the bettajive review magazine #30
What's Scotty Baker got to shout about? Well the Hemsby review of course. Check it out in this issue
Welcome to the first Bettajive Review Magazine of 2023. In this issue we feature, a review of Hemsby 65, along with club gigs from the Metrotones, the Houserockers and King Joe and the Atlantics. And our interview with Bridget Wood of the Lahdidahs Vintage Vocal trio. Such is the amount of live music we saw again since the last issue, we have turned the magazine over to solely that. We will be back on the CD, 45rpm, LP reviews again soon.
the bettajive review
Are you as Rock n Roll as you think? Regular readers, you know loads about me from our musings, so let’s hear about you. Hot on the heels of ‘Rockin’ Idol’ last issue, why don’t you take our quiz, let’s see how Rock n Roll you are. Are you beautiful enough to be one of the beautiful ones, or are you a schlemiel? Have a go, check your score, and remember, like the Bettajive Review, it’s not too serious.
Q1/ A highfalutin promoter at a weekender bar, offers to buy you a drink. Do you: -
a/ Neck it before they change their mind, cos you’re popular
b/ Feign fainting and offer to frame it
c/ Pinch yourself and burble incoherently, you’ve arrived
d/ Pinch them, they must be unwell
Q2/ Which is your favourite version of ‘Honey Hush’
a/ Johnny Burnette
b/ Joe Turner
c/ Paul McCartney
d/ Ray Moore with Inst. Acc. by Chas Carmichael and the Texas Pioneers
Q3/ What happens when you try on a pair of vintage trousers from a stall at a weekender?
a/ Buy them. They fit you as well as a bum fits in a bucket
b/ Buy them. They fit you, apart from being six inches too long in the leg
c/ Buy them, just because in the changing room, you ripped the vintage stitching and fell out the a*se of them
d/ They fit, but you decided they don’t suit you as well as dungarees with a red spotted hanky hanging out the back pocket.
Q4/ If you could have an anthem, would it be
a/ Rampage by the Planet Rockers
b/ Breaking up the House by Tiny Bradshaw
c/ Witch Doctor by David Seville
d/ Waitin’ in Line by Bobby Rutledge
Q5/ What do you carry in your back pocket
a/ Bottled beer/ Hip flask
b/ Your wallet with a chain that would tether a cruise ship
c/ A foppish laced, monogrammed handkerchief
d/ Another red and white bandana style hanky, jauntily hanging out of it
Q6/ What’s your tipple?
a/ Newky Brown
b/ Bud
c/ Strawberry daiquiri
d/ Moonshine (that would take the paint off a front door)
Q7/ Favourite activities, when you are rocking at weekenders
a/ Bop and jive frantically to Gene Vincent and Bob Luman, imbibe copious amounts of aki-hol, leave the hall when the sun comes up, and security ushers you out, wake under a hedge with a road cone between your legs, and a chicken wing in your ear.
b/ Bop and jive to T-Model Ford and Wynonie Harris, drink equal amounts of alcoholic libation and quaff carbonated spring water, leave the hall in disgust when the surf stuff comes on, wake up at a regional party-based chalet wearing a gorilla suit.
c/ Catch up on your favourite soap/ Jungle based game show /crap quiz on the TV, send someone ahead to bagsy a table by laying across chairs like Caligula, sit through the event with a face like an African fright mask, leave the hall in time to catch the shipping forecast, wake up in your own bed, earlier than you’d wanted to, by those revelling rapscallions swerving and swaying by the window, tsk tsk tsk.
d/ Go to the pub, sit in the pub, hold court in the pub, bop occasionally, to obscure crackly Hillbilly tunes played in the pub, drink acidic stuff from stone jars with multiple ‘X’s on them….. in the pub, never leave the pub, wake up in the pub, get chucked out the pub on the Monday.
Q8/ Man, dig them squeaky shoes, but what’s your favourite footwear?
a/ Biker boots / nubucks
b/ Two tone shoes
c/ Crocs or indoor slippers
d/ Anything, provided they’re scuffed
Q9/ You’re offered the classic car of your dreams. Would it be
a/ Chevrolet Bel Air Custom Pro 57 two door hardtop
b/ ’49 Plymouth (complete with sand from Pendine Sands in the tyres)
c/ 1980 Fiat Deville
d/ Hot rod with all the suspension taken out, straight pipe exhaust, and runs on moonshine
Q10/ Bit chilly isn’t it, so what’s your favoured overcoat or jacket
a/ None. You’re one of the beautiful people
b/ One with references to an airforce or a cartoon of a scantily clad lady on it
c/ Cagoule
d/ Plaid lumber jacket
Q11/ Record label that needs to be visible at all times about your person
a/ Sun/Mercury/Starday/Capitol
b/ Atlantic/Modern/Savoy
c/ Pickwick/K-Tel/Hallmark
d/ Hickory/MGM/Columbia
Q12/ You’re in a music shop and you can choose one instrument that sums you and Rock n Roll up. What do you pick?
a/ Gretsch 6120 or Fender Telecaster
b/ Sax alto or baritone
c/ Cello
d/ Anything that goes ‘yung dunga-dung dunga-dung’
a/ Biker boots / nubucks
b/ Two tone shoes
c/ Crocs or indoor slippers
d/ Anything, provided they’re scuffed
Q9/ You’re offered the classic car of your dreams. Would it be
a/ Chevrolet Bel Air Custom Pro 57 two door hardtop
b/ ’49 Plymouth (complete with sand from Pendine Sands in the tyres)
c/ 1980 Fiat Deville
d/ Hot rod with all the suspension taken out, straight pipe exhaust, and runs on moonshine
Q10/ Bit chilly isn’t it, so what’s your favoured overcoat or jacket
a/ None. You’re one of the beautiful people
b/ One with references to an airforce or a cartoon of a scantily clad lady on it
c/ Cagoule
d/ Plaid lumber jacket
Q11/ Record label that needs to be visible at all times about your person
a/ Sun/Mercury/Starday/Capitol
b/ Atlantic/Modern/Savoy
c/ Pickwick/K-Tel/Hallmark
d/ Hickory/MGM/Columbia
Q12/ You’re in a music shop and you can choose one instrument that sums you and Rock n Roll up. What do you pick?
a/ Gretsch 6120 or Fender Telecaster
b/ Sax alto or baritone
c/ Cello
d/ Anything that goes ‘yung dunga-dung dunga-dung’
Q13/ What do you want to eat at your weekender?
a/ Massive chicken burger and fries at Shakey’s Diner
b/ Pre-determined burger meal in the restaurant
c/ Quail fricassee and dauphinoise potatoes, with broccolini
d/ Roadkill with beans and cornbread with moonshine gravy, as long as it fits between the gap in your front teeth
Q14/ Who do you want to see?
a/ The Infernos, Skiprats, Houserockers, Rimshots, Rhythm Shakers, Radions
b/ Ray Collins Hot Club, Laura B, the Revolutionaires, Cat Lee King
c/ The ‘Wad’, Jive Bunny and the Master Mixers
d/ Rockin Bonnie and Western Bound, Hot House Combo, Lynette Morgan and the Blackwater Valley Boys, The Doel Brothers
Q15/ It’s time to go home, which one are you
a/ Pack in the morning in a haze, stuff things in bags like CDs with wet towels, wonder where all the bags have come from especially as you have eaten all the food, and drank all the beer. Arrange luggage in the car so nothing else will go in, and when the other half brings another bag out, insist that either ‘it’ or ‘she’ will have to stay behind as there’s no more room
b/ As above but with everything including the partner, fitting in neatly, including the 78’s so they don’t break
c/ Start packing the night before departure, abstain from drink as you had half a shandy bass on Saturday and you can’t be too careful, sleep motionless to not unnecessarily crease the sheets.
d/ Chuck everything in the rod, fire it up and make all the other car alarms go off, sound the ‘ahooga horn’ and your off.
How did you do? Check out the results. Mostly ‘a’s. You got the vibe, you are mong the beautiful people, check you out on the dancefloor after a few schooners, you’re known by your first name at the hip clubs and by the top DJs. People like you on Facebook, and Instagram. You still have hair, no common or garden supermarket gel holding it in place either, it’s the like of Sweet Georgia Brown or Nu Niles for you. Your Nubucks are white, your boots are black. Dagnabit your cool.
Mostly ‘b’s. You got hep in your step, you squeal on your heel, hats suit you, especially those that dip below your eye, your jackets are long and you have a sparkle on your teeth when you smile. You’re on flyers for events, with your partner, in a dip down pose with a set of 3D stars shooting out from behind you (note, not out of your behind). The crease in your trousers is razor sharp, or the seam in your stockings is straight as an arrow. You’re two-tone-toe-tapping-tastic, man
Mostly ‘c’s. Hey dude, you ROCK. You are at the cutting edge of the Rock n Roll scene, if you were filmed for a contemporary documentary, they’d be showing you in soft focus, walking in slow motion. People want your threads, your car and your company and your att-it-tu-de and the resin Elvis model in your garden. Your knowledge of the music is as big as your bargain bucket record collection. Can I have the address of where you get your crocs?
Mostly ‘d’s. Slap your own a*se brother, make a toot sound by blowing over that stone jar, knock your own front teeth out with the headstock of a banjo and stick a bit of grass in the gap. Y’all got style y’all in a moonshine still. Zing goes the strings of your steel geeeeetar brother, hold them dungarees up with one strap, cos your intestines are made of lead to take all that shine.
a/ Massive chicken burger and fries at Shakey’s Diner
b/ Pre-determined burger meal in the restaurant
c/ Quail fricassee and dauphinoise potatoes, with broccolini
d/ Roadkill with beans and cornbread with moonshine gravy, as long as it fits between the gap in your front teeth
Q14/ Who do you want to see?
a/ The Infernos, Skiprats, Houserockers, Rimshots, Rhythm Shakers, Radions
b/ Ray Collins Hot Club, Laura B, the Revolutionaires, Cat Lee King
c/ The ‘Wad’, Jive Bunny and the Master Mixers
d/ Rockin Bonnie and Western Bound, Hot House Combo, Lynette Morgan and the Blackwater Valley Boys, The Doel Brothers
Q15/ It’s time to go home, which one are you
a/ Pack in the morning in a haze, stuff things in bags like CDs with wet towels, wonder where all the bags have come from especially as you have eaten all the food, and drank all the beer. Arrange luggage in the car so nothing else will go in, and when the other half brings another bag out, insist that either ‘it’ or ‘she’ will have to stay behind as there’s no more room
b/ As above but with everything including the partner, fitting in neatly, including the 78’s so they don’t break
c/ Start packing the night before departure, abstain from drink as you had half a shandy bass on Saturday and you can’t be too careful, sleep motionless to not unnecessarily crease the sheets.
d/ Chuck everything in the rod, fire it up and make all the other car alarms go off, sound the ‘ahooga horn’ and your off.
How did you do? Check out the results. Mostly ‘a’s. You got the vibe, you are mong the beautiful people, check you out on the dancefloor after a few schooners, you’re known by your first name at the hip clubs and by the top DJs. People like you on Facebook, and Instagram. You still have hair, no common or garden supermarket gel holding it in place either, it’s the like of Sweet Georgia Brown or Nu Niles for you. Your Nubucks are white, your boots are black. Dagnabit your cool.
Mostly ‘b’s. You got hep in your step, you squeal on your heel, hats suit you, especially those that dip below your eye, your jackets are long and you have a sparkle on your teeth when you smile. You’re on flyers for events, with your partner, in a dip down pose with a set of 3D stars shooting out from behind you (note, not out of your behind). The crease in your trousers is razor sharp, or the seam in your stockings is straight as an arrow. You’re two-tone-toe-tapping-tastic, man
Mostly ‘c’s. Hey dude, you ROCK. You are at the cutting edge of the Rock n Roll scene, if you were filmed for a contemporary documentary, they’d be showing you in soft focus, walking in slow motion. People want your threads, your car and your company and your att-it-tu-de and the resin Elvis model in your garden. Your knowledge of the music is as big as your bargain bucket record collection. Can I have the address of where you get your crocs?
Mostly ‘d’s. Slap your own a*se brother, make a toot sound by blowing over that stone jar, knock your own front teeth out with the headstock of a banjo and stick a bit of grass in the gap. Y’all got style y’all in a moonshine still. Zing goes the strings of your steel geeeeetar brother, hold them dungarees up with one strap, cos your intestines are made of lead to take all that shine.
|
|
|
Dot….dot. Best tracks in the world ever ever to dip your lolly in your dip dab for this issue are ‘Wiggle Wiggle’ by the Accents, Frankie Lymon’s ‘Mama Don’t Allow It’ and Milk Bucket Boogie’ by Red Foley……..As mentioned in the quiz, it can be a task feeding yourself at the weekenders, the internet suggests a quick meal involving pheasant in a red wine jus with seasonal vegetable, and all you’ve got with you is a tube of Pringles®* and a tin of alphabetti spaghetti……..*other stackable potato crisp snacks are available………..A band we saw, played a total of ninety seven minutes, but apparently some people can’t spare us a couple of minutes to take pictures (that sound you can hear is my eyes rolling)………..
Like what you see? Help us keep it free by popping us a donation over using the button below
Like what you see? Help us keep it free by popping us a donation over using the button below
The Rave's Silver anniversary :)
Here we go Joe. Chesterfield Rock n Roll club put on their pre-Christmas gig, bringing ace R&B outfit, King Joe and the Atlantics to the Birdholme Working Mens Club. And in turn, the gig bought in a decent crowd too. We’d had the benefit of seeing these guys play at the Rhythm Riot a few weeks previous to this gig, so we’d got an idea of the quality about to take the stage. Before that, Andy B and Steve O took up record duties, and a fine job they made of the evening too especially good to hear the Squadronaires’ ‘Right Now’
Joe Newbon fronts the band, on lead guitar and vocals, presenting a barrowload of bouncing blues and Rock n Roll tracks. I mean, how can you not be taken in by ‘Ain’t Nobody Here But Us Chickens’, then a rolling R&B number from ’52 in the form of Roscoe Gordon’s ‘No More Doggin’? Then add in Fats Domino’s ‘Ain’t That a Shame’ and the ever popular ‘Girl Can’t Help It’, along with the innuendo soaked ‘Big Ten Inch Record’ (Bullmoose Jackson).
Jackie Brenston’s first ever rock n roll record ‘Rocket 88’ got the King Joe rework, while pianist Wayne Lee took over vocals for the Killer tear-up ‘Great Balls of Fire’. We must flag up the brilliant rendition of Tommy Ridgley’s ‘Jam Up Twist’, a honk-tastic jiver that was just perfect for these guys, and a pleasure to experience.
Unsurprisingly, there were encores, well deserved too. ‘Rip it Up’ did exactly that, as did Amos Milburn’s ‘Chicken Shack Boogie’ and the evergreen Big Joe Turner’s ‘Boogie Woogie Country Girl’. Just the kind of party type jumping music that you need to raise the spirits on a winter’s night. Tip top night out in Derbyshire
Joe Newbon fronts the band, on lead guitar and vocals, presenting a barrowload of bouncing blues and Rock n Roll tracks. I mean, how can you not be taken in by ‘Ain’t Nobody Here But Us Chickens’, then a rolling R&B number from ’52 in the form of Roscoe Gordon’s ‘No More Doggin’? Then add in Fats Domino’s ‘Ain’t That a Shame’ and the ever popular ‘Girl Can’t Help It’, along with the innuendo soaked ‘Big Ten Inch Record’ (Bullmoose Jackson).
Jackie Brenston’s first ever rock n roll record ‘Rocket 88’ got the King Joe rework, while pianist Wayne Lee took over vocals for the Killer tear-up ‘Great Balls of Fire’. We must flag up the brilliant rendition of Tommy Ridgley’s ‘Jam Up Twist’, a honk-tastic jiver that was just perfect for these guys, and a pleasure to experience.
Unsurprisingly, there were encores, well deserved too. ‘Rip it Up’ did exactly that, as did Amos Milburn’s ‘Chicken Shack Boogie’ and the evergreen Big Joe Turner’s ‘Boogie Woogie Country Girl’. Just the kind of party type jumping music that you need to raise the spirits on a winter’s night. Tip top night out in Derbyshire
The Metrotones
The tone zone. Two events left before Christmas, on the same weekend, starting with a road trip north east to Boldon Colliery, Tyne and Wear. Here you’ll find the Shack Shakers club run by the venerable Stewart Campbell who also took charge of the decks for the evening. The live turn, was worth the trek on a freezing cold December day. The Metrotones are top of the tree as far as UK vocal harmony and doo wop goes, four vocalists and some tidy musicians to accompany them.
Dave Tonner (lead vocals), Jonathan Pannaman, Paul Solomons (vocals) and Den Hegarty (bass vocals and lead buffoonery), looking sharp in their black and blue jackets (although from some angles they look black and purple!), take the vocals, with Jay Gipson on guitar, bassist Connie Everard, Al Bland on sax and drummer Les Curtis.
From top to bottom, this was a peach of a show, with lads jogging out from stage-left, opening with the Calvanes ‘Crazy Over You’, and the Curtis Lee 1961 treat ‘Pretty Little Angel Eyes’, which showcased the versatility of the vocalists immediately. The Genies’ ‘Who’s That Knocking’ and the Videos’ ‘Trickle Trickle’ were four part harmony delights. Although there was no ‘roar’, the initial drum beat heralded a regular highlight of a Metrotones show. ‘Hey Rube’ (suggesting the Rocketeers in 1956 for reference) is a kind of novelty song, which features Den leaving the stage and going as far into the audience as the microphone lead will allow (look out peeps!). Good to see post covid that he can move among us again. Love the song, love the accompanying nitwittery. A highlight among highlights.
The second set picked up where the first left off, with a corking version of the Hollywood Flames’ ‘Buzz Buzz Buzz’, with the Crests’ ‘Step by Step’, and the Five Keys’ ‘It’s a Groove’ filling the floor. For a respite from jive-dance stuff, the Clovers’ pecuniary dismissive number ‘Your Cash Ain’t Nothing But Trash’ and the Carnations’ ‘Long Tall Girl’, along with the Drifters’ ‘Drip Drop’ got the strollers out. And the Five Satins’ doo wop smoocher, ‘In the Still of the Night’ was exquisite vocally and musically.
With the acapella resonance of the Dell Vikings’ ‘Come Go With Me’ and Dion’s ‘Runaround Sue’ amongst the finale, this show was without doubt the top of the doo-wop tree in the UK. A good crowd for Stewart Campbell at the Shack, check this club out readers, it’s a good one.
Dave Tonner (lead vocals), Jonathan Pannaman, Paul Solomons (vocals) and Den Hegarty (bass vocals and lead buffoonery), looking sharp in their black and blue jackets (although from some angles they look black and purple!), take the vocals, with Jay Gipson on guitar, bassist Connie Everard, Al Bland on sax and drummer Les Curtis.
From top to bottom, this was a peach of a show, with lads jogging out from stage-left, opening with the Calvanes ‘Crazy Over You’, and the Curtis Lee 1961 treat ‘Pretty Little Angel Eyes’, which showcased the versatility of the vocalists immediately. The Genies’ ‘Who’s That Knocking’ and the Videos’ ‘Trickle Trickle’ were four part harmony delights. Although there was no ‘roar’, the initial drum beat heralded a regular highlight of a Metrotones show. ‘Hey Rube’ (suggesting the Rocketeers in 1956 for reference) is a kind of novelty song, which features Den leaving the stage and going as far into the audience as the microphone lead will allow (look out peeps!). Good to see post covid that he can move among us again. Love the song, love the accompanying nitwittery. A highlight among highlights.
The second set picked up where the first left off, with a corking version of the Hollywood Flames’ ‘Buzz Buzz Buzz’, with the Crests’ ‘Step by Step’, and the Five Keys’ ‘It’s a Groove’ filling the floor. For a respite from jive-dance stuff, the Clovers’ pecuniary dismissive number ‘Your Cash Ain’t Nothing But Trash’ and the Carnations’ ‘Long Tall Girl’, along with the Drifters’ ‘Drip Drop’ got the strollers out. And the Five Satins’ doo wop smoocher, ‘In the Still of the Night’ was exquisite vocally and musically.
With the acapella resonance of the Dell Vikings’ ‘Come Go With Me’ and Dion’s ‘Runaround Sue’ amongst the finale, this show was without doubt the top of the doo-wop tree in the UK. A good crowd for Stewart Campbell at the Shack, check this club out readers, it’s a good one.
The Houserockers
Rock da House. The next night we landed in Normanton at the Hopetown Liberal Club, for their Christmas bash, featuring the Houserockers from doon South, and from the caves of Wales, Simon Flintstone spinning the vinyl. What else could you want (ok a jackpot lottery win, but you get the picture)? The Hopetown club has two levels, the dancefloor and some seating on the lower level and tables and seating on the upper level, all made more attractive by a scattering of Celebrations (other miniature chocolate bar assortments are available) over the tables.
Simon Flintstone, omnipresent throughout lockdowns on the internet, has a veritable treasure chest of danceable ditties in his record boxes, and loads of them came out at this event. Three solid sets of all types of Rock n Roll, Rockabilly and R&B. The Houserockers, are now a four piece, with sinistral lead guitarist and vocalist Rob Glazebrook leading proceedings, with Nick Hoadley on bass, newly appointed Richard Allen on drums and sliding steel provided by Kitcat Shaun.
Their sound is as close to mid 50’s Rockabilly as you’re likely to get, as Johnny Jano’s ‘She’s My Baby’ and Jess Hooper’s 1955 Meteor cut ‘All Messed Up’ easily attest. The lead guitar work on the Moonlighters ‘Broken Heart’ was en pointe, and the rumbling beat of Bobby Wayne’s ‘Sally Ann’ slotted in perfectly. The Jiants’ ‘Tornado’ rocked, and the presentation of Dennis Herrold’s 1957 Imperial cracker ‘Hip Hip Baby’ was first class. A smashing first set concluded with Ronnie Self’s ‘Big Fool’
Set two, as bass thumping and twangy a sound as the first one with Kenny Parchment’s ‘Treat Me Right’ opening proceedings, with the stroll beat of Bobby Lee’s ‘Shake Me Baby’ and the bop beat of Lou Millet’s ‘Shorty the Barber’ also hitting the high spots. There was time for one of the band’s own songs ‘Lonely Man’, which has a Johnny Cash sound, so identifiable, you’d almost be forgiven to think it had been unearthed in Tennessee from the 1950’s. What an ace track, readers.
They slotted in ‘Slippin and Slidin’ but a version in the style of Carl Perkins that Rob explained was on a LP he owned, must admit we’d never heard the song done in that style, but it was really effective. Curtis Gordon’s ‘Mobile Alabama’ and Mel Dorsey’s ‘Little Lil’ concluded the set, before Flinty brought them back on for two encore tracks, the classic Johnny Knight ‘Rock n Roll Guitar’ and the slightly more obscure but equally impressive ‘Finally Me My Baby’ originally by Lightnin’ Hopkins in 1954. Some top Ho Ho Ho in Hopetown
Simon Flintstone, omnipresent throughout lockdowns on the internet, has a veritable treasure chest of danceable ditties in his record boxes, and loads of them came out at this event. Three solid sets of all types of Rock n Roll, Rockabilly and R&B. The Houserockers, are now a four piece, with sinistral lead guitarist and vocalist Rob Glazebrook leading proceedings, with Nick Hoadley on bass, newly appointed Richard Allen on drums and sliding steel provided by Kitcat Shaun.
Their sound is as close to mid 50’s Rockabilly as you’re likely to get, as Johnny Jano’s ‘She’s My Baby’ and Jess Hooper’s 1955 Meteor cut ‘All Messed Up’ easily attest. The lead guitar work on the Moonlighters ‘Broken Heart’ was en pointe, and the rumbling beat of Bobby Wayne’s ‘Sally Ann’ slotted in perfectly. The Jiants’ ‘Tornado’ rocked, and the presentation of Dennis Herrold’s 1957 Imperial cracker ‘Hip Hip Baby’ was first class. A smashing first set concluded with Ronnie Self’s ‘Big Fool’
Set two, as bass thumping and twangy a sound as the first one with Kenny Parchment’s ‘Treat Me Right’ opening proceedings, with the stroll beat of Bobby Lee’s ‘Shake Me Baby’ and the bop beat of Lou Millet’s ‘Shorty the Barber’ also hitting the high spots. There was time for one of the band’s own songs ‘Lonely Man’, which has a Johnny Cash sound, so identifiable, you’d almost be forgiven to think it had been unearthed in Tennessee from the 1950’s. What an ace track, readers.
They slotted in ‘Slippin and Slidin’ but a version in the style of Carl Perkins that Rob explained was on a LP he owned, must admit we’d never heard the song done in that style, but it was really effective. Curtis Gordon’s ‘Mobile Alabama’ and Mel Dorsey’s ‘Little Lil’ concluded the set, before Flinty brought them back on for two encore tracks, the classic Johnny Knight ‘Rock n Roll Guitar’ and the slightly more obscure but equally impressive ‘Finally Me My Baby’ originally by Lightnin’ Hopkins in 1954. Some top Ho Ho Ho in Hopetown
gig gallery, click on the pics for full image
|
Click flyer for details of April and Andy's Etsy store
|
Charlie Gracie at the Rhythm Riot
Tributes. We lost a true star of the Rock n Roll music circuit on the 16th December, Charlie Gracie. First touring in the UK in 1957, and for a lot of teenagers in the late 70’s early 80’s, one of the first original artists we got to see in club environments. He’d often say on stage that he and his wife Joan, called the UK his second home. Whoever backed him, he was always en pointe, played with a smile and exceptional guitar talent, whether the audience was large or small, young or old.
I think this particular loss will affect more people in the UK than with many other of the artists, as Charlie was an ever present here, and almost like an uncle (and aunt) coming over to visit. Rest easy now Charlie, you truly were ‘Fabulous’.
I think this particular loss will affect more people in the UK than with many other of the artists, as Charlie was an ever present here, and almost like an uncle (and aunt) coming over to visit. Rest easy now Charlie, you truly were ‘Fabulous’.
Just as we were going to upload and go live with this issue, we heard the sad news of the passing of Johnny Powers. A classic from our youth, 'Long Blonde Hair' and 'Rock Rock' filled floors wherever we went, and still does. And over the years we got to see him play those tunes live. Rest easy Johnny.
Kim and June
|
We’d also like to extend our condolences once again to the Woodhouse family for the loss of Kim on New Year’s day. A regular at many gigs and weekenders, we will miss her greatly, her smile and sense of humour. We are so very thankful to have had such a lovely lady in our lives and as our friend.
|
Kim and I
|
interview with Bridget Wood of the Lahdidahs vintage vocal
For the past couple of years since the relaxing of Covid rules, we have attended the ‘A Step Back In Time’ event at Gainsborough’s Venue at Roses facility. Both times, they have featured the vocal talents of the Lah Di Dahs. Vintage vocals from three ladies performing some familiar and not-so familiar songs from yesteryear.
As fans of this type of harmony vocal style, the likes of the Andrews Sisters, Fontaine Sisters, the Miller Sisters and the Davis Sisters, we thought we’d catch up with Bridget Wood of the Lah Di Dah Vintage Vocals, and find out a bit more about the trio. (photos for this interview were provided by Bridget Wood)
BJR. Tell us about the formation of the trio/group, who’s concept, was it?
The Lahdidahs was originally set up as a 6 piece from the ashes of a previous group, where we mainly sung acapela songs. I had got a bit bored with this and wanted to branch out a bit, using backing but still harmony singing, and did so in 2017 along with a couple of like-minded others. I suppose the idea of The Lahdidahs as a vintage group was mine, I’ve always enjoyed ‘vintage’ music, 30’s to 50’s and promoted some of these songs to include in the repertoire, which really worked well and seemed to suit our voices. This format worked for a year or so, we then had a split as some of us wanted to take things further, become more professional and really specialise in the vintage era, this is when I took on the managing of the group. We originally concentrated on 1940’s, this has evolved over the years to include a wider era, which makes us more relevant to different audiences.
BJR. Who are the rest of the group?
As well as myself, who sings Alto {all the deep notes} we have Yvonne and Tara {Sopranos} and Karen Marie and Kate {Mezzos}. Although we sing as a trio.
BJR. We’ve seen you play in Lincolnshire, where else might people catch your shows?
In 2023 we are once again in Lincolnshire, at Woodhall Spa 1940s Festival, Alford 1940’s weekend and at Gainsborough, but you can also catch our show before that at Drax Club, Selby on March 10th, which will be a fantastic dance night alongside DJ Dave Dawes of 1940’s Radio.com, Please check our website for further gig announcements The Lahdidah's – Vintage Vocals – 1940s and vintage harmony group (wordpress.com)
BJR What can people expect when they come along to a Lahdidah Vintage Vocals show?
Depending on the event, you can expect an up-beat set with plenty of varied dance opportunities, audience participation, some vintage jokes to go with the vintage songs, and
Definitely 1940’s glamour – oh and maraccas! Plus a few surprises. We do cover the 1940’s wartime standards, but again, depends on the event
BJR. You are all clearly lovers of and into the music from the early to mid-20th century, had any of the group sung in bands before?
We’ve all had varied performing backgrounds, but not really bands as such – mainly vocal groups and lots of musical theatre.
BJR. Also in your collection, you have the Postmodern Jukebox, how does that work?
As we perform at varied events, some audiences will not recognise a lot of the older numbers, outside of some 40’s/wartime classics, and we perform a more eclectic set, so having heard some of the PMJ vintage arrangements of modern songs I thought it would work to include these within the set for a general event, where they pop up like a little surprise - although as our singing style is a little different, not as ‘modern’ so we’ve adapted the vocals slightly to make it more consistent with our overall sound and more ‘vintage’
BJR. People visiting the website The Lahdidah's – Vintage Vocals – 1940s and vintage harmony group (wordpress.com) will notice that there are a number of performers that can make up the group. Sometimes a duo, other times as a trio. What tends to determine who performs, and, have you all performed together on the same stage before?
BW We generally perform as a trio, soprano, mezzo and alto. I always perform as there is only one alto, however the mix of performers depends usually on availability, childcare etc, having additional singers is a benefit and everyone brings their individual attributes to the group/sound.
Myself and Yvonne generally perform as a duo for care homes and some smaller parties where there is less space for a full set up, we have a separate duo set, and a care home specific one.
We have all performed together on one occasion, which was at the wedding of former member Louise. (the bride also joined in!) I think that went well but drink had been taken…
BJR. We are guessing that you all tailor your set list depending on the event you are playing at. However, as with many bands, and indeed fans of bands, there are favourite songs (one of ours in your set is ‘South American Way’ for example.) Are there examples within the group’s repertoire that have to make the set?
BW We nearly always have to include the 1940s classics, In the Mood, Don’t sit under the Apple Tree, Boogie Woogie Bugle Boy, as these are what is normally expected and also quite often requested, but always a must is our maraca-tastic ‘Coffee Song’ which we’ve made a feature for audience maraca participation! Other ‘must haves’ are Route 66, and we get the Andrews Sisters ‘Bir Mir bist du Shoen’ requested a lot too.
BJR. When we’ve seen you play, you utilise a pre-recorded backing track. Do you ever perform at the front of a live big band?
Sadly, this is not an opportunity that has so far come our way, one I am hoping to rectify soon! (any bands out there interested, please let me know)
BJR. Have you ever recorded any material?
Unfortunately no, this was something that was planned for 2020, but never happened due to you know what, and got postponed due to the general uncertainty, but is on the cards for 2023 so watch this space.
BJR. How do interested parties get in touch with you for bookings and for further information about the group?
They can contact me via our website contact page, or on good old social media, Facebook page https://www.facebook.com/thelahdidahs
Sadly, this is not an opportunity that has so far come our way, one I am hoping to rectify soon! (any bands out there interested, please let me know)
BJR. Have you ever recorded any material?
Unfortunately no, this was something that was planned for 2020, but never happened due to you know what, and got postponed due to the general uncertainty, but is on the cards for 2023 so watch this space.
BJR. How do interested parties get in touch with you for bookings and for further information about the group?
They can contact me via our website contact page, or on good old social media, Facebook page https://www.facebook.com/thelahdidahs
4th Hot Rock n Boogie Event
|
June Hill's second Juniper Fayre in a new location
|
hemsby 65
|
Bill Guntrip
|
The Hi Fi's
A quick turnaround from the Rockabilly Blowout, in November, and it was down to Norfolk for the 65th Hemsby Rock n Roll Weekender at Richardson’s Hemsby Beach Holiday Camp. The accommodation here is top banana, readers, the first time we’ve had one of the caravans, and take it from us, it was the bizzo! So was the line-up, probably the most diverse that Bill Guntrip had put together since taking the weekender on.
So, let’s get going, with the first act on Friday, a band we were seeing for the first time, the Hi-Fi’s. They are made up of Nick Kennedy on lead guitar and vocals, with bassist Keith Southwood and drummer Dave Diamond. This trio opened with a fittingly titled number, ‘Quite a Party’ with a joyous romp ‘Fooling Around’ from their 2020 album (Turn Up The Volume) following.
‘Baby Baby’ (not the Dale Hawkins song of that name), is a smashing sound, in the British RnR style, complete with proper hollering from the back. Listening to ‘Devil’s Mind’ for the first time, put us in mind of Buddy Holly in the later 1950’s, especially the guitar work in the middle eight.
The covers were up there too, super cool choices like ‘Apron Strings’ for a bit of British, ‘You Made a Hit’ for a splash of Sun and a Brunswick beaut with the Crickets’ ‘Rock Me My Baby’. Add into the mix, Glen Glenn’s ‘Blue Jeans and a Boy’s Shirt’. Tell you what folks, these guys have a tight sound and a smooth groove, both looking and sounding the part. An ideal way to start the weekender off.
So, let’s get going, with the first act on Friday, a band we were seeing for the first time, the Hi-Fi’s. They are made up of Nick Kennedy on lead guitar and vocals, with bassist Keith Southwood and drummer Dave Diamond. This trio opened with a fittingly titled number, ‘Quite a Party’ with a joyous romp ‘Fooling Around’ from their 2020 album (Turn Up The Volume) following.
‘Baby Baby’ (not the Dale Hawkins song of that name), is a smashing sound, in the British RnR style, complete with proper hollering from the back. Listening to ‘Devil’s Mind’ for the first time, put us in mind of Buddy Holly in the later 1950’s, especially the guitar work in the middle eight.
The covers were up there too, super cool choices like ‘Apron Strings’ for a bit of British, ‘You Made a Hit’ for a splash of Sun and a Brunswick beaut with the Crickets’ ‘Rock Me My Baby’. Add into the mix, Glen Glenn’s ‘Blue Jeans and a Boy’s Shirt’. Tell you what folks, these guys have a tight sound and a smooth groove, both looking and sounding the part. An ideal way to start the weekender off.
The Bullets
It's been a while since we’ve witnessed the powerhouse Tokai twang of the Bullets, with Brett Waters searing through their set with consummate ease. The accompaniment was different to what we’d seen last time out with Nick Whitfield on upright bass and Tony Hillebrandt on drums.
The set drew from early original material, to their most recent, they’ve been with Western Star for ten years, and some from the fifties. It’s going to be a top show when you have Wayne Walker’s ‘All I Can Do Is Cry’ sandwiched between ‘Go Man Go’ and ‘Motorhead Shelly’.
It might seem a little disingenuous to suggest that one of the best tracks was an instrumental, but ‘Missing Link’ is a masterclass in guitar work in the Link Wray style. Add into the mix, the pecuniary anthem ‘I Got Green’, the infectiously rhythmic ‘Do What I Did’ and Mickey Lee Lane’s ‘Senior Class’.
The Bullets never do a live show in a low gear, it’s always a tear-up from start to finish, and ‘Boogie Chillun’, ‘Let’s Dance’ and ‘Stutterin’ Cindy’ wrapped up a top-drawer show.
The set drew from early original material, to their most recent, they’ve been with Western Star for ten years, and some from the fifties. It’s going to be a top show when you have Wayne Walker’s ‘All I Can Do Is Cry’ sandwiched between ‘Go Man Go’ and ‘Motorhead Shelly’.
It might seem a little disingenuous to suggest that one of the best tracks was an instrumental, but ‘Missing Link’ is a masterclass in guitar work in the Link Wray style. Add into the mix, the pecuniary anthem ‘I Got Green’, the infectiously rhythmic ‘Do What I Did’ and Mickey Lee Lane’s ‘Senior Class’.
The Bullets never do a live show in a low gear, it’s always a tear-up from start to finish, and ‘Boogie Chillun’, ‘Let’s Dance’ and ‘Stutterin’ Cindy’ wrapped up a top-drawer show.
The Spunyboys
Last but by no means least for Friday, the Boule d’énergie from France, brothers Remi and Guillame and guitarist Eddie, the Spunyboys. It’s always an interactive and immersive performance when the ‘Boys are on stage, sometimes you wonder how they get any sort of tune out of the instruments, least of all a tight rhythm and sound.
There’s a feeling the whole set is one massive ad-lib, no set list that’s referred to, but the sounds flow effortlessly and without segue.
What of those sounds then? ‘None of My Business’ from the 2020 album ‘Moonshine’, and the ever-present Ronnie Dawson rocker ‘Rockin’ Bones’ featured early doors, before ‘King of the Road’ had the audience joining in sing-a-long stylie. The crowd were right into this stuff, as the mid-70’s Cavan stomper, ‘Teddy Boy Boogie’ brought a sense of nostalgia to some of a certain vintage in the throng.
Similarly, ‘How Low Do You Feel’ reverberated to appropriate foot-clunking. A rattling set rocked out to a conclusion of ‘Viva Las Hemsby’, a fitting finale to a super start to the weekend.
There’s a feeling the whole set is one massive ad-lib, no set list that’s referred to, but the sounds flow effortlessly and without segue.
What of those sounds then? ‘None of My Business’ from the 2020 album ‘Moonshine’, and the ever-present Ronnie Dawson rocker ‘Rockin’ Bones’ featured early doors, before ‘King of the Road’ had the audience joining in sing-a-long stylie. The crowd were right into this stuff, as the mid-70’s Cavan stomper, ‘Teddy Boy Boogie’ brought a sense of nostalgia to some of a certain vintage in the throng.
Similarly, ‘How Low Do You Feel’ reverberated to appropriate foot-clunking. A rattling set rocked out to a conclusion of ‘Viva Las Hemsby’, a fitting finale to a super start to the weekend.
The Bass Pixie Serena Sykes
Saturday’s live entertainment began in the afternoon with Kent based trio, Bamboozle. The Bass Pixie, Serena Sykes takes the majority of the lead vocals as well as keeping it real in the rhythm room with accompaniment from ace guitarist, Jim Knowler and new (to us) drummer Jax Titmus.
Serena was victim of what has been commonly referred to as, the lurgy, she said, which put a bit of strain on her vocals, not that it was apparent out front, listening. ‘Red Right Hand’ opened the show, the Nick Cave tune that launched each episode of Peaky Blinders. Cracking version this one, readers.
A true standout for us is the Western Swing styled ‘Ice Cold Beer’, the lyrics of which pay tribute to the beverage, against a smashing beat. ‘Five Past Ten’ has a R&B vibe running through it, and covers of ‘Love Potion Number Nine’ was sublime, setting up the belting ‘Heebie Jeebies’. The embittered lyrics of the menacing ‘Toxic Nightmare’ (cripes, who recognised themselves there I wonder) slotted in among the feel-good stuff, such as ‘Twenty Flight Rock’ and ‘Completely Sweet’.
It ended up with Serena balancing on the bass and the audience loudly appreciative of the whole show. So good to see Bamboozle again, they did not disappoint.
Serena was victim of what has been commonly referred to as, the lurgy, she said, which put a bit of strain on her vocals, not that it was apparent out front, listening. ‘Red Right Hand’ opened the show, the Nick Cave tune that launched each episode of Peaky Blinders. Cracking version this one, readers.
A true standout for us is the Western Swing styled ‘Ice Cold Beer’, the lyrics of which pay tribute to the beverage, against a smashing beat. ‘Five Past Ten’ has a R&B vibe running through it, and covers of ‘Love Potion Number Nine’ was sublime, setting up the belting ‘Heebie Jeebies’. The embittered lyrics of the menacing ‘Toxic Nightmare’ (cripes, who recognised themselves there I wonder) slotted in among the feel-good stuff, such as ‘Twenty Flight Rock’ and ‘Completely Sweet’.
It ended up with Serena balancing on the bass and the audience loudly appreciative of the whole show. So good to see Bamboozle again, they did not disappoint.
Howlin' Ric
Howlin Ric and the Rocketeers were up next, making their debut on the Hemsby stage. Richard Colley, rhythm guitarist and vocalist is Ric and the band, in addition are El Nico on lead guitar, Adam Richards upright bass, Ben Powling tenor sax, and Jack Amblin on drums.
Their particular style both musically and vocally reminds us immediately of J D McPherson, immediately apparent as they opened up with a corking rocker ‘Your Lovin’ Days Are Through’, which was the ‘A’ side of one of their singles, and a stick-on dance floor jive winner, well-crafted and cool rhythmic beat.
‘I’m Coming Home’ followed in a similar vein, an original track, not to be confused with others of the same name, while ‘Take My Hand’ offered a smooth, ballad-like sound, superbly delivered. ‘Hard to Please’ excellent jive tempo, and ‘Mr Creep’, is an R&B delight depicting the inappropriate behaviour of the named guy in the title. ‘Blue Devils’ a kick a*se growling sax-driven stroller and ‘Cautionary Tales’ had a deliberate and unhurried tempo. A massively popular and well-presented set by a versatile band on top form.
Their particular style both musically and vocally reminds us immediately of J D McPherson, immediately apparent as they opened up with a corking rocker ‘Your Lovin’ Days Are Through’, which was the ‘A’ side of one of their singles, and a stick-on dance floor jive winner, well-crafted and cool rhythmic beat.
‘I’m Coming Home’ followed in a similar vein, an original track, not to be confused with others of the same name, while ‘Take My Hand’ offered a smooth, ballad-like sound, superbly delivered. ‘Hard to Please’ excellent jive tempo, and ‘Mr Creep’, is an R&B delight depicting the inappropriate behaviour of the named guy in the title. ‘Blue Devils’ a kick a*se growling sax-driven stroller and ‘Cautionary Tales’ had a deliberate and unhurried tempo. A massively popular and well-presented set by a versatile band on top form.
The Infernos
The evening began with a truly incendiary show from the North East’s finest, the Infernos. This four-piece have been rocking up a storm for a lot of years and their takes on labels like Sun, Mercury and Starday, are the stuff of legend on the Rock n Roll circuit.
Ian Agar is the talismanic frontman, franticly strumming his Gretsch and vocalising, with brother Gary Agar on drums, lead guitarist Ian Rhodes and bassist Mick Wheeler. If this sound doesn’t get to the heart of your cockles, Lord knows what will.
Johnny Knight’s ‘Rock ‘n’ Roll Guitar’ set a blistering pace, with the slightly more measured pace of Warren Smith’s ‘Dear John’ reigning it in a bit. Roc La Rue’s ‘Baby Take Me Back’, Carl Perkins’ ‘Where the Rio De Rosa Flows’ and Billy Lee Riley’s ‘Trouble Bound’ all got the Infernos treatment. We have to flag up their version of Mack Self’s ‘Willie Brown’, an ominous and criminal sounding tale, similar in delivery by the lads. Not often you hear this track covered, excellent.
Everything was rounded off with a rousing rendition of Marlon Grisham’s ‘Ain’t That A Dilly’. Another utterly sublime set from the Infernos, the tightest of sound and authentic delivery, setting up Saturday night.
Ian Agar is the talismanic frontman, franticly strumming his Gretsch and vocalising, with brother Gary Agar on drums, lead guitarist Ian Rhodes and bassist Mick Wheeler. If this sound doesn’t get to the heart of your cockles, Lord knows what will.
Johnny Knight’s ‘Rock ‘n’ Roll Guitar’ set a blistering pace, with the slightly more measured pace of Warren Smith’s ‘Dear John’ reigning it in a bit. Roc La Rue’s ‘Baby Take Me Back’, Carl Perkins’ ‘Where the Rio De Rosa Flows’ and Billy Lee Riley’s ‘Trouble Bound’ all got the Infernos treatment. We have to flag up their version of Mack Self’s ‘Willie Brown’, an ominous and criminal sounding tale, similar in delivery by the lads. Not often you hear this track covered, excellent.
Everything was rounded off with a rousing rendition of Marlon Grisham’s ‘Ain’t That A Dilly’. Another utterly sublime set from the Infernos, the tightest of sound and authentic delivery, setting up Saturday night.
Freddy Velas and the Silvertones
Another gear switch in the musical style next, and the first time we get to see Freddy Velas and the Silvertones. Four guys looking sharp, three in royal blue suits and Freddy himself decked out in white. You have Steve Velas on drums, bassist Sonny Cucinella, blowing up a storm on sax is Vic Salerno with Freddy taking guitar duties and lead vocals.
Lovers of vocal harmony and doo wop were in place, and in the mood straight away with the classic Danny and the Juniors’ 1958 anthem ‘Rock ‘n’ Roll is Here to Stay’ and followed it with a Freddy original ‘Doo Wop Time’. ‘Lulu’ was a joy, just like the Crew Cuts or the Four Lads had showed up and presented a track, and the Impalas’ ‘(Sorry), I Ran All The Way Home’ and the Quotations’ 1961 gem ‘Imagination’ were a delight.
I guess any Doo Wop band owes at least a hat-tip toward Dion and the Belmonts, so ‘I Wonder Why’ and ‘The Wanderer’ (I know, Dion sans Belmonts!) fulfilled that obligation. We should give more than a passing nod to their versions of the Fascinators’ ‘Oh Rosemarie’ and the Orients’ ‘Shouldn’t I’ from 1964, which were top drawer.
So was the Four Tunes’ ‘Marie’, and a curve-ball from ’60 ‘Tintarella Di Luna’ (Tan of the Moon) originally by Italian-Swiss singer Mina. The memorable set concluded with a spot on take of ‘Blue Moon’, a sing-a-long for many in the crowd. Great stuff.
Lovers of vocal harmony and doo wop were in place, and in the mood straight away with the classic Danny and the Juniors’ 1958 anthem ‘Rock ‘n’ Roll is Here to Stay’ and followed it with a Freddy original ‘Doo Wop Time’. ‘Lulu’ was a joy, just like the Crew Cuts or the Four Lads had showed up and presented a track, and the Impalas’ ‘(Sorry), I Ran All The Way Home’ and the Quotations’ 1961 gem ‘Imagination’ were a delight.
I guess any Doo Wop band owes at least a hat-tip toward Dion and the Belmonts, so ‘I Wonder Why’ and ‘The Wanderer’ (I know, Dion sans Belmonts!) fulfilled that obligation. We should give more than a passing nod to their versions of the Fascinators’ ‘Oh Rosemarie’ and the Orients’ ‘Shouldn’t I’ from 1964, which were top drawer.
So was the Four Tunes’ ‘Marie’, and a curve-ball from ’60 ‘Tintarella Di Luna’ (Tan of the Moon) originally by Italian-Swiss singer Mina. The memorable set concluded with a spot on take of ‘Blue Moon’, a sing-a-long for many in the crowd. Great stuff.
Scotty Baker
Dare we suggest that, the bill topper for Saturday, was on next. It’s nearly ten years since Scotty Baker debuted at the Rockabilly Rave, and since then, he’s cemented his place in the current RnR circuit all over the world, and especially in the UK. This was his first appearance at Hemsby, and once again he was backed by the Doel Brothers, Gordon (guitar), David (lead guitar), Curtis (drums) and Sam French on bass, the go-to band for his visits.
Many readers who went through the lockdowns in this country, watching him recount Elvis numbers in his kitchen between wines. At that time many wondered if that would be the way we got to see overseas artists. Thank heavens for live shows like this one at Hemsby.
Let’s get going and a no-nonsense start, with the resentful ‘Wasted My Name’, an embittered recounting of a bad marriage choice, set to a punchy rhythm. All the songs, barring one (I think) were originals, and fine examples of Scotty’s word-smithery. ‘Bump Stops’, with it’s vehicular theme, partnered with ‘Tyre Kickers’, an anthem that anyone trying to privately sell a car, could recite. ‘Broke on Pay Day’, a lament many might associate with, and ‘Move To The City’ depicts in song, a fellow’s desire to leave the country, with such lyrical wonders as ‘The country’s fine if you want to milk cows, but the city people are the cat’s miaow’. Lieber and Stoller couldn’t have put it better if they tried….
‘Shoppin’ Around’ (the Elvis cover song) and ‘Let Yourself Go’, set up, what is probably the most widely known song in the Scotty Baker repertoire, ‘Pop The Question’. I’d wager there were people there just to hear that song, and indeed the place erupted, with more than one hat tipped to Faron Doel on sax. Add to that the belting rockers ‘Lady Killer’ and ‘Cheater’, and you have samples of the whole package in one forty-five-minute set. Bonza
Many readers who went through the lockdowns in this country, watching him recount Elvis numbers in his kitchen between wines. At that time many wondered if that would be the way we got to see overseas artists. Thank heavens for live shows like this one at Hemsby.
Let’s get going and a no-nonsense start, with the resentful ‘Wasted My Name’, an embittered recounting of a bad marriage choice, set to a punchy rhythm. All the songs, barring one (I think) were originals, and fine examples of Scotty’s word-smithery. ‘Bump Stops’, with it’s vehicular theme, partnered with ‘Tyre Kickers’, an anthem that anyone trying to privately sell a car, could recite. ‘Broke on Pay Day’, a lament many might associate with, and ‘Move To The City’ depicts in song, a fellow’s desire to leave the country, with such lyrical wonders as ‘The country’s fine if you want to milk cows, but the city people are the cat’s miaow’. Lieber and Stoller couldn’t have put it better if they tried….
‘Shoppin’ Around’ (the Elvis cover song) and ‘Let Yourself Go’, set up, what is probably the most widely known song in the Scotty Baker repertoire, ‘Pop The Question’. I’d wager there were people there just to hear that song, and indeed the place erupted, with more than one hat tipped to Faron Doel on sax. Add to that the belting rockers ‘Lady Killer’ and ‘Cheater’, and you have samples of the whole package in one forty-five-minute set. Bonza
Hemsby dot….dot. Best tracks at Hemsby 65 ever ever to froth up your hot tub were Pike Cavalero’s ‘Black Hearts Club’, ‘Trollin’ by Boots Brown and his Blockbusters and the Rumblers’ ‘Boss’…….Some of you might have a piece of Scotty Baker from Hemsby, a single, an LP, a CD. HA! I’ve got his strides!*…….The DJs rocked all weekend, there was no dip in the quality even at times when there were barely enough people in the hall to cause an argument. Dispatch style mentions to Tojo, Simon Flintstone, The Guntrip family, Little Carl and Gary Denton………*Bought at the Sunday morning boot sale, how else do you reckon I’d get ‘em???........ ........Wrecking seems a much more polite than it used to be, with people reporting be asked to be excused as wreckers make their way to the mosh pits.........Anyone expecting £200 for the previous statement, tough taties :)
Like what you’ve read so far? How about popping over a donation to help us keep this magazine free to read
Like what you’ve read so far? How about popping over a donation to help us keep this magazine free to read
Toto and the Raw Deals
Sunday morning began with the boot sale, and an impeccably observed silence for Remembrance Sunday during the short service around 11am.
Sunday afternoon began with a real cobweb shifting blast, from Toto and the Raw Deals, consisting of Salvatore Marziano (Toto) on rhythm guitar and vocals, Joe Newbon on lead guitar, bassist Sam French and drummer Tony Hillebrandt.
A quick instro blast and we were out of the blocks, with a cover of Marty Stuart & Travis Tritt’s ‘Honky Tonkin’ Is What I Do Best’, which is a rattling new country song, then given an injection of Rockabilly joi-de-vivre by the lads. ‘One More Line’ a Marziano original punchy rocker, followed quick-smart that doesn’t much explanation lyrically.
‘This Here Rocker’s Gone Country’, is a tale of a rocker, preferring the country side of music and packing as many big music names in to the lyrics, in just under two minutes. Must flag up the covers of George Jones’ ‘The Race is on’, Charlie Feathers’ ‘Stutterin’ Cindy’ and the Killer’s, ‘High School Confidential’, they whipped up the already enthusiastic crowd. ‘Wish I Was From Memphis’, actually has a British sounding under tone to the guitar work, really effective, and, ‘You Can Have The Crown’ worked well together before a Joe Newbon original ‘Haunting Me’, which has an up-tempo Country/Mexicali vibe.
There was enough time left for ‘Moonshine Blues’ and a rousing finish with Ronnie Dawson’s ‘Up Jumped the Devil’, which truly topped off another Grade ‘A’ set, that was rowdily received.
Sunday afternoon began with a real cobweb shifting blast, from Toto and the Raw Deals, consisting of Salvatore Marziano (Toto) on rhythm guitar and vocals, Joe Newbon on lead guitar, bassist Sam French and drummer Tony Hillebrandt.
A quick instro blast and we were out of the blocks, with a cover of Marty Stuart & Travis Tritt’s ‘Honky Tonkin’ Is What I Do Best’, which is a rattling new country song, then given an injection of Rockabilly joi-de-vivre by the lads. ‘One More Line’ a Marziano original punchy rocker, followed quick-smart that doesn’t much explanation lyrically.
‘This Here Rocker’s Gone Country’, is a tale of a rocker, preferring the country side of music and packing as many big music names in to the lyrics, in just under two minutes. Must flag up the covers of George Jones’ ‘The Race is on’, Charlie Feathers’ ‘Stutterin’ Cindy’ and the Killer’s, ‘High School Confidential’, they whipped up the already enthusiastic crowd. ‘Wish I Was From Memphis’, actually has a British sounding under tone to the guitar work, really effective, and, ‘You Can Have The Crown’ worked well together before a Joe Newbon original ‘Haunting Me’, which has an up-tempo Country/Mexicali vibe.
There was enough time left for ‘Moonshine Blues’ and a rousing finish with Ronnie Dawson’s ‘Up Jumped the Devil’, which truly topped off another Grade ‘A’ set, that was rowdily received.
The Spellcasters
Next band on, second Hemsby debut of the day, with the Spellcasters, made up of Jon-Jack Boxwell on rhythm guitar and vocals, JD England on lead guitar, bassist Dave Kopke and drummer Pete ‘Blip’ Mulvihill.
They take on well known artists’, slightly lesser known titles, an immediate example of which was the opener, Jackie Lee Cochran’s ‘It’s Alright’. The Raiders ‘Hocus Pocus’, an appropriate inclusion given the band’s sorcery-based monika, sounded upbeat and Mac Curtis’ latter day rocker ‘Turn Away From Me’, reminded everyone of the standard of the Texas native’s output in later years, and so well suited to Jack’s vocal style.
Bill Carter’s MGM 1961 country rocker, ‘Shot Four Times and Dying’, is one of those malevolent songs paradoxically set to an upbeat tempo. Moon Mullican’s ‘Big Big City’ from 1969 was sprinkled with Spellcaster dust, and the standout track for us had to be their take on Carl Perkins’ ‘Lonely Heart’. This rocker from 1964, written by Carl, came from a similar time to the likes of ‘Say When’ and this was a copy of the quicker tempo version, with the complete accuracy of JD’s guitar work. Another Carl Perkins tune, ‘Any Way The Wind Blows’ from ’61, sandwiched a cool groove ‘My Country Cousin’, originally by Young Jessie, also from ’61.
A goodly amount of top tunage concluded with Jack Southern’s enlivening ‘Darlene’ and ‘Casting My Spell on You’.
They take on well known artists’, slightly lesser known titles, an immediate example of which was the opener, Jackie Lee Cochran’s ‘It’s Alright’. The Raiders ‘Hocus Pocus’, an appropriate inclusion given the band’s sorcery-based monika, sounded upbeat and Mac Curtis’ latter day rocker ‘Turn Away From Me’, reminded everyone of the standard of the Texas native’s output in later years, and so well suited to Jack’s vocal style.
Bill Carter’s MGM 1961 country rocker, ‘Shot Four Times and Dying’, is one of those malevolent songs paradoxically set to an upbeat tempo. Moon Mullican’s ‘Big Big City’ from 1969 was sprinkled with Spellcaster dust, and the standout track for us had to be their take on Carl Perkins’ ‘Lonely Heart’. This rocker from 1964, written by Carl, came from a similar time to the likes of ‘Say When’ and this was a copy of the quicker tempo version, with the complete accuracy of JD’s guitar work. Another Carl Perkins tune, ‘Any Way The Wind Blows’ from ’61, sandwiched a cool groove ‘My Country Cousin’, originally by Young Jessie, also from ’61.
A goodly amount of top tunage concluded with Jack Southern’s enlivening ‘Darlene’ and ‘Casting My Spell on You’.
The Doel Brothers
Into the evening session and a trio of top turns, all very different from each other. Opening up, the Doel Brothers, Gordon and David on rhythm and lead guitar respectively, with Tom Doel on drums, Sam French on bass and the slidey talents of Phil Morgan on steel guitar. The duet of the zippy ‘Wild Wild Woman’ set the stall out, one of many of the brothers’ original compositions throughout the set.
The songs and lyrics are such that it makes you wonder if they are from a mid-20th Century dusty vault in Tennessee, or a front room in Hampshire in the past few years (the songs that is, not the band!)
There are covers, ‘Catfish Boogie’ and ‘Juke Joint Johnny’ featured in the main set, excellent versions they were too, along with their own ‘Futile Blues’, a standout up-tempo (unsurprisingly) blues number, which apparently ‘Won’t do you no good’. Yes it will! ‘Bottle On The Table’ and ‘Whiskey Lovin’ Fool’, soaked not only in alcohol references, but quality rhythm. A memorable set ended with a brace of covers, Carl Smith’s 1954 encouraging ditty, ‘Go Boy Go’, and the novelty Hillbilly bopper, Chuck Bowers’ ‘Pig Pen Boogie’ from ’56, which David delivered with remarkable accuracy. Once again, the Doels take care of business, in a masterclass of mid-fifties Hillbilly and Western Swing styles.
The songs and lyrics are such that it makes you wonder if they are from a mid-20th Century dusty vault in Tennessee, or a front room in Hampshire in the past few years (the songs that is, not the band!)
There are covers, ‘Catfish Boogie’ and ‘Juke Joint Johnny’ featured in the main set, excellent versions they were too, along with their own ‘Futile Blues’, a standout up-tempo (unsurprisingly) blues number, which apparently ‘Won’t do you no good’. Yes it will! ‘Bottle On The Table’ and ‘Whiskey Lovin’ Fool’, soaked not only in alcohol references, but quality rhythm. A memorable set ended with a brace of covers, Carl Smith’s 1954 encouraging ditty, ‘Go Boy Go’, and the novelty Hillbilly bopper, Chuck Bowers’ ‘Pig Pen Boogie’ from ’56, which David delivered with remarkable accuracy. Once again, the Doels take care of business, in a masterclass of mid-fifties Hillbilly and Western Swing styles.
Guana Batz
Now then readers, the next act, and I have a feeling some have come directly to this part before reading the rest of the review. When the Guana Batz appearance was announced, it was almost like someone had lobbed a grenade into the Hemsby faithful, such was the polarised pre-opinions on social media. Most of that 80’s Neo and Psycho stuff passed me by, so the only preconception either of us had was a picture of a heavily tattooed bloke in a band with a ‘z’ on it. So we didn’t look at any videos, nor listen to any material ahead of the show.
The hall was packed. Was it full of fans or people that had come along to register their disgust? Who knows, who cares (rhetorical questions), the atmosphere was electric and the anticipation was palpable, and the (some) shirts were off in the wrecking area.
Here he is, Pip Hiscox, no shirt and a huge grin throughout the show. A lot of the set was new to us, loud, proud and double figure decibels, with ‘Graveyard’ kicking it off. There were a couple familiar sounds, ‘Endless Sleep’ and ‘Please Gimmie Something’, with Pip observing that if he'd followed Rockabilly in the first place, he’d be able to wear clothes and not have to jump around like a ****ing Orangutan (or some other primate, I was laughing out loud at this point). It was that kind of almost self-deprecation that ingratiated the band to the neutrals in the crowd.
By now, many were into the Batz, with ‘Loan Shark, ‘Joe 90’ and ‘Radio Sweetheart’ rocking out, and the ballsy take on Bruce Springsteen’s ‘I’m on Fire’. And right in the middle of everything, the genteel ‘Wondrous Place’! A breathless set that converted many. It was good to see this type of music performed well, not just punk-with-a-bass, and the endearing qualities of the guys in the group was infectious.
Last time we recalled a ‘controversial’ band being booked at Hemsby, going down so well was Crazy Cavan (someone will tell me when that was no doubt), but these guys topped that, with brass knobs on (but no shirt).
The hall was packed. Was it full of fans or people that had come along to register their disgust? Who knows, who cares (rhetorical questions), the atmosphere was electric and the anticipation was palpable, and the (some) shirts were off in the wrecking area.
Here he is, Pip Hiscox, no shirt and a huge grin throughout the show. A lot of the set was new to us, loud, proud and double figure decibels, with ‘Graveyard’ kicking it off. There were a couple familiar sounds, ‘Endless Sleep’ and ‘Please Gimmie Something’, with Pip observing that if he'd followed Rockabilly in the first place, he’d be able to wear clothes and not have to jump around like a ****ing Orangutan (or some other primate, I was laughing out loud at this point). It was that kind of almost self-deprecation that ingratiated the band to the neutrals in the crowd.
By now, many were into the Batz, with ‘Loan Shark, ‘Joe 90’ and ‘Radio Sweetheart’ rocking out, and the ballsy take on Bruce Springsteen’s ‘I’m on Fire’. And right in the middle of everything, the genteel ‘Wondrous Place’! A breathless set that converted many. It was good to see this type of music performed well, not just punk-with-a-bass, and the endearing qualities of the guys in the group was infectious.
Last time we recalled a ‘controversial’ band being booked at Hemsby, going down so well was Crazy Cavan (someone will tell me when that was no doubt), but these guys topped that, with brass knobs on (but no shirt).
The Sureshots
Final act on, and it’s a real party to end with, as the Sureshots. Gary Allen fronts the four piece on vocals and rhythm guitar, with Joe Guillan on lead guitar, drummer Gary Agar and bassist Johnny Cavanagh. It was your typical Sureshot show, holler stuff out for them to play, and if they knew it, they’d play it. Certainly, there was a semblance of a set list, on various wrinkled sheets of paper, a scene lacking only in songs written on the back of a twenty No6 packet (ask your parents, kids).
First out the packet, ‘Little Heart Attacks’, an ace cover of, well pick your Oak Records artist from the 50’s. A Sureshot set is often chocca with tracks that were the soundtrack to our youth(s), taking Gene Summers’ ‘Straight Skirt’, and Ted Harris’ ‘Just Thought I’d Set You Straight’ as a couple of prime examples. A mainstay of their shows is Dale Hawkins’ ‘Juanita’, a nippy rocker that delivers on all levels, as is their presentation of the Jive-a-Tones oddity, ‘Fire Engine Baby’, if there’s another band that does this tune, I doubt it’s as good.
Lob in gems such as Vern Pullens’ ‘It’s My Life’, Lou Graham’s ‘Wee Willie Brown’ and Wayne Walker’s ‘All I Can Do Is Cry’ and you’ll have the feel of what was a fitting conclusion to the live acts. Sometimes a weekender’s final band is faced with a dwindling population in the hall, but not so here.
Reread this review folks, and check out the variety of music under the umbrella of Rock n Roll, from the Doo Wop vocals of Freddy Velas and the Silvertones to the Guana Batz. Since Bill Guntrip took over the weekender he’s had some obstacles to overcome, worldwide pandemic notwithstanding, however I’ll go out there and say this was the best Hemsby under his tenure.
Until the next time…………See flyer below
First out the packet, ‘Little Heart Attacks’, an ace cover of, well pick your Oak Records artist from the 50’s. A Sureshot set is often chocca with tracks that were the soundtrack to our youth(s), taking Gene Summers’ ‘Straight Skirt’, and Ted Harris’ ‘Just Thought I’d Set You Straight’ as a couple of prime examples. A mainstay of their shows is Dale Hawkins’ ‘Juanita’, a nippy rocker that delivers on all levels, as is their presentation of the Jive-a-Tones oddity, ‘Fire Engine Baby’, if there’s another band that does this tune, I doubt it’s as good.
Lob in gems such as Vern Pullens’ ‘It’s My Life’, Lou Graham’s ‘Wee Willie Brown’ and Wayne Walker’s ‘All I Can Do Is Cry’ and you’ll have the feel of what was a fitting conclusion to the live acts. Sometimes a weekender’s final band is faced with a dwindling population in the hall, but not so here.
Reread this review folks, and check out the variety of music under the umbrella of Rock n Roll, from the Doo Wop vocals of Freddy Velas and the Silvertones to the Guana Batz. Since Bill Guntrip took over the weekender he’s had some obstacles to overcome, worldwide pandemic notwithstanding, however I’ll go out there and say this was the best Hemsby under his tenure.
Until the next time…………See flyer below
|
Hemsby 66 has a smashing line up, with the Swedish Rockabilly maestro Jack Baymoore (Move On, AV8 Boogie et al), the super sound of Jimmy Dale & The Beltline ('One More Whisky' 'Memory Lane', and the return of Wild Records' Gizzelle (pictured above). If you haven't seen Gizzelle before, you're in for a treat, as this pocket powerhouse can rock your bones with one song and break your heart with another, having a voice that could fill a stadium. Click flyer for details
|
hemsby 65 gallery, click on the pics to view
Next up at Chesterfield
|
The inaugural event has just gone, and a fun night it was too. This is the next of what will hopefully be a regular event
|
Guaranteed dance ditties galore from three young DJs, who know what dancers love to dance to
|
|
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. |
Want to know what's going on? Check out the R,n,R Gig Guide by clicking on the flyer
|
Vintage Mania
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.
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 2023
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 2023
Many thanks
