the bettajive review magazine #31
Gizzelle
Welcome to our 31st issue of the Bettajive Review Magazine, featuring our review of Hemsby 66, which featured an outstanding vocal performance by Wild Records' Gizzelle, pictured above. But first if you could read the text below we'd be grateful.
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Many thanks
We are currently looking for sponsors for this magazine, we now have to pay to upload it for you all. If you are a company, event or band and would like to sponsor us, please get in touch. Advertisers, please contact us to upload your ad, for just £25.00 per month. Or you can make a one off donation using the button. We want to try and keep our magazine free to read, but it is becoming increasingly more expensive to produce it. If you can help us fund this, and get your business or product out to our many thousand readers each month, please drop us a line. [email protected]
Many thanks
The Bettajive Review
Aftershock So readers, you will notice that normal service has been resumed in the Bettajive Review, as close as ‘normal’ and us goes in the same sentence. Weekenders are gathering apace, so here goes with another thought-provoking opening ramble, that may help your post weekender regime, he says with tongue planted firmly in cheek.
I wonder about the aftermath of a weekender, there’s so much to talk about, and of course there is the sudden metaphorical, and sometimes physical, thud of reality, returning to the real world. For three or four days, my phone is immune from daytime drudge, I know nothing of the news, and the weather, Brexit, Megxit, Swisskit (I brought that one from the depths of my memory, thought I’d risk it*….) can go and whistle Dixie for all I care. During that time, it’s a full on three, or four, days of heavenly music, dance, drink (if that tickles your pickle) dressing the way you want to and enjoy completely carefree, nay larksome, nay, frolicsome attitudes.
On the Monday of departure, it can be the most-ghastly tumble back to the real world. I’m hoping that one year, there’ll be a sit in by the whole camp until we get some more. Here are sown the seeds of revolution, citizens, they can’t chuck us all out you know! And it’s not only the potential for returning to some clubs and being subjected to the same old anodyne musical pap either.
Seriously though, are there fewer, sadder sights than the music venues and stall areas all broken down and empty as on a post-weekender Monday. Vans wobble with stall-holders wrestling with countless plastic boxes and hangers, for the journey home. The flyer table in the foyer which to that point has been groaning under the weight of colourful, promotional literature has just a few sad leaflets left as others lay underneath with the footprints of a dozen departing guests imprinted on them.
The ambience of expectation in the foyer area which was prevalent in the previous days, has been replaced by a resigned inevitability among those who hand their keys over for the last time. Even security no longer ask for your pass or wrist band. Where there was rockin’ music piped through the reception and even in the toilets, there’s now some other superfluous nonsense, that I’m far too old to recognise. The only other audible sound is the quick blast of ‘Instant Replay’ on the grab-a-teddy-with-the-crane machine. The cafeteria now plays host to a few hardy souls, grabbing a final communal brekkie, chewing endlessly on rubber triangles that masquerade as toast.
And it nearly always blows a hoolie and p***es with rain, doesn’t it? When you’re waddling unsteadily down the stairs of the chalet block with your possessions to the mocking chorus of a thousand gulls, the rain always slants across the camp site stinging you right in the face. Then the lid blows off a box and the contents roll all over the car park. You have to avoid the sullen bloke on the mini tractor with a train of dumpster bins rumbling by, (he looks as happy as we do!) and the laundry brigade turning up with sheets and pillowcases ready to change the beds. How come, you take a load of food and drink, consume it and discard the packaging, yet take home seemingly more than you brought in the first place! How come, everything went in the car perfectly on the sunny day that you left, yet needs ramming in, and jumping on, to get it in the boot on the Monday. Why does some oik throw half a loaf of bread out on the grass and encourage gulls to descend Hitchcock style onto the camp?
The chalet looks more like the wreck of the Hesperus as cupboards and drawers are emptied. It’s now a hateful hovel instead of a hive of anticipation and enjoyment. Clothes that folded neatly into the case when you packed them last Thursday, seem to have proliferated over the weekend and despite half being in the ‘laundry bag’, flatly refuse to go into the case. Yes readers, admit it, it’s not only June that has to bounce on the case lid while I zip it up three inches at a time, or do the Ultimate Warrior body splash it to keep it closed.
You leave the camp, waving to everyone who ‘til that point had been full of smiles, and now wear faces the like of which are found on the parapets of churches to ward off evil spirits. Passing the poor friends from overseas, and visitors huddled together waiting for the bus in the monsoon, it’s the journey home. You’ll pass hundreds of Monday morning ‘normals’, pallid faced on their work-based voyages. What did they do at the weekend? Two cans and a takeaway while getting excited about Michael McIntyre’s ‘The Wheel’. Sad getts.
On arrival at home, it’s an effort and a half to drag everything back into your domicile, partly due to the pile of post, free papers and curry house menus that seems to have been saved up just for that moment. I don’t know about you readers, but within a few minutes of us being home, the washing machine and kettle are on, we’re looking blankly into a fridge to rival that of Old Mother Hubbard. A dash to the nearest supermarket to pick up something that can be cooked in a ‘ping’, you show your wristband from the weekender to the security guard at the door(!)
Home again and there’s been a scrap to get into the privacy of our own (comfy) thunderbox (don’t tell me you don’t ‘appreciate’ that), your hearing slowly returns from a ringing whine to regularity. And for some reason, the clothes that can go straight back into the wardrobe, having exploded like Krakatoa out of the case, seriously outnumber the hangers they came from. And why does the perfectly fragrant house you left last week, smell like a Triceratops has crapped in it?
A word of advice folks, DO NOT, under any circumstances, sit down on your sofa at any point during this operation, because the next thing you know, it will be 7pm and you’ll have a neckache, your tongue will feel like a doormat, and nothing will have been unpacked. I usually start writing up the weekender ready for your delectation, which at times can seem like I’m looking through wrinkled cling film whilst typing.
Despite the above, I hope that you’re reading this, is somewhat cathartic for you. It’s not only you that feels like sputum, who aches in places you didn’t know you had, who has a voice a raspy octave lower than normal and a strange nervy twitch under your eyes.
And it’s not only you that wouldn’t change it for the world!!!
Aftershock So readers, you will notice that normal service has been resumed in the Bettajive Review, as close as ‘normal’ and us goes in the same sentence. Weekenders are gathering apace, so here goes with another thought-provoking opening ramble, that may help your post weekender regime, he says with tongue planted firmly in cheek.
I wonder about the aftermath of a weekender, there’s so much to talk about, and of course there is the sudden metaphorical, and sometimes physical, thud of reality, returning to the real world. For three or four days, my phone is immune from daytime drudge, I know nothing of the news, and the weather, Brexit, Megxit, Swisskit (I brought that one from the depths of my memory, thought I’d risk it*….) can go and whistle Dixie for all I care. During that time, it’s a full on three, or four, days of heavenly music, dance, drink (if that tickles your pickle) dressing the way you want to and enjoy completely carefree, nay larksome, nay, frolicsome attitudes.
On the Monday of departure, it can be the most-ghastly tumble back to the real world. I’m hoping that one year, there’ll be a sit in by the whole camp until we get some more. Here are sown the seeds of revolution, citizens, they can’t chuck us all out you know! And it’s not only the potential for returning to some clubs and being subjected to the same old anodyne musical pap either.
Seriously though, are there fewer, sadder sights than the music venues and stall areas all broken down and empty as on a post-weekender Monday. Vans wobble with stall-holders wrestling with countless plastic boxes and hangers, for the journey home. The flyer table in the foyer which to that point has been groaning under the weight of colourful, promotional literature has just a few sad leaflets left as others lay underneath with the footprints of a dozen departing guests imprinted on them.
The ambience of expectation in the foyer area which was prevalent in the previous days, has been replaced by a resigned inevitability among those who hand their keys over for the last time. Even security no longer ask for your pass or wrist band. Where there was rockin’ music piped through the reception and even in the toilets, there’s now some other superfluous nonsense, that I’m far too old to recognise. The only other audible sound is the quick blast of ‘Instant Replay’ on the grab-a-teddy-with-the-crane machine. The cafeteria now plays host to a few hardy souls, grabbing a final communal brekkie, chewing endlessly on rubber triangles that masquerade as toast.
And it nearly always blows a hoolie and p***es with rain, doesn’t it? When you’re waddling unsteadily down the stairs of the chalet block with your possessions to the mocking chorus of a thousand gulls, the rain always slants across the camp site stinging you right in the face. Then the lid blows off a box and the contents roll all over the car park. You have to avoid the sullen bloke on the mini tractor with a train of dumpster bins rumbling by, (he looks as happy as we do!) and the laundry brigade turning up with sheets and pillowcases ready to change the beds. How come, you take a load of food and drink, consume it and discard the packaging, yet take home seemingly more than you brought in the first place! How come, everything went in the car perfectly on the sunny day that you left, yet needs ramming in, and jumping on, to get it in the boot on the Monday. Why does some oik throw half a loaf of bread out on the grass and encourage gulls to descend Hitchcock style onto the camp?
The chalet looks more like the wreck of the Hesperus as cupboards and drawers are emptied. It’s now a hateful hovel instead of a hive of anticipation and enjoyment. Clothes that folded neatly into the case when you packed them last Thursday, seem to have proliferated over the weekend and despite half being in the ‘laundry bag’, flatly refuse to go into the case. Yes readers, admit it, it’s not only June that has to bounce on the case lid while I zip it up three inches at a time, or do the Ultimate Warrior body splash it to keep it closed.
You leave the camp, waving to everyone who ‘til that point had been full of smiles, and now wear faces the like of which are found on the parapets of churches to ward off evil spirits. Passing the poor friends from overseas, and visitors huddled together waiting for the bus in the monsoon, it’s the journey home. You’ll pass hundreds of Monday morning ‘normals’, pallid faced on their work-based voyages. What did they do at the weekend? Two cans and a takeaway while getting excited about Michael McIntyre’s ‘The Wheel’. Sad getts.
On arrival at home, it’s an effort and a half to drag everything back into your domicile, partly due to the pile of post, free papers and curry house menus that seems to have been saved up just for that moment. I don’t know about you readers, but within a few minutes of us being home, the washing machine and kettle are on, we’re looking blankly into a fridge to rival that of Old Mother Hubbard. A dash to the nearest supermarket to pick up something that can be cooked in a ‘ping’, you show your wristband from the weekender to the security guard at the door(!)
Home again and there’s been a scrap to get into the privacy of our own (comfy) thunderbox (don’t tell me you don’t ‘appreciate’ that), your hearing slowly returns from a ringing whine to regularity. And for some reason, the clothes that can go straight back into the wardrobe, having exploded like Krakatoa out of the case, seriously outnumber the hangers they came from. And why does the perfectly fragrant house you left last week, smell like a Triceratops has crapped in it?
A word of advice folks, DO NOT, under any circumstances, sit down on your sofa at any point during this operation, because the next thing you know, it will be 7pm and you’ll have a neckache, your tongue will feel like a doormat, and nothing will have been unpacked. I usually start writing up the weekender ready for your delectation, which at times can seem like I’m looking through wrinkled cling film whilst typing.
Despite the above, I hope that you’re reading this, is somewhat cathartic for you. It’s not only you that feels like sputum, who aches in places you didn’t know you had, who has a voice a raspy octave lower than normal and a strange nervy twitch under your eyes.
And it’s not only you that wouldn’t change it for the world!!!
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Dot….dot. Best tracks in the world ever ever to shish the foam from your espuma gun for this month are, Dean Barlow’s ‘Don’t Leave Me Baby’, ‘EIO The Sawmill Man’ by Onie Wheeler and Louis Jordan’s ‘I Want a Roof Over My Head’………Thank you for those who read our April 1st post, and to those who rumbled me, I wonder about the laughy icons. Are we not worthy of such an award? 😊………..Anyone who wonders about the state of the club scene in the UK, well we’ve been to the clubs listed below and two events already for the next issue and they have been healthily populated, to chocca…… “You take a few photos and then you dance the rest of the night, that’s all” we were told once. That’s how it looks. Once everyone has gone home, that’s when our work starts, sifting through several hundred photos, keeping the better ones, cropping out photo-bombers who think we really want to see their tongue & tonsils, or directions to the toilets and fire exits. Then the writing up starts, referencing and cross-referencing band members’ names, cover tracks, the set list if we have it on camera or phones, reading the end result a dozen times, endless editing, reading once more, an uploading the end result. Yep, all we do is take a few photos and dance the rest of the night, that’s all……. Ray Sharpe’s ‘Linda Lou’ lyrics start out ‘Well they call my baby Patty but her real name, her real name, her real name is Linda Lou’ So her name is Linda Lou, but they call her Patty? I have to ask……..Why? How do you get there? 😊……….*Did you ever risk it for a Swisskit? Kids, ask you grandparents…..I saw some youngsters, probably twenty or so, in a primary school on BBC Breakfast, all playing trumpets. How times have changed. A teacher once asked my class if we had an instrument we’d like to learn how to play. One classmate announced ‘Saxophone sir’. ‘Wrong answer boy, that’s already gone’. The school sax had been taken already!........Have guitar will travel, check out Paul Ingrey here Paul Ingrey | Facebook one of those annoying people that can make a stringed instrument sing whatever the style, Blues, R&B, Rock n Roll, Rockabilly. If your band needs a lead picker, here’s your man……
Vintage Mania, click on flyer for details
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Top line-up for this Boston Jive event, click on the flyer for details
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Out and at Louth A first visit to the Mayfair club in Louth, Lincolnshire was on the cards when we saw North East trio, the Doggone Daddys were playing there. Indeed, that might have been the feeling in the surrounding area given the healthy number that turned up for the night, and the full car park!
On the decks, Jukebox Jordan catering for many tastes, with the Daddys consisting of Philip Larry on vocals and lead guitar, Phil Johnston on drums and bassist Danny Clarke. They played two super sets, consisting of many instantly recognisable rockers. Buddy’s ‘Modern Don Juan’ opened up, tickling the collective fancies of the strolling audience, with them morphing into jivers with Moon’s ‘Seven Nights To Rock’. A frantic take on Ray Harris’ 1956 Sun cut, ‘C’mon Little Mama’, and Buddy’s ‘Love Me’ hits the spot before some change in tempo ‘Roadrunner’ and Charlie Rich’s ‘Midnight Blues’. From the latter artist, we also had the pacy ‘Rebound’ which begat ‘I’m Ready’. We’ll also flag up one of the band’s own tracks, ‘The Drink That Drives’. Cool beans in set one.
Picking up the baton for set two, the Daddys upped the anti with tracks as diverse as ‘Ice Cold’ and ‘Pocketful of Rainbows’. In between there were crowd pleasers like the ever-popular ‘Look Out Heart’ and Big Sandy’s ‘Chalk It Up To The Blues’, neatly sitting alongside ‘Fabulous’, ‘Cast Iron Arm’ and the powerhouse surf instro track that launched a thousand Rock ‘n’ Roll compilations ‘Wipeout’, originally by the Surfaris.
So good to see the Doggone Daddys again and on top form too.
On the decks, Jukebox Jordan catering for many tastes, with the Daddys consisting of Philip Larry on vocals and lead guitar, Phil Johnston on drums and bassist Danny Clarke. They played two super sets, consisting of many instantly recognisable rockers. Buddy’s ‘Modern Don Juan’ opened up, tickling the collective fancies of the strolling audience, with them morphing into jivers with Moon’s ‘Seven Nights To Rock’. A frantic take on Ray Harris’ 1956 Sun cut, ‘C’mon Little Mama’, and Buddy’s ‘Love Me’ hits the spot before some change in tempo ‘Roadrunner’ and Charlie Rich’s ‘Midnight Blues’. From the latter artist, we also had the pacy ‘Rebound’ which begat ‘I’m Ready’. We’ll also flag up one of the band’s own tracks, ‘The Drink That Drives’. Cool beans in set one.
Picking up the baton for set two, the Daddys upped the anti with tracks as diverse as ‘Ice Cold’ and ‘Pocketful of Rainbows’. In between there were crowd pleasers like the ever-popular ‘Look Out Heart’ and Big Sandy’s ‘Chalk It Up To The Blues’, neatly sitting alongside ‘Fabulous’, ‘Cast Iron Arm’ and the powerhouse surf instro track that launched a thousand Rock ‘n’ Roll compilations ‘Wipeout’, originally by the Surfaris.
So good to see the Doggone Daddys again and on top form too.
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Triple Victory. The collection of villages with the prefix ‘Gedney’ in Lincolnshire, plays host to two rockin’ venues. Courtney Oakes’ events at Gedney Dyke and at Gedney Victory Hall, Jitterbugs’ triple treat DJ night. Spinning the tunes, were Idaho Redd Bale, Jenna ‘Little Demon’ Coote and Rockin’ Ruby Gene Thatcher, all young DJs with supercool playlists.
It was our first visit to the venue, which boasts a smashing dancefloor and plenty of space, which was just as well as eighty six peeps showed up to dig the sounds from the decks. Jive, bop, stroll, wiggle, do what you want, it was all very informal and hugely enjoyable. Redd played the track of the night for me, Onie Wheeler’s ‘EIO The Sawmill Man’. This was one of Onie’s later tracks with the ‘Shucking’ theme, two of which came in ’73 and this one from ’75. Cracking tune.
Ages notwithstanding, these three DJs seamlessly segued tracks, which kept the floor moving throughout. Some more modern sounds slotted in among the 40’s-early 60’s sounds, giving a crowd-pleasing variety. Check out their events readers
It was our first visit to the venue, which boasts a smashing dancefloor and plenty of space, which was just as well as eighty six peeps showed up to dig the sounds from the decks. Jive, bop, stroll, wiggle, do what you want, it was all very informal and hugely enjoyable. Redd played the track of the night for me, Onie Wheeler’s ‘EIO The Sawmill Man’. This was one of Onie’s later tracks with the ‘Shucking’ theme, two of which came in ’73 and this one from ’75. Cracking tune.
Ages notwithstanding, these three DJs seamlessly segued tracks, which kept the floor moving throughout. Some more modern sounds slotted in among the 40’s-early 60’s sounds, giving a crowd-pleasing variety. Check out their events readers
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The Muskrats
Back with a bang. There are gigs that when they are first advertised, you automatically think it’s going to be a popular one. Such was the thought process when we read about the return of the Wolftones at Chesterfield Rock ‘n’ Roll Club, and on the same bill, the Muskrats. Both bands had/have a big following, and pretty much all of them showed up for the night! Over two hundred rolled up to the Birdholme Working Men’s Club venue, populating all spaces within the function room.
A very pleased looking Andy Barker took the sounds with the dependable Steve O in tandem, providing floor fillers throughout the night. First band up were the Muskrats, Steve Nemeth on lead guitar and vocals, the irrepressible Ellie on bass, vocals and astute cultural observations, with drummer Sherman Dakota. This trio trotted out a rollocking set of Rockabilly, setting the pace with Gene Summers’ ‘Fancy Dan’. They perform a decent original tune as well, suggested listening would include ‘Ride My Rod’ and ‘Ain’t That Just’, which popped up in the set.
The Jiants’ ‘Tornado’ was a kicker, and their take of Muddy Waters’ ‘I Just Wanna Make Love To You’ was a pleasant and enjoyable gear switch. ‘Teenage Cutie’ rocked out as did the Sun sound of ‘Down the Line’. Authentic sounding and very well delivered musically and vocally, the Muskrats provided a class opening to the live sets.
A very pleased looking Andy Barker took the sounds with the dependable Steve O in tandem, providing floor fillers throughout the night. First band up were the Muskrats, Steve Nemeth on lead guitar and vocals, the irrepressible Ellie on bass, vocals and astute cultural observations, with drummer Sherman Dakota. This trio trotted out a rollocking set of Rockabilly, setting the pace with Gene Summers’ ‘Fancy Dan’. They perform a decent original tune as well, suggested listening would include ‘Ride My Rod’ and ‘Ain’t That Just’, which popped up in the set.
The Jiants’ ‘Tornado’ was a kicker, and their take of Muddy Waters’ ‘I Just Wanna Make Love To You’ was a pleasant and enjoyable gear switch. ‘Teenage Cutie’ rocked out as did the Sun sound of ‘Down the Line’. Authentic sounding and very well delivered musically and vocally, the Muskrats provided a class opening to the live sets.
The Wolftones
Next up, the Wolftones, after a considerable absence. Led by vocalist Jay Bircumshaw, who also kept rhythm on guitar, the ‘Tones also employed the accomplished guitar skills of Shaun Sullivan on lead, drummer (for the second time tonight) Sherman Dakota, bassist Graham (Grez) Sanders, and depping on harmonica/guitar/percussive instruments, the Excellos’ Craig Shaw.
They announced themselves with the ballsy growling sound of ‘Hot Rod Car’ and ‘Big Train Rollin’. As the crowd gathered near the stage, the familiar surf sound of Link Wray’s ‘Ace of Spades’ soon became a floor full of strollers to Shaun Sullivan’s exceptional guitar work (loving the authenticity of winding down the ‘E’ string for maximum Link-ness). Among the belters that followed, were covers of the Sonics ‘Shot Down’, Howlin’ Wolf’s ‘Little Red Rooster’ and Tommy Tucker’s ‘High Heel Sneakers’.
Song after song vied for the collective attention as ‘3 o’clock Baby’, ‘No Matter’, ‘Cheatin’ Man’ and ‘Shake Baby’ were rowdily cheered by the crowd. Craig Shaw’s wailing harmonica added to the bluesy rock-out sound, set to the striding basslines of Grez Sanders. An outstanding comeback from the Wolftones on a truly memorable night at Chesterfield.
Gallery images below, click on them for full sized pic
They announced themselves with the ballsy growling sound of ‘Hot Rod Car’ and ‘Big Train Rollin’. As the crowd gathered near the stage, the familiar surf sound of Link Wray’s ‘Ace of Spades’ soon became a floor full of strollers to Shaun Sullivan’s exceptional guitar work (loving the authenticity of winding down the ‘E’ string for maximum Link-ness). Among the belters that followed, were covers of the Sonics ‘Shot Down’, Howlin’ Wolf’s ‘Little Red Rooster’ and Tommy Tucker’s ‘High Heel Sneakers’.
Song after song vied for the collective attention as ‘3 o’clock Baby’, ‘No Matter’, ‘Cheatin’ Man’ and ‘Shake Baby’ were rowdily cheered by the crowd. Craig Shaw’s wailing harmonica added to the bluesy rock-out sound, set to the striding basslines of Grez Sanders. An outstanding comeback from the Wolftones on a truly memorable night at Chesterfield.
Gallery images below, click on them for full sized pic
Next up at Chesterfield
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Vinyl night in Lincolnshire
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Click the photo to take you to the Want2JIve website
Mid-February we took a trip to Chesterfield to experience one of the newest move schools on the block. Want2jive is the brain child of Dave Baxter and Louise Davison, and this particular class was as a result of a collaboration between themselves and Chesterfield
Rock n roll club.
As many may know I haven't had jive lessons (yes, yes, I've heard it all before, thank you). And its many years since June has. What's changed in that time? On our arrival it was clear that the crowd in Derbyshire have an appetite for learning as they turned out in significant numbers for the inaugural lesson. Some may have been taking the dance floor for the first time, others familiarising themselves with the moves second time around.
The lesson began with the strains of the Chordettes "Sh-Boom' and Little Joe and the Thrillers 'Peanuts". A more sedate pace than many might expect, but this allowed the couples to get used to holds with each other and basic rock steps. That quickly became a more involved "send and return" move as one might call, a classic move. All this was presented in a convivial and light humoured way from the stage. By the end of the first hour, over fifteen couples had the initial moves down to a 'T'.
The two left feet concept I don't actually think exists, as all the novices hardly looked like this was their first foray onto a dancefloor. A third phase followed to give everyone some content for the following record hop provided by Andy Barker. The final part of the lesson spun to the super-cool sound of Ruth Brown's ‘Jack of Diamonds’ and Ray Collins' ‘Barefoot’.
A really chilled but informative class, and over thirty people left with the Chordettes etched into their collective memories
I used to love “Sh Boom” 😊 ...........
Rock n roll club.
As many may know I haven't had jive lessons (yes, yes, I've heard it all before, thank you). And its many years since June has. What's changed in that time? On our arrival it was clear that the crowd in Derbyshire have an appetite for learning as they turned out in significant numbers for the inaugural lesson. Some may have been taking the dance floor for the first time, others familiarising themselves with the moves second time around.
The lesson began with the strains of the Chordettes "Sh-Boom' and Little Joe and the Thrillers 'Peanuts". A more sedate pace than many might expect, but this allowed the couples to get used to holds with each other and basic rock steps. That quickly became a more involved "send and return" move as one might call, a classic move. All this was presented in a convivial and light humoured way from the stage. By the end of the first hour, over fifteen couples had the initial moves down to a 'T'.
The two left feet concept I don't actually think exists, as all the novices hardly looked like this was their first foray onto a dancefloor. A third phase followed to give everyone some content for the following record hop provided by Andy Barker. The final part of the lesson spun to the super-cool sound of Ruth Brown's ‘Jack of Diamonds’ and Ray Collins' ‘Barefoot’.
A really chilled but informative class, and over thirty people left with the Chordettes etched into their collective memories
I used to love “Sh Boom” 😊 ...........
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Exceptional line up at the Rockabilly Rave. Don't delay in booking folks, luxury chalets are sold out already. Click on the flyer for details
Online booking is now open for the 25th Rhythm Riot. And what a line up folks. Click on the flyer for further details
hemsby #66
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Your host Bill Guntrip
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Anthony Smith of Relentless
Clickety click, just like that, it’s Hemsby number 66. Good grief, I didn’t mean to sound like Harry Hill, anyway. All roads led to North Norfolk, through the craziest of weather, snow, rain and tempest, for a top looking line up courtesy of Bill Guntrip’s Enterprise. Although the Thursday featured a DJ pre-party, we could only get there in time for the Friday shenanigans. The accommodation at this camp is really rather good you know, however it’s a base for us and we weren’t long turning ourselves around for the start of the live acts
The opening live band, Relentless, were no strangers to the crowd, with Anthony Smith slinging his trusty Gretsch White Falcon, drummer Luke Fletcher and bassist Dan Clark. The set list drew in styles from a wide range, which were presented in a lively and exuberant fashion. They announced their arrival with ‘She’s Gone Away’ with ‘Hard Knocks’ and Ricky Nelson’s ‘My One Desire’.
Here's a taste of the variety in the set, taking Cliff’s ‘Dancing Shoes’ and mixing it with John Mayall & The Blue Breakers ’66 cut, ‘Looking Back’, and out and out Rockabilly classic in the shape of Wayne Walker’s ‘All I Can Do Is Cry’ and Irma Thomas’ ‘Breakaway’ from 1964, and the Prince penned ‘Nothing Compares 2 U’. Offset those with standards like ‘Rebound’ and top bopper ‘Your Baby Blue Eyes’ and you have an idea of how diverse the song selection was. Friday arrivals certainly had a loud, proud, and rocking start to the weekend.
The opening live band, Relentless, were no strangers to the crowd, with Anthony Smith slinging his trusty Gretsch White Falcon, drummer Luke Fletcher and bassist Dan Clark. The set list drew in styles from a wide range, which were presented in a lively and exuberant fashion. They announced their arrival with ‘She’s Gone Away’ with ‘Hard Knocks’ and Ricky Nelson’s ‘My One Desire’.
Here's a taste of the variety in the set, taking Cliff’s ‘Dancing Shoes’ and mixing it with John Mayall & The Blue Breakers ’66 cut, ‘Looking Back’, and out and out Rockabilly classic in the shape of Wayne Walker’s ‘All I Can Do Is Cry’ and Irma Thomas’ ‘Breakaway’ from 1964, and the Prince penned ‘Nothing Compares 2 U’. Offset those with standards like ‘Rebound’ and top bopper ‘Your Baby Blue Eyes’ and you have an idea of how diverse the song selection was. Friday arrivals certainly had a loud, proud, and rocking start to the weekend.
The Blasting Caps
Next up and a complete gear switch, with the Blasting Caps from London (ish). It was our introduction to the band and their sound. Al Zioli takes the main share of the vocals, as well as guitar duties, with Dave Raven on bass fiddle, wailing sax from Thomas Maguire, Max Newman on drums and on keyboards, Johnnie Leacock. The style is just an exquisite rhythm & blues and jump jive sound, full resonance and super tight.
The introduction was an effervescent instrumental composed by the band, which led into the classic Louis Jordan dancer from 1946 ‘Caldonia’.
The Nite Riders’ ‘Women and Cadillacs’, a frenetic rocker from ’54 had the crowd bouncing, and Bullmoose Jackson’s saucy lyrics of ‘Nosey Joe’ was just ace, musically and vocally.
They write and perform a pretty good song too, with ‘Watch Out’ and ‘Let’s Rock’ both making you think they were tracks that had been discovered in an Atlantic/Apollo/King vault somewhere. The classics were exactly that, Joe Turner’s ‘Jump For Joy’, ‘Train Kept a’Rollin’ in the Tiny Bradshaw style, a top drawer take on Young Jessie’s ‘Hit Git and Split’. I can’t speak highly enough of this band’s attention to detail musically and vocally, which produced such a well-executed sound, resulting in a jump-jive utopia.
The introduction was an effervescent instrumental composed by the band, which led into the classic Louis Jordan dancer from 1946 ‘Caldonia’.
The Nite Riders’ ‘Women and Cadillacs’, a frenetic rocker from ’54 had the crowd bouncing, and Bullmoose Jackson’s saucy lyrics of ‘Nosey Joe’ was just ace, musically and vocally.
They write and perform a pretty good song too, with ‘Watch Out’ and ‘Let’s Rock’ both making you think they were tracks that had been discovered in an Atlantic/Apollo/King vault somewhere. The classics were exactly that, Joe Turner’s ‘Jump For Joy’, ‘Train Kept a’Rollin’ in the Tiny Bradshaw style, a top drawer take on Young Jessie’s ‘Hit Git and Split’. I can’t speak highly enough of this band’s attention to detail musically and vocally, which produced such a well-executed sound, resulting in a jump-jive utopia.
Jimmy Dale Richardson
Finally for Friday, Jimmy Dale Richardson. A couple of things we didn’t know before the show. Firstly, the set wasn’t all, ‘Heartaches and Honkytonks’, and secondly Jimmy’s heritage is one heck of a yardstick (grandfather was Hubert Pearce, cousin to Webb Pierce and the Wilburn Brothers).
His backing band for the night at Hemsby were Neil Roope on upright bass, with Ian Speller on lead guitar and the ubiquitous Mark Kemlo on drums. Jimmy has a great voice, adapted so well to classic Rockabilly tunes, and his own music, like the opener ‘Black Car’, a rip-roaring jangling guitar rocker, from that afore mentioned 2016 release.
Most of the remainder of the set was a masterclass in performing classic Rockabilly, in the most authentic style. ‘Dig The Boogie’, Buddy Holly’s ‘Don’t Come Back Knocking’, Stick McGhee’s 1949 couldn’t-care-less ditty ‘Drinking Wine Spo-Dee-O-Dee’ and the wonderful ‘Purr Kitty Purr’ (Sid King & The Five Strings). Mixed in with those, ’58 Buick’, a cracking Jerry Lee Lewis styled rock-out, and the sinister sounding ‘Live By The Gun “Die by the Rope”. Add in a belting (see what I did there) version of ‘Shot Down’ in the Nick Curran fashion. Ray Harris’ ‘C’mon Little Mama’, Rusty York’s ‘Sugaree’ and Jack Guthrie’s ‘Oakie Boogie’ all got the Jimmy Dale treatment with reverence and an A-grade performance.
His backing band for the night at Hemsby were Neil Roope on upright bass, with Ian Speller on lead guitar and the ubiquitous Mark Kemlo on drums. Jimmy has a great voice, adapted so well to classic Rockabilly tunes, and his own music, like the opener ‘Black Car’, a rip-roaring jangling guitar rocker, from that afore mentioned 2016 release.
Most of the remainder of the set was a masterclass in performing classic Rockabilly, in the most authentic style. ‘Dig The Boogie’, Buddy Holly’s ‘Don’t Come Back Knocking’, Stick McGhee’s 1949 couldn’t-care-less ditty ‘Drinking Wine Spo-Dee-O-Dee’ and the wonderful ‘Purr Kitty Purr’ (Sid King & The Five Strings). Mixed in with those, ’58 Buick’, a cracking Jerry Lee Lewis styled rock-out, and the sinister sounding ‘Live By The Gun “Die by the Rope”. Add in a belting (see what I did there) version of ‘Shot Down’ in the Nick Curran fashion. Ray Harris’ ‘C’mon Little Mama’, Rusty York’s ‘Sugaree’ and Jack Guthrie’s ‘Oakie Boogie’ all got the Jimmy Dale treatment with reverence and an A-grade performance.
Hemsby dot….dot. Best tracks in the world ever ever to shake your rattle and roll for this Hemsby are Ronnie Hawkins’ ‘My Heart Cries’, Ben Joe Zeppa’s ‘Topsy Turvy’ and ‘Look Out Heart (Here Comes Love) by Billy Brown……..We left home with four inches of snow on the ground, followed a tanker for fifteen miles getting showered with grime, shaded eyes from the sun, all but skated out of our caravan on Friday night, sheltered from rain, nearly got blown to Caister and basked in warm sunshine (ok I made that last one up). The weather was as varied as the Hemsby line up!…….DJs for the weekend also played a wide variety of tunes. It was a treat once again to see the Flat Top Brothers, Mark and Dave, on fine form, the dependable Tojo always finding a nugget that has the crowd Shazaming/Soundhounding (other song recognition apps are available). Courtney Oakes and Cat Talk Lee’s Sunday sets, the return of Dave Crozier with his treasure chest of delights. Add into the mix, Danny Brown, Steve Stack o Wax, Simon Tugwell, Martin Chandler, Jimmy, George and Bill Guntrip, and you have the largest cross section of styles for our dancing delectation……
The Redcatz
Saturday began mid-afternoon with the Redcatz performing some of the best-known Rock n Roll tracks out there. This trio consists of Dennis Preston on lead guitar and vocals, Mark Hardwick on bass & vocals and drummer Colin Brown, who also pitches in with vocals.
A tight sounding trio, and a set list choc full of classics like Eddie Cochran’s ‘Twenty Flight Rock’, the anthemic ‘Shake Rattle and Roll’, a couple of Stray Cats standards, ‘Stray Cat Strut’ and ‘Rock This Town’ (often referred to as ‘up-to-date’ but actually from 1981….) and the Man In Black’s ‘Folsom Prison Blues’
Two definitive surf sound instrumentals also made the show, the rip-roaring ‘Wipe Out’ and Dick Dale’s ‘Miserlou’. ‘Rip It Up’, ‘Teenage Boogie’, ‘Rockabilly Boogie’ and ‘Flip Flop and Fly’ also hit the spot with the crowd, in a show that demonstrated the band’s style to a ‘T’.
A tight sounding trio, and a set list choc full of classics like Eddie Cochran’s ‘Twenty Flight Rock’, the anthemic ‘Shake Rattle and Roll’, a couple of Stray Cats standards, ‘Stray Cat Strut’ and ‘Rock This Town’ (often referred to as ‘up-to-date’ but actually from 1981….) and the Man In Black’s ‘Folsom Prison Blues’
Two definitive surf sound instrumentals also made the show, the rip-roaring ‘Wipe Out’ and Dick Dale’s ‘Miserlou’. ‘Rip It Up’, ‘Teenage Boogie’, ‘Rockabilly Boogie’ and ‘Flip Flop and Fly’ also hit the spot with the crowd, in a show that demonstrated the band’s style to a ‘T’.
The Tex Speed Combo
For those who love purely performed Rockabilly with a barrowload of nuttiness, the Tex Speed Combo fit that description perfectly. The four piece is headed by the inscrutable Mark ‘Ellie’ Ellington, on vocals, rhythm guitar, and things that go ‘ding’ & rattle. He’s backed by the meticulousness of Paul Murphy’s lead guitar skills, Andy Zikez on upright and occasionally (fanfare: dun dun daaaaaa) electric bass guitar, with Paul O’Donnell behind the cans. The show is as visual as it is musical, opening up with ‘Honky Tonk Man’ and Dennis Herrold’s ‘Make With The Lovin’.
With Ellie slipping and sliding about the stage, strumming frantically on his acoustic guitar, the gems kept on coming. And take it from us, the show is not reliant on comedic moves and jokes, there’s genuine skill and aptitude on show. ‘Lights Out Baby’, Bob Luman’s ‘Buttercup’ and Dale Hawkins’ ‘Worried About You Baby’ all rocked out with an appreciable attention to musical detail. ‘Mary Ann’ and ‘Lou Ann’ kept up the quality going, and ‘Go Girl Go’ was a delight.
I guess there are two tracks the Combo are best known for, and Gene’s ’66 London release, ‘Bird Doggin’ once again hit the high and goldens, with some smashing wailing harmonica. Despite several denials that they would do their cover of Round Robin’s ’65 ‘I’m The Wolf Man’, they did reprise it for the encore, with suitable growls in just the right places, along with audience participation. Excellent set once again from the Tex Speed Combo.
With Ellie slipping and sliding about the stage, strumming frantically on his acoustic guitar, the gems kept on coming. And take it from us, the show is not reliant on comedic moves and jokes, there’s genuine skill and aptitude on show. ‘Lights Out Baby’, Bob Luman’s ‘Buttercup’ and Dale Hawkins’ ‘Worried About You Baby’ all rocked out with an appreciable attention to musical detail. ‘Mary Ann’ and ‘Lou Ann’ kept up the quality going, and ‘Go Girl Go’ was a delight.
I guess there are two tracks the Combo are best known for, and Gene’s ’66 London release, ‘Bird Doggin’ once again hit the high and goldens, with some smashing wailing harmonica. Despite several denials that they would do their cover of Round Robin’s ’65 ‘I’m The Wolf Man’, they did reprise it for the encore, with suitable growls in just the right places, along with audience participation. Excellent set once again from the Tex Speed Combo.
Los Diablos
Following the earthy Rockabilly sounds of the Tex Speed Combo, were Los Diablos, made up of a couple of the lads from the erstwhile band, the Neutronz. Two electric guitars, upright bass and drums, rattling out loud & proud Rock ‘n’ Roll in a 1950’s and early ‘60’s style. A self titled tune, ‘Los Diablos’ opened the show followed by a clutch of more modern-day classics, like JD McPherson’s ‘Dimes for Nickles’, Ronnie Dawson’s ‘Monkey Beat City’, and a thundering rocker ‘Lusty Lil Lucy’ in the Nick Curran and the Lowlifes style.
Billy Fury’s ‘Wondrous Place’ added a little light and shade in the middle of rock-ribbed tunes ‘You Don’t Love Me’, ‘Have Love Will Travel’ and ‘Dirty Old Man’. I think ‘Green River’, which also made an appearance was a Creedence Clearwater Revival tune, but I’m sure if I’m mistaken, I’ll get to know. Topping it all off, another from the Blonde Bomber in the shape of the raucous ‘Up Jumped the Devil’. Pretty good sound from these guys folks
Billy Fury’s ‘Wondrous Place’ added a little light and shade in the middle of rock-ribbed tunes ‘You Don’t Love Me’, ‘Have Love Will Travel’ and ‘Dirty Old Man’. I think ‘Green River’, which also made an appearance was a Creedence Clearwater Revival tune, but I’m sure if I’m mistaken, I’ll get to know. Topping it all off, another from the Blonde Bomber in the shape of the raucous ‘Up Jumped the Devil’. Pretty good sound from these guys folks
Emilio Santoro
Early evening on Saturday, here’s Emilio Santoro. Originally from Weston-Super-Mare, Emilio is, simply put, an Elvis Presley Tribute Artist, which personally we make a distinction between an impersonator. A young fellow with immense talent and the ‘look’ without the blatant pastiche of some acts. The sharpness of his red jacket, brightly-coloured patterned shirt, black pegs and white bucks combination, immediately hit the mark visually, but what about the actual act.
He was backed by a stellar outfit, Joe Newbon on lead guitar, Elliot Savage on keyboards, bassist Peter Lawson and Mark Kemlo keeping it real on the cans. The set list, was a just the ticket for the Hemsby audience, whether it was tailored for them I’m unsure, but it was spot on. ‘Money Honey’ grabbed the attention, with ‘Mystery Train’ rocking out and ‘Blue Moon of Kentucky’ expertly delivered. He had the moves which came with a natural effortless and confident swagger, and a vocal delivery that transcended the over-used ‘uh huh’ nonsense many Elvis acts resort to.
That early, mid-fifties rawness, Sun sound, shone through in tracks like ‘I Don’t Care If The Sun Don’t Shine’ and ‘Just Because’, before the sentimental ’56 Lieber and Stoller composition ‘Love Me’ slowed it down a little. I believe that the ‘latest’ song he performed was ‘Slowly But Surely’ from Fun in Acapulco/Tickle Me soundtracks, or ‘What’d I Say’ from Viva Las Vegas. So, no anthems from 68, or Vegas shows, just kicking Elvis songs that we all know and love. ‘Dixieland Rock’ and ‘King Creole’ were particular standouts, first among equals even.
If you love the earlier Elvis material, this is the act to see. The precise balance between tribute and impersonation, with the moves and the stage presence adding to the enjoyment.
He was backed by a stellar outfit, Joe Newbon on lead guitar, Elliot Savage on keyboards, bassist Peter Lawson and Mark Kemlo keeping it real on the cans. The set list, was a just the ticket for the Hemsby audience, whether it was tailored for them I’m unsure, but it was spot on. ‘Money Honey’ grabbed the attention, with ‘Mystery Train’ rocking out and ‘Blue Moon of Kentucky’ expertly delivered. He had the moves which came with a natural effortless and confident swagger, and a vocal delivery that transcended the over-used ‘uh huh’ nonsense many Elvis acts resort to.
That early, mid-fifties rawness, Sun sound, shone through in tracks like ‘I Don’t Care If The Sun Don’t Shine’ and ‘Just Because’, before the sentimental ’56 Lieber and Stoller composition ‘Love Me’ slowed it down a little. I believe that the ‘latest’ song he performed was ‘Slowly But Surely’ from Fun in Acapulco/Tickle Me soundtracks, or ‘What’d I Say’ from Viva Las Vegas. So, no anthems from 68, or Vegas shows, just kicking Elvis songs that we all know and love. ‘Dixieland Rock’ and ‘King Creole’ were particular standouts, first among equals even.
If you love the earlier Elvis material, this is the act to see. The precise balance between tribute and impersonation, with the moves and the stage presence adding to the enjoyment.
Gizzelle
Should there be an act that would be worth the admission fee on their own, it would be Gizzelle, who took the stage next. The Wild Records recording artist, from California, is no stranger to these shores and indeed the Hemsby stage(s), and was making a welcome return for Bill Guntrip after headlining his debut weekender. Don’t let her small stature fool you folks, behind that infectious smile and tumbling locks of red hair, is a voice that could fill a stadium.
The backing for her was spot on, Pete Pritchard on bass, drummer Rob Tyler, Al Bland on sax, ace guitar picker Paul Gaskin and keyboardist Steve Croft.
As soon as the first few bars of Dee Dee Sharp’s ‘Deep Dark Secret’ resonated through the hall, the crowd were hooked. Her style is such that, she can switch between the scolding sound of Varetta Dillard’s ‘Scorched’ and Ronnie Love’s ‘Chills and Fever’, to the heart-melting ‘I Found a Love’. That song is a cover of The Falcons’ 1962 original, and is a standard within a Gizzelle set, as she mentions that it’s her favourite love song. It’s three minutes plus, of vocal perfection, that could bring a tear to a glass eye. And it brought the house down.
Back with the up-tempo stuff, we had ‘Blessed are the Tears’, a belting track along with ‘Sugar Coated Love’ and ‘I’m a Good Woman’, Barbara Lynn’s 1966 beauty. Etta James’ ‘Tough Lover’ rounded off the show, with a blast. The crowd weren’t going to let that be the last tune, and called her back for a well-deserved encore. It was a blues classic from 1935, ‘Baby Please Don’t Go’ and from her debut Wild Records single (get this) over fifteen years ago. Simply a sublime show!
The backing for her was spot on, Pete Pritchard on bass, drummer Rob Tyler, Al Bland on sax, ace guitar picker Paul Gaskin and keyboardist Steve Croft.
As soon as the first few bars of Dee Dee Sharp’s ‘Deep Dark Secret’ resonated through the hall, the crowd were hooked. Her style is such that, she can switch between the scolding sound of Varetta Dillard’s ‘Scorched’ and Ronnie Love’s ‘Chills and Fever’, to the heart-melting ‘I Found a Love’. That song is a cover of The Falcons’ 1962 original, and is a standard within a Gizzelle set, as she mentions that it’s her favourite love song. It’s three minutes plus, of vocal perfection, that could bring a tear to a glass eye. And it brought the house down.
Back with the up-tempo stuff, we had ‘Blessed are the Tears’, a belting track along with ‘Sugar Coated Love’ and ‘I’m a Good Woman’, Barbara Lynn’s 1966 beauty. Etta James’ ‘Tough Lover’ rounded off the show, with a blast. The crowd weren’t going to let that be the last tune, and called her back for a well-deserved encore. It was a blues classic from 1935, ‘Baby Please Don’t Go’ and from her debut Wild Records single (get this) over fifteen years ago. Simply a sublime show!
Jacob Tolliver
So where do you go from there? Jacob Tolliver employed most of the Gizzelle personnel to back him. Loosely put, he’s a pumping piano prodigy in the style of, although not exclusively to, Jerry Lee Lewis. Here’s a performer that’s self-taught, and has had a three-year run as the Killer in the Million Dollar Quartet.
Interestingly though, it was ‘I’m Walkin’, a track we identify more with the composer, Fats Domino, that opened the show. Jerry Lee recorded this track as late as 1972. From there the eighty-eight keys rang out classic after classic, like ‘High School Confidential’, ‘Breathless’ and ‘Great Balls of Fire’.
It was so good to also hear versions of Jerry Lee’s debut A and B side on Sun Records from 1956. ‘Crazy Arms’ and ‘End of the Road’ are pure vintage joy, and rubbed shoulders with ‘Working Man’s Blues’ from 1970 and ‘Wild One’ from ’74 (although it was recorded in ’58). Loved the mash-up of ‘Jenny Jenny’ which seamlessly became ‘Good Golly Miss Molly’ and ‘I Got a Woman’ without breaking stride. The second act of the night utilised ‘What’d I Say’ as their encore. Great stuff for a Saturday night
Interestingly though, it was ‘I’m Walkin’, a track we identify more with the composer, Fats Domino, that opened the show. Jerry Lee recorded this track as late as 1972. From there the eighty-eight keys rang out classic after classic, like ‘High School Confidential’, ‘Breathless’ and ‘Great Balls of Fire’.
It was so good to also hear versions of Jerry Lee’s debut A and B side on Sun Records from 1956. ‘Crazy Arms’ and ‘End of the Road’ are pure vintage joy, and rubbed shoulders with ‘Working Man’s Blues’ from 1970 and ‘Wild One’ from ’74 (although it was recorded in ’58). Loved the mash-up of ‘Jenny Jenny’ which seamlessly became ‘Good Golly Miss Molly’ and ‘I Got a Woman’ without breaking stride. The second act of the night utilised ‘What’d I Say’ as their encore. Great stuff for a Saturday night
King Joe and the Atlantics
Sunday afternoon already? How did that happen? Don’t ask me, it always seems that a weekender fizzes by. Need a shot of Rhythm and Blues, he says in a thinly veiled segue. And what better way to get things going than with one of the hottest R&B combos around the circuit at the moment, King Joe and the Atlantics.
Joe Newbon leads the band on guitar and vocals and together they produce top quality by the barrelful. They hit the ground running with a cover of Amos Milburn’s ‘Chicken Shack Boogie’, an excellently authentic rendition of the 1948 jump blues classic.
‘Set Him Free’ followed on, apparently the first time the guys had played this live on stage. This is an original track written by bassist Pete Lawson, and sounds just like it could’ve originated from Louis Jordan and the Tympany Five back catalogue, it’s that good. You could compare the two if you’d have like, with the band’s take on the infidelity driven ‘Ella Mae’ later in the set. Joining Joe in the combo were drummer Mark Kemlo, Pete Lawson on bass, Al Nichols and Nick Lunt on alto and baritone sax accordingly and Elliot Salvage tickling the ivories.
The swinging sounds continued with covers of Buddy Johnson’s ‘It’s Obdacious’ Solomon Burke’s ‘Be Bop Grandma’ a kick a*se workout of Tommy Ridgely’s ’54 Atlantic gem, ‘Jam Up’ and Jimmy McCracklin’s ‘One Track Love’. Lob in ‘Ain’t Gonna Stop All Night’ a Joe Newbon original too and you have a fine melting pot of ace R&B, executed in the finest style.
Joe Newbon leads the band on guitar and vocals and together they produce top quality by the barrelful. They hit the ground running with a cover of Amos Milburn’s ‘Chicken Shack Boogie’, an excellently authentic rendition of the 1948 jump blues classic.
‘Set Him Free’ followed on, apparently the first time the guys had played this live on stage. This is an original track written by bassist Pete Lawson, and sounds just like it could’ve originated from Louis Jordan and the Tympany Five back catalogue, it’s that good. You could compare the two if you’d have like, with the band’s take on the infidelity driven ‘Ella Mae’ later in the set. Joining Joe in the combo were drummer Mark Kemlo, Pete Lawson on bass, Al Nichols and Nick Lunt on alto and baritone sax accordingly and Elliot Salvage tickling the ivories.
The swinging sounds continued with covers of Buddy Johnson’s ‘It’s Obdacious’ Solomon Burke’s ‘Be Bop Grandma’ a kick a*se workout of Tommy Ridgely’s ’54 Atlantic gem, ‘Jam Up’ and Jimmy McCracklin’s ‘One Track Love’. Lob in ‘Ain’t Gonna Stop All Night’ a Joe Newbon original too and you have a fine melting pot of ace R&B, executed in the finest style.
MFC Chicken
Who knew there were so many songs about chicken? An odd way to start a review of a band, but MFC Chicken aren’t your average band. Spencer Evoy heads the lunacy on saxophone, reminding us of early John Cleese with the visual antics. Ravi on drums, Dan Criscoulo on lead guitar and Frankie Fuzilli Sr on bass make up the four piece. Let’s get the poultry tunes out the way first, ‘KFC’, the wonderfully themed ‘Voodoo Chicken’, ‘Talk About Chicken’, ‘Colonel Sanders’, ‘Chicken Crazy’ and ‘Chicken Rock’
The show could have been all about the visual buffoonery, however it doesn’t detract from the standard of the musicianship. I wonder about some of the origins of the titles an indeed the lyrics. Take ‘Spy Wail’ ‘Laundramatic’ and ‘Dirty Robber’ for example and indeed ‘F**k You, Me’ which is totally out to lunch, catchy and perplexing in equal parts. The shout-back vocals, the thundering bass guitar & drums in the engine room and the effortless delivery on lead guitar, had the crowd in raptures. Make it a meal!
The show could have been all about the visual buffoonery, however it doesn’t detract from the standard of the musicianship. I wonder about some of the origins of the titles an indeed the lyrics. Take ‘Spy Wail’ ‘Laundramatic’ and ‘Dirty Robber’ for example and indeed ‘F**k You, Me’ which is totally out to lunch, catchy and perplexing in equal parts. The shout-back vocals, the thundering bass guitar & drums in the engine room and the effortless delivery on lead guitar, had the crowd in raptures. Make it a meal!
The Extraordinaires
Mark Hall, Gabriel Fofie, Kojo Adisi and Trevor Worrell, The Extraordinaires. Nuff said? Well of course not. What a treat to have Sunday night at Hemsby and the traditional Doo Wop session. The band in place, consisting of Paul Gaskin on guitar, saxophonist Al Bland, bassist Pete Pritchard, Steve Croft on the eighty-eight keys and Rob Tyler drumming, were once again on top form.
They struck up to bring the guys on to the Treniers’ ‘Rockin’ is our Business’ and a massive reaction from the audience. The Extraordinaires looked sharp in their red trimmed white jackets and black slacks, as they launched into ‘Rock Bottom’, the Cues’ ‘Why’ and an inspiring recounting of the Orients’ ‘Shouldn’t I’.
The Prisonaires, (now there’s a story if you want to look up the original band), recorded some super vocal harmony on Sun Records, and (I believe) their last on the label, was ‘Don’t Say Tomorrow’. Originally an ‘almost’ a cappella song, the Extraordinaires delivered it superbly. Also hitting the high spots was the exceptional cover of the Flamingos’ ‘I Only Have Eyes For You’, see also ‘Earth Angel’ and ‘Goodnight Sweetheart’. Plenty of audience participation in the Marcels’ ‘Blue Moon’ and the Blenders’ x-rated version of ‘Don’t Play Around With Love’ (substitute ‘play’ readers), raised an eyebrow.
The Flairs ‘She Loves To Rock’ concluded the set, although the noise soon brought them back for their own ‘Rock With You’ and a rousing encore for ‘Rocking is our Business’. Four guys on toppermost vocal form, presenting a peach of a set.
They struck up to bring the guys on to the Treniers’ ‘Rockin’ is our Business’ and a massive reaction from the audience. The Extraordinaires looked sharp in their red trimmed white jackets and black slacks, as they launched into ‘Rock Bottom’, the Cues’ ‘Why’ and an inspiring recounting of the Orients’ ‘Shouldn’t I’.
The Prisonaires, (now there’s a story if you want to look up the original band), recorded some super vocal harmony on Sun Records, and (I believe) their last on the label, was ‘Don’t Say Tomorrow’. Originally an ‘almost’ a cappella song, the Extraordinaires delivered it superbly. Also hitting the high spots was the exceptional cover of the Flamingos’ ‘I Only Have Eyes For You’, see also ‘Earth Angel’ and ‘Goodnight Sweetheart’. Plenty of audience participation in the Marcels’ ‘Blue Moon’ and the Blenders’ x-rated version of ‘Don’t Play Around With Love’ (substitute ‘play’ readers), raised an eyebrow.
The Flairs ‘She Loves To Rock’ concluded the set, although the noise soon brought them back for their own ‘Rock With You’ and a rousing encore for ‘Rocking is our Business’. Four guys on toppermost vocal form, presenting a peach of a set.
Jack Baymoore
The final live act for the weekend, was Sweden’s finest, Jack Baymoore and the Bandits. First appearing at Hemsby in the late 1990’s, they were ready to rock as soon as the introductory applause had died down with the kicking Rockabilly track ‘Move On’.
A big chunk of the set was from their debut album, ‘AV8 Boogie’, from 1997, which prompted nostalgia for some of a certain vintage in the room. ‘Chattanooga Girl’, ‘Rock ‘n’ Roll Riot’, ‘Miss Popcorn Machine’, ‘Fireball Roberts’ and ‘Drunk Tank Boogie’, were a masterclass in modern day Rockabilly delivery.
Covers were few in this set which is by no means a bad thing, however we must flag up a smashing rendering of the Frankie Miller, Starday 1959 recording ‘True Blue’, which was a guitar joy as well as vocally. Charlie Feathers’ ‘One Hand Loose’ also got the Bandit overhaul to great effect.
I doubt that there will ever be a Jack Baymoore set that didn’t contain their seminal classic ‘AV8 Boogie’, a track that has cool lyrics and a cracking bop beat. A top drawer way to end the live acts for the weekender.
Another varied and vibrant Hemsby came to an end with the promise of a further stellar line up for #67, which was being booked by those departing on Monday morning. Don’t miss it folks
Gallery images below, click on them for full sized pics
A big chunk of the set was from their debut album, ‘AV8 Boogie’, from 1997, which prompted nostalgia for some of a certain vintage in the room. ‘Chattanooga Girl’, ‘Rock ‘n’ Roll Riot’, ‘Miss Popcorn Machine’, ‘Fireball Roberts’ and ‘Drunk Tank Boogie’, were a masterclass in modern day Rockabilly delivery.
Covers were few in this set which is by no means a bad thing, however we must flag up a smashing rendering of the Frankie Miller, Starday 1959 recording ‘True Blue’, which was a guitar joy as well as vocally. Charlie Feathers’ ‘One Hand Loose’ also got the Bandit overhaul to great effect.
I doubt that there will ever be a Jack Baymoore set that didn’t contain their seminal classic ‘AV8 Boogie’, a track that has cool lyrics and a cracking bop beat. A top drawer way to end the live acts for the weekender.
Another varied and vibrant Hemsby came to an end with the promise of a further stellar line up for #67, which was being booked by those departing on Monday morning. Don’t miss it folks
Gallery images below, click on them for full sized pics
Here's the next Hemsby line up
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Juniper Fayre at their new venue
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cd review
Shake ‘Em On Down Vol 9 – Various Artists
OK before we get the avalanche of comments, we know that there has been a few more ‘Shake ‘Em On Down’ volumes since Vol 9. This one however, is being reissued, after it’s original release was a limited press. And many will be saying, ‘thank heavens for that’ if they missed out first time around. The ‘Shake ‘Em On Down’ series is a collection of thumping Blues boppers, collated and compiled by Flat Top Mark. Some tunes are unissued and others are alternate takes, and occasionally there’s a remix/mash up.
Samuel Gene Maghett (1937-69) known as Magic Sam, opens the track listing with an epic version of ‘Feelin’ Good’, a cover of Little Junior Parker’s 1953 Sun cut. Four- and three-quarter minutes of feelin’ good folks. There are three R. L. Burnside tracks on the CD. Burnside (1926-2005) had a powerful and expressive voice, having recorded and played music virtually all of his life. ‘Georgia Woman’ is an electric guitar masterpiece, while ‘Four Women’ has a more guitar and voice mimicking vibe. ’44 Pistol’ is two and a half minutes of hollering heaven, and a fitting concluding track for the CD.
‘Running Shoes’ was a song familiar to us, but admittedly, Juke Boy Bonner wasn’t. His life was cut short aged just 46 in 1978. He was pretty much a one-man band, accompanying himself on guitar, drums and harmonica, to terrific effect on this track. Now if it’s pure class you want, look no further than John Lee Hooker (1917/20 – 2001). He has three tracks on the CD as well starting with ‘Henry’s Swing Club’ on which he revisits the style of ‘Boogie Chillun’ and ‘Huckle Up Baby’ with the foot stomping rhythm to his jangling guitar. Hooker’s biggest UK hit single ‘Boom Boom’ appears here, this version featuring Big Head Todd and the Monsters. I dunno folks, it’s a bit like silver plating a gold bar with the ‘Bang Bang Bangs’, but hey if that’s your groove, have at it. The last Hooker tune is ‘I Feel Good (part 2)’ a pacy electric bass driven house rocker, which of course, is superb.
How many readers have left a dance-floor gasping for air after a bop fest to Slim Harpo’s ‘Shake Your Hips’? This could tip you over the edge readers as it’s the 12” Shake Down cut and four minutes long. The familiar beat of ‘Casting My Spell’ picks up nicely, this take is by the Spellbinders, and their only single release from 1965. Also from the mid-60’s, Donnie Jacobs and ‘If You Want Good Lovin’, which has a similar rhythm and style to John Fred’s ‘Boogie Children’.
Some live stuff next with Richard Johnson’s ‘Miss Maebelle’ from 2002/3, a cracking four- and three-quarter minute delight. More class from one of the original Blues pioneers, Chester Arthur Bennett, Howlin’ Wolf. The first of his two entries is an unreleased track ‘You Can’t Put Me Out’ which immediately put us in mind of the classic ‘Smokestack Lightning’ . The second ‘Poor Boy’ is a Chess Records standout, employing guitar and harmonica and Wolf’s unmistakeable vocal delivery that seemed to emanate all the way from his boots to the top of his six-foot plus, 300lb frame. Outstanding.
Another unreleased live track, this time by Dr (Isaiah) Ross (1925-93) showcases the Harmonica Boss’ catchy style (he often performed as a one man band). ‘Dr Ross Stomp’ has a similar resonance to a lot of his output, but it’s great nonetheless. Rock n Roll Hall of Famer Jimmy Reed (1925-76) weighs in with the mid-60’s oddly titled ‘Two Ways To Skin a Cat’. The energetic harmonica style of Sonny Terry (1911-86) combined with Brownie McGhee (1915-96) performed together for forty years. Here is another of their tracks ‘Uncle Bud’, that FTM has found an alternative version of. Super bounce on this one, readers. Al Smith and Willie Dixon wrote one of the finest Blues standards, ‘Big Boss Man’, showcased here by Little Willie Brown on what was his last single in 1969, with some cool slide sounds.
The Pretty Things were a prolific band that ran from 1963 to their final disbanding in 2018. ‘Honey I Need’ is from 1965/66, and is very much of that time. The single was quite successful, charting at #13 in the UK singles chart. Billy Boy Arnold’s ‘worked-with’ list is a veritable who’s-who of Blues music. ‘Crying and Pleading’ is the title track from his 1981 LP on Charly R&B label. Interesting rhythm on the bass here folks and ace lead guitar work. Some unmistakable guitar work on the next track as well, with the classic ‘shave and a haircut for two bits’ style of Bo Diddley. His call and answer vocals on ‘Bo Diddley’s Hootenanny’ is so typical of him. Think this was from a 1965 LP.
Something that’s really out there, Southern Culture on the Skids, a rock band from North Carolina recorded the oddity ‘Two Pigs In A Blanket’, three minutes of wailing harmonica and distorted vocal odd-ballery. That sets up Ry Cooder, who is a top drawer guitarist, and demonstrates that brilliantly on the unreleased cut ‘Get Away’, which is a sumptuous instrumental.
Twenty-three chunks of blues bopping greatness, upholding the label as one of the most prominent in the reissue market. Get one while you can, you will not be disappointed if you love your blues with a bop beat.
Like what you see? Help us keep it free by popping a donation over by using the button below
OK before we get the avalanche of comments, we know that there has been a few more ‘Shake ‘Em On Down’ volumes since Vol 9. This one however, is being reissued, after it’s original release was a limited press. And many will be saying, ‘thank heavens for that’ if they missed out first time around. The ‘Shake ‘Em On Down’ series is a collection of thumping Blues boppers, collated and compiled by Flat Top Mark. Some tunes are unissued and others are alternate takes, and occasionally there’s a remix/mash up.
Samuel Gene Maghett (1937-69) known as Magic Sam, opens the track listing with an epic version of ‘Feelin’ Good’, a cover of Little Junior Parker’s 1953 Sun cut. Four- and three-quarter minutes of feelin’ good folks. There are three R. L. Burnside tracks on the CD. Burnside (1926-2005) had a powerful and expressive voice, having recorded and played music virtually all of his life. ‘Georgia Woman’ is an electric guitar masterpiece, while ‘Four Women’ has a more guitar and voice mimicking vibe. ’44 Pistol’ is two and a half minutes of hollering heaven, and a fitting concluding track for the CD.
‘Running Shoes’ was a song familiar to us, but admittedly, Juke Boy Bonner wasn’t. His life was cut short aged just 46 in 1978. He was pretty much a one-man band, accompanying himself on guitar, drums and harmonica, to terrific effect on this track. Now if it’s pure class you want, look no further than John Lee Hooker (1917/20 – 2001). He has three tracks on the CD as well starting with ‘Henry’s Swing Club’ on which he revisits the style of ‘Boogie Chillun’ and ‘Huckle Up Baby’ with the foot stomping rhythm to his jangling guitar. Hooker’s biggest UK hit single ‘Boom Boom’ appears here, this version featuring Big Head Todd and the Monsters. I dunno folks, it’s a bit like silver plating a gold bar with the ‘Bang Bang Bangs’, but hey if that’s your groove, have at it. The last Hooker tune is ‘I Feel Good (part 2)’ a pacy electric bass driven house rocker, which of course, is superb.
How many readers have left a dance-floor gasping for air after a bop fest to Slim Harpo’s ‘Shake Your Hips’? This could tip you over the edge readers as it’s the 12” Shake Down cut and four minutes long. The familiar beat of ‘Casting My Spell’ picks up nicely, this take is by the Spellbinders, and their only single release from 1965. Also from the mid-60’s, Donnie Jacobs and ‘If You Want Good Lovin’, which has a similar rhythm and style to John Fred’s ‘Boogie Children’.
Some live stuff next with Richard Johnson’s ‘Miss Maebelle’ from 2002/3, a cracking four- and three-quarter minute delight. More class from one of the original Blues pioneers, Chester Arthur Bennett, Howlin’ Wolf. The first of his two entries is an unreleased track ‘You Can’t Put Me Out’ which immediately put us in mind of the classic ‘Smokestack Lightning’ . The second ‘Poor Boy’ is a Chess Records standout, employing guitar and harmonica and Wolf’s unmistakeable vocal delivery that seemed to emanate all the way from his boots to the top of his six-foot plus, 300lb frame. Outstanding.
Another unreleased live track, this time by Dr (Isaiah) Ross (1925-93) showcases the Harmonica Boss’ catchy style (he often performed as a one man band). ‘Dr Ross Stomp’ has a similar resonance to a lot of his output, but it’s great nonetheless. Rock n Roll Hall of Famer Jimmy Reed (1925-76) weighs in with the mid-60’s oddly titled ‘Two Ways To Skin a Cat’. The energetic harmonica style of Sonny Terry (1911-86) combined with Brownie McGhee (1915-96) performed together for forty years. Here is another of their tracks ‘Uncle Bud’, that FTM has found an alternative version of. Super bounce on this one, readers. Al Smith and Willie Dixon wrote one of the finest Blues standards, ‘Big Boss Man’, showcased here by Little Willie Brown on what was his last single in 1969, with some cool slide sounds.
The Pretty Things were a prolific band that ran from 1963 to their final disbanding in 2018. ‘Honey I Need’ is from 1965/66, and is very much of that time. The single was quite successful, charting at #13 in the UK singles chart. Billy Boy Arnold’s ‘worked-with’ list is a veritable who’s-who of Blues music. ‘Crying and Pleading’ is the title track from his 1981 LP on Charly R&B label. Interesting rhythm on the bass here folks and ace lead guitar work. Some unmistakable guitar work on the next track as well, with the classic ‘shave and a haircut for two bits’ style of Bo Diddley. His call and answer vocals on ‘Bo Diddley’s Hootenanny’ is so typical of him. Think this was from a 1965 LP.
Something that’s really out there, Southern Culture on the Skids, a rock band from North Carolina recorded the oddity ‘Two Pigs In A Blanket’, three minutes of wailing harmonica and distorted vocal odd-ballery. That sets up Ry Cooder, who is a top drawer guitarist, and demonstrates that brilliantly on the unreleased cut ‘Get Away’, which is a sumptuous instrumental.
Twenty-three chunks of blues bopping greatness, upholding the label as one of the most prominent in the reissue market. Get one while you can, you will not be disappointed if you love your blues with a bop beat.
Like what you see? Help us keep it free by popping a donation over by using the button below
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Here are your hosts from Razzle Dazzle Vintage, April and Andy Birdseye. Catch them at many of the premier festivals in the UK or click on the flyer to the left to visit their website
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Racketeer Radio brings you the New Golden Age of Radio with over 20 scheduled radio programs from around the world, airing each week. Racketeer Radio features the longest running radio program on air, favorite radio programs from 1930s - 1950s as well as the latest programs in the vintage revival.
Hear your favorite classics, along with the newest released tunes from Big Band, Swing, Jump Rhythm and Blues to Lounge, Rockabilly and More. In the Racketeer Radio App find News, Updates, Events and More, go to linktr.ee/RacketeerRadio. |
Want to know what's going on? Click on this pic to take you to the Rock n Roll Gig Guide
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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.
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.
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:-
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email:- [email protected]
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Cheers 'til next month
Andrew and June
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. This is the way we can continue beyond 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.
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.
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
