the bettajive review magazine #32
LP and His Dirty White Bucks at Chesterfield, reviewed below
Welcome one and all, to our 32nd issue of our magazine. We welcome the continuing stream of new readers, enjoy our take on the Rock n Roll scene, the music and the festivals. Advertisers, there's still time to get your ad in this issue, just drop us a line at [email protected], details at the bottom of this page
In this issue, we review two gigs at Chesterfield, and The Oakie Boogie at Gedney Dyke. We review the latest releases from FTM, Nobster, Toto and the Raw Deals, Alan Power, The Hicksville Bombers, Lady Luck Lexy and the Riverside Boys, King Joe and the Atlantics, The Houserockers, and Mischief! Our big interview is with KC Byrd, you don't want to miss that.
Those readers expecting to read about Hot Rock n Boogie #4, that will be next issue, check back in a week or two (or three)
If you like what you see, help us keep it free to read by popping us a donation over using the button below. Many thanks
In this issue, we review two gigs at Chesterfield, and The Oakie Boogie at Gedney Dyke. We review the latest releases from FTM, Nobster, Toto and the Raw Deals, Alan Power, The Hicksville Bombers, Lady Luck Lexy and the Riverside Boys, King Joe and the Atlantics, The Houserockers, and Mischief! Our big interview is with KC Byrd, you don't want to miss that.
Those readers expecting to read about Hot Rock n Boogie #4, that will be next issue, check back in a week or two (or three)
If you like what you see, help us keep it free to read by popping us a donation over using the button below. Many thanks
The Bettajive Review
Now on Discovery, it’s time for David Attleborough’s look at the homo sapien in their natural habitats. And some viewers may find some of the scenes upsetting, with strong language and adult humour from the start.
‘One two three o’clock four o’clock rock’ plays then fades. “Here, in the darkness of the miner’s welfare working man’s social club village hall venue type place, we observe the dimly lit, and often mysterious life, of the British Rock n Roller”. “A film, many years in the making, involving clandestine cinematography of some of the rarest individuals in this sub-culture, we can now show you their enthralling behaviour”.
Cut to scenes of dancing, a couple in an ‘embrace’, gangs of Teds walking loosely about, a grainy colour image of three lads mooning on a chalet roof at Caister weekender, Elvis, two girls lifting their tee shirts up, people jiving, bopping, strolling, a band playing on stage, classic cars, audience jumping up and down, The Treniers, a DJ cueing up the next track listening down a traditional phone receiver, males with beer photobombing a camera shot open mouthed and showing their tonsils going ‘Yaaaaaah!’, a guy slapping a bass on stage, two petrol-heads in a hot rod, Cavan Grogan, people looking at records, a fifties original artist wearing sunglasses on stage, blond girls, a frantic bopper, black haired girls, late night dancing, red haired girls, photos of Gene & Eddie, hot rods and a couple on a Triumph Bonneville driving off into the night.
“Darkness falls, and the earliest rockers are coming out for the evening, their carriages can be clearly heard through the darkness. Here comes ‘Rockrollus crinitus’, the Fluffy ones, and ‘Rockrollus spheara lepus’, the Spinning Bunny Rock n Roller. These two species, are often the first to the venue, for there are rich pickings to be claimed. One has claimed a parking space, while the females in their finest exaggerated plumage, make for the seating with the finest view of the performance area. Often, these females are the dominant of the species, and spread themselves and their plumage, across a variety of seats, to ensure exclusivity for later arrivals of the same species”.
“Next, we observe the arrival of ‘Rockrollus familia coetus’, the Rock n Roll family. This involves matriarchal and patriarchal attendance with their group of progenies, that also need constant feeding with both food, pop and entertainment. Some can be spilt into a subspecies ‘Rockrollus excrementum parvulus’, the ‘Little s**t Rock n Roller’ if left unchecked by the parents, as they run around the area, skidding on their knees. Fortunately, this is usually short lived though, as their energy levels diminish, along with the supply of brightly coloured sugary snake-like confectionary they bought with them, and they soon fall asleep. The rest of the Rockrollus, collectively rejoice.”
“The arrival of ‘Rockrollus pulchra populus’ Rock n Roll Beautiful People’ is the highlight of the evening, if only for the Beautiful People themselves. These pristinely attired, perfectly coiffured individuals, are effectively responsible for the continuation of the order, without which, the order would become extinct within a few decades (according to them anyway). Similarly, in the darkness, there suddenly appears a row of dark creatures, all similar in appearance. These are ‘Rockrollus edvvardiani attinere’, the Edwardian Rock n Roller. This species group also contains ‘Rockrollus corvus’ the crow, due to their dark grey/black/slate coloured attire, and ‘Rockrollus ridiculum est indumentis’ the Rock n Roller of ridiculous clothing, with its overly bright plumage.”
“The two sub species do not always co-exist very well together, as we observe ‘corvus’ eyeing the rest under the cover of a bottle of brown ale. This ale is the sustenance of ‘corvus’, and alternatives are not tolerated. Non conformers are often banished, along with those who don’t think Johnny Kidd is all that special”
“Territories have been set, but some have encroached, a chair has been commandeered and there’s a tension in the air, some express their distress by word, others by the baring of teeth (in the mouth, not the glass where they are usually kept). The chair that caused the problem is returned”.
“The arrival of ‘Rockrollus duplex bass’ and the rest of the band attract the attention of all Rockrollus species during the first few songs. Couples of ‘Spheara lepus’ take the floor, but as we see, they have left their territory vulnerable again. Luckily, none of the others have seen and another scene has been avoided.”
“Later as we observe, some Rockrollus species are departing, many stay. The thunderous music keeps them in the venue and even ‘pulchra populus’ and ‘corvus niger’ allow themselves a certain freedom to join the dance.” The shock of sudden illumination, heralds the end of the event, and all Rockrollus species make haste for their carriages, which disappear into the distance. That is……..until next month
Next week on Discovery, the motorized habebat vehentum of the 1960’s (‘all patches and mirrors’ for regular readers)
Ibentium, donec iterum
Him to her to him. Her:- ‘I’ve packed everything for the Hemsby, do you want to check it?’ Him: (checking) ‘What do we need hay fever remedy for? It’s in the middle of November’. Her:- ‘Well you never know.’ Him:- !
Now on Discovery, it’s time for David Attleborough’s look at the homo sapien in their natural habitats. And some viewers may find some of the scenes upsetting, with strong language and adult humour from the start.
‘One two three o’clock four o’clock rock’ plays then fades. “Here, in the darkness of the miner’s welfare working man’s social club village hall venue type place, we observe the dimly lit, and often mysterious life, of the British Rock n Roller”. “A film, many years in the making, involving clandestine cinematography of some of the rarest individuals in this sub-culture, we can now show you their enthralling behaviour”.
Cut to scenes of dancing, a couple in an ‘embrace’, gangs of Teds walking loosely about, a grainy colour image of three lads mooning on a chalet roof at Caister weekender, Elvis, two girls lifting their tee shirts up, people jiving, bopping, strolling, a band playing on stage, classic cars, audience jumping up and down, The Treniers, a DJ cueing up the next track listening down a traditional phone receiver, males with beer photobombing a camera shot open mouthed and showing their tonsils going ‘Yaaaaaah!’, a guy slapping a bass on stage, two petrol-heads in a hot rod, Cavan Grogan, people looking at records, a fifties original artist wearing sunglasses on stage, blond girls, a frantic bopper, black haired girls, late night dancing, red haired girls, photos of Gene & Eddie, hot rods and a couple on a Triumph Bonneville driving off into the night.
“Darkness falls, and the earliest rockers are coming out for the evening, their carriages can be clearly heard through the darkness. Here comes ‘Rockrollus crinitus’, the Fluffy ones, and ‘Rockrollus spheara lepus’, the Spinning Bunny Rock n Roller. These two species, are often the first to the venue, for there are rich pickings to be claimed. One has claimed a parking space, while the females in their finest exaggerated plumage, make for the seating with the finest view of the performance area. Often, these females are the dominant of the species, and spread themselves and their plumage, across a variety of seats, to ensure exclusivity for later arrivals of the same species”.
“Next, we observe the arrival of ‘Rockrollus familia coetus’, the Rock n Roll family. This involves matriarchal and patriarchal attendance with their group of progenies, that also need constant feeding with both food, pop and entertainment. Some can be spilt into a subspecies ‘Rockrollus excrementum parvulus’, the ‘Little s**t Rock n Roller’ if left unchecked by the parents, as they run around the area, skidding on their knees. Fortunately, this is usually short lived though, as their energy levels diminish, along with the supply of brightly coloured sugary snake-like confectionary they bought with them, and they soon fall asleep. The rest of the Rockrollus, collectively rejoice.”
“The arrival of ‘Rockrollus pulchra populus’ Rock n Roll Beautiful People’ is the highlight of the evening, if only for the Beautiful People themselves. These pristinely attired, perfectly coiffured individuals, are effectively responsible for the continuation of the order, without which, the order would become extinct within a few decades (according to them anyway). Similarly, in the darkness, there suddenly appears a row of dark creatures, all similar in appearance. These are ‘Rockrollus edvvardiani attinere’, the Edwardian Rock n Roller. This species group also contains ‘Rockrollus corvus’ the crow, due to their dark grey/black/slate coloured attire, and ‘Rockrollus ridiculum est indumentis’ the Rock n Roller of ridiculous clothing, with its overly bright plumage.”
“The two sub species do not always co-exist very well together, as we observe ‘corvus’ eyeing the rest under the cover of a bottle of brown ale. This ale is the sustenance of ‘corvus’, and alternatives are not tolerated. Non conformers are often banished, along with those who don’t think Johnny Kidd is all that special”
“Territories have been set, but some have encroached, a chair has been commandeered and there’s a tension in the air, some express their distress by word, others by the baring of teeth (in the mouth, not the glass where they are usually kept). The chair that caused the problem is returned”.
“The arrival of ‘Rockrollus duplex bass’ and the rest of the band attract the attention of all Rockrollus species during the first few songs. Couples of ‘Spheara lepus’ take the floor, but as we see, they have left their territory vulnerable again. Luckily, none of the others have seen and another scene has been avoided.”
“Later as we observe, some Rockrollus species are departing, many stay. The thunderous music keeps them in the venue and even ‘pulchra populus’ and ‘corvus niger’ allow themselves a certain freedom to join the dance.” The shock of sudden illumination, heralds the end of the event, and all Rockrollus species make haste for their carriages, which disappear into the distance. That is……..until next month
Next week on Discovery, the motorized habebat vehentum of the 1960’s (‘all patches and mirrors’ for regular readers)
Ibentium, donec iterum
Him to her to him. Her:- ‘I’ve packed everything for the Hemsby, do you want to check it?’ Him: (checking) ‘What do we need hay fever remedy for? It’s in the middle of November’. Her:- ‘Well you never know.’ Him:- !
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Dot….dot Best tracks in the world ever ever to pipe your patissiere for this month are Billy Walker’s ‘Leavin’ on my Mind’, Micky and Sylvia’s ‘No Good Lover’ and ‘Teen Street’ by Janis Martin……Night out, drive to a gig, enjoy the band, observe and photograph, dance, stand around yapping after the lights come on at the end, drive home, usually stopping somewhere for coffee and eats, get home at silly o’clock, and still awake. Night in, 9pm, zzzzzzzzz…..At this point I’d like to welcome everyone back from Google Translate, entering all the Latin words, which may or may not be correctly conjugated, and the taxonomists who could explain a lot away as being sub-species, not species within the same genus ……..Anyone reading the above in a Sir David Attenborough style, that is purely coincidental……. So who did put the Bomp in the Bomp a Bomp a Bomp a Bompa Bomp? And where did they get it from in the first place…… How rockin are you? I was in the post office the other day, and the sign said ‘wait here to be called’. A teller became available, and I didn’t wait, I went straight over. The rest of the queue gasped, ‘wow, he’s really rockin’…..Saw an ad for washing pods tonight, with Jerry Lee Lewis’ ‘Wild One’ as the backing music…….Oh, you who said you would never read this magazine, bet you’ve got this far……
Him to her to him. Him (singing Gene’s) ‘Beautiful beautiful brown eyes, Beautiful beautiful brown eeeeyes, Beautiful beautiful brown eyes, I’ll never love blue eyes again’. Her:- ‘I’ve got blue eyes, the only brown, is the stuff you’re now up to your neck in!’
Him to her to him. Him (singing Jerry Reed’s ‘Mister Whiz’) ‘Well they call me Mister Whiz ‘cos I’m the fastest there is…’ Her (gritted teeth) ‘Quite!’
Him to her to him. Him (singing) “I’m eating burnt toast and drinking black black coffee, burnt toast and drinking black black coffee, burnt toast and black black coffee, that’s all she left for meeeee” *whispers* ‘nothing new there then arf arf’ Her:- ‘I heard that!’. Him (damage limitation) ‘Baby face, you got the cutest little baby face’. Her:- ‘So have you, bald as an egg and no teeth!’
Him to Her to Him. Her (comes out of a chalet bedroom) ‘Do you like this top?’, Him:- ‘Yeah, looks great’, Her:- ‘No, do you really like this top?’ Him:- ‘Yes!’ Her:- ‘It doesn’t make me look fat?’ Him:- ‘No, it looks great’ Her:- (turns left and right to check profile in the mirror) ‘Does it make me look a bit saggy’, Him:- ‘No, it looks really good’, Her:- ‘You don’t like it do you?’, Him:- ‘YESSSSS!’ Her:- ‘You don’t like it do you, I wish you’d say so’ as she goes into the chalet bedroom. She returns in a different top. Her:- ‘Do you like this top?’ Him:- ‘No!’. She asked no more
Him to her to him. Him (wanting a dance) ‘Wanna do this?’ Her:- (perm one from the following) ‘It’s a bit slow, it’s a bit fast, the floor’s too crowded, no one else is dancing, that nutter is on the floor he wipes everyone else out, the band’s coming on, it’s a stroller, it’s a bopper, not this one again, don’t know this one, I haven’t got a drink.’
Her (wanting a dance) ‘Wanna do this?’ Him:- (perm one of the following) ‘Nah, it’s sh*t’
Him to Her to Him. Arriving at a weekender. Her:- Can you help me unpack these cases please.’ *silence* Her:- ‘Oi! Can you help me in the chalet please’. *silence* Her:- (looks outside at him talking to his mates) * Her:- ‘OI! Any chance of some help please’. Him:- ‘Yeah OK’ comes in closes the wardrobe door. Him:- ‘There you go love, I’m nipping to the pub now’……..
Him to Her to Him. At a weekender. Her:- I want a new pair of sandals, I’ll get some at that shoe stall, will you come and help me choose them please? Him (teeth gritted):- Yep OK. Her:- (at the stall) ‘I want a pair of sandals size 5 in blue please’. Assistant at stall goes and gets a pair, she tries them on Her:- ‘What do you think’ Him:- ‘I like them’, Her:- ‘Do you think they will go with my new blue and white dress’ Him:- ‘Yep’, Her:- ‘They’re not too blue then’, Him:- ‘What do you mean too blue?’ Her:- ‘Well that dress isn’t as blue as these are’, Him:- ‘Well ask for a lighter colour blue then’ Her:- ‘You’re supposed to be helping’ Him:- (asks for another lighter blue pair)
Her: ‘What about these then?’ Him:- ‘I like them if you like them’ Her:- ‘Yeah but you liked the other ones too’, Him:- ‘But you said they were too blue’, Her:- Yeah, hmmm, these are a bit too wishy washy blue’ Him:- ‘What the *foxtrot* is wishy washy blue?’ Her:- ‘You don’t understand do you, have they got them in white?’ Him (gets a white pair) ‘Try these’. Her:- ‘They’re a bit white aren’t they’ Him ‘A bit white?’ Her:- ‘You’re supposed to be helping. Oh go and look at the records, you’re no help at all’
Later by the records she approaches with a bag. Her:- ‘I got a pair’ Him:- ‘Oh yeah, what colour?’ Her:- ‘That first blue pair, they are a perfect match I reckon, what’s the matter with you, why are you nutting the table?’……..
Same scenario, but roles reversed. Him:- ‘My nubucks have spilt, I need a new pair’ Her:- ‘OK I’ll come with you’. Approach stall. Him:- ‘Scuse me mate, have you got a pair of white nubucks size 8 please?’ Assistant ‘Yes, here’. Him:-‘Thanks’ *hands money over* ‘and thanks for helping love’…..
That is all, as you were….
Him to her to him. Him (singing Gene’s) ‘Beautiful beautiful brown eyes, Beautiful beautiful brown eeeeyes, Beautiful beautiful brown eyes, I’ll never love blue eyes again’. Her:- ‘I’ve got blue eyes, the only brown, is the stuff you’re now up to your neck in!’
Him to her to him. Him (singing Jerry Reed’s ‘Mister Whiz’) ‘Well they call me Mister Whiz ‘cos I’m the fastest there is…’ Her (gritted teeth) ‘Quite!’
Him to her to him. Him (singing) “I’m eating burnt toast and drinking black black coffee, burnt toast and drinking black black coffee, burnt toast and black black coffee, that’s all she left for meeeee” *whispers* ‘nothing new there then arf arf’ Her:- ‘I heard that!’. Him (damage limitation) ‘Baby face, you got the cutest little baby face’. Her:- ‘So have you, bald as an egg and no teeth!’
Him to Her to Him. Her (comes out of a chalet bedroom) ‘Do you like this top?’, Him:- ‘Yeah, looks great’, Her:- ‘No, do you really like this top?’ Him:- ‘Yes!’ Her:- ‘It doesn’t make me look fat?’ Him:- ‘No, it looks great’ Her:- (turns left and right to check profile in the mirror) ‘Does it make me look a bit saggy’, Him:- ‘No, it looks really good’, Her:- ‘You don’t like it do you?’, Him:- ‘YESSSSS!’ Her:- ‘You don’t like it do you, I wish you’d say so’ as she goes into the chalet bedroom. She returns in a different top. Her:- ‘Do you like this top?’ Him:- ‘No!’. She asked no more
Him to her to him. Him (wanting a dance) ‘Wanna do this?’ Her:- (perm one from the following) ‘It’s a bit slow, it’s a bit fast, the floor’s too crowded, no one else is dancing, that nutter is on the floor he wipes everyone else out, the band’s coming on, it’s a stroller, it’s a bopper, not this one again, don’t know this one, I haven’t got a drink.’
Her (wanting a dance) ‘Wanna do this?’ Him:- (perm one of the following) ‘Nah, it’s sh*t’
Him to Her to Him. Arriving at a weekender. Her:- Can you help me unpack these cases please.’ *silence* Her:- ‘Oi! Can you help me in the chalet please’. *silence* Her:- (looks outside at him talking to his mates) * Her:- ‘OI! Any chance of some help please’. Him:- ‘Yeah OK’ comes in closes the wardrobe door. Him:- ‘There you go love, I’m nipping to the pub now’……..
Him to Her to Him. At a weekender. Her:- I want a new pair of sandals, I’ll get some at that shoe stall, will you come and help me choose them please? Him (teeth gritted):- Yep OK. Her:- (at the stall) ‘I want a pair of sandals size 5 in blue please’. Assistant at stall goes and gets a pair, she tries them on Her:- ‘What do you think’ Him:- ‘I like them’, Her:- ‘Do you think they will go with my new blue and white dress’ Him:- ‘Yep’, Her:- ‘They’re not too blue then’, Him:- ‘What do you mean too blue?’ Her:- ‘Well that dress isn’t as blue as these are’, Him:- ‘Well ask for a lighter colour blue then’ Her:- ‘You’re supposed to be helping’ Him:- (asks for another lighter blue pair)
Her: ‘What about these then?’ Him:- ‘I like them if you like them’ Her:- ‘Yeah but you liked the other ones too’, Him:- ‘But you said they were too blue’, Her:- Yeah, hmmm, these are a bit too wishy washy blue’ Him:- ‘What the *foxtrot* is wishy washy blue?’ Her:- ‘You don’t understand do you, have they got them in white?’ Him (gets a white pair) ‘Try these’. Her:- ‘They’re a bit white aren’t they’ Him ‘A bit white?’ Her:- ‘You’re supposed to be helping. Oh go and look at the records, you’re no help at all’
Later by the records she approaches with a bag. Her:- ‘I got a pair’ Him:- ‘Oh yeah, what colour?’ Her:- ‘That first blue pair, they are a perfect match I reckon, what’s the matter with you, why are you nutting the table?’……..
Same scenario, but roles reversed. Him:- ‘My nubucks have spilt, I need a new pair’ Her:- ‘OK I’ll come with you’. Approach stall. Him:- ‘Scuse me mate, have you got a pair of white nubucks size 8 please?’ Assistant ‘Yes, here’. Him:-‘Thanks’ *hands money over* ‘and thanks for helping love’…..
That is all, as you were….
Razor Holler's Rusty Williams
Ready Gedney Go. The massive conurbation of Gedney Dyke is host to The Oakie Boogie, the brainchild of Courtney Oakes, who takes half of the DJ duties with a guest DJ adding their stamp. This time it was, the Mailman, David Willis. The live band on this occasion were Razor Holler, travelling over from the North West. A good night in the offing? Read on.
We were made up for Courtney to see a goodly amount of rockin’ types coming over for the event which raises funds for the Alzheimer’s Society. And it wasn’t long before the floor filled, thanks to the huge variety of R&B, Rockabilly and Rock n Roll in the early going.
Razor Holler are fronted by rhythm guitarist and vocalist, Rusty Williams, backed brilliantly by bassist Helen Blank, lead guitarist Danny Ibison and drummer Alan Bentley. Their style? Well, within their accomplished musicianship, is a set list of well-known nuggets of rockin’ goodness with a sprinkling of their own tunes. They can switch between the Sun sound of Jerry Lee Lewis in ‘Wild One’ and super harmonies in Alton and Jimmy’s ‘No More Crying The Blues’, to Johnny Horton sounds like ‘Got the Bull by the Horns’ and ‘One Woman Man’ and some R&B with Big T Tyler’s ‘King Kong’.
Loving the George Jones vibe with ‘White Lightning’ rattling along closely followed by ‘Tall Tall Trees’. A couple of their own tunes were also a delight, the ‘selective’ tone of ‘Don’t Be So Picky’, and the amusing ‘Rheumatism Boogie’ with the brilliantly conceived line ‘Jumping from six to five past six’. Love it, and a fitting end to a fine first set.
The second set followed a cool selection of records from the decks from Dave and Courtney which opened with Little Jimmy Dickens’ ‘Rocket in My Pocket’. More George Jones featured with ‘The Race is On’ and the crowd loved the take of ‘Jackson’, and in another gear switch, Webb Pierce’s ‘Walking the Dog’ from the early fifties. A personal favourite of June’s is their version of Carl Perkins’ ‘Lend Me Your Comb’ which is as close to flawless as you could get. Just the right amount of reverb on the guitar next with the Jiants’ rocker ‘Tornado’, with Ersel Hickey’s ‘rocker ‘Going Down That Road’ fair rattling along.
We are heading to the last part of the show now, and another mainstay in a ‘Holler set, Billy Grammer’s styled ‘Gotta Travel On’ is a rousing Country/folk rocker from as early as 1927, and Jimmy Skinner’s ‘How Low Do You Feel’ had the bottles thumping on the tables. Going back even further for the finale with ‘Shortnin’ Bread’, a folky sounding song form the 1890’s rocked up Razor Holler style. Encore please, and a rip-roaring crescendo of ‘Bip Bop Boom’. Just excellent, and another tip top night at the Oakie Boogie.
We were made up for Courtney to see a goodly amount of rockin’ types coming over for the event which raises funds for the Alzheimer’s Society. And it wasn’t long before the floor filled, thanks to the huge variety of R&B, Rockabilly and Rock n Roll in the early going.
Razor Holler are fronted by rhythm guitarist and vocalist, Rusty Williams, backed brilliantly by bassist Helen Blank, lead guitarist Danny Ibison and drummer Alan Bentley. Their style? Well, within their accomplished musicianship, is a set list of well-known nuggets of rockin’ goodness with a sprinkling of their own tunes. They can switch between the Sun sound of Jerry Lee Lewis in ‘Wild One’ and super harmonies in Alton and Jimmy’s ‘No More Crying The Blues’, to Johnny Horton sounds like ‘Got the Bull by the Horns’ and ‘One Woman Man’ and some R&B with Big T Tyler’s ‘King Kong’.
Loving the George Jones vibe with ‘White Lightning’ rattling along closely followed by ‘Tall Tall Trees’. A couple of their own tunes were also a delight, the ‘selective’ tone of ‘Don’t Be So Picky’, and the amusing ‘Rheumatism Boogie’ with the brilliantly conceived line ‘Jumping from six to five past six’. Love it, and a fitting end to a fine first set.
The second set followed a cool selection of records from the decks from Dave and Courtney which opened with Little Jimmy Dickens’ ‘Rocket in My Pocket’. More George Jones featured with ‘The Race is On’ and the crowd loved the take of ‘Jackson’, and in another gear switch, Webb Pierce’s ‘Walking the Dog’ from the early fifties. A personal favourite of June’s is their version of Carl Perkins’ ‘Lend Me Your Comb’ which is as close to flawless as you could get. Just the right amount of reverb on the guitar next with the Jiants’ rocker ‘Tornado’, with Ersel Hickey’s ‘rocker ‘Going Down That Road’ fair rattling along.
We are heading to the last part of the show now, and another mainstay in a ‘Holler set, Billy Grammer’s styled ‘Gotta Travel On’ is a rousing Country/folk rocker from as early as 1927, and Jimmy Skinner’s ‘How Low Do You Feel’ had the bottles thumping on the tables. Going back even further for the finale with ‘Shortnin’ Bread’, a folky sounding song form the 1890’s rocked up Razor Holler style. Encore please, and a rip-roaring crescendo of ‘Bip Bop Boom’. Just excellent, and another tip top night at the Oakie Boogie.
Martin Smith of the Fireballs UK
No Fools here. Back over to Chesterfield Rock n Roll Club, and another big crowd showed up, this time for a show by the Fireballs UK. It coincided with a local Ted walk, so it was a handy ‘go on to’ from that for many. DJs for the night, as always, Andy Barker and Steve O, playing the best known and the hardly heard. Good to see a full floor almost from the get-go. Now sharp eyed readers will note that three quarters of the Fireballs UK and all of us at the Bettajive Review have the same surname. At this point we'd like to point out there is no nepotism at the Bettajive Review*
The Fireballs announced themselves with the Dakotas’ ‘The Cruel Sea’, a smooth instrumental from Billy J Kramer’s original backing band, recorded in ’63. The combination of Martin Smith on upright bass and vocals, his two sons Anthony and Russell on lead and second lead/rhythm guitar and drummer Darren Brown. They play a lot of British Rock n Roll, which is never a bad thing of course. Naturally you’d expect a bit of Cliff, and the lads duly obliged with ‘Got a Funny Feeling’, and later in the set, ‘Please Don’t Tease’ and ‘Nine Times Out Of Ten’ which concluded the first set. Likewise, Shane Fenton, Johnny Kidd and Tommy Steele, big hitters from the British sound, done justice by the Fireballs in ‘Why Little Girl’, ‘So What’ and ‘Give Give Give’.
The Hertfordshire based instrumental band, The Hunters, gained notoriety as a backing band for a lot of 60’s stars, and the cut a mean instro track or two themselves. The Fireballs recounted one of their best (ironically not a chart hit) called ‘Teen Scene’, with the classic Shadows rocker ‘FBI’ following on. Solid versions of ‘Linda Lu’ and ‘Summertime Blues’ featured, and a cracking version of Billy Fury’s ‘Do You Really Love Me Too’.
That was set one, hot to trot, but the lads stayed cool in their drape suits throughout, while the rest of the crowd dug the sounds from the decks. Set two opened with some more Cliff, (or Bobby Freeman for purists) this time from ’62 and the twisty sound of ‘Do You Wanna Dance’. That was one of three Cliff numbers in the second set, ‘Gee Whizz It’s You’, ace and ‘Choppin’ and Changin’, classic. Similarly Shane Fenton’s catalogue was delved in to again with ‘I’m a Moody Guy’ and ‘It’s Gonna Take Magic’, presented really well. Dispatch style mention for the classy guitar work on Bill Haley’s ‘Goofin’ Around’ too.
Bobby Angelo and the Tuxedos’ ‘Baby Sittin’, released in 1961, Dean Webb’s ‘The Rough and the Smooth’ from ’59 and the Cougars’ smoochie ‘See You in Dreamland’, all rarely played tracks live, were a triple treat. Another Cougars’ track, the ‘A’ side of the previous song ‘Saturday Nite at the Duckpond’ concluded the set. Naturally, there was an encore called for, ‘Brand New Cadillac’ fitted that bill, for a show that had quality stamped all over it. Cracking night out in Chezzy.
*Martin, mum says can you drop her dry cleaning round on your way home please :)))))))))
The Fireballs announced themselves with the Dakotas’ ‘The Cruel Sea’, a smooth instrumental from Billy J Kramer’s original backing band, recorded in ’63. The combination of Martin Smith on upright bass and vocals, his two sons Anthony and Russell on lead and second lead/rhythm guitar and drummer Darren Brown. They play a lot of British Rock n Roll, which is never a bad thing of course. Naturally you’d expect a bit of Cliff, and the lads duly obliged with ‘Got a Funny Feeling’, and later in the set, ‘Please Don’t Tease’ and ‘Nine Times Out Of Ten’ which concluded the first set. Likewise, Shane Fenton, Johnny Kidd and Tommy Steele, big hitters from the British sound, done justice by the Fireballs in ‘Why Little Girl’, ‘So What’ and ‘Give Give Give’.
The Hertfordshire based instrumental band, The Hunters, gained notoriety as a backing band for a lot of 60’s stars, and the cut a mean instro track or two themselves. The Fireballs recounted one of their best (ironically not a chart hit) called ‘Teen Scene’, with the classic Shadows rocker ‘FBI’ following on. Solid versions of ‘Linda Lu’ and ‘Summertime Blues’ featured, and a cracking version of Billy Fury’s ‘Do You Really Love Me Too’.
That was set one, hot to trot, but the lads stayed cool in their drape suits throughout, while the rest of the crowd dug the sounds from the decks. Set two opened with some more Cliff, (or Bobby Freeman for purists) this time from ’62 and the twisty sound of ‘Do You Wanna Dance’. That was one of three Cliff numbers in the second set, ‘Gee Whizz It’s You’, ace and ‘Choppin’ and Changin’, classic. Similarly Shane Fenton’s catalogue was delved in to again with ‘I’m a Moody Guy’ and ‘It’s Gonna Take Magic’, presented really well. Dispatch style mention for the classy guitar work on Bill Haley’s ‘Goofin’ Around’ too.
Bobby Angelo and the Tuxedos’ ‘Baby Sittin’, released in 1961, Dean Webb’s ‘The Rough and the Smooth’ from ’59 and the Cougars’ smoochie ‘See You in Dreamland’, all rarely played tracks live, were a triple treat. Another Cougars’ track, the ‘A’ side of the previous song ‘Saturday Nite at the Duckpond’ concluded the set. Naturally, there was an encore called for, ‘Brand New Cadillac’ fitted that bill, for a show that had quality stamped all over it. Cracking night out in Chezzy.
*Martin, mum says can you drop her dry cleaning round on your way home please :)))))))))
LP and his Dirty White Bucks
The White Bucks cleaned up. Aaaaaand just like that we were all back again at the Chesterfield club. Another switch in gears, testament to the club’s dedication to bringing variety to the Birdholme venue. This time, it was the authentic Rockabilly sounds of LP and his Dirty White Bucks, up from the south of England. Charismatic front man Les Prendergast, is both vocalist and rhythm guitarist, looking sharp in his red western shirt. He’s backed by Dave Flynn on lead guitar, Jim O’Neil on bass with drummer Trev Collins.
DJs for the night once again were Steve O and Andy Barker, once again mixing up the likes of Ray Collins’ Hot Club’s ‘Little House’, Vickie Diaz’s ‘Your Mama Said No’ and Lazy Lester’s ‘I’m a Lover Not a Fighter’ among many others. Top stuff for the crowd.
The band took the stage for the first of their two sets, firing out Kenny Smith’s ‘I’m So Lonesome Baby’, a nippy (B side) rocker from 1958 with their own ‘Up and Go’, is a thumping slab of classically formed Rockabilly, great tick on the bass, and Dave Flynn’s searing guitar riffs. Tiny Tim’s (Bowman, not the Tiptoe Through the Tulips, Tim) ‘Gotta Find Someone’, Eddie Cash’s rattling rocker ‘Doin’ Alright’ and Vic Gallon’s heavily reverbed ‘I’m Gone’ also got the LP treatment. Their own ‘This Train’ (trust me, it’s not the track you might be thinking of!) slotted in among a classy version of Johnny Cash’s ‘Luther Played the Boogie’, Johnny Burnette’s ‘Midnight Train’ and to close a top drawer set, Al Ferrier’s ‘Let’s Go Bopping Tonight’.
The only instrumental the band presented, started the second set, Mickey Hawkes’ ‘Cotton Picker’, a jangling guitar driven rocker at just over a minute and a half duration. Benny Cliff’s lyrical oddity ‘Shake ‘Em Up Rock’, a couple of Johnny Cash numbers ‘Mean Eyed Cat’ and the evergreen ‘Folsom Prison Blues’ featured, as did a particular favourite of this scribe. That was Clyde Arnold’s ‘Black Smoke & Blue Tears’, which is a tale of a convict on his way to jail for a ninety-year sentence and saying goodbye to his girl at the train station. A top track, recounted expertly vocally and musically by the lads.
Another original song nudged in among the covers. ‘Man From Laramie’, isn’t a cover of the Jimmy Young song , and the similarity between the plot of the 1955 film, ends with the title. This song, features a western sounding guitar throughout, with that saloon in a dusty town feeling. Add to that, Derrell Felts’ ‘Shake It Up and Move’, Andy Anderson’s ‘Johnny Valentine’ which hurtled us toward a climax that included ‘Baby Sue’ vocalised by Dave Flynn and the encore of Bob Luman’s ‘Guitar Picker’. For those who are familiar with LP&HDWB, it was a gimmie we’d get a grade A gig, and for those who were unfamiliar with them, here was a masterclass in Rockabilly at its most authentic.
Gallery images below from the three live shows. Click on them for full sized image
DJs for the night once again were Steve O and Andy Barker, once again mixing up the likes of Ray Collins’ Hot Club’s ‘Little House’, Vickie Diaz’s ‘Your Mama Said No’ and Lazy Lester’s ‘I’m a Lover Not a Fighter’ among many others. Top stuff for the crowd.
The band took the stage for the first of their two sets, firing out Kenny Smith’s ‘I’m So Lonesome Baby’, a nippy (B side) rocker from 1958 with their own ‘Up and Go’, is a thumping slab of classically formed Rockabilly, great tick on the bass, and Dave Flynn’s searing guitar riffs. Tiny Tim’s (Bowman, not the Tiptoe Through the Tulips, Tim) ‘Gotta Find Someone’, Eddie Cash’s rattling rocker ‘Doin’ Alright’ and Vic Gallon’s heavily reverbed ‘I’m Gone’ also got the LP treatment. Their own ‘This Train’ (trust me, it’s not the track you might be thinking of!) slotted in among a classy version of Johnny Cash’s ‘Luther Played the Boogie’, Johnny Burnette’s ‘Midnight Train’ and to close a top drawer set, Al Ferrier’s ‘Let’s Go Bopping Tonight’.
The only instrumental the band presented, started the second set, Mickey Hawkes’ ‘Cotton Picker’, a jangling guitar driven rocker at just over a minute and a half duration. Benny Cliff’s lyrical oddity ‘Shake ‘Em Up Rock’, a couple of Johnny Cash numbers ‘Mean Eyed Cat’ and the evergreen ‘Folsom Prison Blues’ featured, as did a particular favourite of this scribe. That was Clyde Arnold’s ‘Black Smoke & Blue Tears’, which is a tale of a convict on his way to jail for a ninety-year sentence and saying goodbye to his girl at the train station. A top track, recounted expertly vocally and musically by the lads.
Another original song nudged in among the covers. ‘Man From Laramie’, isn’t a cover of the Jimmy Young song , and the similarity between the plot of the 1955 film, ends with the title. This song, features a western sounding guitar throughout, with that saloon in a dusty town feeling. Add to that, Derrell Felts’ ‘Shake It Up and Move’, Andy Anderson’s ‘Johnny Valentine’ which hurtled us toward a climax that included ‘Baby Sue’ vocalised by Dave Flynn and the encore of Bob Luman’s ‘Guitar Picker’. For those who are familiar with LP&HDWB, it was a gimmie we’d get a grade A gig, and for those who were unfamiliar with them, here was a masterclass in Rockabilly at its most authentic.
Gallery images below from the three live shows. Click on them for full sized image
The Rockabilly Rave is only weeks away and there aren't that many chalets left available. You can still get in and make sure you don't miss this spectacular line up. Click flyer for details
interview with KC Byrd
KC on stage at the Rockabilly Rave Pic from our Bettajive Review library
The Netherlands, have produced some pretty darn fine Rock ‘n’ Roll, Rockabilly and Western Swing bands. Fronting one of the newer combos, is K C Byrd, and I don’t think he’ll mind us saying, that he’s by no means a rookie.
As frontman of the Barnstompers, and a long time Star Bomber, his authentic sounding vocal delivery and deft and accomplished guitar work was a delight. Anyone who has heard his version of Redd Stewart’s ‘Backward Turn Backward’, the Miller Brothers ‘Tulsa Baby’ or Ferlin Husky’s ‘I Will’ for example, will already have an idea what we are talking about.
Now fronting the Western Stringbyrds, we thought it time to catch up with K. C. for an interview.
BJR. Let’s go back to the beginning. What are your earliest memories of hearing Western Swing and Rockabilly?
KC It must have in the early seventies that I first heard Rockabilly.
My brother, who is two years older than me had some Sun compilation albums. That sort of started the fire.
Around 1980 I started to dig a little deeper into the sources of Rockabilly and stumbled besides Rhythm & Blues and Country upon Western Swing.
You have to realize that in those days there was no YouTube or Spotify.
You had to go out and look for records.
BJR. Do you recall picking up a guitar for the first time, and who influenced you to do so?
KC I started playing when I was 11 years old.
It was not really somebody who influenced me.
I just woke up some morning and decided I wanted a guitar for my birthday.
BJR. Do you recall the first songs that you mastered playing?
KC Just between you and me, Heart of gold , Neil Young
BJR. Who are your musical influences, past and present?
KC Hard to mention a few, there have been so many.
Apart from big names like Johnny Cash, Hank Thompson, Elvis, Eddie Cochran, Johnny Horton etc.There are so many lesser known artists and side man that have influenced me.
I think you could say that every singer and musician that I listened too and liked, probably had some influence on me.
But I do have to mention Crazy Cavan and the Rhythm Rockers.
That was the first band I saw live at a club in my home town around 1974.
They blew me a way and made me decide that playing in a band was what I wanted.
As frontman of the Barnstompers, and a long time Star Bomber, his authentic sounding vocal delivery and deft and accomplished guitar work was a delight. Anyone who has heard his version of Redd Stewart’s ‘Backward Turn Backward’, the Miller Brothers ‘Tulsa Baby’ or Ferlin Husky’s ‘I Will’ for example, will already have an idea what we are talking about.
Now fronting the Western Stringbyrds, we thought it time to catch up with K. C. for an interview.
BJR. Let’s go back to the beginning. What are your earliest memories of hearing Western Swing and Rockabilly?
KC It must have in the early seventies that I first heard Rockabilly.
My brother, who is two years older than me had some Sun compilation albums. That sort of started the fire.
Around 1980 I started to dig a little deeper into the sources of Rockabilly and stumbled besides Rhythm & Blues and Country upon Western Swing.
You have to realize that in those days there was no YouTube or Spotify.
You had to go out and look for records.
BJR. Do you recall picking up a guitar for the first time, and who influenced you to do so?
KC I started playing when I was 11 years old.
It was not really somebody who influenced me.
I just woke up some morning and decided I wanted a guitar for my birthday.
BJR. Do you recall the first songs that you mastered playing?
KC Just between you and me, Heart of gold , Neil Young
BJR. Who are your musical influences, past and present?
KC Hard to mention a few, there have been so many.
Apart from big names like Johnny Cash, Hank Thompson, Elvis, Eddie Cochran, Johnny Horton etc.There are so many lesser known artists and side man that have influenced me.
I think you could say that every singer and musician that I listened too and liked, probably had some influence on me.
But I do have to mention Crazy Cavan and the Rhythm Rockers.
That was the first band I saw live at a club in my home town around 1974.
They blew me a way and made me decide that playing in a band was what I wanted.
The Western Stringbyrds. Photo supplied by KC Byrd
BJR. What was your first band?
KC Ko and The Cattle Show was my first band. We did our first show in 1980.
We stopped in 1986 and after that I played with The Chessnuts till 1992 to continue with The Barnstompers until 2020.
BJR. Do you recall your first live performance?
KC I sure do.
I was scared stiff.
We played a set at the same club were I saw Crazy Cavan for the first time.
I drank way too much to calm my nerves, so the whole thing sort of happened in a blur to me.
But afterwards it felt really great and I have not stopped since.
BJR. You backed some original 1950’s artists as the Barnstompers, would you like to list some of them for the readers?
KC With my first band we did Mac Curtis
With the Chessnuts (2nd band) Ronnie Dawson
Barnstompers :Sid King (more than 50 times)
Sonny Fisher, Lew Williams, Joe Clay, Rudy Grayzell, Art Adams
As a stand in guitarplayer with The Hi-Flyers, Jack Earls.
I have to say that when I started playing I could not have dreamt to be on stage with any of these artist. I have been very fortunate.
BJR. Now to the latest band, the Western Stringbyrds. Who joins you in the line up?
KC On the drums, Marco Groeneveld
On bass, Mike van Lierop
On lead guitar, Eddie Byrd
BJR. After a debut at the famous Cruise Inn, you didn’t have the best start, thanks to Covid 19. When were you able to restart the band?
KC The first show after the Lockdown was April 2022.
BJR. People will be able to see you performing at the Rockabilly Rave this year. What can they expect in a Western Stringbyrd show?
KC It will be a mix of Rockabilly and fifties Country.
We also do one or two self penned songs.
BJR. Any potential for recordings in the future?
KC We have recorded quite a few songs in my own studio during the Lockdown.
Some of them we put at Youtube and on our Facebook site.
We are on the lookout for a label that might be interested.
BJR. Where can readers contact the band for further information?
KC The easiest way is to Email us at [email protected]
Or Facebook: Western Stringbyrds.
Or just step up to one of as at a show.
BJR. Thank you for talking to us
KC Ko and The Cattle Show was my first band. We did our first show in 1980.
We stopped in 1986 and after that I played with The Chessnuts till 1992 to continue with The Barnstompers until 2020.
BJR. Do you recall your first live performance?
KC I sure do.
I was scared stiff.
We played a set at the same club were I saw Crazy Cavan for the first time.
I drank way too much to calm my nerves, so the whole thing sort of happened in a blur to me.
But afterwards it felt really great and I have not stopped since.
BJR. You backed some original 1950’s artists as the Barnstompers, would you like to list some of them for the readers?
KC With my first band we did Mac Curtis
With the Chessnuts (2nd band) Ronnie Dawson
Barnstompers :Sid King (more than 50 times)
Sonny Fisher, Lew Williams, Joe Clay, Rudy Grayzell, Art Adams
As a stand in guitarplayer with The Hi-Flyers, Jack Earls.
I have to say that when I started playing I could not have dreamt to be on stage with any of these artist. I have been very fortunate.
BJR. Now to the latest band, the Western Stringbyrds. Who joins you in the line up?
KC On the drums, Marco Groeneveld
On bass, Mike van Lierop
On lead guitar, Eddie Byrd
BJR. After a debut at the famous Cruise Inn, you didn’t have the best start, thanks to Covid 19. When were you able to restart the band?
KC The first show after the Lockdown was April 2022.
BJR. People will be able to see you performing at the Rockabilly Rave this year. What can they expect in a Western Stringbyrd show?
KC It will be a mix of Rockabilly and fifties Country.
We also do one or two self penned songs.
BJR. Any potential for recordings in the future?
KC We have recorded quite a few songs in my own studio during the Lockdown.
Some of them we put at Youtube and on our Facebook site.
We are on the lookout for a label that might be interested.
BJR. Where can readers contact the band for further information?
KC The easiest way is to Email us at [email protected]
Or Facebook: Western Stringbyrds.
Or just step up to one of as at a show.
BJR. Thank you for talking to us
Just a few days to go for this spectacular in Lincolnshire. Click flyer for details
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You've read about it, now go along and enjoy it. Click the flyer for details
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Classy line up for the Autumn, click the flyer for details
cd and vinyl release reviews
The Writing on the Wall – Mischief!
There are bands that are an absolute joy to watch on stage, and are also able to transfer that delight onto their records. Mischief! from the Netherlands’ fourth largest city, Utrecht, are a trio consisting of Pat van der Erf on vocals and upright bass, his brother Daze van der Erf picking the lead guitar and sharing the vocals, as does drummer Richard Verheul. They’ve been producing great music for thirty years now, and clearly don’t show any signs of stopping anytime soon.
This selection of songs is available on both 12” LP vinyl and CD, so whichever fills your brief, you can enjoy this quality release. If you have seen their enthusiastic stage shows, many of the songs will be familiar to you. A case in point would be the opening romp, the Ray Charles penned ‘This Little Girl of Mine’ which perfectly showcases the lads in vocal harmony, much like the Everly Brothers gem that’s replicated here.
‘Blues Stop Knocking’, a rollocking good rocker from the swamps of Louisiana, gets a rework, while they revert to harmony vocals in Guy Mitchell’s ‘Heartaches by the Number’. The Harlan Howard composition has been recorded by everyone from Ray Price to Cyndi Lauper, across seven decades, and sounds as fresh with the Mischief! lads version. Ironic how a sad song, presented like this can be so uplifting. Another duet follows with Don and Dewey’s ‘Leaving It All Up To You’, originally from 1957, although Dale and Grace (’63) and Donny and Marie Osmond (’74) recorded famous versions. Liking this tune a lot readers.
That slightly slower pace, give the dancers some respite before belting versions of Charlie Rich’s ‘Rebound’ and Keith Coverdale’s Dot rocker ‘Trapped Love’ and a simply sublime take of Johnny Horton’s ‘I’ll Do It Every Time’. The Morgan Twins recorded ‘TV Hop’ in 1958, and Pat and Daze reprise it perfectly here. The title track, ‘The Writing on the Wall’, is an original song written by Patrick, recalling a lost love in typical vocal harmonies, that Mischief are well known for. The final track on our vinyl LP is a copy of James Intveld’s (a fellow Dutch native, hailing from Venlo) ‘Crying Over You’, again showcasing their excellent vocals.
Those who get a CD version of this release will get bonus tracks ‘Broken Heart’, ‘Pretty Girl’ ‘Heart of Stone’ and ‘I’m In a Whirl’.
Tombstone Records released this album which was recorded at KC Byrd’s studio, with KC guesting on steel guitar. It’s Mischief!’s sixth studio album and first for fourteen years. Has it been worth the wait? You bet it is
There are bands that are an absolute joy to watch on stage, and are also able to transfer that delight onto their records. Mischief! from the Netherlands’ fourth largest city, Utrecht, are a trio consisting of Pat van der Erf on vocals and upright bass, his brother Daze van der Erf picking the lead guitar and sharing the vocals, as does drummer Richard Verheul. They’ve been producing great music for thirty years now, and clearly don’t show any signs of stopping anytime soon.
This selection of songs is available on both 12” LP vinyl and CD, so whichever fills your brief, you can enjoy this quality release. If you have seen their enthusiastic stage shows, many of the songs will be familiar to you. A case in point would be the opening romp, the Ray Charles penned ‘This Little Girl of Mine’ which perfectly showcases the lads in vocal harmony, much like the Everly Brothers gem that’s replicated here.
‘Blues Stop Knocking’, a rollocking good rocker from the swamps of Louisiana, gets a rework, while they revert to harmony vocals in Guy Mitchell’s ‘Heartaches by the Number’. The Harlan Howard composition has been recorded by everyone from Ray Price to Cyndi Lauper, across seven decades, and sounds as fresh with the Mischief! lads version. Ironic how a sad song, presented like this can be so uplifting. Another duet follows with Don and Dewey’s ‘Leaving It All Up To You’, originally from 1957, although Dale and Grace (’63) and Donny and Marie Osmond (’74) recorded famous versions. Liking this tune a lot readers.
That slightly slower pace, give the dancers some respite before belting versions of Charlie Rich’s ‘Rebound’ and Keith Coverdale’s Dot rocker ‘Trapped Love’ and a simply sublime take of Johnny Horton’s ‘I’ll Do It Every Time’. The Morgan Twins recorded ‘TV Hop’ in 1958, and Pat and Daze reprise it perfectly here. The title track, ‘The Writing on the Wall’, is an original song written by Patrick, recalling a lost love in typical vocal harmonies, that Mischief are well known for. The final track on our vinyl LP is a copy of James Intveld’s (a fellow Dutch native, hailing from Venlo) ‘Crying Over You’, again showcasing their excellent vocals.
Those who get a CD version of this release will get bonus tracks ‘Broken Heart’, ‘Pretty Girl’ ‘Heart of Stone’ and ‘I’m In a Whirl’.
Tombstone Records released this album which was recorded at KC Byrd’s studio, with KC guesting on steel guitar. It’s Mischief!’s sixth studio album and first for fourteen years. Has it been worth the wait? You bet it is
King Joe and the Atlantics – Everybody Rock
CD review
Rapidly becoming one of the UK’s go-to bands for jumping R&B and Rock ‘n’ Roll, King Joe and the Atlantics present this twelve-track recording of nine covers and three original tracks. The band consists of Joe Newbon on lead guitar and vocals, drummer Mark Kemlo, Nick Lunt on baritone saxophone, Al Nichols on tenor sax, Pete Lawson slap & walking bass, and Wayne Lee on the eighty-eight keys.
They open up with a true jumping boogie classic in the form of Amos Milburn’s ‘Chicken Shack Boogie’. This track was originally written and released in 1948, and a hopped-up Rock ‘n’ Roll version in ’56. The King Joe version is that zippy tempo, just right for the dancefloor, and expertly presented here. ‘Ain’t Gonna Stop All Night’ is an absolute peach of a tune written by Joe Newbon. It could easily put you in mind of the Louis Jordan sound, plenty of bounce and sax sound, offset with a smooth piano solo.
Jimmy McCracklin’s ‘Everybody Rock’ gets the treatment next, and a top version it is too. Spot-on guitar work in the solo, solid vocals, sax wailing and a drum solo to end with. What more could you want crammed into just over two and a quarter minutes. Next up, some West Coast styled blues, as they take on Lowell Fulson’s Checker (Chess) cut ‘Reconsider Baby’ originally from 1954. This time, King Joe, employ a crying harmonica, supplied by Dan Doe, that gives it an exquisite low-down Blues sound.
The second original track written by Joe Newbon, ‘That’s All…..Goodnight’ rocks up next. It sounds like a tune straight out of 1954, such is the authenticity of the lyrics and delivery. It’s lively and bright sounding, and another dance floor filler. Louis Jordan’s ‘Ella Mae’ is hot on the heels. The infidelity riddled lyrics and infectious musical hook of the 1957 rocker, is perfect for this band to cover, and they’ve done it really well here.
‘Let Me Love You’ is the third and final Joe Newbon composition. This is another mid-tempo R&B shouter, with alternate harmonica and guitar breaks, complementing the lyrical pledge of undying love. Another fine Jimmy McCracklin tune is up next, ‘One Track Love’, very much in the ‘Chicken Scratch/Let’s Do It’ mode, from 1962. The version here is sublime in every way, testament to the band’s attention to detail and quality of musicianship.
There’s a further harmonica masterclass as Sonny Boy Williamson’s ‘Keep It To Yourself’ rings out next. This track was initially from 1956, and has a strolling quality about it in this reworking. Want an absolute classic? How about ‘The Girl Can’t Help It’, the Little Richard track, and title track of the film of the same name. The song itself is from the latter part of 1956, and peaked at #9 in the UK Chart. It has literally been everywhere from that day to this. The lads here keep the original tempo, adding different solos, and retaining the call-and-answer vocals. It also features Shaun O’Keefe on backing vocals. Superb.
‘Gimmie your ticket, long is my ride home’, such was the shout from legendary duo Sonny Terry and Brownie McGhee in 1955. And now we have the same call from King Joe as they rattle through this metaphorical train journey, with true gusto. Finally, it’s ‘Oooh Little Girl’, a premier jive, and somewhat saucy risqué track, from Floyd Dixon in 1957. Great use of the baritone sax and piano in the solos here, and the production is exceptional.
This album is a diamond, a modern band, choc full of musical talent. The tracks have been recorded on original 1940’s and 1950’s equipment, to attain that Chess, Checker, Atlantic and Ebb sound. It rocks, rolls, swings and jumps from the opening note to the last. Outstanding and classy.
CD review
Rapidly becoming one of the UK’s go-to bands for jumping R&B and Rock ‘n’ Roll, King Joe and the Atlantics present this twelve-track recording of nine covers and three original tracks. The band consists of Joe Newbon on lead guitar and vocals, drummer Mark Kemlo, Nick Lunt on baritone saxophone, Al Nichols on tenor sax, Pete Lawson slap & walking bass, and Wayne Lee on the eighty-eight keys.
They open up with a true jumping boogie classic in the form of Amos Milburn’s ‘Chicken Shack Boogie’. This track was originally written and released in 1948, and a hopped-up Rock ‘n’ Roll version in ’56. The King Joe version is that zippy tempo, just right for the dancefloor, and expertly presented here. ‘Ain’t Gonna Stop All Night’ is an absolute peach of a tune written by Joe Newbon. It could easily put you in mind of the Louis Jordan sound, plenty of bounce and sax sound, offset with a smooth piano solo.
Jimmy McCracklin’s ‘Everybody Rock’ gets the treatment next, and a top version it is too. Spot-on guitar work in the solo, solid vocals, sax wailing and a drum solo to end with. What more could you want crammed into just over two and a quarter minutes. Next up, some West Coast styled blues, as they take on Lowell Fulson’s Checker (Chess) cut ‘Reconsider Baby’ originally from 1954. This time, King Joe, employ a crying harmonica, supplied by Dan Doe, that gives it an exquisite low-down Blues sound.
The second original track written by Joe Newbon, ‘That’s All…..Goodnight’ rocks up next. It sounds like a tune straight out of 1954, such is the authenticity of the lyrics and delivery. It’s lively and bright sounding, and another dance floor filler. Louis Jordan’s ‘Ella Mae’ is hot on the heels. The infidelity riddled lyrics and infectious musical hook of the 1957 rocker, is perfect for this band to cover, and they’ve done it really well here.
‘Let Me Love You’ is the third and final Joe Newbon composition. This is another mid-tempo R&B shouter, with alternate harmonica and guitar breaks, complementing the lyrical pledge of undying love. Another fine Jimmy McCracklin tune is up next, ‘One Track Love’, very much in the ‘Chicken Scratch/Let’s Do It’ mode, from 1962. The version here is sublime in every way, testament to the band’s attention to detail and quality of musicianship.
There’s a further harmonica masterclass as Sonny Boy Williamson’s ‘Keep It To Yourself’ rings out next. This track was initially from 1956, and has a strolling quality about it in this reworking. Want an absolute classic? How about ‘The Girl Can’t Help It’, the Little Richard track, and title track of the film of the same name. The song itself is from the latter part of 1956, and peaked at #9 in the UK Chart. It has literally been everywhere from that day to this. The lads here keep the original tempo, adding different solos, and retaining the call-and-answer vocals. It also features Shaun O’Keefe on backing vocals. Superb.
‘Gimmie your ticket, long is my ride home’, such was the shout from legendary duo Sonny Terry and Brownie McGhee in 1955. And now we have the same call from King Joe as they rattle through this metaphorical train journey, with true gusto. Finally, it’s ‘Oooh Little Girl’, a premier jive, and somewhat saucy risqué track, from Floyd Dixon in 1957. Great use of the baritone sax and piano in the solos here, and the production is exceptional.
This album is a diamond, a modern band, choc full of musical talent. The tracks have been recorded on original 1940’s and 1950’s equipment, to attain that Chess, Checker, Atlantic and Ebb sound. It rocks, rolls, swings and jumps from the opening note to the last. Outstanding and classy.
Heaven in Hell – Hicksville Bombers
CD Review
Can you believe the Hicksville Bombers have been going since 1992? Over thirty years, how did that happen (rhetorical question). Dave Brown formed the band back then, and has remained ever-present on lead guitar, vocals and was also responsible for a hefty chunk of the song writing. For some time now, he has been joined by Landon Filer slapping the upright bass and drummer Paul Saunders. Now we have their latest record to appreciate, here’s what you can expect.
In true Bomber style, if you’ve seen them live, you’ll know already, they open with a kick-a*se blues bopper. In preparation, there’s a quote from the Lord’s Prayer, as the drumbeat heralds the super slide guitar of ‘Devil’s Fight’. Cracking wailing harmonica throughout from Scott Brown. Bop at your own risk readers, its three- and three-quarter minutes long…… Another three minute plus track follows ‘Don’t Let Me Face The Rain’. Starting serenely, it soon launches into a powerhouse rockin’ lament, driven along by Paul’s driving drumbeat, complementing Landon’s slap bass and exquisite guitar breaks by Dave.
‘Take a Bite’ employs a start-stop format which enhances what is an already rollickingly good romp, lyrically lighter that the two previous tracks, and a more Rockabilly slew to the rhythm. The chorus is one of those that will invade your head in the pleasantest way, and there it will stay, to recite whenever you hear the song. The title track, ‘Heaven in Hell’, was a surprise, in the sense we had an idea what it might sound like….but it didn’t. If you could imagine the haunting tones of some of Hank Williams’ lamenting odes, and tempo, this will give you an inkling of what to expect. If there’s a demonstration of the versatility of the Bombers’ delivery, it’s this track, ultra-smooth musicianship and lyrically thought-provoking.
Just as you as the listener might be immersed in the country style resonance of the previous track, along comes ‘Grease Monkey’. A tumultuous stroll-beat instrumental, with a foot stomping rhythm, alternating between growling and higher pitched guitar work, and the occasional holler of the title. It’s been a standard in their live set for a while now, and so good to have it on record now. Next up, a cover of a Roy Orbison composition, ‘So Long I’m Gone’, which has been recorded by the likes of Ray Scott and Warren Smith on Sun Records and latterly by Chris Isaak on his 2011 ‘Beyond the Sun’ LP. The Bombers take this track on with customary hat-tipping reverence and respect to the original, with Dave’s vocals straight out of the top drawer and the coolest of guitar riffs.
Another mellow respite from the nippy tempo of the previous two tracks, this time it’s ‘The Man You Want Me To Be’. This is late-night, last track of the gig type stuff. A softer sound to the guitar work and sentimental, but not slushy, lyrics, expertly presented. ‘Bottomless Pit’ ups the ante, once again, with a rock-out original about theft and the associated shame attached to it. Liking the changes in speed on this one. As is our usual method of review, we don’t read sleeve notes or anything until we’ve heard the tracks several times. So, you, like us, will probably think of Sandy Nelson when you hear ‘Concrete Jungle SE28’. Well, that was the case here anyway. SE28 pertains to the postal district of Thamesmead and Greenwich (not sure if it’s on Dave’s round 😊). The drum beat of this instrumental is something else, resulting in a pulsating rocker, enhanced by Dave’s guitar and a remarkable bass from Landon.
Another trip into house rocking blues and a failed relationship viewed from the bottom of a bottle, with ‘Can’t Get Drunk On You’, and if there was a typical Bombers song, this is it. It has everything, thundering bass, rolling drum beats and searing guitar solo. Hit that floor boppers, there’s quieter sections for you to get your breath. Another drunk/drinking/relationship tune follows, ‘Fake Whisky’. I guess you’d call this a slow-burner, with over a minute of speech, before the music starts, in a low down Blues style. Many-a string bent in the solos, and the repetition of ‘Cos I still hurt’, making this a heartfelt and tormented elegy.
Finally, it’s a cover of Canadian-American rock band Steppenwolf’s ‘Born To Be Wild’, the group’s first top ten single in 1968. Dave’s vocals give it a Rockabilly feel, as do the slight adjustments in the lyrics, and Landon’s tear-up bass slapping. A fitting four- and three-quarter minute conclusion to a terrific release, by a trio that always deliver, both live on stage and on record. Well, what are you waiting for?
CD Review
Can you believe the Hicksville Bombers have been going since 1992? Over thirty years, how did that happen (rhetorical question). Dave Brown formed the band back then, and has remained ever-present on lead guitar, vocals and was also responsible for a hefty chunk of the song writing. For some time now, he has been joined by Landon Filer slapping the upright bass and drummer Paul Saunders. Now we have their latest record to appreciate, here’s what you can expect.
In true Bomber style, if you’ve seen them live, you’ll know already, they open with a kick-a*se blues bopper. In preparation, there’s a quote from the Lord’s Prayer, as the drumbeat heralds the super slide guitar of ‘Devil’s Fight’. Cracking wailing harmonica throughout from Scott Brown. Bop at your own risk readers, its three- and three-quarter minutes long…… Another three minute plus track follows ‘Don’t Let Me Face The Rain’. Starting serenely, it soon launches into a powerhouse rockin’ lament, driven along by Paul’s driving drumbeat, complementing Landon’s slap bass and exquisite guitar breaks by Dave.
‘Take a Bite’ employs a start-stop format which enhances what is an already rollickingly good romp, lyrically lighter that the two previous tracks, and a more Rockabilly slew to the rhythm. The chorus is one of those that will invade your head in the pleasantest way, and there it will stay, to recite whenever you hear the song. The title track, ‘Heaven in Hell’, was a surprise, in the sense we had an idea what it might sound like….but it didn’t. If you could imagine the haunting tones of some of Hank Williams’ lamenting odes, and tempo, this will give you an inkling of what to expect. If there’s a demonstration of the versatility of the Bombers’ delivery, it’s this track, ultra-smooth musicianship and lyrically thought-provoking.
Just as you as the listener might be immersed in the country style resonance of the previous track, along comes ‘Grease Monkey’. A tumultuous stroll-beat instrumental, with a foot stomping rhythm, alternating between growling and higher pitched guitar work, and the occasional holler of the title. It’s been a standard in their live set for a while now, and so good to have it on record now. Next up, a cover of a Roy Orbison composition, ‘So Long I’m Gone’, which has been recorded by the likes of Ray Scott and Warren Smith on Sun Records and latterly by Chris Isaak on his 2011 ‘Beyond the Sun’ LP. The Bombers take this track on with customary hat-tipping reverence and respect to the original, with Dave’s vocals straight out of the top drawer and the coolest of guitar riffs.
Another mellow respite from the nippy tempo of the previous two tracks, this time it’s ‘The Man You Want Me To Be’. This is late-night, last track of the gig type stuff. A softer sound to the guitar work and sentimental, but not slushy, lyrics, expertly presented. ‘Bottomless Pit’ ups the ante, once again, with a rock-out original about theft and the associated shame attached to it. Liking the changes in speed on this one. As is our usual method of review, we don’t read sleeve notes or anything until we’ve heard the tracks several times. So, you, like us, will probably think of Sandy Nelson when you hear ‘Concrete Jungle SE28’. Well, that was the case here anyway. SE28 pertains to the postal district of Thamesmead and Greenwich (not sure if it’s on Dave’s round 😊). The drum beat of this instrumental is something else, resulting in a pulsating rocker, enhanced by Dave’s guitar and a remarkable bass from Landon.
Another trip into house rocking blues and a failed relationship viewed from the bottom of a bottle, with ‘Can’t Get Drunk On You’, and if there was a typical Bombers song, this is it. It has everything, thundering bass, rolling drum beats and searing guitar solo. Hit that floor boppers, there’s quieter sections for you to get your breath. Another drunk/drinking/relationship tune follows, ‘Fake Whisky’. I guess you’d call this a slow-burner, with over a minute of speech, before the music starts, in a low down Blues style. Many-a string bent in the solos, and the repetition of ‘Cos I still hurt’, making this a heartfelt and tormented elegy.
Finally, it’s a cover of Canadian-American rock band Steppenwolf’s ‘Born To Be Wild’, the group’s first top ten single in 1968. Dave’s vocals give it a Rockabilly feel, as do the slight adjustments in the lyrics, and Landon’s tear-up bass slapping. A fitting four- and three-quarter minute conclusion to a terrific release, by a trio that always deliver, both live on stage and on record. Well, what are you waiting for?
Unstoppable – Lady Luck Lexy & The Riverside Boys
CD Review
This album title pretty much sums the band up, ‘Unstoppable’. Alexys ‘Lady Luck Lexy’ Becerra is the effervescent drummer and main vocalist (as well as being a DJ, Pin-up and MC), with Nick Bayford on lead guitar and double bassist Chris Tymon. They formed the group in 2015, performing at some of the biggest festivals on the planet (a number of times at Viva Las Vegas for example), and now we have a twelve tracker to enjoy. Lexy’s vocal delivery puts us in mind of Barbara Pittman, both smooth, forthright and alluring.
This release was Recorded and mixed at Sugar Ray’s Vintage Recording Studio, Wickford, Essex, UK. by Dean Amos and Rob Glazebrook and Mastered at Cryonicia Studios (London).
Nine of the twelve are written by Lexy and Nick, with Chris pitching in on two of them. Three covers feature, which we’ll have a look at first. ‘Closer’ is originally from 1994, recorded by Cleveland rock band, Nine Inch Nails. The lyrics written by Trent Reznor (who formed NIN) are not for the faint-hearted, however I’m liking the version by this trio. The Louisiana village of Tangipahoa, is forever enshrined in Rockabilly history, thanks to Sonny Starns’ primitive rocker ‘Tangi’Paho’. Lexy vocalises a really cool rework here. Finally, Harry Nilsson (1941 – 1994) and his 1969 single ‘Good Times’ which he recorded with the New Salvation Singers. Lexy and the ‘Boys have extended the song from it’s original, which works admirably.
Their own material opens the release, with the fittingly titled ‘Ready To Rock ‘n’ Roll’, a sub three minute romp, about, well, getting ready to Rock n Roll, in a ‘does what it says on the tin’ style. ‘Scream and Shout’ opens with some exquisite guitar riffs, as Lexy recounts her true love, to a nippy beat. ‘Hey Cool Daddy’ is the first of the tracks that all the members of the trio collaborate on. It opens with a sultry sound, both vocally and lyrically, a theme that’s carried throughout its four and a half minutes duration.
The very title ‘Isolation Blues’ will take most of us back to March 2022, and lyrically, this harks back to that strange time. Smashing rhythm, and appreciative wording for the duration of the song. That’s followed by ‘I Wanna Man (in a Rockabilly Band)’, and if you are aware of the relationship within the group, I’d suggest it’s ‘mission accomplished’. Great tick on the bass reinforcing the Rockabilly sound. ‘Always Let Me Down’, by contrast, has a rather negative and haunting theme to it, however it’s delivered in a style that fuses Western Swing with a spaghetti Western undertone, which works like a charm.
‘Roulette Baby’, is a peach of a track, which fair rattles along. Good dancefloor bop tune, this one, readers. Just under three minutes of striding bass slapping, is the solid basis for ‘I’m On Fire’, not to be confused with other songs of that title. Similarly, ‘Knock 3 Times’ bears no resemblance to the song many of us of a certain vintage might recall, although there are hints of the lyrics, for example ‘twice on the pipe’, that do grab the attention.
You never feel short-changed by an original song written by the band. Most of them are over three minutes duration. The words are well crafted, and the composition of the accompanying music, is of a high standard, and delivered in a consummate fashion. Highly recommended
CD Review
This album title pretty much sums the band up, ‘Unstoppable’. Alexys ‘Lady Luck Lexy’ Becerra is the effervescent drummer and main vocalist (as well as being a DJ, Pin-up and MC), with Nick Bayford on lead guitar and double bassist Chris Tymon. They formed the group in 2015, performing at some of the biggest festivals on the planet (a number of times at Viva Las Vegas for example), and now we have a twelve tracker to enjoy. Lexy’s vocal delivery puts us in mind of Barbara Pittman, both smooth, forthright and alluring.
This release was Recorded and mixed at Sugar Ray’s Vintage Recording Studio, Wickford, Essex, UK. by Dean Amos and Rob Glazebrook and Mastered at Cryonicia Studios (London).
Nine of the twelve are written by Lexy and Nick, with Chris pitching in on two of them. Three covers feature, which we’ll have a look at first. ‘Closer’ is originally from 1994, recorded by Cleveland rock band, Nine Inch Nails. The lyrics written by Trent Reznor (who formed NIN) are not for the faint-hearted, however I’m liking the version by this trio. The Louisiana village of Tangipahoa, is forever enshrined in Rockabilly history, thanks to Sonny Starns’ primitive rocker ‘Tangi’Paho’. Lexy vocalises a really cool rework here. Finally, Harry Nilsson (1941 – 1994) and his 1969 single ‘Good Times’ which he recorded with the New Salvation Singers. Lexy and the ‘Boys have extended the song from it’s original, which works admirably.
Their own material opens the release, with the fittingly titled ‘Ready To Rock ‘n’ Roll’, a sub three minute romp, about, well, getting ready to Rock n Roll, in a ‘does what it says on the tin’ style. ‘Scream and Shout’ opens with some exquisite guitar riffs, as Lexy recounts her true love, to a nippy beat. ‘Hey Cool Daddy’ is the first of the tracks that all the members of the trio collaborate on. It opens with a sultry sound, both vocally and lyrically, a theme that’s carried throughout its four and a half minutes duration.
The very title ‘Isolation Blues’ will take most of us back to March 2022, and lyrically, this harks back to that strange time. Smashing rhythm, and appreciative wording for the duration of the song. That’s followed by ‘I Wanna Man (in a Rockabilly Band)’, and if you are aware of the relationship within the group, I’d suggest it’s ‘mission accomplished’. Great tick on the bass reinforcing the Rockabilly sound. ‘Always Let Me Down’, by contrast, has a rather negative and haunting theme to it, however it’s delivered in a style that fuses Western Swing with a spaghetti Western undertone, which works like a charm.
‘Roulette Baby’, is a peach of a track, which fair rattles along. Good dancefloor bop tune, this one, readers. Just under three minutes of striding bass slapping, is the solid basis for ‘I’m On Fire’, not to be confused with other songs of that title. Similarly, ‘Knock 3 Times’ bears no resemblance to the song many of us of a certain vintage might recall, although there are hints of the lyrics, for example ‘twice on the pipe’, that do grab the attention.
You never feel short-changed by an original song written by the band. Most of them are over three minutes duration. The words are well crafted, and the composition of the accompanying music, is of a high standard, and delivered in a consummate fashion. Highly recommended
Tiki Party – Rumble on the Rock 3
The third in the Rumble on the Rock series arrived at the Bettajive Review office recently. This features selections from DJs who are due up at the next Rumble on the Rock event organised by the Nobster himself who also mixed and mastered the tracks. The last few tracks are by bands slated to appear at the Rumble.
Nobster opens up the release with the first of his three choices, Johnny Horton’s ‘Ole Slew Foot’, which charted on the US country chart at #28 a year after Horton’s untimely death. The other two tracks are ‘Meanie Genie’ by Tony Brook and the Breakers, which is a mid-60’s stroller, and a storming instrumental by B. G. Ramblers. ‘Exit Stage Left’ is an up-tempo, brass driven stroll beat from ’63 and represented the band’s debut single. DJ Deano’s contributions start with Frank Deaton’s ‘A Little Bit More’, a hiccupping Rockabilly bopper from 1957. His next choice is James ‘Lucky’ Camichael’s ‘Hey Girl’ from one of only four singles by the artist, but what a beauty of an R&B stroller. Lastly a rollocking classic handclapper, ‘Something’s Going On In My Room’ from ‘54/55 by Daddy Cleanhead.
Bop Street’s Brummie Si weighs in with a true kicking jiver in the shape of Little Ike’s frantic ‘She Can Rock’ from 1959. The evergreen Art Adams’ ‘Dancing Doll’ makes the cut, and the Moonlighters’ ‘Rockin on my Guitar’. The Moonlighters only released a few singles but just about every one is a Rockabilly classic, this being a fine example. Otha Lee Moore, better known as Tiny Topsy, was a powerhouse vocalist who began singing and recording from the mid-40’s to her death in ’64. DJ Swanny has picked her Federal release from 1958 ‘You Shocked Me’, which is an absolute peach. Swanny’s other choices are Joe South’s ‘Jukebox’ a ‘B’ side ramble from 1961, and the raw Rockabilly quality of Jerry Arnold’s ‘High Classed Baby’.
Jack and the Jumpin’ Jacks’ ‘More, More’ from 1959, is the first of Tall Mark’s selections, Rockabilly in it’s simplest style. Ronnie Jones’ 1967 ‘B’ side, ‘Little Jezebel’ has a feel of mid-60’s meets the 50’s, and Ron Ouderkirk’s (about whom we know nothing unfortunately) ‘My Kinda Woman’ is a super sax and guitar driven jiver. Mr Fez, hits the high spots with Sonny James’ 1957 smoothly presented jiver ‘Uh Huh Mm’, Moon Mullican’s appetising ‘Cush Cush and Ky Yay’, serenading a southern dish of cornbread and buttermilk to a bouncing beat, makes his list as does the superstitious ‘Black Cat’ by Tommy Collins from 1960.
Thelma ‘Dolly’ Cooper provides a dash of the purest Rock n Roll joy with the slightly saucy and unfaithful ‘My Man’, which is the first choice of Lady Luck Lexy, who also selected one of the biggest dancefloor fillers of the past twenty years ‘Shakin Mother For Ya’ by Champion Jack Dupree. Her third is a true classic from 1955, by the Robins, a hugely popular and influential vocal group. ‘Smokey Joe’s Café’ written by Lieber and Stoller, recounts a story of a flirty female, a chap almost taken in by her, and Smokey Joe almost taking him out. Ace tune. A brace of beauties from Big Vinny, the frantic ‘Shiverin and Shakin’ from Dean Beard, and the simply sublime ‘Lonely Heart’ by Carl Perkins. This track is from 1964, and backing was provided by the Nashville Teens on the Brunswick label. It doesn’t get much better. Rockabilly Man lobs in a bop classic in the shape of Andy Starr’s ‘Rockin Rollin’ Stone’ and a Sun corker from Gene Simmons’, ‘Peroxide Blond and Hopped Up Model Ford’ from 1957.
The last few tracks are latter day performances, opening with Lady Luck Lexy and the Riverside Boys’ punchy rocker ‘Roulette Baby’. The popular Western Swing sound of ‘Fan It’ is taken on by Midnite Crawlers, with Sam Sproule and Paula Marks’ vocals en pointe. The Rockin Balboas from Canarias, Spain, rattle along with ‘Vertigo’ and topping everything off is Andy Kennett’s version of the Rockabilly standard, Wayne Walker’s ‘All I Can Do Is Cry’.
Take it from us readers, this is a smashing compilation of dance delights, that will grace any collection.
The third in the Rumble on the Rock series arrived at the Bettajive Review office recently. This features selections from DJs who are due up at the next Rumble on the Rock event organised by the Nobster himself who also mixed and mastered the tracks. The last few tracks are by bands slated to appear at the Rumble.
Nobster opens up the release with the first of his three choices, Johnny Horton’s ‘Ole Slew Foot’, which charted on the US country chart at #28 a year after Horton’s untimely death. The other two tracks are ‘Meanie Genie’ by Tony Brook and the Breakers, which is a mid-60’s stroller, and a storming instrumental by B. G. Ramblers. ‘Exit Stage Left’ is an up-tempo, brass driven stroll beat from ’63 and represented the band’s debut single. DJ Deano’s contributions start with Frank Deaton’s ‘A Little Bit More’, a hiccupping Rockabilly bopper from 1957. His next choice is James ‘Lucky’ Camichael’s ‘Hey Girl’ from one of only four singles by the artist, but what a beauty of an R&B stroller. Lastly a rollocking classic handclapper, ‘Something’s Going On In My Room’ from ‘54/55 by Daddy Cleanhead.
Bop Street’s Brummie Si weighs in with a true kicking jiver in the shape of Little Ike’s frantic ‘She Can Rock’ from 1959. The evergreen Art Adams’ ‘Dancing Doll’ makes the cut, and the Moonlighters’ ‘Rockin on my Guitar’. The Moonlighters only released a few singles but just about every one is a Rockabilly classic, this being a fine example. Otha Lee Moore, better known as Tiny Topsy, was a powerhouse vocalist who began singing and recording from the mid-40’s to her death in ’64. DJ Swanny has picked her Federal release from 1958 ‘You Shocked Me’, which is an absolute peach. Swanny’s other choices are Joe South’s ‘Jukebox’ a ‘B’ side ramble from 1961, and the raw Rockabilly quality of Jerry Arnold’s ‘High Classed Baby’.
Jack and the Jumpin’ Jacks’ ‘More, More’ from 1959, is the first of Tall Mark’s selections, Rockabilly in it’s simplest style. Ronnie Jones’ 1967 ‘B’ side, ‘Little Jezebel’ has a feel of mid-60’s meets the 50’s, and Ron Ouderkirk’s (about whom we know nothing unfortunately) ‘My Kinda Woman’ is a super sax and guitar driven jiver. Mr Fez, hits the high spots with Sonny James’ 1957 smoothly presented jiver ‘Uh Huh Mm’, Moon Mullican’s appetising ‘Cush Cush and Ky Yay’, serenading a southern dish of cornbread and buttermilk to a bouncing beat, makes his list as does the superstitious ‘Black Cat’ by Tommy Collins from 1960.
Thelma ‘Dolly’ Cooper provides a dash of the purest Rock n Roll joy with the slightly saucy and unfaithful ‘My Man’, which is the first choice of Lady Luck Lexy, who also selected one of the biggest dancefloor fillers of the past twenty years ‘Shakin Mother For Ya’ by Champion Jack Dupree. Her third is a true classic from 1955, by the Robins, a hugely popular and influential vocal group. ‘Smokey Joe’s Café’ written by Lieber and Stoller, recounts a story of a flirty female, a chap almost taken in by her, and Smokey Joe almost taking him out. Ace tune. A brace of beauties from Big Vinny, the frantic ‘Shiverin and Shakin’ from Dean Beard, and the simply sublime ‘Lonely Heart’ by Carl Perkins. This track is from 1964, and backing was provided by the Nashville Teens on the Brunswick label. It doesn’t get much better. Rockabilly Man lobs in a bop classic in the shape of Andy Starr’s ‘Rockin Rollin’ Stone’ and a Sun corker from Gene Simmons’, ‘Peroxide Blond and Hopped Up Model Ford’ from 1957.
The last few tracks are latter day performances, opening with Lady Luck Lexy and the Riverside Boys’ punchy rocker ‘Roulette Baby’. The popular Western Swing sound of ‘Fan It’ is taken on by Midnite Crawlers, with Sam Sproule and Paula Marks’ vocals en pointe. The Rockin Balboas from Canarias, Spain, rattle along with ‘Vertigo’ and topping everything off is Andy Kennett’s version of the Rockabilly standard, Wayne Walker’s ‘All I Can Do Is Cry’.
Take it from us readers, this is a smashing compilation of dance delights, that will grace any collection.
Hot Lips and Swivel Hips - The Houserockers
CD review
There are bands that consistently produce material of the highest quality whilst paying reverence to original material and recording in such a way, they sound perfectly authentic. Similarly, when they record their own compositions, the attention to detail is such, that the listener could be forgiven for think they were listening to material from a newly discovered vault in Nashville. The Houserockers are a band of that ilk.
This is their first record release for four years, and was recorded in just three hours at Sugar Rays’ studio in Wickford, Essex, due to some technical issues on the day. The personnel are Rob Glazebrook on lead guitar and vocals, Nick Hoadley on bass, Kitcat Shaun, the newest member of the band, on steel guitar and for the final time, drummer Nick Simonon.
The opening track, ‘Let It Go’ is a Rob Glazebrook original, and one of those tunes as mentioned above. It has a Western Swing meeting Rockabilly sound with the steel guitar sound complementing the vocals and the ‘tick’ of the double bass. The instantly recognisable ‘Sittin’ On Top Of The World’ follows on, at just under two minutes duration. It’s not like the original 1930 Mississippi Sheiks recording or for that matter Curtis Gordon, it’s somewhere in the middle, and it sound ace. Vic Gallon’s ‘I’m Gone’, his sole release on Gondola Records in 1956, has the Houserocker input to great effect making for a top bop beat.
Beamon Force’s ‘B’ side, ‘You Better Go Now’ is a thing of aural beauty, and appears twice as two takes on the CD. Take two appears first, a brilliantly reverential version of the original. Take one has studio conversation at either end of the song, which sounds every bit as good. The title track ‘Hot Lips and Swivel Hips’ originally by Gene Rambo and the Flames, gets an atmospheric reworking here with a very stripped back drum/cymbal and guitar sound.
Vying for best track on the CD, is ‘Lonely Wait’. This is a cover of the Recalls’ 1965 ‘B’ side, and is a complete departure from ‘Reesie’ and ‘Nobody’s Guy’ which you’ll probably associate most with the group. First class guitar work by Rob, on this slower tempo track. Glenn Johnson’s ‘Little Heart Attacks’, is another track that appears twice. The addition of steel guitar is inspired, and Shaun plays a top drawer solo, matched again by Rob’s guitar work. The second appearance is strikingly similar other than having a fade ending.
Another Rob Glazebrook composition ‘We Did’ has a rolling drum beat and complementary steel guitar accompaniment that meld together perfectly as the lyrics recount a great day out. The second outing for ‘Hot Lips and Swivel Hips’, is just Rob, a lot of reverb, and occasionally his guitar, almost in an early John Lee Hooker style (well I thought so anyway).
Do you like your Rockabilly presented in the fashion you’d expect from the 1950’s? Well this is the record for you
CD review
There are bands that consistently produce material of the highest quality whilst paying reverence to original material and recording in such a way, they sound perfectly authentic. Similarly, when they record their own compositions, the attention to detail is such, that the listener could be forgiven for think they were listening to material from a newly discovered vault in Nashville. The Houserockers are a band of that ilk.
This is their first record release for four years, and was recorded in just three hours at Sugar Rays’ studio in Wickford, Essex, due to some technical issues on the day. The personnel are Rob Glazebrook on lead guitar and vocals, Nick Hoadley on bass, Kitcat Shaun, the newest member of the band, on steel guitar and for the final time, drummer Nick Simonon.
The opening track, ‘Let It Go’ is a Rob Glazebrook original, and one of those tunes as mentioned above. It has a Western Swing meeting Rockabilly sound with the steel guitar sound complementing the vocals and the ‘tick’ of the double bass. The instantly recognisable ‘Sittin’ On Top Of The World’ follows on, at just under two minutes duration. It’s not like the original 1930 Mississippi Sheiks recording or for that matter Curtis Gordon, it’s somewhere in the middle, and it sound ace. Vic Gallon’s ‘I’m Gone’, his sole release on Gondola Records in 1956, has the Houserocker input to great effect making for a top bop beat.
Beamon Force’s ‘B’ side, ‘You Better Go Now’ is a thing of aural beauty, and appears twice as two takes on the CD. Take two appears first, a brilliantly reverential version of the original. Take one has studio conversation at either end of the song, which sounds every bit as good. The title track ‘Hot Lips and Swivel Hips’ originally by Gene Rambo and the Flames, gets an atmospheric reworking here with a very stripped back drum/cymbal and guitar sound.
Vying for best track on the CD, is ‘Lonely Wait’. This is a cover of the Recalls’ 1965 ‘B’ side, and is a complete departure from ‘Reesie’ and ‘Nobody’s Guy’ which you’ll probably associate most with the group. First class guitar work by Rob, on this slower tempo track. Glenn Johnson’s ‘Little Heart Attacks’, is another track that appears twice. The addition of steel guitar is inspired, and Shaun plays a top drawer solo, matched again by Rob’s guitar work. The second appearance is strikingly similar other than having a fade ending.
Another Rob Glazebrook composition ‘We Did’ has a rolling drum beat and complementary steel guitar accompaniment that meld together perfectly as the lyrics recount a great day out. The second outing for ‘Hot Lips and Swivel Hips’, is just Rob, a lot of reverb, and occasionally his guitar, almost in an early John Lee Hooker style (well I thought so anyway).
Do you like your Rockabilly presented in the fashion you’d expect from the 1950’s? Well this is the record for you
Alan Power – 45rpm single
Alan Power is a young lad from Waterford, south east Ireland, making a big noise on the Rock n Roll music circuit. Here is his debut single on Mike James’ ‘Movin’ and a Groovin’ label, their first release also, in conjunction with the FTM label. The 45, comes in ‘dinked’, and solid centre on black vinyl, and a solid centre in crème (check label for availability)
The ‘A’ side ‘Tomorrow Night’ is a cover of Elvis’ 1954 Sun recording of Sam Coslow and Will Grosz penned song. It dates back to 1939, the original being recorded by Horace Heidt and his Musical Knights. Alan has taken the same route as Elvis and an acoustic guitar, to record this atmospheric track, and it is just sublime in its simplicity and delivery. Alan’s voice is vocal velvet.
On the flip, ‘I Was There When It Happened’. This is a Gospel song written by Fern Jones, and first recorded in 1955 by Jimmie Davis, and subsequently by Johnny Cash on his first Sun album. Alan strums his guitar effortlessly on his version, and delivers the vocals with considerable aplomb.
This 45 is outstanding. That is all
Alan Power is a young lad from Waterford, south east Ireland, making a big noise on the Rock n Roll music circuit. Here is his debut single on Mike James’ ‘Movin’ and a Groovin’ label, their first release also, in conjunction with the FTM label. The 45, comes in ‘dinked’, and solid centre on black vinyl, and a solid centre in crème (check label for availability)
The ‘A’ side ‘Tomorrow Night’ is a cover of Elvis’ 1954 Sun recording of Sam Coslow and Will Grosz penned song. It dates back to 1939, the original being recorded by Horace Heidt and his Musical Knights. Alan has taken the same route as Elvis and an acoustic guitar, to record this atmospheric track, and it is just sublime in its simplicity and delivery. Alan’s voice is vocal velvet.
On the flip, ‘I Was There When It Happened’. This is a Gospel song written by Fern Jones, and first recorded in 1955 by Jimmie Davis, and subsequently by Johnny Cash on his first Sun album. Alan strums his guitar effortlessly on his version, and delivers the vocals with considerable aplomb.
This 45 is outstanding. That is all
Elvis the Guvner – FTM Records 45rpm
Flap Top Mark Phillips’ FTM record label has released a double hitter for dancers featuring a brace of remixed tracks from the Guvner himself, Elvis Presley.
On one side, ‘Tell Her Jim Said Hello’ from 1962. The Jerry Lieber and Mike Stoller composition, was on the ‘B’ side of ‘She’s Not You’, and demonstrates Elvis’ vocal range as he begins the song in a baritone style, and escalates to a higher tone. A lesser played song expertly remixed on this unissued cut. Flip the record over, and it’s the rousing fishing song from ‘Girls, Girls, Girls’ the 1962 film. ‘We’re Coming In Loaded’ and you can almost feel the waves.
Top twin spin, and a very limited edition
Flap Top Mark Phillips’ FTM record label has released a double hitter for dancers featuring a brace of remixed tracks from the Guvner himself, Elvis Presley.
On one side, ‘Tell Her Jim Said Hello’ from 1962. The Jerry Lieber and Mike Stoller composition, was on the ‘B’ side of ‘She’s Not You’, and demonstrates Elvis’ vocal range as he begins the song in a baritone style, and escalates to a higher tone. A lesser played song expertly remixed on this unissued cut. Flip the record over, and it’s the rousing fishing song from ‘Girls, Girls, Girls’ the 1962 film. ‘We’re Coming In Loaded’ and you can almost feel the waves.
Top twin spin, and a very limited edition
Toto and the Raw Deals – 45rpm
One of the most fresh and vibrant bands on the Rock ‘n’ Roll circuit just now, are Toto and the Raw Deals. Salvatore ‘Toto’ Marziano leads the band on vocals and rhythm guitar, with bassist Sam French, Joe Newbon on lead guitar and drummer Tony Hillebrandt. This 45rpm features two original tracks on the FTM record label, and comes in crème vinyl and black for the DJ club series.
‘This Here Rocker’s Gone Country’ was written by Toto, and packs in a story about a rocker preferring country music, into just under two minutes of quality. Over on the ‘B’ side a joint composition by Sam French and Toto, ‘Moonshine Blues’, a cautionary tale about consuming the brew, to a corking bop beat.
This folks, is a quality recording by a band at the top of their game
One of the most fresh and vibrant bands on the Rock ‘n’ Roll circuit just now, are Toto and the Raw Deals. Salvatore ‘Toto’ Marziano leads the band on vocals and rhythm guitar, with bassist Sam French, Joe Newbon on lead guitar and drummer Tony Hillebrandt. This 45rpm features two original tracks on the FTM record label, and comes in crème vinyl and black for the DJ club series.
‘This Here Rocker’s Gone Country’ was written by Toto, and packs in a story about a rocker preferring country music, into just under two minutes of quality. Over on the ‘B’ side a joint composition by Sam French and Toto, ‘Moonshine Blues’, a cautionary tale about consuming the brew, to a corking bop beat.
This folks, is a quality recording by a band at the top of their game
FTM v/s The Preacher – Round 9
Round nine of this series, and neither ‘combatant’ is showing any signs of fatigue as they continue to provide listeners and record collectors with quality choices on FTM Records 45rpms.
Flat Top Mark hits us with Virgil Holmes ‘The Midnight Roll’, from 1962. It was an ‘A’ side originally on Warner Brothers Records, and one of three R&B/Popcorn releases. It has a catchy beat, light lyrics, and a catchy violin (yes, violin) hook. Good dancefloor jiver this one folks, we believe it was the track for the jive contest final at Viva Las Vegas.
Simon ‘The Preacher’ delves back to 1956 for his contribution and Whitey Gallagher’s ‘Searching (I’m Always Looking)’. Gallagher, real name Rubon T Golliher (1925 – 1988) has a quintessential mid-50’s country/rockabilly sounding voice on this haunting ramble.
Another limited edition single, on the coolest of blue vinyl
Round nine of this series, and neither ‘combatant’ is showing any signs of fatigue as they continue to provide listeners and record collectors with quality choices on FTM Records 45rpms.
Flat Top Mark hits us with Virgil Holmes ‘The Midnight Roll’, from 1962. It was an ‘A’ side originally on Warner Brothers Records, and one of three R&B/Popcorn releases. It has a catchy beat, light lyrics, and a catchy violin (yes, violin) hook. Good dancefloor jiver this one folks, we believe it was the track for the jive contest final at Viva Las Vegas.
Simon ‘The Preacher’ delves back to 1956 for his contribution and Whitey Gallagher’s ‘Searching (I’m Always Looking)’. Gallagher, real name Rubon T Golliher (1925 – 1988) has a quintessential mid-50’s country/rockabilly sounding voice on this haunting ramble.
Another limited edition single, on the coolest of blue vinyl
Next Hemsby weekender line up
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Save the date for next year's Hot Rock n Boogie event. Cherry Casino, Spunyboys, Toto and the Raw Deals, King Joe and the Atlantics, Earl Jackson, Sister Suzie and JG & The Ultimates are already booked
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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. |
This is the place to look at what's going on where and when, click the image to take you there
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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 to view and purchase some of the pristine vintage items they have sourced. Or click on the flyer to the left to visit their website
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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:-
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.
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
