the bettajive review magazine #33
Welcome to issue #33. In this issue we will cover two weekender events, Hot Rock n Boogie and Juniper Fayre, both having taken place in May this year. Those who are expecting the 25th Rockabilly Rave, that's next issue. Our interview this month is with Jim Hammond and we have the latest from the FTM Record label. Enjoy
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the bettajive review
Celebrate. As a lot of us hurtle toward varying milestone birthdays, so there are a number of rock n roll celebratory parties to commemorate same. It’s the same with weddings, people taking the matrimonial plunge with their rockin’ mates around them. Thinking about it, some of you probably see more of your mates on the scene week on week than you do your own family! So, when the rock n roller organises a party, it’s with a certain amount of relish that you observe the family and assorted relatives coming in, to a celebratory gig, and how they react to those into the music and clothes.
We’ve been to some absolute corkers over the years (read below for such examples). Some people have mentioned that they’ve told their relatives or work colleagues that the party will be almost exclusively fifties music, which is met by such crashing understatements as ‘Oh, That’ll be nice’. Nice! Nice!! Those rectangular sugar-coated coconut flavoured biscuits are nice* (and of course, others thin rectangular biscuits, are available), but a rockin’ party is never ‘nice’!
You always get the misguided berk who decides he’ll get a fancy-dress costume and a sodding great quiff wig, and make a dramatic entrance to the do. Wouldn’t it be great if the hall doors closed behind him and suddenly there’s a Spaghetti Western style silence, followed by the theme to “A Fistful of Dollars” and tumble weed rolls by?
Lots of these functions have food, buffet style. Let’s take an example that actually happened to us years ago, as we entered a gig venue, down as a normal club night, to be informed that also happening at the same venue, was ‘Bob’s Big Birthday Bash’. Bob’s relatives had commandeered half the hall and the tables, adorning it with inflatable ‘B-O-B balloons, brightly coloured tableware, blow-ticklers and banners. After a few dance tunes the DJ announces that the buffet is open, only for those invited to ‘Bob’s Big Birthday Bash’ which fires the mythical starting pistol. The DJ reiterates that the food for Bob’s guests is now ready, that’s just Bob’s guests, not you, just Bob’s guests, which basically means ‘paws off the rest of you gannets’, you have had to had been invited to ‘Bob’s Big Birthday Bash’. Some of the revellers leave skid marks! It’s just like a scene from ‘Spy on the Wildebeest’ as they stampede across the dancefloor sweeping all before them, eventually concertina-ing around the food like wasps round a candy floss. Why does ‘nan’ do this, then take one small triangle sandwich, a mini sausage roll and a lettuce leaf, and insist that ‘ Ooo hoo hoo, it’s not all mine you know’??
When Bob’s gluttonous gargoyles have took their snouts out the trough, there’s a sudden realisation that there’s a ton of food left. Then later, the DJ has the audacity to say ‘If anyone else wants anything to eat, Bob says you can help yourselves…’. Oh can we indeed, that’s big of him? Yeah right, like I’d have your sloppy seconds, your cast offs, your overly spiced chicken, your soggy-bottomed quiche, your flaccid lettuce leaves and shop-bought mini sausage rolls?…….Well, OK, I will, under protest, but I bally well won’t enjoy them, you see if I don’t!
Oh, wait a minute, Bob’s going to cut his birthday cake. A dozen camera and phone wielding types record this wonderment of a 60 year old actually cutting a cake with a real knife!! Give me strength, actually no, give me cake!
The rockin’ music plays at the party, jivers are out in numbers all over the floor. The ‘normals’ look agog. ‘I never knew uncle/auntie/brother/sister/cousin/Bob could dance like that’. There’s something about this music, that I’m not sure exists with many other genres. Sure, you play a thumping hoe-down and everyone bobs about with their arms folded out in front of them, but Rock n Roll really does, and always has, got them out there.
Aunts and cousins do the shoulder lift dance offset by shifting weight from one foot to the other. Young kids throw exaggerated shapes to boppers, and rather inebriated Uni students somehow manage to take up all the floor with some alarming convulsive contortions. And there is much rejoicing, particularly if ‘Shake Rattle & Roll’ or ‘Hound Dog’ comes on.
Flip that though, what’s it like being into what we are, and at a ‘normal’ wedding or birthday celebration? Well if you haven’t been in that position (yet), be warned, it can be purgatory. For some reason, people who hear you can dance, expect you to do ‘Superman’, ‘Oops Upside Your Head’, ‘The Birdy Song’, ‘The Macarena’ or Aga-bloody-Doo. B*gg*r off! Oh, they only like Rock n Roll, ask the DJ to put something they can dance to. What’s the average wedding DJ got in his box? The latter-day recording of ‘Rock Around The Clock’ maybe? Or ‘This Ole House’
At this juncture, my brain has usually gone to sleep, then suddenly the opening bars can be heard, the heads of the room turn and the floor clears as Jive Bunny’s ‘Swing The Mood’ comes on. As the colour drains from our faces, and without the excuse of alcohol, I kind of get the feeling of how the gen pop might feel at our gigs. As I run fast and far, never looking over my shoulder.
Still, there’s always the buffet, get out of the way ‘nan’, that lettuce is all mine!!
Dot….dot. Best tracks in the world ever ever to flim your flam for this month are Tony Douglas’ ‘Thunder and Lightning’, Wayne Walker’s ‘Little Ol’ You’ and ‘Choo Choo Ch’Boogie’ by Leon McAuliffe …………..*for the pedants and purists, we are aware that Nice is pronounced in the same way as the French city of that name. I thank you……….Dare I suggest ‘Midnite Blues’, ‘Cat Squirrel’, ‘You Don’t Love Me’ and ‘Move It Baby’ get shelved for a while? If I had a tenner for each time we’ve heard them this past few months, we’d be rather minted by now……..Have you seen/heard the ad on TV featuring ‘You Look Like a Flower’ by Richard Caiton with Dave Bartholomew’s band? A dreamy ballad which I was surprised to hear came from 1964 ( a vintage year for many reasons!!). Cool beans…’Jeruselema’ has no place at a Rock ‘n’ Roll gig, thank you…….. .How rocking are you? Well, it was my turn to use the InPost locker system to post a parcel. Where others before me had struggled to get the scanner to read their barcode, mine went through first time. Everyone else in the queue said, ‘Wow he’s really rocking’………….
Going into Bat. We can’t recall when, but we had visited a club in Batley, West Yorkshire. It turned out it wasn’t this one, St Mary’s Social Club, which is a fine venue. We’d gone to catch a show by North West four-piece, Razor Holler. Rusty Williams is the lead vocalist and rhythm guitarist, with Danny Ibison on lead guitar, drummer Alan Bentley and on upright bass, Helen Blank.
Two sets, tailored to the Rock n Roll loving audience, mixing in some Rockabilly and a bit of Country. ‘Going Down That Road’ has Rusty waxing lyrically that no one has the first name Ersel any more, as they ‘boom chicka boom bop bopped’ through the song. George Jones’ ‘Revenoor Man’ and ‘Tall Tall Trees’ is always a delight. Carl Perkins ‘Lend Me Your Comb’ is awesome, and the heavy reverb of the Jiants’ ‘Tornado’ stirred the soul. There was material that the crowd could interact with, none moreso than the foot-stomping, bottle-bashing Jimmy Skinner’s ‘How Low Can You Feel’.
Webb Pierce’s ‘I Ain’t Never’ got the strollers out, while their own ‘Rheumatism Boogie’ and ‘Don’t Be So Picky’ were a smashing addition. So much to appreciate in these two sets, from a band that never disappoint. Gallery images below, click on them for full sized picture.
Two sets, tailored to the Rock n Roll loving audience, mixing in some Rockabilly and a bit of Country. ‘Going Down That Road’ has Rusty waxing lyrically that no one has the first name Ersel any more, as they ‘boom chicka boom bop bopped’ through the song. George Jones’ ‘Revenoor Man’ and ‘Tall Tall Trees’ is always a delight. Carl Perkins ‘Lend Me Your Comb’ is awesome, and the heavy reverb of the Jiants’ ‘Tornado’ stirred the soul. There was material that the crowd could interact with, none moreso than the foot-stomping, bottle-bashing Jimmy Skinner’s ‘How Low Can You Feel’.
Webb Pierce’s ‘I Ain’t Never’ got the strollers out, while their own ‘Rheumatism Boogie’ and ‘Don’t Be So Picky’ were a smashing addition. So much to appreciate in these two sets, from a band that never disappoint. Gallery images below, click on them for full sized picture.
Philler, not filler. At this point people are going to wonder whether this is the Phil Haley Gazette, as they are all over this edition. Well, we have a great deal of admiration for Chesterfield Rock n Roll Club, and it just so happened that their latest band night featured…..Phil Haley and His Comments.
Phil Haley unsurprisingly is the lead singer and lead guitarist, with Martyn Savage on bass, Allen Paris blowing up a storm Rudy Pompilli style and drummer Gary Davidson. Andy Barker had part of the night off, so it was left to Steve O to take on the DJ duties with assistance from Edwardian Al.
The first of the two sets by the band, followed the Bill Haley path, delving in to a pretty vast catalogue, from the earlier stuff , like ‘Real Rock Drive’ and ‘Dance With a Dolly’ through to the golden age of the mid and late 1950’s. This stuff I’m sure everyone who’s ever set foot in a Rock n Roll club will know. ‘Rip It Up’, the frantic rocker released by Haley in ’56 at the same time as Little Richard, always sets the show up, and Allen Paris’ proficient sax playing keeps the pace going with ‘Rudy’s Rock’. That usually becomes ‘Goofin’ Around’ with lots of stage acrobatics from Martyn Savage and his bass.
The second set, whilst still grabbing songs from the Haley index, also includes their own material and remakes of songs from other artists. Sure they opened the second set with the thundering beat of ‘Birth of a Boogie’ but then tempered it with Bobby Freeman’s ‘Mary Ann Thomas’ from 1959. It’s pretty much not a Phil Haley show without their (best known?) song, ‘Talk To Me’, and that made a welcome appearance, as did ‘West Coast Swing’. Then we went waaaaaay back to the 1930’s for a cover of ‘I’m Gonna Sit Right Down and Write Myself a Letter’ which Fats Waller made popular in 1935.
Martyn Savage and Gary Davidson then put on a smashing percussive and rhythm display in the middle of the dancefloor before we were back on the Haley trail again with ‘See You Later Alligator’. Getting near the end of the set, and another regular audio-visual treat in ‘Tom Hark’, a bouncy instrumental from 1956, originally recorded by Elias and his Zig-Zag Jive Flutes. As the song says, the whole evening was ‘Crazy Man Crazy’. Gallery images below, click on them for full sized pictures
Phil Haley unsurprisingly is the lead singer and lead guitarist, with Martyn Savage on bass, Allen Paris blowing up a storm Rudy Pompilli style and drummer Gary Davidson. Andy Barker had part of the night off, so it was left to Steve O to take on the DJ duties with assistance from Edwardian Al.
The first of the two sets by the band, followed the Bill Haley path, delving in to a pretty vast catalogue, from the earlier stuff , like ‘Real Rock Drive’ and ‘Dance With a Dolly’ through to the golden age of the mid and late 1950’s. This stuff I’m sure everyone who’s ever set foot in a Rock n Roll club will know. ‘Rip It Up’, the frantic rocker released by Haley in ’56 at the same time as Little Richard, always sets the show up, and Allen Paris’ proficient sax playing keeps the pace going with ‘Rudy’s Rock’. That usually becomes ‘Goofin’ Around’ with lots of stage acrobatics from Martyn Savage and his bass.
The second set, whilst still grabbing songs from the Haley index, also includes their own material and remakes of songs from other artists. Sure they opened the second set with the thundering beat of ‘Birth of a Boogie’ but then tempered it with Bobby Freeman’s ‘Mary Ann Thomas’ from 1959. It’s pretty much not a Phil Haley show without their (best known?) song, ‘Talk To Me’, and that made a welcome appearance, as did ‘West Coast Swing’. Then we went waaaaaay back to the 1930’s for a cover of ‘I’m Gonna Sit Right Down and Write Myself a Letter’ which Fats Waller made popular in 1935.
Martyn Savage and Gary Davidson then put on a smashing percussive and rhythm display in the middle of the dancefloor before we were back on the Haley trail again with ‘See You Later Alligator’. Getting near the end of the set, and another regular audio-visual treat in ‘Tom Hark’, a bouncy instrumental from 1956, originally recorded by Elias and his Zig-Zag Jive Flutes. As the song says, the whole evening was ‘Crazy Man Crazy’. Gallery images below, click on them for full sized pictures
Interview with Jim Hammond
When we actually thought about it, neither of us can recall when we saw Jim Hammond play first, he seems to have been a feature on our music circuit ‘forever’. However the last time was with Bill Crittenden in the Sweet Georgia Boys, in a field, Miles From Nowhere. With a list of notable collaborations, worked-with artists and recordings to his name, we thought it about time we got an interview with him.
BJR. For those who don’t know, who is Jim Hammond?
I am just a humble chap that loves what he does for a living and likes to bring joy to the people I work with and to the people listening.
BJR. What was your introduction to music?
It first started in the 80s growing up, one night Top of the pops was on and a band all dressed in space suits and alien costumes were playing, “Great balls of fire" probably I was around 4 years old.
I was taken back a little bit as it was so different to Culture club and Human League.
For the life of me I can’t remember what they were called, but my dad said he had the original on a record in the loft.
He then climbed up the ladder and brought a dusty box down with all these cool records in it. Loads of Chuck, Jerry Lee, Credence Clearwater and Little Richard.
We put each album on. I can remember hearing Jerry Lee for the first time and being blown away by how amazing his piano playing was. Bearing in mind this was the first album he made for Mercury records, meaning all the Sun era was yet to be found. So I automatically got into his country style before the more rockin stuff was heard.
Then my dad played me the Credence Chronicles album with Proud Mary, Travelling band and Bad moon rising on it.
“Bad moon" sent shivers down my spine like I’d never felt about anything at that time.
Then I heard “Green river" instantly wanting to play like that.
I can remember saying back then, “I want to play piano like Jerry Lee and sing like John Fogerty.”
Then I listened to the Chuck/Lil Richard stuff and that turned me on more to their styles. (A more RnB sound taking place)
The rhythm that L/Richard had in his band is so amazing plus all the brilliant Johnny Johnson trills over the top of the Berry stuff.
I was surrounded by piano.
I can remember one Christmas, opening up a present from my folks and it being a double album of Boogie woogie from the late 30s, and 40s.
Albert Ammons, Pete Johnson and Meade Lux Lewis. If you’ve never heard them, check them out, Jerry Lee is great but these guys would make him look like an amateur.
Then it snow balled from there, Skaky, Quo and Dave Edmunds was next on the list to listen to and grab inspiration from. All the guitar solos that Shaky had were a massive influence on me. The brilliance of Roger Mckew, Micky Gee and Billy Bremner, turned me on so much. Such exquisite playing.
Dave Edmunds for the way he made his voice sound and with all the harmonies.
I basically would hear all this great music, then find their influences and listen to even earlier stuff.
That’s when I found the Sun Jerry Lee albums.
Really amazing songs, but for me, Jerry Lee will always be an unbelievable country star. His voice through the 60s and early 70s was so crystal clear it has been a pleasure listening to that music for decades.
BJR. Was there a particular artist in those formative years that you thought ‘yes, I want to play like them.
John Fogerty, Magic Sam, Johnny Guitar Watson and Chuck Berry for Guitar.
Amos Milburn, Albert Ammons, Merrill Moore and Jerry lee for the piano.
Little Richard, Phil Everly John Fogerty for the vocals.
BJR. Which other artists influenced you and are there any of today’s that you’d tip your (many) hat to?
There are so many great influences out there from the past.
Moving into the now, Darrel Higham is an unbelievable player and singer, he is a stylist in my opinion. In our time, he is one of the best there is.
There are also so many other players I’ve had the privilege to work with and get to know over the last 25 years. But to keep in short. There are a few that blow me away with sheer joy and brilliance.
Here is a list of guitarists, bass players, singers and drummers.
Willy Briggs, Matt Jackson, John O' Maley, Bill Crittenden, Mark Morgan, Orlando Shearer, Lawrence Garmen, Lynette Morgan, Suzie Sims, Rich Taylor, Gregg G, Big John Carter, Dave Doel and Julien D’Imperio
Not saying every other muso isn’t brilliant, they are and we all do what we do and play accordingly. But these names have been a massive influence on me. As they all live and breathe the music they play and bring so much to the party.
To walk out on stage or listen to an album they are playing on is such a lovely thing to do.
As to the modern music that’s in the charts, there’s been a few here and there. Rodney Crowell, Emily Barker. That’s as far as I go. With the modern stuff.
BJR. You play piano and guitar, which came first. And are you self-taught or did you have formal lessons?
I started playing piano at the age of five. I’ve never had one lesson, I’ve been shown a few bits as in different left hand boogies from Rusty Lupton and Big John but much more later in life.
I started on guitar at around eight years old.
The Swampthings guitarist “Sean, Slim lightfoot" showed me some riffs in open tunings and I powered on through after that. He was a brilliant player that I was mesmerized by for all the years I played with them.
Slim, also turned me onto lots of Blues and boogie guitar like Lightning Hopkins and John Lee Hooker.
In fact, there’s been a few that have put me into some great paths for listening and take inspiration from.
Bloater turned me on to the more Ike Turner styles and Lynette for all the female rockabilly and western swing.
BJR. If push came to shove, and you had to make a choice, would it be piano or guitar?
They are both amazing instruments to play, I couldn’t choose one or the other. I get so much from both.
BJR. Your first band, the Swampthings, tell us about the history of that. Was it the first time you played in public?
I played in a couple of bands before the Swamps, a pub band called the Usual suspects and a rehearsing band that never played live called Tried and tested.
Then I used to go to a local Jam night that got me into playing in front of a real audience. The only thing was, the audience consisted of other players that were so much better than me.
I learnt my craft and how to sing to the back of the room. Also learning how to play with my eyes closed.
Something I do as natural now. I still get incredibly nervous before I play so the best thing to do is close my eyes.
I started playing in the Swamps at Eighteen, I was thrown in the deep end and was out every weekened busking, gigging and earning okay ish money.
We played a mixture of blues gigs, weddings and parties and the odd pub.
It was brilliant, being 18, wet behind the ears and seeing the world from that perspective was a massive game changer. I followed the orders of my dad to get a trade under my belt and became a motor mechanic, but hated every minute of it and couldn’t wait to get home and practice a 12 bar blues. Much to my father’s disappointment.
He didn’t get it. So the inevitable happened, I spent the next 27 years trying to please him and seeking approval, when I could of just believed in my self and done my own thing.
It’s taken me a long time to believe in what I do, I’ve had no confidence and have constantly doubted my self for most of my musical career. Its only been in the last 12 years, I’ve actually come to terms with the fact, I am great at what I do.
Having all those down days kept my feet on the ground and I always remember to play like it’s my last time.
When we actually thought about it, neither of us can recall when we saw Jim Hammond play first, he seems to have been a feature on our music circuit ‘forever’. However the last time was with Bill Crittenden in the Sweet Georgia Boys, in a field, Miles From Nowhere. With a list of notable collaborations, worked-with artists and recordings to his name, we thought it about time we got an interview with him.
BJR. For those who don’t know, who is Jim Hammond?
I am just a humble chap that loves what he does for a living and likes to bring joy to the people I work with and to the people listening.
BJR. What was your introduction to music?
It first started in the 80s growing up, one night Top of the pops was on and a band all dressed in space suits and alien costumes were playing, “Great balls of fire" probably I was around 4 years old.
I was taken back a little bit as it was so different to Culture club and Human League.
For the life of me I can’t remember what they were called, but my dad said he had the original on a record in the loft.
He then climbed up the ladder and brought a dusty box down with all these cool records in it. Loads of Chuck, Jerry Lee, Credence Clearwater and Little Richard.
We put each album on. I can remember hearing Jerry Lee for the first time and being blown away by how amazing his piano playing was. Bearing in mind this was the first album he made for Mercury records, meaning all the Sun era was yet to be found. So I automatically got into his country style before the more rockin stuff was heard.
Then my dad played me the Credence Chronicles album with Proud Mary, Travelling band and Bad moon rising on it.
“Bad moon" sent shivers down my spine like I’d never felt about anything at that time.
Then I heard “Green river" instantly wanting to play like that.
I can remember saying back then, “I want to play piano like Jerry Lee and sing like John Fogerty.”
Then I listened to the Chuck/Lil Richard stuff and that turned me on more to their styles. (A more RnB sound taking place)
The rhythm that L/Richard had in his band is so amazing plus all the brilliant Johnny Johnson trills over the top of the Berry stuff.
I was surrounded by piano.
I can remember one Christmas, opening up a present from my folks and it being a double album of Boogie woogie from the late 30s, and 40s.
Albert Ammons, Pete Johnson and Meade Lux Lewis. If you’ve never heard them, check them out, Jerry Lee is great but these guys would make him look like an amateur.
Then it snow balled from there, Skaky, Quo and Dave Edmunds was next on the list to listen to and grab inspiration from. All the guitar solos that Shaky had were a massive influence on me. The brilliance of Roger Mckew, Micky Gee and Billy Bremner, turned me on so much. Such exquisite playing.
Dave Edmunds for the way he made his voice sound and with all the harmonies.
I basically would hear all this great music, then find their influences and listen to even earlier stuff.
That’s when I found the Sun Jerry Lee albums.
Really amazing songs, but for me, Jerry Lee will always be an unbelievable country star. His voice through the 60s and early 70s was so crystal clear it has been a pleasure listening to that music for decades.
BJR. Was there a particular artist in those formative years that you thought ‘yes, I want to play like them.
John Fogerty, Magic Sam, Johnny Guitar Watson and Chuck Berry for Guitar.
Amos Milburn, Albert Ammons, Merrill Moore and Jerry lee for the piano.
Little Richard, Phil Everly John Fogerty for the vocals.
BJR. Which other artists influenced you and are there any of today’s that you’d tip your (many) hat to?
There are so many great influences out there from the past.
Moving into the now, Darrel Higham is an unbelievable player and singer, he is a stylist in my opinion. In our time, he is one of the best there is.
There are also so many other players I’ve had the privilege to work with and get to know over the last 25 years. But to keep in short. There are a few that blow me away with sheer joy and brilliance.
Here is a list of guitarists, bass players, singers and drummers.
Willy Briggs, Matt Jackson, John O' Maley, Bill Crittenden, Mark Morgan, Orlando Shearer, Lawrence Garmen, Lynette Morgan, Suzie Sims, Rich Taylor, Gregg G, Big John Carter, Dave Doel and Julien D’Imperio
Not saying every other muso isn’t brilliant, they are and we all do what we do and play accordingly. But these names have been a massive influence on me. As they all live and breathe the music they play and bring so much to the party.
To walk out on stage or listen to an album they are playing on is such a lovely thing to do.
As to the modern music that’s in the charts, there’s been a few here and there. Rodney Crowell, Emily Barker. That’s as far as I go. With the modern stuff.
BJR. You play piano and guitar, which came first. And are you self-taught or did you have formal lessons?
I started playing piano at the age of five. I’ve never had one lesson, I’ve been shown a few bits as in different left hand boogies from Rusty Lupton and Big John but much more later in life.
I started on guitar at around eight years old.
The Swampthings guitarist “Sean, Slim lightfoot" showed me some riffs in open tunings and I powered on through after that. He was a brilliant player that I was mesmerized by for all the years I played with them.
Slim, also turned me onto lots of Blues and boogie guitar like Lightning Hopkins and John Lee Hooker.
In fact, there’s been a few that have put me into some great paths for listening and take inspiration from.
Bloater turned me on to the more Ike Turner styles and Lynette for all the female rockabilly and western swing.
BJR. If push came to shove, and you had to make a choice, would it be piano or guitar?
They are both amazing instruments to play, I couldn’t choose one or the other. I get so much from both.
BJR. Your first band, the Swampthings, tell us about the history of that. Was it the first time you played in public?
I played in a couple of bands before the Swamps, a pub band called the Usual suspects and a rehearsing band that never played live called Tried and tested.
Then I used to go to a local Jam night that got me into playing in front of a real audience. The only thing was, the audience consisted of other players that were so much better than me.
I learnt my craft and how to sing to the back of the room. Also learning how to play with my eyes closed.
Something I do as natural now. I still get incredibly nervous before I play so the best thing to do is close my eyes.
I started playing in the Swamps at Eighteen, I was thrown in the deep end and was out every weekened busking, gigging and earning okay ish money.
We played a mixture of blues gigs, weddings and parties and the odd pub.
It was brilliant, being 18, wet behind the ears and seeing the world from that perspective was a massive game changer. I followed the orders of my dad to get a trade under my belt and became a motor mechanic, but hated every minute of it and couldn’t wait to get home and practice a 12 bar blues. Much to my father’s disappointment.
He didn’t get it. So the inevitable happened, I spent the next 27 years trying to please him and seeking approval, when I could of just believed in my self and done my own thing.
It’s taken me a long time to believe in what I do, I’ve had no confidence and have constantly doubted my self for most of my musical career. Its only been in the last 12 years, I’ve actually come to terms with the fact, I am great at what I do.
Having all those down days kept my feet on the ground and I always remember to play like it’s my last time.
BJR. How did the collaboration with Bill Crittenden in the Sweet Georgia Boys come about?
I first met Bill about 15 years ago playing with the Roosters down in Bournemouth, then again with the Magnatones in London at a blues gig. We hit it off straight away. Then years later I was out in Gran canaria playing for “Holiday Rock” with my band The Borderlines and the KC's where on the bill.
I spent a week with him laughing, joking and talking about music.
We had an idea back then and put it into action a few wewes later after getting back to the UK.
It started as two mates having a jam and going busking, but soon got serious and we were suddenly on car shows, weddings and Rockin doos.
Hemsby, The Riot and many more great gigs soon followed. It used to be just me singing and Bill on the drums, then he would pipe up and sing a couple of tracks, that I naturally harmonized with. With that, our set started heading towards more songs we could both sing together. Which in turn got me listening to the Everly brothers.
Since all that, I’ve been with him in his Fabulous Kingcats band and he plays either drums, bass or guitar in other bands and projects I have.
It is a wonderful partnership we have and he is my best friend. A true gent that inspires me every week with his exceptional talents and musicianship.
BJR. One of the questions we ask our interviewees, is how the Covid 19 pandemic and associated lockdowns affected you as a musician and performer.
At first I was going out of my mind with all kinds of worries. It effected my mental health and brought home to me what was important. I started buying and selling some guitars to make some money and luckily being self employed I got a few grants from the government. As time went on I really enjoyed having the break. I got back to loving the music I play. It also helped me to write lots of songs and to be creative with live streams and home recording.
I Also had to get a 9 to 5 job and started working in a garden centre near me. The first PAYE job in years.
I met some nice people and found my self a good woman.
BJR. What did it feel like ‘coming back’ to live events, and real people?
It was all back on track and there we were gigging again. A slight bittersweet moment, now rather than taking for granted what we do, I relish every gig as though it was my last and really enjoy every part of it. As who knows what’s round the corner.
BJR. What’s the largest crowd you’ve played for?
I’ve been lucky enough to play with some amazing bands over the years one of which we went on a national tour with Imelda May as her support band.
Some venues had over 5000 people in one room. But the biggest was at the Round house in Camden.
I got to meet Jeff Beck as well. Lovely chap.
Also I’ve played at Glastonbury festival a few times. There’s Been loads of people there as well.
BJR. What does the future hold for you musically?
I’d like to get back in the studio and finish off some albums I’ve been working on for a while and also do some new recordings.
Also I’d like to put an outfit together with some tasty players and hit the more genre based festivals and gigs such a like.
Also if I could have an Irish/folk acoustic band with lots of harmony vocals and banjo’s that would be a lovely thing to do.
BJR. How can people get in touch with you for bookings and merchandise?
You can find me on my website, Instagram and and Facebook.
www.jimhammondmusic.com
https://m.facebook.com/jimhammondsofficialpage
[email protected]
BJR Thank you for this interview, Jim.
Like what you see? Help us keep it free by popping a donation over by using the button below. Many thanks
I first met Bill about 15 years ago playing with the Roosters down in Bournemouth, then again with the Magnatones in London at a blues gig. We hit it off straight away. Then years later I was out in Gran canaria playing for “Holiday Rock” with my band The Borderlines and the KC's where on the bill.
I spent a week with him laughing, joking and talking about music.
We had an idea back then and put it into action a few wewes later after getting back to the UK.
It started as two mates having a jam and going busking, but soon got serious and we were suddenly on car shows, weddings and Rockin doos.
Hemsby, The Riot and many more great gigs soon followed. It used to be just me singing and Bill on the drums, then he would pipe up and sing a couple of tracks, that I naturally harmonized with. With that, our set started heading towards more songs we could both sing together. Which in turn got me listening to the Everly brothers.
Since all that, I’ve been with him in his Fabulous Kingcats band and he plays either drums, bass or guitar in other bands and projects I have.
It is a wonderful partnership we have and he is my best friend. A true gent that inspires me every week with his exceptional talents and musicianship.
BJR. One of the questions we ask our interviewees, is how the Covid 19 pandemic and associated lockdowns affected you as a musician and performer.
At first I was going out of my mind with all kinds of worries. It effected my mental health and brought home to me what was important. I started buying and selling some guitars to make some money and luckily being self employed I got a few grants from the government. As time went on I really enjoyed having the break. I got back to loving the music I play. It also helped me to write lots of songs and to be creative with live streams and home recording.
I Also had to get a 9 to 5 job and started working in a garden centre near me. The first PAYE job in years.
I met some nice people and found my self a good woman.
BJR. What did it feel like ‘coming back’ to live events, and real people?
It was all back on track and there we were gigging again. A slight bittersweet moment, now rather than taking for granted what we do, I relish every gig as though it was my last and really enjoy every part of it. As who knows what’s round the corner.
BJR. What’s the largest crowd you’ve played for?
I’ve been lucky enough to play with some amazing bands over the years one of which we went on a national tour with Imelda May as her support band.
Some venues had over 5000 people in one room. But the biggest was at the Round house in Camden.
I got to meet Jeff Beck as well. Lovely chap.
Also I’ve played at Glastonbury festival a few times. There’s Been loads of people there as well.
BJR. What does the future hold for you musically?
I’d like to get back in the studio and finish off some albums I’ve been working on for a while and also do some new recordings.
Also I’d like to put an outfit together with some tasty players and hit the more genre based festivals and gigs such a like.
Also if I could have an Irish/folk acoustic band with lots of harmony vocals and banjo’s that would be a lovely thing to do.
BJR. How can people get in touch with you for bookings and merchandise?
You can find me on my website, Instagram and and Facebook.
www.jimhammondmusic.com
https://m.facebook.com/jimhammondsofficialpage
[email protected]
BJR Thank you for this interview, Jim.
Like what you see? Help us keep it free by popping a donation over by using the button below. Many thanks
hot rock 'n' boogie #4
Springfields Events and Conference Centre, Spalding, Lincolnshire, was once again the venue for Boston Jive’s fourth Hot Rock n Boogie weekender event. The centre itself is owned by the charity Springfield Horticultural Society, and boasts fifteen acres of Festival Gardens, which people can access easily, as well as a large car park area, some slots for camping and spacious hall complex.
The main hall is suitably large with the audience on three sides of the dancefloor with a large stage making the square. There’s an onsite café, and a smaller hall where a lot of the stalls are situated. All very conducive to host an event of this size.
Initially, we were all approaching the venue tinged with the slightly glum expectation that this would be the final Hot Rock n Boogie event, but after some serious thought, and emptying the nearby branch of Café Nero (other Italian influenced coffee houses, are available), Claire and Neil Seabrook decided to forge ahead with HR&B #5 in 2024. But that’s the future, what about this event?
This was the first year that there was a pre-party on the Friday night, featuring the Devil’s Cut Combo and various DJs in between. Good to see a healthy headcount of punters in early doors for this show. The Devil’s Cut Combo are Rob De Ville (Hillier) on lead guitar & vocals, the wonderfully named ‘Shoeless George’ on drums,, Wild Bill Renwick tickling the ivories and bassist The Preacher. Together they produce a heady mix of toe-tapping jumping blues, that fair bounces along.
The show is choc full of hot original compositions and (I think) one or two covers. The titles of the songs are alluring and, in some cases, off the wall. Take, ‘Duck Sausage’ for example, which was accompanied by a tale of a culinary delight involving canard-like meat. The music sounds considerably better than the suggested snags. ‘Pigs Knuckle Soup’, slightly more appealing, and a super musical jaunt, consisting of some serious work on the eighty eight keys, and occasional hollering of the title. ‘Hot Pork’ completes the gastronomic titles with it’s shout-back vocal style
They also perform a good drinking song or two, accompanied by the passing round a bottle of bourbon (I think) which audience members took a slug of. It didn’t last long….. So hear ye ‘Bottom Shelf Bourbon Meltdown’, ‘Pass That Bottle To Me’, and ‘I Ain’t Drunk’ for your whiskey soaked fix. ‘Monkey Shoulder’ is an odd title for a peach of a tune, as is ‘Stomp The Boogie’. Just a few from a brace of sets that were danced to and appreciated in equal parts, making for a smashing start to the weekend.
The main hall is suitably large with the audience on three sides of the dancefloor with a large stage making the square. There’s an onsite café, and a smaller hall where a lot of the stalls are situated. All very conducive to host an event of this size.
Initially, we were all approaching the venue tinged with the slightly glum expectation that this would be the final Hot Rock n Boogie event, but after some serious thought, and emptying the nearby branch of Café Nero (other Italian influenced coffee houses, are available), Claire and Neil Seabrook decided to forge ahead with HR&B #5 in 2024. But that’s the future, what about this event?
This was the first year that there was a pre-party on the Friday night, featuring the Devil’s Cut Combo and various DJs in between. Good to see a healthy headcount of punters in early doors for this show. The Devil’s Cut Combo are Rob De Ville (Hillier) on lead guitar & vocals, the wonderfully named ‘Shoeless George’ on drums,, Wild Bill Renwick tickling the ivories and bassist The Preacher. Together they produce a heady mix of toe-tapping jumping blues, that fair bounces along.
The show is choc full of hot original compositions and (I think) one or two covers. The titles of the songs are alluring and, in some cases, off the wall. Take, ‘Duck Sausage’ for example, which was accompanied by a tale of a culinary delight involving canard-like meat. The music sounds considerably better than the suggested snags. ‘Pigs Knuckle Soup’, slightly more appealing, and a super musical jaunt, consisting of some serious work on the eighty eight keys, and occasional hollering of the title. ‘Hot Pork’ completes the gastronomic titles with it’s shout-back vocal style
They also perform a good drinking song or two, accompanied by the passing round a bottle of bourbon (I think) which audience members took a slug of. It didn’t last long….. So hear ye ‘Bottom Shelf Bourbon Meltdown’, ‘Pass That Bottle To Me’, and ‘I Ain’t Drunk’ for your whiskey soaked fix. ‘Monkey Shoulder’ is an odd title for a peach of a tune, as is ‘Stomp The Boogie’. Just a few from a brace of sets that were danced to and appreciated in equal parts, making for a smashing start to the weekend.
The first full day, started with two dance classes, always a feature of Hot Rock n Boogie. The Reverend Boogie took one involving more of a West Coast, Balboa and Shag feel, with Neil and Claire Seabrook taking on Rock n Roll and stroll. They alternated times between the two days, in well attended and populated morning class.
The live shows started with a real ‘Yeeehaw’, as Rusti Steel and the Startones took the stage. Rusti takes the lead vocals, plays lead guitar and slides the steel on the ol’ ironing board (sawn off apparently), with Lloyd Mills on rhythm guitar & occasional double necked lead guitar, bassist Stewart Dale and drummer Andy Meadows. This line-up has been together for some years now, and their sound is testament to that as they launched into Glenn Honeycutt’s ‘All Night Rock’ and George ‘Thumper’ Jones’ ‘How Come It’.
With a new CD recently released, the lads showcased some of that material. ‘Dance Baby Dance’ has a similar vibe to ‘Linda Lou’ which Rusti also performs as ‘Racheal Lou’ also in the show. ‘A Dog Named Rhythm’ , a bouncy bop beat from that release, also made a welcome appearance, as did ‘You Move Me’ which delighted strollers. Regularly pointing his guitar out at the audience and shiverin’ & shakin’, Rusti never gives less than 100%. Loving Charlie Rich’s ‘Rebound’, Jerry Lee Lewis’ debut Sun single ‘Crazy Arms’ and the super-slidey ‘Go Boy Go’ (Carl Smith).
Top that off with ‘Real Rock Drive’ and you have a consummate show from the ‘tonks of Northampton into Lincolnshire.
The live shows started with a real ‘Yeeehaw’, as Rusti Steel and the Startones took the stage. Rusti takes the lead vocals, plays lead guitar and slides the steel on the ol’ ironing board (sawn off apparently), with Lloyd Mills on rhythm guitar & occasional double necked lead guitar, bassist Stewart Dale and drummer Andy Meadows. This line-up has been together for some years now, and their sound is testament to that as they launched into Glenn Honeycutt’s ‘All Night Rock’ and George ‘Thumper’ Jones’ ‘How Come It’.
With a new CD recently released, the lads showcased some of that material. ‘Dance Baby Dance’ has a similar vibe to ‘Linda Lou’ which Rusti also performs as ‘Racheal Lou’ also in the show. ‘A Dog Named Rhythm’ , a bouncy bop beat from that release, also made a welcome appearance, as did ‘You Move Me’ which delighted strollers. Regularly pointing his guitar out at the audience and shiverin’ & shakin’, Rusti never gives less than 100%. Loving Charlie Rich’s ‘Rebound’, Jerry Lee Lewis’ debut Sun single ‘Crazy Arms’ and the super-slidey ‘Go Boy Go’ (Carl Smith).
Top that off with ‘Real Rock Drive’ and you have a consummate show from the ‘tonks of Northampton into Lincolnshire.
Bobcat Billy’s Moonshine Mission, were a band new to us, up until two weeks before this show, us having seen them play at York Racecourse. Strange, as the band was formed over ten years ago, in Chester. In addition to the classic guitar, bass and drums combination, courtesy of Nick Down, Chris Renshaw and Jonathan Rowland, they employ a trombone player, Fergus Mulcahy. Lead vocals are taken by the enthusiastic Nick Haggart.
Think of some of the best-known Rock n Roll tracks out there, put ‘em all in a set and let’s hear them played by a band like these guys. ‘Great Balls of Fire’, ‘Twenty Flight Rock’, ‘Sea Cruise’, ‘Shake Rattle and Roll’, ‘Rock Around the Clock’, you got it yet? A couple of Stray Cats’ sounds slotted into the show ‘Rock This Town’ and ‘Stray Cat Strut’ (both from that seminal album of 1981) and from the Mavericks, ‘Dance the Night Away’ (1998). The ultimate tune, many an eyebrow raised, was a take on Led Zeppelin’s ‘Rock ‘n’ Roll’. Although from ’71 it has it’s roots in the 50’s with the opening drumbeat from ‘Keep a Knockin’ and the guitar riffs a la Chuck Berry. Solid show, well delivered.
Think of some of the best-known Rock n Roll tracks out there, put ‘em all in a set and let’s hear them played by a band like these guys. ‘Great Balls of Fire’, ‘Twenty Flight Rock’, ‘Sea Cruise’, ‘Shake Rattle and Roll’, ‘Rock Around the Clock’, you got it yet? A couple of Stray Cats’ sounds slotted into the show ‘Rock This Town’ and ‘Stray Cat Strut’ (both from that seminal album of 1981) and from the Mavericks, ‘Dance the Night Away’ (1998). The ultimate tune, many an eyebrow raised, was a take on Led Zeppelin’s ‘Rock ‘n’ Roll’. Although from ’71 it has it’s roots in the 50’s with the opening drumbeat from ‘Keep a Knockin’ and the guitar riffs a la Chuck Berry. Solid show, well delivered.
After the extended DJ break, Alan Power and the Aftershocks from Ireland. If it was warm in Spalding, that might explain why everyone concerned were sweating bullets. Or it could’ve been that the lads had been stuck in Waterford, and arrived with just twenty minutes to spare, re-stringing Alan’s guitar on the way. Not that many swanning in from having their tea would’ve noticed such is the professionalism of this young outfit. There’s a certain joi-de-vivre about the band that permeates through to the audience, via their musical presentation.
Two classic songs opened the show, Elvis’ ‘That’s Alright Mama’ and Little Richard’s ‘Tutti Frutti’. Well, that got them up. The Echo Valley Boys’ ‘Wash Machine Boogie’ rattled along next with a Hank Williams country classic ‘Settin’ the Woods on Fire’, punctuated by one of Alan’s shiny new guitar strings going ping. A bit of fiery skiffle was up next, and Chas McDevitt/Nancy Whiskey’s ‘Freight Train’ trundled along perfectly. A complete change of pace with the atmospheric and moody ‘Fever’, before we were tearing it up again to Elvis’ ‘Baby Let’s Play House’ and the Rockabilly classic ‘If I Had Me a Woman’.
Alan’s guitar was down to four strings now as another went ping, just as ‘Tear it Up’, did exactly that, offset by the Gospel strains of ‘This Train’ (think the Sister Rosetta Sharp tempo) and the equally soul stirring ‘When the Saints Go Marching In’. There are artists who can end with a ballad and hold the crowd, and we can add Alan Power to that list. You could’ve heard a pin drop during and exquisite vocalising of Sister Mahalia Jackson or Elvis Presley’s ‘Peace in the Valley’. It was left for ‘Reddy Teddy’ to close a truly memorable show by Alan Power and the Aftershocks who consist of Steff on drums, Ciian on bass and Jimmy on lead guitar.
Two classic songs opened the show, Elvis’ ‘That’s Alright Mama’ and Little Richard’s ‘Tutti Frutti’. Well, that got them up. The Echo Valley Boys’ ‘Wash Machine Boogie’ rattled along next with a Hank Williams country classic ‘Settin’ the Woods on Fire’, punctuated by one of Alan’s shiny new guitar strings going ping. A bit of fiery skiffle was up next, and Chas McDevitt/Nancy Whiskey’s ‘Freight Train’ trundled along perfectly. A complete change of pace with the atmospheric and moody ‘Fever’, before we were tearing it up again to Elvis’ ‘Baby Let’s Play House’ and the Rockabilly classic ‘If I Had Me a Woman’.
Alan’s guitar was down to four strings now as another went ping, just as ‘Tear it Up’, did exactly that, offset by the Gospel strains of ‘This Train’ (think the Sister Rosetta Sharp tempo) and the equally soul stirring ‘When the Saints Go Marching In’. There are artists who can end with a ballad and hold the crowd, and we can add Alan Power to that list. You could’ve heard a pin drop during and exquisite vocalising of Sister Mahalia Jackson or Elvis Presley’s ‘Peace in the Valley’. It was left for ‘Reddy Teddy’ to close a truly memorable show by Alan Power and the Aftershocks who consist of Steff on drums, Ciian on bass and Jimmy on lead guitar.
Who could follow that then? A rhetorical question that when you mention Mischief! provides an instant answer. The trio from Utrecht (Netherlands) always bring their ‘A’ game to any stage, and this evening was no exception. Regular Bettajive Review readers will know that we are fans of the band, which features brothers Daze and Patrick van der Erf on lead guitar and bass respectively, and Richard Verhuel on drums.
‘Pure Love’ opened the show and a newly co-opted track from the Everly Brothers ‘Should We Tell Him’ was an absolute delight. The 1958 single also had ‘This Little Girl of Mine’ on the ‘A’ side, which featured later in the Mischief! set. There’s something about brothers (or any part of family) singing harmony, it just sounds so right and so good. The lyrics of ‘Grow Up’ are a real laugh out loud experience, and ‘Sweet Loving Kind’, an original track over twenty years old, was a delight.
The title track of their new album, ‘Writing on the Wall’, featured, among rip-roaring covers of Charlie Rich’s ‘Rebound’, Rusty and Doug’s ‘Hey Mae’ and Johnny Horton’s ‘I’m Coming Home’. Loved ‘Hot Wheels’ and ‘In Dreams’, and the finale of Floyd Dakil’s ‘Let’s Dance’. A very enthusiastic an immersive show, with energetic leaps and bounds from Daze on guitar, excellent harmonies, malfunctioning zips, a vibrant set choice and the crowd being right there from the start.
‘Pure Love’ opened the show and a newly co-opted track from the Everly Brothers ‘Should We Tell Him’ was an absolute delight. The 1958 single also had ‘This Little Girl of Mine’ on the ‘A’ side, which featured later in the Mischief! set. There’s something about brothers (or any part of family) singing harmony, it just sounds so right and so good. The lyrics of ‘Grow Up’ are a real laugh out loud experience, and ‘Sweet Loving Kind’, an original track over twenty years old, was a delight.
The title track of their new album, ‘Writing on the Wall’, featured, among rip-roaring covers of Charlie Rich’s ‘Rebound’, Rusty and Doug’s ‘Hey Mae’ and Johnny Horton’s ‘I’m Coming Home’. Loved ‘Hot Wheels’ and ‘In Dreams’, and the finale of Floyd Dakil’s ‘Let’s Dance’. A very enthusiastic an immersive show, with energetic leaps and bounds from Daze on guitar, excellent harmonies, malfunctioning zips, a vibrant set choice and the crowd being right there from the start.
Last act for the night, the local favourites from a few miles away in Kings Lynn, The Summertime Kings. Craig Brown on drums and backing vocals, Pete Cuss on lead guitar and backing vocals, Stephen Barrett on double bass and backing vocals and Adam Tucker on lead vocals and acoustic guitar, make up the band. Together, they produce some fine vocals and a set of jive and stroll, some from the fifties, others from more up to day artists. Take their introduction to the crowd, a version of the Bellfuries’ ‘Your Love (All that I’m Missin’), and Big Sandy’s ‘Feeling Kinda Lucky’ which featured later in the set. Both latter day classics (even though they are over twenty years old now), as is the evergreen ‘Forever’s Much Too Long’ originally by Go Cat Go.
A bit of Elvis is always popular, and the lads obliged with ‘Such a Night’, ‘Shoppin Around’ and ‘Stuck On You’. And to demonstrate their versatility, they showcase some vocal finery as in the Cues ‘Why’ and ‘Crazy Crazy Party’, ‘Wynonie’s shouter ‘Bloodshot Eyes’ and a kicking take of Ricky Nelson’s ‘Hello Mary Lou’. And if you want something right up to date, Bo Walton’s ‘This Little Car of Mine’, and the stick on winner ‘Lookout Heart’ which eagle eyed readers will appreciate Country Side of Harmonica Sam’s version, is a cover, so the ‘Kings, is a cover of a cover. Whatever, it was a fitting climax to their show and one very well received by the crowd who had stuck with them all through to the end.
A bit of Elvis is always popular, and the lads obliged with ‘Such a Night’, ‘Shoppin Around’ and ‘Stuck On You’. And to demonstrate their versatility, they showcase some vocal finery as in the Cues ‘Why’ and ‘Crazy Crazy Party’, ‘Wynonie’s shouter ‘Bloodshot Eyes’ and a kicking take of Ricky Nelson’s ‘Hello Mary Lou’. And if you want something right up to date, Bo Walton’s ‘This Little Car of Mine’, and the stick on winner ‘Lookout Heart’ which eagle eyed readers will appreciate Country Side of Harmonica Sam’s version, is a cover, so the ‘Kings, is a cover of a cover. Whatever, it was a fitting climax to their show and one very well received by the crowd who had stuck with them all through to the end.
Hot Rock dot dot…. Best tracks in the world ever ever to have your rod suitably hotted for this year were Hank Locklin’s ‘We’re Gonna Go Fishin’, Ray Collins Hot Club ‘Right Eye’s Jumping’ and Paul Gayten’s ‘Nervous Boogie’………Oi, Summertime Kings, where’s ‘Morse Code of Love’?....... Big up to the DJs from this weekend, Mark ‘Kickin’ the Boogie’, Mr Big Feet, Idaho Redd, Tone Deaf, the Reverend Boogie and guest Little Demon. Some cracking tracks, and no drop in quality whether the hall was full or barely populated (during the breaks in live acts between afternoon and evening)…….Oi! Spalding, No! Sunday, began with bells, roadsweepers, car alarms, chatter and ducks. A Windsor Davis styled ‘Shut up’ to the lot of you…. And that was before we even got to the venue. Read on…….
The Sunday event started with two similar dance classes, by the Reverend (fittingly) and Boston Jive, before the first live act. Earl Jackson, an act who has been around seemingly forever, right back to the table-hopping, jump-around, live-wire shows with the Jailbreakers. Today he had Janos Bajtala a keyboardist from Hungary, Emil Engstrom from Sweden on bass guitar and drummer of considerable stick dexterity and smiley faces, Harry Weston-Cottrell, from Birmingham. Earl himself, looking sharp in his suit and hat, takes lead guitar and vocals.
An Earl Jackson show was always more than just music, he has the most infectious laugh and a very self-deprecating outlook. “He’s a nice guy but I wouldn’t want him to come to my house” he said about himself, followed by another bout of laughter, “You can all come to my house” and then he’d launch into ‘Slippin’ and Slidin’ for example. Over the years, many associate Earl with the Chcuk Berry sound, and this set didn’t disappoint. ‘Nadine’ appeared early doors, ‘You Never Can Tell’ (which Berry composed while incarcerated in the early 60’s), the frustration that is contained in the lyrics of ‘No Particular Place to Go’, as well as ‘Carol’ and ‘Little Queenie’.
It’s not all Chuck, and as Earl himself suggested, not all ‘ball busters’, although Howlin’ Wolf’s ‘Howlin’ For My Baby’ stretched the vocal cords. Reigning it in were the likes of ‘Shoppin’ Around’ and ‘Have Love Will Travel’. One of the music circuits’ showmen, consummate guitarist and vocalist, back onstage and kicking a*se.
The Sunday event started with two similar dance classes, by the Reverend (fittingly) and Boston Jive, before the first live act. Earl Jackson, an act who has been around seemingly forever, right back to the table-hopping, jump-around, live-wire shows with the Jailbreakers. Today he had Janos Bajtala a keyboardist from Hungary, Emil Engstrom from Sweden on bass guitar and drummer of considerable stick dexterity and smiley faces, Harry Weston-Cottrell, from Birmingham. Earl himself, looking sharp in his suit and hat, takes lead guitar and vocals.
An Earl Jackson show was always more than just music, he has the most infectious laugh and a very self-deprecating outlook. “He’s a nice guy but I wouldn’t want him to come to my house” he said about himself, followed by another bout of laughter, “You can all come to my house” and then he’d launch into ‘Slippin’ and Slidin’ for example. Over the years, many associate Earl with the Chcuk Berry sound, and this set didn’t disappoint. ‘Nadine’ appeared early doors, ‘You Never Can Tell’ (which Berry composed while incarcerated in the early 60’s), the frustration that is contained in the lyrics of ‘No Particular Place to Go’, as well as ‘Carol’ and ‘Little Queenie’.
It’s not all Chuck, and as Earl himself suggested, not all ‘ball busters’, although Howlin’ Wolf’s ‘Howlin’ For My Baby’ stretched the vocal cords. Reigning it in were the likes of ‘Shoppin’ Around’ and ‘Have Love Will Travel’. One of the music circuits’ showmen, consummate guitarist and vocalist, back onstage and kicking a*se.
The black and white checked tuxedoes of Phil Haley and his Comments took the stage next. This four-piece have a professional set up and sound, that has held them in good stead for thirty years now, coupled with their fanbase. This was going to be popular for sure. As you’d expect, there’s a hefty chunk of the Bill Haley back catalogue in the show, and indeed with ‘Shake Rattle and Roll’ starting us off, the lads obliged the Haley fans.
The nippy ‘Rip It Up’ with Martyn Savage’s trademark sliding bass note, rocked along next with ‘Rudy’s Rock’ combining with ‘Goofin’ Around’ providing instrumental sustenance. Over twenty years ago, in Australia the band cut a song that has graced so many dancefloors and sounds as fresh today as it did when it first came out. ‘Talk To Me’, is the kind of song that you could imagine Bill Haley recording in later years. As always, the crowd flocked to the floor. Back on the Haley trail again and a veritable treasure chest of classics. Are you ready? ‘Hide n Seek’, ‘Tonight’s the Night’ (ok, for purists, both originally vocalised by Comet, Billy Williamson), ‘R.O.C.K’, the wonderful ‘Real Rock Drive’, which predates ‘Rock Around the Clock’ by almost two years, as does ‘Rocking Chair on the Moon’ and ‘Dance With a Dolly’ which also featured.
Good to hear ‘One Sweet Letter’ too, an original track from a while back, before we were back on the Bill Haley songbook with ‘Sweet Sue’ and ‘Choo Choo Ch’Boogie’ done in that style. It’s a gimmie that this act would go down well, and this evening’s show was no exception.
The nippy ‘Rip It Up’ with Martyn Savage’s trademark sliding bass note, rocked along next with ‘Rudy’s Rock’ combining with ‘Goofin’ Around’ providing instrumental sustenance. Over twenty years ago, in Australia the band cut a song that has graced so many dancefloors and sounds as fresh today as it did when it first came out. ‘Talk To Me’, is the kind of song that you could imagine Bill Haley recording in later years. As always, the crowd flocked to the floor. Back on the Haley trail again and a veritable treasure chest of classics. Are you ready? ‘Hide n Seek’, ‘Tonight’s the Night’ (ok, for purists, both originally vocalised by Comet, Billy Williamson), ‘R.O.C.K’, the wonderful ‘Real Rock Drive’, which predates ‘Rock Around the Clock’ by almost two years, as does ‘Rocking Chair on the Moon’ and ‘Dance With a Dolly’ which also featured.
Good to hear ‘One Sweet Letter’ too, an original track from a while back, before we were back on the Bill Haley songbook with ‘Sweet Sue’ and ‘Choo Choo Ch’Boogie’ done in that style. It’s a gimmie that this act would go down well, and this evening’s show was no exception.
An act returning for the second consecutive year were the Doel Brothers, bringing their own brand of jumping western bop and Hillbilly back to the Hot Rock n Boogie stage. Tom Gordon and David Doel (drums, guitar and guitar) were joined by Gary Boller on upright bass and Phil Morgan sliding the steel guitar. They mix a hefty chunk of their own material with some covers, an in many cases, the listener would be excused in thinking they were one and the same.
They have made songs like Tennessee Ernie Ford’s ‘Kissing Bug Boogie’, their own now. That appeared on their first album, which came out ten years ago would you believe. Likewise, with ‘Pig Pen Boogie’, Chuck Bowers’ 1956 oddity, David Doel’s vocals have that resonance of authenticity, that makes you think it’s their own track. ‘Catfish Boogie’ is another familiar track the band present really well. It seems like in the early fifties, whatever subject you wanted to sing about, you just stuck ‘boogie’ on the end of it 😊
On to their own material, and the title track of the last album ‘There’s a Bottle on the Table’ rocked, as did the likes of ‘New England in the Fall (that’s all)’, ‘Welcome to My Heart’ and ‘Hole In My Show’ all from the 2019 El Toro release. Amongst those, a spot-on version of the Cochran Brothers’ ‘Rockin’ and Flyin’, the sublime ‘Juke Joint Johnny’ (Lattie Moore) and to top it all off, Carl Smith’s ‘Go Boy Go’. Smashing stuff.
They have made songs like Tennessee Ernie Ford’s ‘Kissing Bug Boogie’, their own now. That appeared on their first album, which came out ten years ago would you believe. Likewise, with ‘Pig Pen Boogie’, Chuck Bowers’ 1956 oddity, David Doel’s vocals have that resonance of authenticity, that makes you think it’s their own track. ‘Catfish Boogie’ is another familiar track the band present really well. It seems like in the early fifties, whatever subject you wanted to sing about, you just stuck ‘boogie’ on the end of it 😊
On to their own material, and the title track of the last album ‘There’s a Bottle on the Table’ rocked, as did the likes of ‘New England in the Fall (that’s all)’, ‘Welcome to My Heart’ and ‘Hole In My Show’ all from the 2019 El Toro release. Amongst those, a spot-on version of the Cochran Brothers’ ‘Rockin’ and Flyin’, the sublime ‘Juke Joint Johnny’ (Lattie Moore) and to top it all off, Carl Smith’s ‘Go Boy Go’. Smashing stuff.
From Western bop to Rhythm and Blues, and J.G. and the Ultimates. Jay Gipson heads this band up, taking guitar and vocals throughout. He’s joined by Pianist Sam Wain Orlando Shearer on bass, Drums- Dan Buskell Tenor sax Karl Hird and on trumpet, Jay’s brother, Stoo Gipson Jay fully immerses himself in the performance, and has the R&B guitar style down to a ‘t’. He can ‘shout’ the blues with the best of them, and if you heard the version of Wynonie Harris’ ‘Shake That Thing’, you’d probably agree. Roy Montrell’s ‘Mellow Saxophone’, is another case in point, and a really good holler it was too.
Into the purest blues with B.B. King’s ‘She’s Dynamite’, a ‘B side’ song from 1951, originally recorded by Sam Philips, pre ‘Sun’ on RPM records. Impressive version this was folks. Jivers were up for Nappy Brown’s ‘Don’t Be Angry’ rhythmic and steady while the strollers were out for Charles Sheffield’s ‘It’s Your Voodoo Working’, pushing the rhythm into soul from 1961. Nick Curran’s ‘This Time I’m Out The Door’ was recited with all the gritty urgency of the original, and Eddie ‘Cleanhead’ Vinson’s ‘Kidney Stew Blues’ sax soaked sixties wonder was a treat. The lyrics of Jimmy Liggins’ ‘Nite Life Boogie’ was altered cleverly, to become ‘Hot Rock Boogie’, which I reckon will now be the event’s signature tune. So good to hear ‘St. James’ Infirmary’, made famous by the likes of Louis Armstrong and Cab Calloway, despite it’s rather unsavoury lyrical undertones. Oh, and dispatch type mention for ‘St Louis Blues’ as well, a foundation stone tune, for a multitude of performers through the ages. A virtuosic performance.
Into the purest blues with B.B. King’s ‘She’s Dynamite’, a ‘B side’ song from 1951, originally recorded by Sam Philips, pre ‘Sun’ on RPM records. Impressive version this was folks. Jivers were up for Nappy Brown’s ‘Don’t Be Angry’ rhythmic and steady while the strollers were out for Charles Sheffield’s ‘It’s Your Voodoo Working’, pushing the rhythm into soul from 1961. Nick Curran’s ‘This Time I’m Out The Door’ was recited with all the gritty urgency of the original, and Eddie ‘Cleanhead’ Vinson’s ‘Kidney Stew Blues’ sax soaked sixties wonder was a treat. The lyrics of Jimmy Liggins’ ‘Nite Life Boogie’ was altered cleverly, to become ‘Hot Rock Boogie’, which I reckon will now be the event’s signature tune. So good to hear ‘St. James’ Infirmary’, made famous by the likes of Louis Armstrong and Cab Calloway, despite it’s rather unsavoury lyrical undertones. Oh, and dispatch type mention for ‘St Louis Blues’ as well, a foundation stone tune, for a multitude of performers through the ages. A virtuosic performance.
The final act for the weekend, Ray Gelato and His Giants, was a masterclass in jump blues, swing and jazz. This was a show so polished you could see you face in it, sharper than the creases in the band’s trousers and a resonance that carried the audience to jump-jive nirvana. The line-up is Ray Gelato lead vocals and tenor sax, Danny Marsden on trumpet, Andy Rogers on trombone, Olly Wilby blasting out on tenor and alto sax pianist Gunther Kurmayr, Manuel Alvarez on double bass and drummer Ed Richardson.
Collectively moving from side to side in time with the music, the crowd at the stage, dug Dean Martin’s signature song ‘That’s Amore’, while the pace ratcheted up for Wynonie Harris’ ‘Quiet Whiskey’ (astonishingly a ‘B’ side from 1952). ‘My Last Meatball’ is an amusing Gelato original, about a gluttonous other half, very much in a Louis Prima lyrical style. They followed that with a rousing version of Cab Calloway’s ‘Jumping Jive’, complete with ‘Hep Hep’ by the bucketload and a singalong-shoutback chorus. A Big Jay McNeely instrumental tune followed, the title of which we don’t know, and that set up one of a number of Louis Prima tracks, ‘Hey Marie’. Ray’s ability to recount the lyrics in both Italian and English, added to the authenticity of the sound.
Some super-smooth vocals followed with Matt Monroe’s ‘My Kind of Girl’ from 1961, a rousing rendition of Wynonie’s ‘Oh Babe’ before a brace of perfect Prima interpretations. ‘Jump Jive and Wail’ filled the floor with joyous jivers, and ‘Basin Street Blues’ trundled along in a Dixieland style. The other side of Lionel Hampton’s ‘Flying Home’, the show reached a crescendo with ‘Should I Confess’ merging into ‘Ill Be Glad When You’re Dead You Rascal You’ and ‘Just a Gigolo’ with more call-and-answer from the band (and indeed the audience). A rowdy call for an encore was fulfilled with another Prima classic, the Anglo-Italian vocals of ‘Angelina Zoom Zooma’.
What an outstanding set, and a fitting end to the weekender. And we can say with some conviction, Hot Rock n Boogie #5, it's happening (flyer below)
Collectively moving from side to side in time with the music, the crowd at the stage, dug Dean Martin’s signature song ‘That’s Amore’, while the pace ratcheted up for Wynonie Harris’ ‘Quiet Whiskey’ (astonishingly a ‘B’ side from 1952). ‘My Last Meatball’ is an amusing Gelato original, about a gluttonous other half, very much in a Louis Prima lyrical style. They followed that with a rousing version of Cab Calloway’s ‘Jumping Jive’, complete with ‘Hep Hep’ by the bucketload and a singalong-shoutback chorus. A Big Jay McNeely instrumental tune followed, the title of which we don’t know, and that set up one of a number of Louis Prima tracks, ‘Hey Marie’. Ray’s ability to recount the lyrics in both Italian and English, added to the authenticity of the sound.
Some super-smooth vocals followed with Matt Monroe’s ‘My Kind of Girl’ from 1961, a rousing rendition of Wynonie’s ‘Oh Babe’ before a brace of perfect Prima interpretations. ‘Jump Jive and Wail’ filled the floor with joyous jivers, and ‘Basin Street Blues’ trundled along in a Dixieland style. The other side of Lionel Hampton’s ‘Flying Home’, the show reached a crescendo with ‘Should I Confess’ merging into ‘Ill Be Glad When You’re Dead You Rascal You’ and ‘Just a Gigolo’ with more call-and-answer from the band (and indeed the audience). A rowdy call for an encore was fulfilled with another Prima classic, the Anglo-Italian vocals of ‘Angelina Zoom Zooma’.
What an outstanding set, and a fitting end to the weekender. And we can say with some conviction, Hot Rock n Boogie #5, it's happening (flyer below)
juniper Fayre #2
The second annual Juniper Fayre weekend event took place at the end of May at International Bomber Command Centre (IBCC) in Lincoln. The centre itself is a facility which acknowledges the sacrifice and service of servicemen and women, during WWII, at Bomber Command, and the importance of the county of Lincolnshire during that period. Everyone who served during that period was a volunteer, and Bomber Command suffered the highest number of any unit during WWII, the average age of which was just 23 (sic).
The facility itself is well worth a visit on it’s own, the wall of 58000 names that surround the Memorial Spire, the ten acres of Peace Gardens, the Chadwick Centre itself, containing state of the art interactive exhibits, and the silhouettes that dominate a sunset sky. For further and more informative details, check the website here Join & Get Involved - International Bomber Command Centre (internationalbcc.co.uk)
The facility itself is well worth a visit on it’s own, the wall of 58000 names that surround the Memorial Spire, the ten acres of Peace Gardens, the Chadwick Centre itself, containing state of the art interactive exhibits, and the silhouettes that dominate a sunset sky. For further and more informative details, check the website here Join & Get Involved - International Bomber Command Centre (internationalbcc.co.uk)
For the weekend we are covering, organiser June, had a marquee erected at the rear of the Chadwick Centre, with a stage at one end, a dancefloor and adequate seating between that and the bar. The actual event began on the Friday afternoon, in, it has to be said, glorious sunshine, cloudless skies and warm temperatures. On stage first, local band and vocalist, Charlotte Porter and Hi-Rollers. Just about every time we have seen Charlotte Porter, she has been solo with a backing track providing her music. Here she was joined by Terry Garfoot on guitar, drummer Graham Potter and bassist Graham Gee.
Charlotte announced herself by vocally tweaking Gene Pitney’s 1966 record ‘The Bosses Daughter’ into ‘Miss Charlotte Porter’, just the right number of syllables to work well. The set was chocca with well-known R&B and Rock n Roll, and it was Ruth Brown’s zippy ‘As Long As I’m Moving’ that upped the pace next. Charlie Rich’s ‘Midnite Blues’ got the strollers out and indeed ‘Sinner Not a Saint’, ‘Stuck on You’ and ‘Modern Don Juan’ also coaxed them out later in the set.
The popular sounds rocked out through Elvis’ ‘That’s Alright Mama’, a cool take on ‘Big Boss Man’ and ‘Hound Dog’ which ended the show. Carl Perkins’ ‘Your True Love’ and a fuzzy guitar version of Gloria Gaynor’s ‘I Will Survive’ raised collective eybrows. There was a Cramps track that Graham Gee took on while Charlotte took double bass duties, but for the life of me I can’t recall the title (and here it comes in 3-2-1). Solid set to start the weekend.
Charlotte announced herself by vocally tweaking Gene Pitney’s 1966 record ‘The Bosses Daughter’ into ‘Miss Charlotte Porter’, just the right number of syllables to work well. The set was chocca with well-known R&B and Rock n Roll, and it was Ruth Brown’s zippy ‘As Long As I’m Moving’ that upped the pace next. Charlie Rich’s ‘Midnite Blues’ got the strollers out and indeed ‘Sinner Not a Saint’, ‘Stuck on You’ and ‘Modern Don Juan’ also coaxed them out later in the set.
The popular sounds rocked out through Elvis’ ‘That’s Alright Mama’, a cool take on ‘Big Boss Man’ and ‘Hound Dog’ which ended the show. Carl Perkins’ ‘Your True Love’ and a fuzzy guitar version of Gloria Gaynor’s ‘I Will Survive’ raised collective eybrows. There was a Cramps track that Graham Gee took on while Charlotte took double bass duties, but for the life of me I can’t recall the title (and here it comes in 3-2-1). Solid set to start the weekend.
Another renowned Lincoln-ite was up next, with the first Dave Brown incarnation, The Hadacol Hotshots. Dave took rhythm guitar and vocals, with son Scott on lead guitar, Chris Cummings sliding the steel and Landon Filer on double bass. No drummer in this outfit, which in turn provides a truly authentic Western Swing sound. Buddy’s ‘Blue Days, Black Nights’ lends itself well to such a line up, and the lads did that serious justice to open the show. Loved the oddity that followed, Jimmy Ballard’s ‘She’s Got Something’ and the version of Jerry Lee Lewis’ inaugural Sun recording from 1956, ‘Crazy Arms’ was an aural treat.
There were a couple of original tracks, that popped up during the set. Dave’s passion for fishing, transferred to a splendidly authentic sounding song, aptly titled ‘Fishing in the Fishing Lake’. And while flagging that up, we also had ‘There’s a Tree in the Park’ another beaut, and Dave’s self-deprecating outlook on his title choice, shouldn’t detract the listener from the quality of the songs.
Add to that a blistering rock-out of Pee Wee King/Dick Glasser’s ‘Catty Town’, showcasing Chris’ super sliding on the steel, Johnny Horton’s ‘One Woman Man’, Johnny Rivers/Johnny Williams’ ‘Long Black Veil’ and Carl Smith’s ‘Go Boy Go’, and you have a pretty good resume of that set. Attention to musical detail and exceptional vocal delivery throughout. Hadacol, was a health tonic, which was just right for Juniper Fayre
There were a couple of original tracks, that popped up during the set. Dave’s passion for fishing, transferred to a splendidly authentic sounding song, aptly titled ‘Fishing in the Fishing Lake’. And while flagging that up, we also had ‘There’s a Tree in the Park’ another beaut, and Dave’s self-deprecating outlook on his title choice, shouldn’t detract the listener from the quality of the songs.
Add to that a blistering rock-out of Pee Wee King/Dick Glasser’s ‘Catty Town’, showcasing Chris’ super sliding on the steel, Johnny Horton’s ‘One Woman Man’, Johnny Rivers/Johnny Williams’ ‘Long Black Veil’ and Carl Smith’s ‘Go Boy Go’, and you have a pretty good resume of that set. Attention to musical detail and exceptional vocal delivery throughout. Hadacol, was a health tonic, which was just right for Juniper Fayre
The final act for Friday, the Muskrats, provided some kicking Rockabilly for the crowd. Steve Nemeth fronts the band on lead vocals, and lead guitar with ‘Ellie’ on bass and Sherman Dakota on drums. They tore it up straight away, with Mickey Hawkes/The Night Raiders ‘Cottonpickin’, a powerhouse instrumental, that kicked their set into gear.
They rattled through ‘Fancy Dan’ and set it all up nicely for ‘Bottle of Brew’. This is an original song from 2005, which Ellie took the vocals on, having (by his admission) carried out extensive, and continuing, research on the subject, and it has a mid-50’s Hardrock Gunther resonance to it.
‘Ride My Rod’ with it’s double entendre title was a delight, and the Jiants’ ‘Tornado’ reverberated around the marquee. Their reworking of John Mayall’s ‘Crawling up a Hill’ from 1964, worked like a charm, as did ‘The Godfather’ and their modification of ‘Venus’ (without the Bananarama moves I’d suggest’). The Muskrats are your classic Rockabilly trio, guitar bass and drums, and are a tight sounding outfit producing a clear and true sound. A solid act to conclude Friday.
They rattled through ‘Fancy Dan’ and set it all up nicely for ‘Bottle of Brew’. This is an original song from 2005, which Ellie took the vocals on, having (by his admission) carried out extensive, and continuing, research on the subject, and it has a mid-50’s Hardrock Gunther resonance to it.
‘Ride My Rod’ with it’s double entendre title was a delight, and the Jiants’ ‘Tornado’ reverberated around the marquee. Their reworking of John Mayall’s ‘Crawling up a Hill’ from 1964, worked like a charm, as did ‘The Godfather’ and their modification of ‘Venus’ (without the Bananarama moves I’d suggest’). The Muskrats are your classic Rockabilly trio, guitar bass and drums, and are a tight sounding outfit producing a clear and true sound. A solid act to conclude Friday.
“Bombs Away” hollered Dave Brown as the air raid siren sounded, heralding the Hicksville Bombers set to open Saturday’s live entertainment in the afternoon. The high energy instrumental has been a longstanding opener for the band’s live shows, and really gets the crowd in the groove. Their on-stage garb was met with more than one ‘ya think’ look, all in one flight suits on (what was) the hottest day of the year in Lincoln. And the show is always something Dave Brown, Landon Filer and drummer Paul Saunders wholeheartedly immerse themselves in.
They rattled through Johnny Horton’s ‘Never Gonna Do It Again’ and ‘Danger Road’ the title track from the last but one CD. ‘Grease Monkey’ is from the current CD, and is another rollicking romp of an instrumental. They started playing it pre-pandemic, so it seems like a standard now, and some peeps in the crowd had the title yells down, off pat. In true Bomber style, if you’ve seen them live, you’ll know already, they don’t half play a good kick-a*se blues bopper. The drumbeat introduces the super slide guitar of ‘Devil’s Fight’, influenced by the dispute with Royal Mail. Cracking wailing harmonica throughout from Scott Brown.
Two further tracks from the newest CD (Heaven in Hell) featured, ‘Can’t Get Drunk on You’ and ‘Take a Bite’ (see our review in issue #32), followed by an early Elvis Sun track, ‘You’re a Heartbreaker’. Then it’s slightly off-piste with AC/DC’s ‘Whole Lotta Rosie’ and Steppenwolf’s ‘Born To Be Wild’ to close the show. An encore was inevitable, and Dave chose the track that got him into Rockabilly, ‘C’mon Everybody’, performed at the time by the Sex Pistols. Well, that set blew the cobwebs away, if anyone had them!
They rattled through Johnny Horton’s ‘Never Gonna Do It Again’ and ‘Danger Road’ the title track from the last but one CD. ‘Grease Monkey’ is from the current CD, and is another rollicking romp of an instrumental. They started playing it pre-pandemic, so it seems like a standard now, and some peeps in the crowd had the title yells down, off pat. In true Bomber style, if you’ve seen them live, you’ll know already, they don’t half play a good kick-a*se blues bopper. The drumbeat introduces the super slide guitar of ‘Devil’s Fight’, influenced by the dispute with Royal Mail. Cracking wailing harmonica throughout from Scott Brown.
Two further tracks from the newest CD (Heaven in Hell) featured, ‘Can’t Get Drunk on You’ and ‘Take a Bite’ (see our review in issue #32), followed by an early Elvis Sun track, ‘You’re a Heartbreaker’. Then it’s slightly off-piste with AC/DC’s ‘Whole Lotta Rosie’ and Steppenwolf’s ‘Born To Be Wild’ to close the show. An encore was inevitable, and Dave chose the track that got him into Rockabilly, ‘C’mon Everybody’, performed at the time by the Sex Pistols. Well, that set blew the cobwebs away, if anyone had them!
Keeping the trend of yellow-bellies, another band of Lincolnites, Jack and the Real Deals. This four-piece has been rocking it out for around ten years now with Jon-Jack Boxwell leading the vocal charge and strumming the rhythm on guitar, Simon ‘Sid’ Farley on lead guitar, drummer Andy Turner and Dave Kopke on bass.
As the temperature continued to rise in the sunshine, the lads turned out a peach of a set, which had a blend of classic Rockabilly and a couple of original tracks. Warren Smith’s ‘Uranium Rock’ and ‘Sweet Sweet Girl’ were delivered with commendable accuracy, offset by the more rambling tempo of ‘My Blackbirds are Bluebirds Now’.
Johnny Burnette’s ‘Lonesome Tears in my Eyes’ set up their own ‘Chain Gang Blues’ which is a cool groove, and Gene Simmons’ ‘Chains of Love’, a favourite of Jon’s performed in a similar style as the original (not like the Miller Sisters incidentally 😊 ) Warren Smith’s ‘Sweet Sweet Girl’ and Elvis’ ‘All Shook Up’ followed along with an ‘old’ tune ‘I Dig’ from the Bill Fadden and the Silvertone Flyers days. The earthy beat of Benny Barnes ‘One Of These Days’ rambled along ahead of two top drawer Deals’ songs, ‘Moth to a Flame’ and ‘Jokers’ Wild’. Sid’s adept guitar work is something to behold, and ‘Rock n Roll Guitar’ displayed it perfectly as the set drew to a climax with Charlie Feathers’ ‘Stutterin’ Cindy’.
As the temperature continued to rise in the sunshine, the lads turned out a peach of a set, which had a blend of classic Rockabilly and a couple of original tracks. Warren Smith’s ‘Uranium Rock’ and ‘Sweet Sweet Girl’ were delivered with commendable accuracy, offset by the more rambling tempo of ‘My Blackbirds are Bluebirds Now’.
Johnny Burnette’s ‘Lonesome Tears in my Eyes’ set up their own ‘Chain Gang Blues’ which is a cool groove, and Gene Simmons’ ‘Chains of Love’, a favourite of Jon’s performed in a similar style as the original (not like the Miller Sisters incidentally 😊 ) Warren Smith’s ‘Sweet Sweet Girl’ and Elvis’ ‘All Shook Up’ followed along with an ‘old’ tune ‘I Dig’ from the Bill Fadden and the Silvertone Flyers days. The earthy beat of Benny Barnes ‘One Of These Days’ rambled along ahead of two top drawer Deals’ songs, ‘Moth to a Flame’ and ‘Jokers’ Wild’. Sid’s adept guitar work is something to behold, and ‘Rock n Roll Guitar’ displayed it perfectly as the set drew to a climax with Charlie Feathers’ ‘Stutterin’ Cindy’.
A shift in style next with Doug Grayves and the Sextons, consisting of lofty bass guitarist Martin Crouchman, drummer Matt Haines and on lead guitar & vocals, Richard Easthope. Describing themselves as ‘bare bones bop’, they exploited the wriggle room that this fayre’s raison d’etre to bring their powerful guitar brand of late 50’s early 60’s surf and beat style to the weekender. They announced themselves with ‘Draytona Beach’ (correct spelling), a commanding piece of Wray-styled instrumental guitar-manship.
Whilst we were still wondering which guy in the band was Doug Grayves, they tore through a set of covers and originals. ‘Whiplash’, ‘Little Pig’, ‘Marie Marie’ (yep) and ‘Lonely Weekends’ equipoise the likes of the wonderfully titled ‘Chruchyard Cha Cha’, ‘Crypt Kicker’ and ‘Rloo’ (I have no idea what that means). There was fuzz, feedback and searing riffs throughout.
Whilst we were still wondering which guy in the band was Doug Grayves, they tore through a set of covers and originals. ‘Whiplash’, ‘Little Pig’, ‘Marie Marie’ (yep) and ‘Lonely Weekends’ equipoise the likes of the wonderfully titled ‘Chruchyard Cha Cha’, ‘Crypt Kicker’ and ‘Rloo’ (I have no idea what that means). There was fuzz, feedback and searing riffs throughout.
Next up, another band we knew nothing about, PJ Shakespeare and the Tempests from Birmingham way. Paul Saunders, took on drumming duties as a dep and there was a familiar face in Billy Jenkins (Deadshots) on lead guitar. Paul Shakespeare is your lead man, sinistral strummer on rhythm guitar and Neil Williams on upright bass. Tell you what readers, we’re glad we made their acquaintance, as they set about a fine delivery of well-known rockin’ tunes.
The assortment fused some latter-day numbers with 50’s classics, like the Bellfuries’ ‘Up To Your Old Tricks Again’ and Big Sandy’s ‘Chalk It Up To The Blues’ sandwiched between Buddy Holly’s ‘Blue Days, Black Nights’ and Johnny Burnette’s ‘Sweet Love on my Mind’.
The sound was pretty authentic with the added electricity of Billy’s lead breaks, contributing to the overall enjoyment of Dale Hawkins’ ‘Suzie-Q’, Johnny Cash’s ‘Big River’ and Ronnie Self’s ‘Big Fool’. There was an oddity with Fred Neil’s ‘You Ain’t Treating Me Right’, and the cool British sound of Billy Fury’s 1960 Decca cut ‘Turn My Back On You’. Smashing introduction to this combo, that y’all need to catch up with somewhere.
The assortment fused some latter-day numbers with 50’s classics, like the Bellfuries’ ‘Up To Your Old Tricks Again’ and Big Sandy’s ‘Chalk It Up To The Blues’ sandwiched between Buddy Holly’s ‘Blue Days, Black Nights’ and Johnny Burnette’s ‘Sweet Love on my Mind’.
The sound was pretty authentic with the added electricity of Billy’s lead breaks, contributing to the overall enjoyment of Dale Hawkins’ ‘Suzie-Q’, Johnny Cash’s ‘Big River’ and Ronnie Self’s ‘Big Fool’. There was an oddity with Fred Neil’s ‘You Ain’t Treating Me Right’, and the cool British sound of Billy Fury’s 1960 Decca cut ‘Turn My Back On You’. Smashing introduction to this combo, that y’all need to catch up with somewhere.
As the evening temperature dropped outside, the next act ensured it stayed hot in the marquee as Cooking Jack Fats and the Chimney Stacks took to the stage to top off Saturday. This band had a CD release in 2019, and it all seemed like they were going to take off on the live scene, then Covid hit.
Glad to see they weathered the storm as they jumped straight in with a zippy version of Smiley Lewis’’s ‘Ooh La La’. This whole set was a carte du jour of jumping Rhythm and Blues, with rousing versions of ‘Chills and Fever’, and Fats Domino’s mid-tempo jumper from 1961 ‘Let The Four Winds Blow’ got a well-deserved and reverential outing.
The band are Cooking Jack on vocals, JD England on lead guitar, standing in on upright bass was Darren Richards, with Chris Pollard blowing up a storm on sax, drummer Andrew Flude and keyboardist Michael Woodward.
The version of John Fred’s ‘Shirley’, shone out as it rolled along, and a couple of R&B/Soul sounds in the form of Willie J Charles’ ‘Feelin’ Kinda Lucky’ and Charles Sheffield’s ‘It’s Your Voodoo Working’ slid in agreeably, both vocally and musically. The jubilant sounding ‘Don’t You Just Know It’ in the Huey ‘Piano’ Smith style, always fills a floor, as well as encouraging audience participation, vocally, which had varying degrees of success, shall we say. Then the rip-roaring ‘Number 9 Train’ and the almost gospel sound of ‘Lonely Weekends’, with the saucy undertone of Young Jessie’s ‘Hit Git and Split’ rounded a tip top show for Saturday night.
Glad to see they weathered the storm as they jumped straight in with a zippy version of Smiley Lewis’’s ‘Ooh La La’. This whole set was a carte du jour of jumping Rhythm and Blues, with rousing versions of ‘Chills and Fever’, and Fats Domino’s mid-tempo jumper from 1961 ‘Let The Four Winds Blow’ got a well-deserved and reverential outing.
The band are Cooking Jack on vocals, JD England on lead guitar, standing in on upright bass was Darren Richards, with Chris Pollard blowing up a storm on sax, drummer Andrew Flude and keyboardist Michael Woodward.
The version of John Fred’s ‘Shirley’, shone out as it rolled along, and a couple of R&B/Soul sounds in the form of Willie J Charles’ ‘Feelin’ Kinda Lucky’ and Charles Sheffield’s ‘It’s Your Voodoo Working’ slid in agreeably, both vocally and musically. The jubilant sounding ‘Don’t You Just Know It’ in the Huey ‘Piano’ Smith style, always fills a floor, as well as encouraging audience participation, vocally, which had varying degrees of success, shall we say. Then the rip-roaring ‘Number 9 Train’ and the almost gospel sound of ‘Lonely Weekends’, with the saucy undertone of Young Jessie’s ‘Hit Git and Split’ rounded a tip top show for Saturday night.
Fayre-ing dot….dot. Best tracks in the world ever ever to pitch your principle pole in your marquee for this years event were ‘Puddentane’ by Lula Reed, the Wilburn Brothers’ ‘Oo Bop Sha Bam’, ‘Wiggle Toe Part 2’ by the Googie Rene Combo and The Encores ‘Time is Movin’ On’…….Big up to Jon-Jack Boxwell for the sound throughout the weekend. With constantly changing conditions, different musical styles and players, it requires more than a few knobs to be twiddled to achieve sounds like were on show here……..DJs for the weekend were on top form, and some doubled up as MC. Steve ‘
Fatkat’ Pickard, Simon Flintstone, Simon Tugwell, Be Bop Kaz, Skinny Jim and Andy B Barker hit the high spots with a humungous variety of tunes with guest shows from Rockin’ Robin Summerfield and John ‘Mac’s Wax’ Macleod……How many people resist the temptation to ‘moo’ during ‘Ghost Riders in the Sky’……The Bomber Command Centre bar manager on Sunday elevated himself to legendary status hitting the floor to a top bopper as the event feathered out to a conclusion…..
Sunday, and for the final day and evening, a smashing start with the Hi-Fi’s up from London. This three-piece consists of Nick Kennedy on lead guitar and vocals, drummer Dave Diamond and slapping the bass, Keith Southwood.
They opened up with a good old British sounding rocker ‘Foolin’ Around’ which has essences of Billy Fury about it, signalling the arrival of a clutch of well delivered covers. ‘Brown Eyed Handsome Man’ and ‘Rock Me My Baby’ had the Buddy Holly resonance, with another British sound recounting of ‘Apron Strings’ Cliff style.
Some cool hooting and hollering accompanies the band’s own composition ‘Baby Baby’ (not to be confused with any other song of that title) which is a fine rock-out, and there’s some ace jive tempo and harmony within ‘Cindy Marie’.
Demonstrating their resourcefulness, they switched gears and belted out Glen Glenn’s 1958 rockabilly standard ‘Blue Jeans and a Boy’s Shirt’, concluding the set with ‘Pretty Baby’ to round off a super show, just right to get the Sunday started.
They opened up with a good old British sounding rocker ‘Foolin’ Around’ which has essences of Billy Fury about it, signalling the arrival of a clutch of well delivered covers. ‘Brown Eyed Handsome Man’ and ‘Rock Me My Baby’ had the Buddy Holly resonance, with another British sound recounting of ‘Apron Strings’ Cliff style.
Some cool hooting and hollering accompanies the band’s own composition ‘Baby Baby’ (not to be confused with any other song of that title) which is a fine rock-out, and there’s some ace jive tempo and harmony within ‘Cindy Marie’.
Demonstrating their resourcefulness, they switched gears and belted out Glen Glenn’s 1958 rockabilly standard ‘Blue Jeans and a Boy’s Shirt’, concluding the set with ‘Pretty Baby’ to round off a super show, just right to get the Sunday started.
Taking to the stage next, Philip Larry (vocals and guitar) , Phil Johnstone (vocals and drums) and Danny Clarke (bass), the Doggone Daddys, from the North East. Literally a couple of days after becoming a dad for the second time, lead guitarist and singer Philip Larry showed his usual professional composure and enthusiasm leading the charge with Buddy’s ‘Modern Don Juan’, Moon’s ‘Seven Nights to Rock’ and the Sun tear up of Ray Harris’ ‘C’mon Little Mama’ for which his vocal delivery is perfectly suited.
‘Beep Beep’ broadcasted the classic Bo Diddley guitar riff of ‘Road Runner’ (fortunately no Coyotes were harmed by falling anvils, during this song), while Charlie Rich’s ‘Rebound’ and the anthemic Johnny Burnette ‘Please Don’t Leave Me’ added pace aplenty to the list. Slipping one of their own tracks in, ‘The Drink That Drives’, one might suggest, ‘a breathalyse of fresh air’ as that’s the theme of the tune.
A couple of absolute classics followed, Gene’s ‘Be Bop a Lula’ and Carl Perkins’ ‘Put Your Cat Clothes On’. A together sound, varied playlist and an interactive experience with the audience. Just the job
‘Beep Beep’ broadcasted the classic Bo Diddley guitar riff of ‘Road Runner’ (fortunately no Coyotes were harmed by falling anvils, during this song), while Charlie Rich’s ‘Rebound’ and the anthemic Johnny Burnette ‘Please Don’t Leave Me’ added pace aplenty to the list. Slipping one of their own tracks in, ‘The Drink That Drives’, one might suggest, ‘a breathalyse of fresh air’ as that’s the theme of the tune.
A couple of absolute classics followed, Gene’s ‘Be Bop a Lula’ and Carl Perkins’ ‘Put Your Cat Clothes On’. A together sound, varied playlist and an interactive experience with the audience. Just the job
Another trio were up next, the no nonsense approach of the Drugstore Cowboys. Nick Whitfield is your frontman, and lead guitarist, backed by bassist Sam French and drummer Damon Claridge. A seminal classic instrumental opened up proceedings with ‘Ghost Riders in the Sky’ , followed by Johnny Kidd’s ‘Please Don’t Touch’. So much in this set vied for the listener’s attention, especially Ronnie Self’s ‘Home in my Hand’. This stroll beat tune, has everything, thumping drum beat and a super smooth guitar riff, and an almost informal vocal delivery. Just an excellent version by the ‘Cowboys.
Add to that the likes of the Everly Brothers ‘Muskrat’, pacy and punchy as was the Shakin’ Pyramids’ fast ‘n’ furious ‘Take a Trip’ and Gene’s ‘Pink Thunderbird’. Delving into the 60’s and 70’s, they also paid tribute to Tina Turner with their take on ‘Proud Mary’ and seventies icon Marc Bolan in ‘20th Century Boy’, before rewinding the time machine for Johnny Horton’s ‘Honky Tonk Man’ and Johnny Cash’s embittered and revengeful quest ‘A Boy Named Sue’.
‘Game Over’ is one of their own tunes, we really need to hear more of, which set up the likes of ‘Rocket 88’ and the moonshine soaked ‘White Lightning’. The show concluded with ‘Paradise City’ (not all six and half minutes of the original) before they were called back for the now ‘must have’ Drugstore Cowboys, almost signature song, ‘Champion the Wonder Horse’. Now there’s versatility in forty five minutes, readers.
Add to that the likes of the Everly Brothers ‘Muskrat’, pacy and punchy as was the Shakin’ Pyramids’ fast ‘n’ furious ‘Take a Trip’ and Gene’s ‘Pink Thunderbird’. Delving into the 60’s and 70’s, they also paid tribute to Tina Turner with their take on ‘Proud Mary’ and seventies icon Marc Bolan in ‘20th Century Boy’, before rewinding the time machine for Johnny Horton’s ‘Honky Tonk Man’ and Johnny Cash’s embittered and revengeful quest ‘A Boy Named Sue’.
‘Game Over’ is one of their own tunes, we really need to hear more of, which set up the likes of ‘Rocket 88’ and the moonshine soaked ‘White Lightning’. The show concluded with ‘Paradise City’ (not all six and half minutes of the original) before they were called back for the now ‘must have’ Drugstore Cowboys, almost signature song, ‘Champion the Wonder Horse’. Now there’s versatility in forty five minutes, readers.
The final act of the weekend and indeed the festival was the familiar sight of the tuxedo clad Phil Haley and His Comments, who had stepped in for the Fireballs UK (and we wish Martin well in his continued recuperation). These guys are omnipresent on our music circuit, and are an ideal outfit to both open and close a party. Tonight, they closed it in typically professional style if not without gremlins (metaphorically speaking) attacking Martyn Savage’s bass (thing that is remotely connected to the amp, I dunno what it’s called but I await the social media onslaught). Anyway, the show, as you might expect had a big chunk of Bill Haley’s back catalogue.
‘Shake Rattle and Roll’, that should get you in the mood which merged seamlessly into ‘Rip It Up’ , Allen Parrish giving it all in ‘Rudy’s Rock’ which shares space with ‘Goofin’ Around’ , ‘Don’t Knock The Rock’ and ‘R.O.C.K.’. You’re probably all over this as you read it, and in amongst that lot is their own, dancefloor winner, ‘Talk To Me’. Despite the interruptions, ‘Hide and Seek’ and ‘Tonight’s the Night’ sounded good and credit to the lads for their stoicism and fortitude in getting a solid set of Rock n Roll out to close the event.
Looking back at Juniper Fayre #2, organiser June has found, what will hopefully be, the event’s home in Bomber Command Centre. The Fayre seems to be more suited to this environment than the previous location, the facilities are better, and there’s loads to see and do in addition to digging the sounds and live acts. Already the third Juniper Fayre dates have been announced along with a number of acts slated to play there. Keep checking back for details folks
Gallery images below, click on them for full sized image
‘Shake Rattle and Roll’, that should get you in the mood which merged seamlessly into ‘Rip It Up’ , Allen Parrish giving it all in ‘Rudy’s Rock’ which shares space with ‘Goofin’ Around’ , ‘Don’t Knock The Rock’ and ‘R.O.C.K.’. You’re probably all over this as you read it, and in amongst that lot is their own, dancefloor winner, ‘Talk To Me’. Despite the interruptions, ‘Hide and Seek’ and ‘Tonight’s the Night’ sounded good and credit to the lads for their stoicism and fortitude in getting a solid set of Rock n Roll out to close the event.
Looking back at Juniper Fayre #2, organiser June has found, what will hopefully be, the event’s home in Bomber Command Centre. The Fayre seems to be more suited to this environment than the previous location, the facilities are better, and there’s loads to see and do in addition to digging the sounds and live acts. Already the third Juniper Fayre dates have been announced along with a number of acts slated to play there. Keep checking back for details folks
Gallery images below, click on them for full sized image
You've read about this year's two weekender events in Lincolnshire, and just how good they both were. Now get yourselves organised for 2024, and check out these stellar line-ups. Click on the flyers for details etc
If you like what you see, help us keep it free by popping a donation over using the button below. Many thanks
If you like what you see, help us keep it free by popping a donation over using the button below. Many thanks
vinyl record reviews
Sir Bald Diddley – FTM Records
Sir Bald Diddley, just one of the nom-de-plumes of Mark Painter. Here he is on a sublime twin spin from Mark Phillips’ FTM Record label, under his DJ Club Series. Two surf guitar sounds with Sir Bald’s band the Ripcurls, a product of Alopecia Music (love it).
The ‘A’ side, ‘Spill The Beans’ has a driving guitar beat that conjures up images of beach breaks. Loving the use of the percussion on this one, which has that late night dancefloor timbre
On the flip, ‘Rawhead’, a slower, stroll tempo, with accompanying sax to the supercool and earthy guitar work.
This 45rpm is limited to 280 copies in black and ice blue vinyl
Sir Bald Diddley, just one of the nom-de-plumes of Mark Painter. Here he is on a sublime twin spin from Mark Phillips’ FTM Record label, under his DJ Club Series. Two surf guitar sounds with Sir Bald’s band the Ripcurls, a product of Alopecia Music (love it).
The ‘A’ side, ‘Spill The Beans’ has a driving guitar beat that conjures up images of beach breaks. Loving the use of the percussion on this one, which has that late night dancefloor timbre
On the flip, ‘Rawhead’, a slower, stroll tempo, with accompanying sax to the supercool and earthy guitar work.
This 45rpm is limited to 280 copies in black and ice blue vinyl
FTM v/s Guntrip Jr
Here’s another of Mark Phillips’ ‘versus’ series, this time with the youngest DJ in the Guntrip family, George. Both he and Mark chose a title to go on a 45, and this is a good one to open the series which is limited to 280 copies in black and cream vinyl.
Woody Ball performing ‘Robin Hood and his 56 Ford’ appears to be the sole output of this artist. It has a country meets Rockabilly beat utilising lead and steel guitar to great effect, and there’s real feel-good lyrics. A great choice
On the flip, Mark’s choice is a version of ‘Sweet Little Rock n Roller’. This track was written by Chuck Berry in 1958, this version is from 1965, originally a ‘B’ side to a single ‘Sixteen Candles’. Solid version of a classic
Here’s another of Mark Phillips’ ‘versus’ series, this time with the youngest DJ in the Guntrip family, George. Both he and Mark chose a title to go on a 45, and this is a good one to open the series which is limited to 280 copies in black and cream vinyl.
Woody Ball performing ‘Robin Hood and his 56 Ford’ appears to be the sole output of this artist. It has a country meets Rockabilly beat utilising lead and steel guitar to great effect, and there’s real feel-good lyrics. A great choice
On the flip, Mark’s choice is a version of ‘Sweet Little Rock n Roller’. This track was written by Chuck Berry in 1958, this version is from 1965, originally a ‘B’ side to a single ‘Sixteen Candles’. Solid version of a classic
FTM v/s The Preacher #10
These two colossi of the Rock n Roll DJ world continue to take each other on in this ‘versus’ series on FTM’s DJ Club Series. Neither have emerged victorious, such is the equality in standard of their choices each 45 that FTM Records issues. So I guess they will just have to keep slugging it out ad infinitum, which is by no means a bad thing for the record loving public.
Preacher is first up with the ‘A’ side, and the Four Sparks’ ‘Kim’. Yet another track from the vaults, this time the Cathay Record label from San Francisco, that also recorded Rose Maddox and Johnny Leggett in the mid 1960’s, and although I don’t know the date of this record (it was a ‘B’ side originally) I’m guessing mid to late 60’s. Cool groove this one
Mark’s ‘B’ side offering is Marvin Benefield’s ‘Come Onna My House’. OK so this is Marvin Eugene Benefield, who used the stage name Vince Everett. This version of the songs bears little resemblance to such recordings as Rosemary Clooney’s harpsicord oddballery of the 50’s. Benefield’s voice is also unlike his ‘Livin High’ style of the earlier 1960’s, on the 1967 garage sounding rework
This single is limited to 280 copies in black and white vinyl
These two colossi of the Rock n Roll DJ world continue to take each other on in this ‘versus’ series on FTM’s DJ Club Series. Neither have emerged victorious, such is the equality in standard of their choices each 45 that FTM Records issues. So I guess they will just have to keep slugging it out ad infinitum, which is by no means a bad thing for the record loving public.
Preacher is first up with the ‘A’ side, and the Four Sparks’ ‘Kim’. Yet another track from the vaults, this time the Cathay Record label from San Francisco, that also recorded Rose Maddox and Johnny Leggett in the mid 1960’s, and although I don’t know the date of this record (it was a ‘B’ side originally) I’m guessing mid to late 60’s. Cool groove this one
Mark’s ‘B’ side offering is Marvin Benefield’s ‘Come Onna My House’. OK so this is Marvin Eugene Benefield, who used the stage name Vince Everett. This version of the songs bears little resemblance to such recordings as Rosemary Clooney’s harpsicord oddballery of the 50’s. Benefield’s voice is also unlike his ‘Livin High’ style of the earlier 1960’s, on the 1967 garage sounding rework
This single is limited to 280 copies in black and white vinyl
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.
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.
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.
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Cheers 'til next month
Andrew and June
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. This is the way we can continue beyond 2023
Many thanks
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the button. This has to be a two way street for us to be able to continue beyond 2022. Many thanks
Bands and artists who would like their music or latest record release reviewed. We listen to records several times before writing a word about them. We research songs if they are covers, credit writers, performers and musicians. In effect, we pay true reverence to your recordings, not relying in on merely describing a song as a bopper, jiver or stroller. If we don't know about your release, we can't review it. You can send it to us in electronic form or the actual article, drop us an email and we'll arrange it. We do not plagiarise unlike some other sites and publications. Get in touch at [email protected] if you want your record included.
When you get chance to, as seemingly the case is now, do go and support live music, gigs, clubs and bands. Never before has the industry needed it's customers than now. It's much more exiting than two cans and a takeaway in front of the telly.
When we are able to get out and about, if you would like us to cover your event or club night, please get in touch. For two press passes, we will review your event, or your band's show at a gig, in detail, in both words and pictures. We are out there, boots on the ground, front, centre and right and most points in between.
Photographs in this magazine have been provided by the subjects, for use here, or are from our own library. All are copyright
NB, Events and all advertised services are supplied by the advertisers themselves. We do not accept any responsibility for any alterations or adjustments, cancellations or disputes between customers and the advertisers. Please check before booking, travelling to, or buying from advertisers in our magazine
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please avoid copying and pasting articles or parts of articles to your websites or social media, we'd much prefer people to visit our site direct. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome. We do not share links to adult sites here, although adults are welcome to read it. We are considering deleting some early issues and we're interested in your thoughts on whether we should keep them or not. Drop us a note with your thoughts sometime.
Keep up to date with us here, or on our various platforms:-
Facebook https://www.facebook.com/The-Bettajive-Review-569161136474404/
Instagram https://www.instagram.com/bettajivereview/
Twitter https://twitter.com/AndrewBettajive
email:- [email protected]
https://www.linkedin.com/in/andrew-smith-b626aa63/
Cheers 'til next month
Andrew and June
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. This is the way we can continue beyond 2023
Many thanks