B review, featuring duets with Laura B. Now that’ll be a good one to see……
Like what you see? Help us keep this free by popping us a donation using the button below
Big thanks to all the musicians who played with us on Shack Sessions and special mention to Paul Richardson who engineered and produced the songs at Shack studios. For me it’s all about tempo, this I learnt from John Parry, if the tempo and groove sit right together people will dance. Too frantic or chaotic, there’s no feel to it. I love to dance and watch people dance, that’s the great scene. We are all part of whether its Rock’n’roll, Rockabilly, Rhythm’n’blues, Doo-wop, Western Swing. We all love to kick up a bit of dust on the Dancefloor!
BJR What’s next?
At the moment, I’m working with some new musicians, with a new line up which I am very excited about, and a new studio album planned to start recording in Jan 2020.
BJR Thank you for doing this interview with us, how would readers get in touch with you for further info about yourself, the band or upcoming shows and record releases?
You can visit the website jacksonsloan.com and follow our Facebook page “Jackson Sloan” or “Jackson Sloan & The Rhythmtones” to check up on our upcoming shows and news about the band.
To contact for bookings; www.Jacksonsloan.com and [email protected]
Footnote, as we chatted to Jackson after the interview, he hinted at being part of an R&B review, featuring duets with Laura B. Now that’ll be a good one to see……
Like what you see? Help us keep this free by popping us a donation using the button below
Your hosts for the Hot Rock n Boogie weekender in 2020 are Neil and Claire Seabrook, of Boston Jive. Next year is the third event, and boasts an excellent line up.
Each year, there are different features to help improve the event, the venue and the experience for attendees. It's gonna be another good one folks! |
Here it is readers, your Rhythm Riot running order. Your hosts for the Rhythm Riot are Robin and Colette Weathersebee. They’ve run the Riot (with Jerry Chatabox) since it first started twenty two years ago. As well as running Maddy’s Jive School, they are also joint promoters of the Atomic Vintage Festival (see issue #1 for a review)
Latest update for the Riot tells us that the four weeks or so since our last issue, have been the busiest of the year for bookings. It’s selling very well folks, don’t miss out |
record reviews
Better Than Chocolate – Gina DeLuca
CD review
Hailing from Baltimore (not popular with me at the time of writing as the Ravens put 49 points past my Miami Dolphins), Gina DeLuca presents her third CD release, ten years since the last one. I’ll be honest with you readers, we’d not heard her music before the email came asking if we would like to review ‘Better Than Chocolate’. Are we glad we said yes!
Dave Chappell, John Previti, Wes Crawford, Dennis Gruenling, Roddy Barnes and Seth Kibel, all fine musicians, are en pointe backing Gina. Their style, is a kind of three point junction between Rockabilly, Jazz and Blues, with some razor sharp wit in the lyrics.
All of the ten tracks are original compositions, opening with the title track ‘Better Than Chocolate’. Gina vocalises her love for her man on this one to some epic guitar work, with a zippy rocking beat. ‘If he was made of chocolate baby, he would be half as sweet’, that’s the tagline that will stick with you.
We have a switch of gears in ‘Skeletons in Your Closet’, which is an atmospheric heavenly four and a half minute tune, helped along by a walking bass sound akin to ‘Fever’. It evokes the image of a smoky jazz club, and a Nina Simone / Billie Holiday vibe. Super smooth this one readers. Next up, an earthy rocker ‘Last Call For a Bar Brawl’, about gang war, and Johnny, who had a fist like a cannon ball. Love the guitar work on this track
Another up tempo rocker next with ‘He Gives It All To Me’, containing a warning to any female rivals, her man is faithful to a ‘T’. By contrast ‘School on a Saturday’ is a scolding soulful blues sound, ticking off a fella who like ‘School on a Saturday’, has no class. ‘Whiplash’ soaked in piano riffs, and guitar solo, it’s a pacey dancefloor jiving rocker, reminiscent of early Jerry Lee Lewis.
‘Runner Up’, slows it down a bit, for a bluesy stroll beat, and a set of ‘told you so’ lyrics, pertaining to a lady dodging a bullet of a bad relationship. Ratcheting up the tempo again now with a corking two minute rocker ‘Slingshot’, before a complete contrast in ‘A Year For Your Lips’. This is a blues treat, you could call it a late-nighter, as that’s when you’d be likely to hear it in a club. The vocal delivery on this track is first rate, and complemented by a kind of answering harmonica. Excellent
Topping off the CD, we have some out and out jazz, with ‘Mr Right’, sounding like it came from New Orleans in 1950-something, with lyrics bang up to date. The lyrics are the antithesis of some of the others, in previous songs. The guy in this song is just too damn nice, a narrative set to a toe tapping rhythm. And apparently, he wouldn’t vote Trump! The jocularity of the vocal delivery, and the scalpel sharp wit is bliss.
What a delight this CD is. Well crafted lyrics, musically spot on, and varied tempos and timbres throughout, exceptionally well compiled. And I could quite go a slice of that cake on the front cover!
CD review
Hailing from Baltimore (not popular with me at the time of writing as the Ravens put 49 points past my Miami Dolphins), Gina DeLuca presents her third CD release, ten years since the last one. I’ll be honest with you readers, we’d not heard her music before the email came asking if we would like to review ‘Better Than Chocolate’. Are we glad we said yes!
Dave Chappell, John Previti, Wes Crawford, Dennis Gruenling, Roddy Barnes and Seth Kibel, all fine musicians, are en pointe backing Gina. Their style, is a kind of three point junction between Rockabilly, Jazz and Blues, with some razor sharp wit in the lyrics.
All of the ten tracks are original compositions, opening with the title track ‘Better Than Chocolate’. Gina vocalises her love for her man on this one to some epic guitar work, with a zippy rocking beat. ‘If he was made of chocolate baby, he would be half as sweet’, that’s the tagline that will stick with you.
We have a switch of gears in ‘Skeletons in Your Closet’, which is an atmospheric heavenly four and a half minute tune, helped along by a walking bass sound akin to ‘Fever’. It evokes the image of a smoky jazz club, and a Nina Simone / Billie Holiday vibe. Super smooth this one readers. Next up, an earthy rocker ‘Last Call For a Bar Brawl’, about gang war, and Johnny, who had a fist like a cannon ball. Love the guitar work on this track
Another up tempo rocker next with ‘He Gives It All To Me’, containing a warning to any female rivals, her man is faithful to a ‘T’. By contrast ‘School on a Saturday’ is a scolding soulful blues sound, ticking off a fella who like ‘School on a Saturday’, has no class. ‘Whiplash’ soaked in piano riffs, and guitar solo, it’s a pacey dancefloor jiving rocker, reminiscent of early Jerry Lee Lewis.
‘Runner Up’, slows it down a bit, for a bluesy stroll beat, and a set of ‘told you so’ lyrics, pertaining to a lady dodging a bullet of a bad relationship. Ratcheting up the tempo again now with a corking two minute rocker ‘Slingshot’, before a complete contrast in ‘A Year For Your Lips’. This is a blues treat, you could call it a late-nighter, as that’s when you’d be likely to hear it in a club. The vocal delivery on this track is first rate, and complemented by a kind of answering harmonica. Excellent
Topping off the CD, we have some out and out jazz, with ‘Mr Right’, sounding like it came from New Orleans in 1950-something, with lyrics bang up to date. The lyrics are the antithesis of some of the others, in previous songs. The guy in this song is just too damn nice, a narrative set to a toe tapping rhythm. And apparently, he wouldn’t vote Trump! The jocularity of the vocal delivery, and the scalpel sharp wit is bliss.
What a delight this CD is. Well crafted lyrics, musically spot on, and varied tempos and timbres throughout, exceptionally well compiled. And I could quite go a slice of that cake on the front cover!
Hollywood Hunk Take Two The Guv’ner Rides Again
CD review
‘I never seen him before, but he’s cute’. The opening spoken line from the latest Guv’ner CD from Mark Philips’ Flat Top Mark record label. Yes folks, it’s from ‘Loving You’, the 1957 film, and Elvis’ second, that as Deke Rivers, kind of mirrored his rise to fame at that time. Yes folks, it’s the second in the series from the ‘Rides Again in Hollywood’ series, thirty four tracks from Elvis in the movies.
From that film as well, evoking images of Elvis in his red and white western shirt, comes ‘Teddy Bear’ and ‘Mean Woman Blues’, three tracks you can put in the ‘doesn’t come better than that’ category. Sure doesn’t ‘sideburns’! Sandwiched in between ‘Loving You’ and ‘Teddy Bear’ comes ‘Your Time Hasn’t Come Yet Baby’ from the 1968 film, ‘Speedway’.
In this film, Elvis is a NASCAR driver, who’s manager syphoned away most of his winning s to feed a gambling habit, one might suggest another interesting parallel between art and life as far as Elvis’ career was concerned. It also starred Nancy Sinatra, as the IRS agent shadowing Elvis’ character, Steve Grayson, and Bill Bixby as the manager. Folks our age probably recall as the mild mannered scientist, David Bruce Banner, in the TV series ‘The Incredible Hulk’, and the sad piano tune ‘The Lonely Man’ as walks to the next town at the end of the show.
Next up, ‘Take Me To The Fair’, which unsurprisingly comes from the 1963 movie, ‘It Happened at the World’s Fair’. Interestingly enough, it’s another film that was based around gambling debts, and has an uncredited ‘shin kicker’ kid in it, who turned out to be Kurt Russell, who went on to play Elvis in the 1979 film of the same name. The nippy tempo of ‘Happy Ending’ also makes an appearance later in the release,
From 1967, and ‘Double Trouble’ comes ‘It Won’t Be Long’, and the especially nostalgic (for both of us) ‘Long Legged Girl’. Anyone, who’s early record collection contained those very reasonably priced Elvis LPs by Pickwick, will recall the rather eclectic mix of movie tracks, and ‘Long Legged Girl’ was a particular standout on Vol 1.
‘Spinout’ from ’66 and the film of the same name, as soon as you hear it, you’ll think of Elvis in his blue suit surrounded by dancing ladies in brightly coloured shirts and sweaters. Similarly the drum beat driven ‘Adam and Evil’ makes a welcome presence. Next up ‘She’s a Machine’ which didn’t make the cut for the film ‘Easy Come Easy Go’.
From Elvis’ twenty first film ‘Paradise Hawaiian Style’ comes ‘Stop Where You Are’, where Rick Richards has to take cover in singing the song among a troupe of hula girls. Very colourful, as is ‘Drums of the Island’ from the same production. To 1963 now and ‘Fun in Acapulco’, which supplies the imaginatively titled (statement of the obvious) ‘There’s No Room To Rhumba in a Sports Car’, and the speedy ‘Boss Nova Baby’.
The 1959 novel ‘Pioneer Go Home!’ by Richard P Powell, influenced the story of the Kwimper family in ‘Follow That Dream’. That soundtrack yields ‘What a Wonderful Life’, and of course the title track. Back to 1961 and GI Blues, as Elvis fortunately doesn’t succumb to applying a judo chop to the back of the baby’s neck, preferring to sing him to sleep with ‘Big Boots’.
A trio from ‘Kissin’ Cousins’ next with ‘Smokey Mountain Boy’ and ‘Catchin’ on Fast’ and ‘It’s a Long Lonely Highway’ one after the other. Elvis in orange now, with the ‘Meanest Girl In Town’ which came from the ’65 film ‘Girl Happy. Elvis as Johnny Tyrone, singing ‘Hey Little Girl’ from the adventure spoof ‘Harum Scarum’, brought the big beat to Baghdad for sure in 1965.
A duet now, with Elvis and Ann Margaret as Lucky Jackson and Rusty Martin performing ‘’You’re The Boss’ from Viva Las Vegas. From that film also, ‘C’mon Everybody’, which topes off the CD. Into the ring now and from Kid Galahad, the now popular dance floor track, ‘King of the Whole Wide World’, a film that had Charles Bronson as a co-star.
The title track of the 1962 film, ‘Girls, Girls, Girls’, is one of the many Lieber and Stoller songs Elvis recorded, heralded as the greatest of all the Elvis Presley musicals, to introduce it (from the trailer). A slowy from the same production, ‘A Boy Like Me Meets a Girl Like You’, always good to have some of Elvis’ ballads on a compilation.
Another dancefloor winner from ‘Blue Hawaii’ this time, with ‘Slicin Sand’, and also the excellent, ‘Rock-aHula Baby’. Who could forget Angela Lansbury’s ‘Chadwick’ utterances throughout the film? Indeed, she interjects that she’s going to have a terrible headache. A film that made my summer holidays as a youngster! ‘You Can’t Say no in Acapulco’ which is unsurprisingly from ‘Fun in Acapulco’ from 1963, a mid-tempo maraca rhythm ditty. Also nudging for attention, some serious Mexican trumpet accompaniment to Elvis’ vocals on ‘I Think I’m Gonna Like it Here’.
A slight deviation, one from the end, with a track from ‘Jailhouse Rock’. This time it’s not Elvis, it’s Hunk Houghton, played by Mickey Shaughnessy, singing ‘One More Day’, an acoustic guitar and a voice lament.
Once more, a hugely varied selection of tunes from the Elvis film catalogue, mixes and mastered by Dave Flattop Phillips and produced by Mark. Again, this CD is limited to 200 copies, so don’t miss out getting yourself one. I like the way the CD is made to look like a 78rpm of ‘Loving You’ as well.
Excellent stuff
CD review
‘I never seen him before, but he’s cute’. The opening spoken line from the latest Guv’ner CD from Mark Philips’ Flat Top Mark record label. Yes folks, it’s from ‘Loving You’, the 1957 film, and Elvis’ second, that as Deke Rivers, kind of mirrored his rise to fame at that time. Yes folks, it’s the second in the series from the ‘Rides Again in Hollywood’ series, thirty four tracks from Elvis in the movies.
From that film as well, evoking images of Elvis in his red and white western shirt, comes ‘Teddy Bear’ and ‘Mean Woman Blues’, three tracks you can put in the ‘doesn’t come better than that’ category. Sure doesn’t ‘sideburns’! Sandwiched in between ‘Loving You’ and ‘Teddy Bear’ comes ‘Your Time Hasn’t Come Yet Baby’ from the 1968 film, ‘Speedway’.
In this film, Elvis is a NASCAR driver, who’s manager syphoned away most of his winning s to feed a gambling habit, one might suggest another interesting parallel between art and life as far as Elvis’ career was concerned. It also starred Nancy Sinatra, as the IRS agent shadowing Elvis’ character, Steve Grayson, and Bill Bixby as the manager. Folks our age probably recall as the mild mannered scientist, David Bruce Banner, in the TV series ‘The Incredible Hulk’, and the sad piano tune ‘The Lonely Man’ as walks to the next town at the end of the show.
Next up, ‘Take Me To The Fair’, which unsurprisingly comes from the 1963 movie, ‘It Happened at the World’s Fair’. Interestingly enough, it’s another film that was based around gambling debts, and has an uncredited ‘shin kicker’ kid in it, who turned out to be Kurt Russell, who went on to play Elvis in the 1979 film of the same name. The nippy tempo of ‘Happy Ending’ also makes an appearance later in the release,
From 1967, and ‘Double Trouble’ comes ‘It Won’t Be Long’, and the especially nostalgic (for both of us) ‘Long Legged Girl’. Anyone, who’s early record collection contained those very reasonably priced Elvis LPs by Pickwick, will recall the rather eclectic mix of movie tracks, and ‘Long Legged Girl’ was a particular standout on Vol 1.
‘Spinout’ from ’66 and the film of the same name, as soon as you hear it, you’ll think of Elvis in his blue suit surrounded by dancing ladies in brightly coloured shirts and sweaters. Similarly the drum beat driven ‘Adam and Evil’ makes a welcome presence. Next up ‘She’s a Machine’ which didn’t make the cut for the film ‘Easy Come Easy Go’.
From Elvis’ twenty first film ‘Paradise Hawaiian Style’ comes ‘Stop Where You Are’, where Rick Richards has to take cover in singing the song among a troupe of hula girls. Very colourful, as is ‘Drums of the Island’ from the same production. To 1963 now and ‘Fun in Acapulco’, which supplies the imaginatively titled (statement of the obvious) ‘There’s No Room To Rhumba in a Sports Car’, and the speedy ‘Boss Nova Baby’.
The 1959 novel ‘Pioneer Go Home!’ by Richard P Powell, influenced the story of the Kwimper family in ‘Follow That Dream’. That soundtrack yields ‘What a Wonderful Life’, and of course the title track. Back to 1961 and GI Blues, as Elvis fortunately doesn’t succumb to applying a judo chop to the back of the baby’s neck, preferring to sing him to sleep with ‘Big Boots’.
A trio from ‘Kissin’ Cousins’ next with ‘Smokey Mountain Boy’ and ‘Catchin’ on Fast’ and ‘It’s a Long Lonely Highway’ one after the other. Elvis in orange now, with the ‘Meanest Girl In Town’ which came from the ’65 film ‘Girl Happy. Elvis as Johnny Tyrone, singing ‘Hey Little Girl’ from the adventure spoof ‘Harum Scarum’, brought the big beat to Baghdad for sure in 1965.
A duet now, with Elvis and Ann Margaret as Lucky Jackson and Rusty Martin performing ‘’You’re The Boss’ from Viva Las Vegas. From that film also, ‘C’mon Everybody’, which topes off the CD. Into the ring now and from Kid Galahad, the now popular dance floor track, ‘King of the Whole Wide World’, a film that had Charles Bronson as a co-star.
The title track of the 1962 film, ‘Girls, Girls, Girls’, is one of the many Lieber and Stoller songs Elvis recorded, heralded as the greatest of all the Elvis Presley musicals, to introduce it (from the trailer). A slowy from the same production, ‘A Boy Like Me Meets a Girl Like You’, always good to have some of Elvis’ ballads on a compilation.
Another dancefloor winner from ‘Blue Hawaii’ this time, with ‘Slicin Sand’, and also the excellent, ‘Rock-aHula Baby’. Who could forget Angela Lansbury’s ‘Chadwick’ utterances throughout the film? Indeed, she interjects that she’s going to have a terrible headache. A film that made my summer holidays as a youngster! ‘You Can’t Say no in Acapulco’ which is unsurprisingly from ‘Fun in Acapulco’ from 1963, a mid-tempo maraca rhythm ditty. Also nudging for attention, some serious Mexican trumpet accompaniment to Elvis’ vocals on ‘I Think I’m Gonna Like it Here’.
A slight deviation, one from the end, with a track from ‘Jailhouse Rock’. This time it’s not Elvis, it’s Hunk Houghton, played by Mickey Shaughnessy, singing ‘One More Day’, an acoustic guitar and a voice lament.
Once more, a hugely varied selection of tunes from the Elvis film catalogue, mixes and mastered by Dave Flattop Phillips and produced by Mark. Again, this CD is limited to 200 copies, so don’t miss out getting yourself one. I like the way the CD is made to look like a 78rpm of ‘Loving You’ as well.
Excellent stuff
The Day Will Come – Rossella Scarlet and the Cold Cold Hearts
EP Review
A debut EP on El Toro Records for you folks, from a band new to us here at the Bettajive Review. Well we say ‘new’, the component parts are known to many, it’s the sum of those that’s new. A four piece that has dispensed with drums, featuring lead, rhythm and steel guitar and upright bass.
The personnel, Phil Morgan (steel guitar), Emma Goss (bass) and Graham Murphy (lead guitar) all highly proficient in their craft, join vocalist and rhythm guitarist Rossella to perform a quartet of original tunes. Rossella herself, is originally from Italy, has lived in the UK for around nine years now, and displays a considerable talent for composing.
We open with ‘You Were So Blind’, which is a catchy slap bass driven, country bopper, the lyrics of which are somewhat of an accusatory lament at an ex. Super use of the restrained guitar solo, offset with steel guitar. ‘Painting on the Wall’, is a gorgeous track, which puts me in mind of the style of Loretta Lynn, or maybe Reba Mcentire and certainly, with the musical backing, Patsy Cline. It’s five minutes plus of country heaven, with Phil Morgan’s exquisite steel guitar solo, and some cool vocal harmony.
The third Rossella composition, is also the title track of the El Toro EP, ‘The Day Will Come’, a song of hope of a lover’s return, and things being fine, again set to a beguiling bass driven rhythm. Frankie Riedel of the Honkabillies, is responsible for the composition of the final track ‘Wondering’. This features Rosella and Phil Morgan sharing vocals, in a song, the lyrics of which are a tentative enquiry of the status of a relationship with an enticing beat.
It’s always refreshing to get a release from a band, that’s recording and writing their own material, and especially when it’s in such an authentic, and heartfelt style.
Quality!
EP Review
A debut EP on El Toro Records for you folks, from a band new to us here at the Bettajive Review. Well we say ‘new’, the component parts are known to many, it’s the sum of those that’s new. A four piece that has dispensed with drums, featuring lead, rhythm and steel guitar and upright bass.
The personnel, Phil Morgan (steel guitar), Emma Goss (bass) and Graham Murphy (lead guitar) all highly proficient in their craft, join vocalist and rhythm guitarist Rossella to perform a quartet of original tunes. Rossella herself, is originally from Italy, has lived in the UK for around nine years now, and displays a considerable talent for composing.
We open with ‘You Were So Blind’, which is a catchy slap bass driven, country bopper, the lyrics of which are somewhat of an accusatory lament at an ex. Super use of the restrained guitar solo, offset with steel guitar. ‘Painting on the Wall’, is a gorgeous track, which puts me in mind of the style of Loretta Lynn, or maybe Reba Mcentire and certainly, with the musical backing, Patsy Cline. It’s five minutes plus of country heaven, with Phil Morgan’s exquisite steel guitar solo, and some cool vocal harmony.
The third Rossella composition, is also the title track of the El Toro EP, ‘The Day Will Come’, a song of hope of a lover’s return, and things being fine, again set to a beguiling bass driven rhythm. Frankie Riedel of the Honkabillies, is responsible for the composition of the final track ‘Wondering’. This features Rosella and Phil Morgan sharing vocals, in a song, the lyrics of which are a tentative enquiry of the status of a relationship with an enticing beat.
It’s always refreshing to get a release from a band, that’s recording and writing their own material, and especially when it’s in such an authentic, and heartfelt style.
Quality!
The Space Cadets
45rpm review
This vinyl 7” from the intriguingly titled Cockpit Records, features the out of this world band, from the combined planets of Earth and Uranus, known as The Space Cadets. For those who are unsure it features the talents of Mouse Zinn on vocals, backed by Mark Harman on lead guitar, Paul Harman on upright bass, and drummer Ricky Lee Brawn.
They were formed nearly a quarter of a century ago, in 1995, which would make many of us feel rather old. The two tracks on this 45, both appeared on the Astrobilly Rockin’ LP from ’96 and both written by lead singer, Mouse. The ‘A’ side ‘Cadet Walk’ is an ace astral instrumental, featuring super guitar work from Mark Harman, punctuated by a stop-start rhythm to really good effect.
Flip it over, for a typically bass ticking rhythm, with a coolly crafted set of lyrics. This is ‘Rockin’ With The Space Cadets’ folks. Again, the guitar work is top drawer, as is the whole composition. The mixing on this 2017 release, has been carried out by E.T. apparently, though coming from the Flat Top Mark catalogue, I suggest the genial alien had help….. 😊
Yes readers, it’s a good ‘un
45rpm review
This vinyl 7” from the intriguingly titled Cockpit Records, features the out of this world band, from the combined planets of Earth and Uranus, known as The Space Cadets. For those who are unsure it features the talents of Mouse Zinn on vocals, backed by Mark Harman on lead guitar, Paul Harman on upright bass, and drummer Ricky Lee Brawn.
They were formed nearly a quarter of a century ago, in 1995, which would make many of us feel rather old. The two tracks on this 45, both appeared on the Astrobilly Rockin’ LP from ’96 and both written by lead singer, Mouse. The ‘A’ side ‘Cadet Walk’ is an ace astral instrumental, featuring super guitar work from Mark Harman, punctuated by a stop-start rhythm to really good effect.
Flip it over, for a typically bass ticking rhythm, with a coolly crafted set of lyrics. This is ‘Rockin’ With The Space Cadets’ folks. Again, the guitar work is top drawer, as is the whole composition. The mixing on this 2017 release, has been carried out by E.T. apparently, though coming from the Flat Top Mark catalogue, I suggest the genial alien had help….. 😊
Yes readers, it’s a good ‘un
Your host for the Rockabilly Rave, is Jerry Chatabox. Next year, 2020, marks the 24th year of Europe’s, if not the world’s premier Rockabilly Festival. Next year sees for one event only, the Bellfuries, lead singer Joey Simeone pictured below will be performing at. Yes readers, they are reforming just for the Rockabilly Rave.
This isn't quite the finished article folks, there's more to come. Keep checking back readers |
Your host Tom Ingram, presents the biggest festival of Rockabilly in the world at the Orleans Hotel in Las Vegas Nevada, USA.
From it's beginnings in 1998, now over 20,000 people attend the various stages, to watch a truly varied and diverse line up of bands, and take part in the various events, pool party, burlesque show and car show. This is a unique event that takes place in April 2020. Here we share some of the acts appearing at the event for you |
The Nottingham Vintage Carnival
Nottingham Vintage Carnival
The last Saturday in August, saw us take a trip to Nottingham and visit the Vintage Carnival for the first time. Situated at Nottingham Racecourse, which is a mile or so east of the city centre, at Colwick Park, near the River Trent, this is a course for thoroughbred horse racing. Not so on this occasion though, as the vintage crowd flocked through the gates.
It was a particularly gruelling journey for us, with the two main roads from our part of the world to the area, both closed, involving lengthy diversions. You have to wonder of the wisdom of some planning committees, when scheduling road closures, putting it mildly. So a journey that should’ve taken about two and a half hours took nearly four, with the diversions and the nose to tail shudder to the actual course. Being over fifty(!), this naturally has an effect on the necessity for ‘comfort breaks’, so we were pretty much ‘Gangway, we’re coming through!’ once we finally arrived.
The actual site and event is excellent, make no bones about that. There’s a 40’s marquee and a Rock n Roll marquee, depending on your tastes, as well as market stalls and car displays. They were pretty much a blur when we got there, as we barrelled over to the Rock n Roll stage to ensure we got to see some of the first act on, Razor Holler.
We’d seen this North West based band at the Rock Ridge Rumble at the beginning of August, and wanted to catch up with them again. They were in full flow by the time we’d done the ‘s’cuse me s’cuse me’ crab walk, to get near the front to take pics. The marquee was packed, as this four piece rattled through another stellar set of the well known, the obscure, and the original. Try ‘Seven Nights to Rock’ and ‘Down the Road a-Piece’, with a cracking version of Ersel Hickey’s ‘Going Down that Road’ with additional ‘Boom Chicka Boom Bop Bop’ getting the crowd bouncing.
You gotta listen to their own tunes ‘Picky’ and ‘Rheumatism Boogie’ the latter of which contains one of my favourite lines of the year ‘Jumping from six to five-past six’. Everything was rowdily cheered by the crowd, right up to the finale encore of ‘Hucklebuck’ described by lead singer Rusty as a ‘guilty pleasure’. Super stuff.
The last Saturday in August, saw us take a trip to Nottingham and visit the Vintage Carnival for the first time. Situated at Nottingham Racecourse, which is a mile or so east of the city centre, at Colwick Park, near the River Trent, this is a course for thoroughbred horse racing. Not so on this occasion though, as the vintage crowd flocked through the gates.
It was a particularly gruelling journey for us, with the two main roads from our part of the world to the area, both closed, involving lengthy diversions. You have to wonder of the wisdom of some planning committees, when scheduling road closures, putting it mildly. So a journey that should’ve taken about two and a half hours took nearly four, with the diversions and the nose to tail shudder to the actual course. Being over fifty(!), this naturally has an effect on the necessity for ‘comfort breaks’, so we were pretty much ‘Gangway, we’re coming through!’ once we finally arrived.
The actual site and event is excellent, make no bones about that. There’s a 40’s marquee and a Rock n Roll marquee, depending on your tastes, as well as market stalls and car displays. They were pretty much a blur when we got there, as we barrelled over to the Rock n Roll stage to ensure we got to see some of the first act on, Razor Holler.
We’d seen this North West based band at the Rock Ridge Rumble at the beginning of August, and wanted to catch up with them again. They were in full flow by the time we’d done the ‘s’cuse me s’cuse me’ crab walk, to get near the front to take pics. The marquee was packed, as this four piece rattled through another stellar set of the well known, the obscure, and the original. Try ‘Seven Nights to Rock’ and ‘Down the Road a-Piece’, with a cracking version of Ersel Hickey’s ‘Going Down that Road’ with additional ‘Boom Chicka Boom Bop Bop’ getting the crowd bouncing.
You gotta listen to their own tunes ‘Picky’ and ‘Rheumatism Boogie’ the latter of which contains one of my favourite lines of the year ‘Jumping from six to five-past six’. Everything was rowdily cheered by the crowd, right up to the finale encore of ‘Hucklebuck’ described by lead singer Rusty as a ‘guilty pleasure’. Super stuff.
Next up, Rockin’ Roy and the Rhythm Catz, a band that was new to us. Fronted by Roy Patterson, this four piece set about delighting the crowd with their set of more familiar tunes. Bear in mind this was not just a ‘rockin’ gig’ per se, many peeps there may not have heard some of the fayre on offer, but stuff like ‘Move It’ would’ve immediately struck a chord.
The band backing Roy are Chris Hurcombe on lead guitar, with Keith Bradley on drums and upright bassist Martyn Lynch. Together they formed a pretty good play list with the likes of ‘Stray Cat Strut’ and ‘I Guess It Doesn’t Matter Anymore’ getting the nods of familiarity from the crowd. Mixing it up a bit, they hit the spot with Roc La Rue’s ‘Baby Take Me Back’ and Peanuts Wilson’s ‘Cast Iron Arm’, with some Elvis from the movies, ‘Shoppin Around’. A solid show and popular with the audience.
Good selections from the decks with Hodgo and Andy B from surrounding areas, mixing up the flavours, which filled the floor between bands and indeed for a well subscribed jive contest.
The band backing Roy are Chris Hurcombe on lead guitar, with Keith Bradley on drums and upright bassist Martyn Lynch. Together they formed a pretty good play list with the likes of ‘Stray Cat Strut’ and ‘I Guess It Doesn’t Matter Anymore’ getting the nods of familiarity from the crowd. Mixing it up a bit, they hit the spot with Roc La Rue’s ‘Baby Take Me Back’ and Peanuts Wilson’s ‘Cast Iron Arm’, with some Elvis from the movies, ‘Shoppin Around’. A solid show and popular with the audience.
Good selections from the decks with Hodgo and Andy B from surrounding areas, mixing up the flavours, which filled the floor between bands and indeed for a well subscribed jive contest.
Final live act for the afternoon in the Rock n Roll marquee, Phil Haley and his Comments. If ever you want a band that plays, what I’d loosely call, familiar Rock n Roll, it’s this one. I mean, even the children about the place, will have heard of ‘Rock Around The Clock’ and ‘Shake Rattle and Roll’ don’t you think?
So with Phil, Martyn Savage, Allen Parrish and Gary Davidson on top form as always, the canvas was rocking from start to finish. All the faves were there, the likes of ‘Rip It Up’ raising a cheer, as did ‘Rudy’s Rock / Goofin’ Around’ and ‘Don’t Knock the Rock’. Consummate professionals, the smaller stage didn’t clip the wings of the energetic and colourful stage show, which was a delight for the crowd.
So with Phil, Martyn Savage, Allen Parrish and Gary Davidson on top form as always, the canvas was rocking from start to finish. All the faves were there, the likes of ‘Rip It Up’ raising a cheer, as did ‘Rudy’s Rock / Goofin’ Around’ and ‘Don’t Knock the Rock’. Consummate professionals, the smaller stage didn’t clip the wings of the energetic and colourful stage show, which was a delight for the crowd.
With the inevitable (for this year) heavy rain shower, sending people for cover in either marquee or the impressive grandstand, our visit to the 40’s venue was delayed somewhat. Over there, putting in a considerable shift, were Kal’s Kats and the Kalamazoo Dance Band.
A bunch of hugely talented musicians and vocalists, lead by Kal Valika, taking on some cracking late 40’s and early 50’s R&B and Swing. This marquee was every bit as packed as the Rock n Roll tent. Massively popular with dancers, we have to catch up with Kal again in a club setting, super stuff.
A bunch of hugely talented musicians and vocalists, lead by Kal Valika, taking on some cracking late 40’s and early 50’s R&B and Swing. This marquee was every bit as packed as the Rock n Roll tent. Massively popular with dancers, we have to catch up with Kal again in a club setting, super stuff.
A big flag as well for Boston Jive’s Claire and Neil Seabrook, who took charge of jive lessons in the ‘40s marquee. It’s good to see some nervous individuals or couples hiding at the back to start with, right in the thick of it after learning a couple of well explained and demonstrated moves.
Tell you what readers, for a tenner each, this was a cracking day out, some good bands, stores, cars on display and crowd. It all happens again in 2020, check listings for details
Gallery below, click on the images for full sized pics
Tell you what readers, for a tenner each, this was a cracking day out, some good bands, stores, cars on display and crowd. It all happens again in 2020, check listings for details
Gallery below, click on the images for full sized pics
Your hosts for the Boston Jive Christmas Party are Claire and Neil Seabrook. A cracking double header with the B Sides, a popular trio from Lincolnshire, and Sugar Ray and the Lucky Strikes, fronted by the multi talented Pat Reyford. All supported by Mister Big Feet on sounds.
An ace night in an excellent venue |
Your hosts for Hemsby nowadays are Bill Guntrip and his family. Following May’s event, Bill has announced a super line up for 2020. And indeed has a ‘save the date’ for 16th to 19th October 2020. In the meantime, check out the website for further details, and get booking, it’s going to be a good one.
Word is that there has been a lot of repeat bookings from this May, and in the regenerated camp site and new ownership, has reinforced the fact that the longest running Rock n Roll Weekender, is still going strong |
For the second Southport Rumble event in the North West of the UK, your hosts Kevin Greener and Tracey Hobbs, have built on the success of this year’s weekender, with a stellar line up for 2020.
They also run successful country music events at the same venue and in the North East and the Rock Ridge Rumble weekender that you can read about in this issue (above), and check the old weekender page on our site for a full review of the 2019 debut weekender We don't have an image for them...….yet :), so here's a picture of Jake Calypso from the 2019 event |
There it is readers. Thanks for reading. Issue four is already under construction.
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 open to our 20,000 + viewers per month, drop us a line to [email protected] for details. If you have a company that makes and sells clothing or accessories, or you run a record label or shop, you can advertise with us as well. Anything associated with our music scene, or 1940’s, 1950’s related. We will include a brief article on your company and services as well with your advert. We will be emailing many of you in this regard too.
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. Many thanks
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please do not copy and paste articles or parts of articles to your websites without asking us first. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome, although preferably not the proposal we received from one responder!. Keep up to date with us here, or on our various platforms:-
Facebook https://www.facebook.com/The-Bettajive-Review-569161136474404/
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email [email protected]
Cheers 'til next month
Andrew and June
Next time. Our review of The Rockabilly Blowout, plus gig reviews from The Danny McVey Trio at Hopetown Rockabilly Club, Darrel Higham at Domino’s and The Devil’s Cut Combo at The Vintage Retreat. Our big interview is with Nigel Babb, aka DJ Domino. We will also be reviewing the latest ‘In The Groove’ CD from Flat Top Mark’s FTM label, plus the new releases from Howlin’ Ric and the Rocketeers and Sarah Mai and her Little Big Band. And who knows what else…….
Don’t miss it!
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 open to our 20,000 + viewers per month, drop us a line to [email protected] for details. If you have a company that makes and sells clothing or accessories, or you run a record label or shop, you can advertise with us as well. Anything associated with our music scene, or 1940’s, 1950’s related. We will include a brief article on your company and services as well with your advert. We will be emailing many of you in this regard too.
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. Many thanks
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please do not copy and paste articles or parts of articles to your websites without asking us first. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome, although preferably not the proposal we received from one responder!. 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]
Cheers 'til next month
Andrew and June
Next time. Our review of The Rockabilly Blowout, plus gig reviews from The Danny McVey Trio at Hopetown Rockabilly Club, Darrel Higham at Domino’s and The Devil’s Cut Combo at The Vintage Retreat. Our big interview is with Nigel Babb, aka DJ Domino. We will also be reviewing the latest ‘In The Groove’ CD from Flat Top Mark’s FTM label, plus the new releases from Howlin’ Ric and the Rocketeers and Sarah Mai and her Little Big Band. And who knows what else…….
Don’t miss it!