the bettajive review magazine #34
Rockin' Bonnie Western Bound Combo, feature in our extensive review of the 25th Rockabilly Rave
Well hello there all you regular readers and welcome to the new ones, if you are experiencing our magazine for the first time. This issue is slightly different, no club gigs, no interviews this month (that's the next issue. Just a monster review of the recent Rockabilly Rave, which we hope you enjoy, that demonstrates the incredible talent on the Rockabilly circuit. There is of course our usual tomfoolery to begin with, not to be taken too seriously of course
Your hosts, pic by Carol Hill Davis
We are currently looking for sponsors for this magazine, we now have to pay to upload it for you all. If you are a company, event or band and would like to sponsor us, please get in touch. Advertisers, please contact us to upload your ad, for just £25.00 per month. Or you can make a one off donation using the button. We want to try and keep our magazine free to read, but it is becoming increasingly more expensive to produce it. If you can help us fund this, and get your business or product out to our many thousand readers each month, please drop us a line. [email protected]. If you would like to donate, please use the buttons on the site to do so
Many thanks
Many thanks
the bettajive review
Help if you can…. How many of those ads do you see on TV, that need monthly donations to help people or animals in need. It must be the time now for an ad to help those poor people in need on the Rock n Roll scene. And as always, a Bettajive Review disclaimer, any resemblance to any other campaign, TV or otherwise, is purely coincidental.
*Gentle piano music* This man (shows sad looking man looking longingly into the camera, up to his eyeballs in soapy suds). He would love to play his vinyl records, but he is stuck in his kitchen. Stuck doing menial tasks, seemingly never-ending tasks, that prevent him from accessing his turntable. Sometimes he has to walk the ten yards to his record collection. It doesn’t have to be like this. A few donations would help John get a dishwasher and allow him to get to his record collection faster and make life so much better for him and his family.
*Filmed in slow motion in monochrome* This university student has actually had to resort to spending his student loan on food, such is the shortage of vinyl. Student looks slowly and forlornly into the camera while spooning cold baked beans out of a tin. The narration continues. He’s even resorted to attempting to buy ‘Twenty Golden Rock ‘n’ Roll Greats’ on LP from his local charity shop to try and fulfil his needs. It doesn’t have to be like this. For just a small donation, we can get him back on track, even if it’s just a 1980’s reproduction copy of ‘Shake Shake’ by the Bluetones. Make that call or text.
*A sinister sounding soundtrack* She’s surrounded by danger, lightning flashes, thunder crashes and rumbles. A rat runs by (why they put rats running by beats the sh*t out of me!) What will it be this time as the shadows move menacingly around her? A CD?, a Pickwick LP? A download? Who knows? It doesn’t have to be like this, as a friendly hand alights on her shoulder, the sun comes out and a robin lands on a fence. Although frightened to start with, it’s soon apparent that the hand belongs to the postie, who has a packet of boss FTM records, especially for her.
*A legal eagle look to this advert, usually a quill and a judge’s wig* The commentary asks “Have you been to a crap gig that wasn’t your fault? Has the DJ left you wanting and you want your money back? Did you turn up to a venue expecting a band and it’s turned into a record hop or (insert sh*te band here) is playing instead? Do you want to consolidate all your rubbish gigs into one manageable event of awfulness?” Look no further than Muleposture, Fortescue and Scun to take up your case. And don’t forget, it’s no win no fee.
*Despondent and disconsolate looking couple among a mocking crowd jeering in slow motion* They’ve gone to a rockin’ do, but have been surrounded by, and are being goaded by, Charleston strollers. It doesn’t have to be like this. For a few pounds, we can eliminate ‘Sing Sing Sing’ from the playlist and get a copy of ‘Jitterbop Baby’ and ‘Kee Ro Ryin’ to restore their bop and jive craving dignity.
*The sun shines into a room, gossamer curtains gently blow in the breeze* This man has woken up on a weekend, in a soft warm bed, with his partner beside him. There is a faint aroma of air freshener in the air, he gets out of bed to feel a deep piled carpet underfoot. A quick shower in a bathroom with hot water, soft bath towels and a toilet with a seat and a lid, he then tucks into a nutritious breakfast, perfectly cooked, accompanied with some gentle classical music on the radio.
It doesn’t have to be like this. For just a few pounds, he can get himself a bloody diary, so he actually remembers to book a holiday camp weekender before it sells out!! Only with your help will he be able to experience a springless, bowl-shaped mattress, pots with no corresponding lids, sandpaper towels and an ar*e nipping toilet seat. Where is your compassion, people?
Remember, you can help. Start by going out to a club at the weekend, and supporting live music! And us 😉
*Gentle piano music* This man (shows sad looking man looking longingly into the camera, up to his eyeballs in soapy suds). He would love to play his vinyl records, but he is stuck in his kitchen. Stuck doing menial tasks, seemingly never-ending tasks, that prevent him from accessing his turntable. Sometimes he has to walk the ten yards to his record collection. It doesn’t have to be like this. A few donations would help John get a dishwasher and allow him to get to his record collection faster and make life so much better for him and his family.
*Filmed in slow motion in monochrome* This university student has actually had to resort to spending his student loan on food, such is the shortage of vinyl. Student looks slowly and forlornly into the camera while spooning cold baked beans out of a tin. The narration continues. He’s even resorted to attempting to buy ‘Twenty Golden Rock ‘n’ Roll Greats’ on LP from his local charity shop to try and fulfil his needs. It doesn’t have to be like this. For just a small donation, we can get him back on track, even if it’s just a 1980’s reproduction copy of ‘Shake Shake’ by the Bluetones. Make that call or text.
*A sinister sounding soundtrack* She’s surrounded by danger, lightning flashes, thunder crashes and rumbles. A rat runs by (why they put rats running by beats the sh*t out of me!) What will it be this time as the shadows move menacingly around her? A CD?, a Pickwick LP? A download? Who knows? It doesn’t have to be like this, as a friendly hand alights on her shoulder, the sun comes out and a robin lands on a fence. Although frightened to start with, it’s soon apparent that the hand belongs to the postie, who has a packet of boss FTM records, especially for her.
*A legal eagle look to this advert, usually a quill and a judge’s wig* The commentary asks “Have you been to a crap gig that wasn’t your fault? Has the DJ left you wanting and you want your money back? Did you turn up to a venue expecting a band and it’s turned into a record hop or (insert sh*te band here) is playing instead? Do you want to consolidate all your rubbish gigs into one manageable event of awfulness?” Look no further than Muleposture, Fortescue and Scun to take up your case. And don’t forget, it’s no win no fee.
*Despondent and disconsolate looking couple among a mocking crowd jeering in slow motion* They’ve gone to a rockin’ do, but have been surrounded by, and are being goaded by, Charleston strollers. It doesn’t have to be like this. For a few pounds, we can eliminate ‘Sing Sing Sing’ from the playlist and get a copy of ‘Jitterbop Baby’ and ‘Kee Ro Ryin’ to restore their bop and jive craving dignity.
*The sun shines into a room, gossamer curtains gently blow in the breeze* This man has woken up on a weekend, in a soft warm bed, with his partner beside him. There is a faint aroma of air freshener in the air, he gets out of bed to feel a deep piled carpet underfoot. A quick shower in a bathroom with hot water, soft bath towels and a toilet with a seat and a lid, he then tucks into a nutritious breakfast, perfectly cooked, accompanied with some gentle classical music on the radio.
It doesn’t have to be like this. For just a few pounds, he can get himself a bloody diary, so he actually remembers to book a holiday camp weekender before it sells out!! Only with your help will he be able to experience a springless, bowl-shaped mattress, pots with no corresponding lids, sandpaper towels and an ar*e nipping toilet seat. Where is your compassion, people?
Remember, you can help. Start by going out to a club at the weekend, and supporting live music! And us 😉
|
|
|
Dot…..dot. Best tracks in the world ever ever to put the bend in your banana for this month are Dick Glasser’s ‘Crazy Alligator’, Tommy Blake’s ‘F-Oldin Money’ and Billy Walker’s ‘I Thought About You’ ……….. Just about to set off for this year’s Rockabilly Rave, and catastrophe readers, there was a square inch of space left in our car. It all had to come out to make sure we had everything……Never thought I’d see a club toilet with a basket of Pot Pourri in the gents, but hey, whatever floats your floater eh?..... At least I didn’t mistake it for free Bombay mix……How rockin’ are you? I walked up to a traffic lit road crossing, and crossed before the green man was fully illuminated. The other pedestrians gasped ‘Wow, he’s really rockin’…….Whilst I appreciate technology, I must have the most pedantic and sarcastic version of Word there is. It doesn’t even like the word ‘rockin’…….I was wearing a Fit Bit style watch at an event recently. Someone said it wasn’t particularly 50’s. I disagree, it clearly said 19.56 on the clock face………No interviews, no club gigs, not this month. Just a bumper issue surrounding the shenanigans of the 25th Rockabilly Rave, read on……….
A kicking line up for November, click the flyer for details
|
It's the silver anniversary folks, click the flyer for details
|
the 25th rockabilly rave
The sun is out, the sky is blue. Sounds like a cue for a song, eh? What it could’ve been was a cue for the annual pilgrimage to the south coast for the Rockabilly Rave. Not just any Rockabilly Rave this time, but the solid silver, 25th Rockabilly Rave. Naturally if you look back through the records, (not just the vinyl ones) it’s actually twenty-seven years since the first Rave, but an annoyance called a worldwide pandemic stalled the continuation.
The line up looked spectacular on paper, a melting pot of talent from all over the world, converging on Pontins holiday camp site in Camber Sands. The sunshine was relentless and the temperature touched the high seventies and low eighties as most arrived on the Thursday. People from all over the planet convened and reconvened over a cool drink and found shade where they could after dragging their luggage, food and miscellanea into the chalets.
We spent just under forty hours over the weekend, at the music venues, upstairs and downstairs, taking in, photographing, and reviewing as many acts and DJs as we could. Inevitably, there were some we missed, and they were playing in the pub, so we apologise for not seeing the Isaac Webb Trio, The Doel Brothers and the Sundown Boys. Nothing personal folks, it’s just we occasionally, have to carry out what on the face of it are, menial tasks, like ‘eating’.
Opinions on some acts we see (not just at the Rave) maybe the polar opposite to what you, dear reader, might have. Indeed, opinions can be polarised within the Bettajive Review………. 😊. Therefore, below is what we thought, saw and heard over four days in Rockabilly utopia, as the song says, ‘Let’s get going baby’
The line up looked spectacular on paper, a melting pot of talent from all over the world, converging on Pontins holiday camp site in Camber Sands. The sunshine was relentless and the temperature touched the high seventies and low eighties as most arrived on the Thursday. People from all over the planet convened and reconvened over a cool drink and found shade where they could after dragging their luggage, food and miscellanea into the chalets.
We spent just under forty hours over the weekend, at the music venues, upstairs and downstairs, taking in, photographing, and reviewing as many acts and DJs as we could. Inevitably, there were some we missed, and they were playing in the pub, so we apologise for not seeing the Isaac Webb Trio, The Doel Brothers and the Sundown Boys. Nothing personal folks, it’s just we occasionally, have to carry out what on the face of it are, menial tasks, like ‘eating’.
Opinions on some acts we see (not just at the Rave) maybe the polar opposite to what you, dear reader, might have. Indeed, opinions can be polarised within the Bettajive Review………. 😊. Therefore, below is what we thought, saw and heard over four days in Rockabilly utopia, as the song says, ‘Let’s get going baby’
Ruby Ann
Mama’s back. Opening the show, a very familiar face to the Rave stage, Ruby Ann. In the past few years, she’s more familiar as stage manager, vital back stage to the smooth running of the live acts and DJs. Many peeps (raises hand) wanted to see her back on stage belting out tunes, as it had been too long. The familiar line up backing Ruby were Tony Hillebrandt on drums, Nuno Alexandre on bass and guitarist Gautier Golab, a tight and talented trio of musicians, if ever there was one. The set drew on a lot of Ruby Ann’s back catalogue (ie material recorded!) with ‘Ain’t That Loving You Baby’ setting the trend.
‘Gonna Have Myself a Ball’ deftly linked up with the rolling drumbeat of ‘Just For You’, and ‘I’ll Never Get Rich’ has to be the soundtrack story to many an attendee watching the show. ‘Call His Name’ from 2011, has a fusion between R&B and Rockabilly set to a strolling rhythm, and the dismissive tone of ‘Baby I Don’t Care’ rocked. ‘Train to Satanville’, the title track to the 2007 release, with its sinister sound rattled through as did ‘I Heard That Line Before’, ‘I Won’t Cry’ and ‘One of These Days’. Jackie Johnson’s ‘Starlight’ and Barbara Pittman’s ‘I Need a Man’ topped off a set that would grace any position in the line-up, and for this Rave, a top-drawer opener.
‘Gonna Have Myself a Ball’ deftly linked up with the rolling drumbeat of ‘Just For You’, and ‘I’ll Never Get Rich’ has to be the soundtrack story to many an attendee watching the show. ‘Call His Name’ from 2011, has a fusion between R&B and Rockabilly set to a strolling rhythm, and the dismissive tone of ‘Baby I Don’t Care’ rocked. ‘Train to Satanville’, the title track to the 2007 release, with its sinister sound rattled through as did ‘I Heard That Line Before’, ‘I Won’t Cry’ and ‘One of These Days’. Jackie Johnson’s ‘Starlight’ and Barbara Pittman’s ‘I Need a Man’ topped off a set that would grace any position in the line-up, and for this Rave, a top-drawer opener.
Deke Dickerson and the Ecco-Fonics
Pick-it. The towering presence of Deke Dickerson and his Ecco Fonics took to the stage next. Here’s an act that is always a masterclass in geetar pickin’ and even before a note was struck, the personnel on stage suggested this would be something pretty cool. Crazy Joe Tritschler initially started on upright bass, and Kyle Eldridge took drumming duties. Onlookers commented that it was never likely to stay that way, but for the first few songs, it did.
The almost jazzy sound of ‘Great Big Cowboy’ linked up with Carl Perkins/Mann’s ‘Look at that Moon’ and the Mexican-Latino sound of the powerhouse ‘El Cumbanchero’ instrumental. Joe then took lead, Deke moved to double bass, for the bouncy sound of ‘My Baby’s Behind Me’, and the rip roaring ‘Who Slapped John’, and the phenomenal instrumental, ‘Flight of the Beverly Bumble Billies’. Another switch round brought Kyle to the front, for yet more picking finery, as he took on Bill Haley’s ‘Green Tree Boogie’. Kyle has that type of voice suited to western swing style, and his new song ‘Penny Nickle and Dime’ demonstrated that.
As each guitarist showcased their skills during the show, and Kyle chose a Joe Maphis tear-up, with ‘Fire on the Strings’ at a breathtaking pace, before pulling back with Merle Haggard’s ‘Honky Tonk Night Time Man’. Deke took guitar lead again for another Haley track, ‘Goofin’ Around’ and all three played a twin neck guitar together at the same time for ‘Mercedes Boogie’ with two Ragtime Wranglers Sietse Helinga and Huey Moor jumping on drums and bass respectively. It’s never a Deke Dickerson show without ‘Muleskinner Blues’ and he duly obliged to close a jaw-droppingly fine show
The almost jazzy sound of ‘Great Big Cowboy’ linked up with Carl Perkins/Mann’s ‘Look at that Moon’ and the Mexican-Latino sound of the powerhouse ‘El Cumbanchero’ instrumental. Joe then took lead, Deke moved to double bass, for the bouncy sound of ‘My Baby’s Behind Me’, and the rip roaring ‘Who Slapped John’, and the phenomenal instrumental, ‘Flight of the Beverly Bumble Billies’. Another switch round brought Kyle to the front, for yet more picking finery, as he took on Bill Haley’s ‘Green Tree Boogie’. Kyle has that type of voice suited to western swing style, and his new song ‘Penny Nickle and Dime’ demonstrated that.
As each guitarist showcased their skills during the show, and Kyle chose a Joe Maphis tear-up, with ‘Fire on the Strings’ at a breathtaking pace, before pulling back with Merle Haggard’s ‘Honky Tonk Night Time Man’. Deke took guitar lead again for another Haley track, ‘Goofin’ Around’ and all three played a twin neck guitar together at the same time for ‘Mercedes Boogie’ with two Ragtime Wranglers Sietse Helinga and Huey Moor jumping on drums and bass respectively. It’s never a Deke Dickerson show without ‘Muleskinner Blues’ and he duly obliged to close a jaw-droppingly fine show
Scotty Baker
Baker eh? We remember that name…Finally for Thursday, the Rave welcomed back Scotty Baker. It’s been ten years since his debut performance at the Rockabilly Rave. Three albums and some singles, and various online shows singing Elvis songs in his kitchen, quaffing wine, during the Covid pandemic, he’s here again to present another set of original material, ably backed by the Doel Brothers, Tom, David and Gordon, along with Curtis Doel and Sam French, and ace saxophonist Kenny Tomlinson.
The embittered lyrics of ‘Wasted My Name’ announced his presence, with the aspirational ‘Move to the City’ following on. ‘Broke on Payday’, a lament about lacking money even as you get your wages, and ’50 Buick’, the opening track on his debut album, were smashing additions. ‘Hank’s Cadillac’, the tale of ambition to be, well, like Hank is a jaunty and catchy tune, while the saucily titled ‘Set Me Loose on that Blonde’ nipped along, setting up the country sounding ‘Forget About My Heart’, a lyric amusingly followed by ‘Give my liver some love’. Superb
There was one cover, Elvis’ ‘Shoppin’ Around’ (minus the pandemic tossing of paper over the shoulder, if you saw them, you’ll relate), before we were back on the originals, with ’59 Ranchero’ which has a ‘Six Days on the Road’ feel to the rhythm. The super-cool ‘Bump Stops’ and the lustful ‘Katerina’, and the massive club hit ‘Pop The Question’ set up a crescendo of belting rockers ‘Lady Killer’ and the encore of ‘Cheater’. What a top set by Scotty Baker once again. His songwriting is modern day poetry, that is delivered in the classiest vocal style. He’s never wasted his name on the Rave crowd!
The embittered lyrics of ‘Wasted My Name’ announced his presence, with the aspirational ‘Move to the City’ following on. ‘Broke on Payday’, a lament about lacking money even as you get your wages, and ’50 Buick’, the opening track on his debut album, were smashing additions. ‘Hank’s Cadillac’, the tale of ambition to be, well, like Hank is a jaunty and catchy tune, while the saucily titled ‘Set Me Loose on that Blonde’ nipped along, setting up the country sounding ‘Forget About My Heart’, a lyric amusingly followed by ‘Give my liver some love’. Superb
There was one cover, Elvis’ ‘Shoppin’ Around’ (minus the pandemic tossing of paper over the shoulder, if you saw them, you’ll relate), before we were back on the originals, with ’59 Ranchero’ which has a ‘Six Days on the Road’ feel to the rhythm. The super-cool ‘Bump Stops’ and the lustful ‘Katerina’, and the massive club hit ‘Pop The Question’ set up a crescendo of belting rockers ‘Lady Killer’ and the encore of ‘Cheater’. What a top set by Scotty Baker once again. His songwriting is modern day poetry, that is delivered in the classiest vocal style. He’s never wasted his name on the Rave crowd!
DJ Peggy Lee
Hey DJ play some… Much as we big-up all the bands and live acts at festivals/weekenders, there’s always a group of DJs who keep the dancefloor moving and the entertainment going throughout. We did think about picking out our faves, but that would be rather churlish as we didn’t see/hear every set by every DJ. However, at this point we’d flag up the debuting DJs Jimmy Taylor (about time too), Peggy Lee from the Netherlands and Jezebel from Scotland, as well as the Rockabilly Radio and Rockin 247 Radio DJs.
From Little Carl’s first set opening the event upstairs and Bill Smoker in the Vic, DJ’s Be Bop Kaz, Steve Stack o’ Wax, Joe Newbon, Carrie Hope, the evergreen Flat Top Brothers, Dave ‘n’ Deano playing only 78’s, Greece’s Andreas Wanderer, Australia’s Marc Rondeau, America’s Topper, Tojo from Scotland, Blip Blop from Germany, and Danny from Spain, played the well-known, the obscure, the unusual and the classic in the rich tapestry that makes up the Rockabilly Rave.
From Little Carl’s first set opening the event upstairs and Bill Smoker in the Vic, DJ’s Be Bop Kaz, Steve Stack o’ Wax, Joe Newbon, Carrie Hope, the evergreen Flat Top Brothers, Dave ‘n’ Deano playing only 78’s, Greece’s Andreas Wanderer, Australia’s Marc Rondeau, America’s Topper, Tojo from Scotland, Blip Blop from Germany, and Danny from Spain, played the well-known, the obscure, the unusual and the classic in the rich tapestry that makes up the Rockabilly Rave.
Eivind and the Basement Boys
Fri-ing. Friday is the first full day of entertainment, starting in the downstairs hall, with Eivind and the Basement Boys from Norway. Think that this is only the second Norwegian band to play the Rave (the other being the Lucky Bullets) Eivind Myrbaken - vocal & rhythm guitar, Erik Engeland on upright bass, Christian Øynes pickin on lead guitar. Depping on drums, although you’d never have known he wasn’t a regular, was Svein Aage Lillehamre.
Cut the set list in half and it would have ‘Classic Rockabilly’ through it like a stick of rock, as these lads rocked out a set of the genres finest, with the likes of Carl Perkins’ ‘Honey Don’t’, and Danny Dill’s ‘Hungry For Your Lovin’. In tribute to the recently passed Jack Earls, they took on the 1956 corker, ‘Slow Down’ with some serious ability. A couple of Johnny Burnette kickers? Why not. They ripped through ‘Tear It Up’ and ‘Your Baby Blue Eyes’ which sandwiched Elvis’ ‘Good Rockin’ Tonight’. And while we are in the Sun zone, let’s have a couple of Johnny Cash numbers, ‘Get Rhythm’ and ‘Big River’ delivered in a style of their own and avoiding a direct impression of the original.
The crowd were along with the guys all the way, digging ‘All I can Do Is Cry’, ‘Baby Let’s Play House’ and ‘Do What I Do’. Have to say readers, this was a fine debut for this band at the Rave.
Cut the set list in half and it would have ‘Classic Rockabilly’ through it like a stick of rock, as these lads rocked out a set of the genres finest, with the likes of Carl Perkins’ ‘Honey Don’t’, and Danny Dill’s ‘Hungry For Your Lovin’. In tribute to the recently passed Jack Earls, they took on the 1956 corker, ‘Slow Down’ with some serious ability. A couple of Johnny Burnette kickers? Why not. They ripped through ‘Tear It Up’ and ‘Your Baby Blue Eyes’ which sandwiched Elvis’ ‘Good Rockin’ Tonight’. And while we are in the Sun zone, let’s have a couple of Johnny Cash numbers, ‘Get Rhythm’ and ‘Big River’ delivered in a style of their own and avoiding a direct impression of the original.
The crowd were along with the guys all the way, digging ‘All I can Do Is Cry’, ‘Baby Let’s Play House’ and ‘Do What I Do’. Have to say readers, this was a fine debut for this band at the Rave.
The Glad Rags
Glad all over. Another Rockabilly Rave debut next, as the afternoon temperature rose in the hall, with Italian trio, The Glad Rags. They are a drumless trio, with Francesca Zanotti on rhythm guitar and vocals, Silvia Consonni on bass and vocals and lead guitarist Pete Bridges. Together they produced some of the finest vocal harmonies, produced in, what appeared to be, effortless style, setting the stall out with the Barker Brothers’ ‘You Can’t Stay Here’.
Sparkle Moore’s ‘Skull and Crossbones’ followed before it was announced that Silvia would be producing satellite sounds, as this was her speciality. You could tell there was a wonderment among the audience, until they started Skip Stanley’s ‘Satellite Baby’, then it all became clear, as Francesca’s lead vocal was accompanied by Silvia’s interstellar vocalisation. The Miller Sisters’ ‘Ten Cats Down’ came over with all the authenticity of the original Mississippi duo, and the Collins Kid’s ‘Hot Rod’ was sheer delight.
‘I Need Your Lovin’ led agreeably in to a super-cool take of Carl Perkins’ ‘Lend Me Your Comb’ and Dale Hawkins’ ‘Lil Pig’. Bill Morgan’s ‘Red Hot Rhythm Combo’ from 1960 trundled along as did Ronnie Hawkins’ ‘Sick and Tired’. Each song was rowdily cheered throughout, as the trio neared the conclusion of the show, producing a brilliant take on ‘No Use Knocking On My Door’ originally by Lanie Walker and his Black Mountain Boys. The finale was a treat, with the Everly Brothers ‘Bird Dog’.
The Glad Rags forte is in their vocal delivery, and duets, but take nothing away from the musicianship and stage performance. The song choice is varied and first rate, and the performance was a joy from start to finish.
Sparkle Moore’s ‘Skull and Crossbones’ followed before it was announced that Silvia would be producing satellite sounds, as this was her speciality. You could tell there was a wonderment among the audience, until they started Skip Stanley’s ‘Satellite Baby’, then it all became clear, as Francesca’s lead vocal was accompanied by Silvia’s interstellar vocalisation. The Miller Sisters’ ‘Ten Cats Down’ came over with all the authenticity of the original Mississippi duo, and the Collins Kid’s ‘Hot Rod’ was sheer delight.
‘I Need Your Lovin’ led agreeably in to a super-cool take of Carl Perkins’ ‘Lend Me Your Comb’ and Dale Hawkins’ ‘Lil Pig’. Bill Morgan’s ‘Red Hot Rhythm Combo’ from 1960 trundled along as did Ronnie Hawkins’ ‘Sick and Tired’. Each song was rowdily cheered throughout, as the trio neared the conclusion of the show, producing a brilliant take on ‘No Use Knocking On My Door’ originally by Lanie Walker and his Black Mountain Boys. The finale was a treat, with the Everly Brothers ‘Bird Dog’.
The Glad Rags forte is in their vocal delivery, and duets, but take nothing away from the musicianship and stage performance. The song choice is varied and first rate, and the performance was a joy from start to finish.
Lobo Jones and the Rhythm Hounds
Release the Hounds. The third and final act for Friday afternoon, was British quartet, Lobo Jones and the Rhythm Hounds, featuring Eliott ‘Lobo’ Jones on rhythm guitar and vocals, ace lead guitarist Morgan Willis, drummer Zack Godden and slapping the bass, Mark Howells. Take a deep breath and watch as they came bounding out of the traps with Larry Donn’s ‘Honey Bun’. ‘Bad Bad Baby’ is a super Rockabilly hiccup, stop-start rock out. A Jones original ‘I’m Mad’ hurtled by next, as the pace ratcheted up even more.
There was room for some other covers as well, notably ‘Barking Up The Wrong Tree’, Pink ‘n’ Black, and a curio from 1965, Mack Allen Smith’s ‘Mean Ol’ Frisco. The title track from the CD release ‘Howlin’ popped up during the show, a mid-tempo rocker, and another well-crafted Eliot Jones track, which is on a par with ‘Wind Up Baby’. Add to that the thundering bop beat of ‘The Creature’ and ‘The Twister’, which sustained the crowd’s appetite for the ‘Hounds sound. This set had everything, a striding bass beat and rattling drums from Mark and Zack in the rhythm engine room, Morgan’s blistering and biting lead guitar solos, and a vocalist in ‘Lobo’ able to deliver lyrics in a style that blended together forcefulness and enthusiasm. The stage show was energetic in the heat, and hugely appreciated by the sound of the crowd. Naturally they were called back for their signature tune, if you will, the cover of Jack Gotroe’s ‘Lobo Jones’.
There was room for some other covers as well, notably ‘Barking Up The Wrong Tree’, Pink ‘n’ Black, and a curio from 1965, Mack Allen Smith’s ‘Mean Ol’ Frisco. The title track from the CD release ‘Howlin’ popped up during the show, a mid-tempo rocker, and another well-crafted Eliot Jones track, which is on a par with ‘Wind Up Baby’. Add to that the thundering bop beat of ‘The Creature’ and ‘The Twister’, which sustained the crowd’s appetite for the ‘Hounds sound. This set had everything, a striding bass beat and rattling drums from Mark and Zack in the rhythm engine room, Morgan’s blistering and biting lead guitar solos, and a vocalist in ‘Lobo’ able to deliver lyrics in a style that blended together forcefulness and enthusiasm. The stage show was energetic in the heat, and hugely appreciated by the sound of the crowd. Naturally they were called back for their signature tune, if you will, the cover of Jack Gotroe’s ‘Lobo Jones’.
Gene Gambler
It's in the Genes. Upstairs began early doors with one of Wales’ finest and purest Rockabilly bands currently on the circuit, Gene Gambler and the Shufflers. David Williams is ‘Gene’ on lead vocals and rhythm guitar, with brother-in-law Rob Nedin on lead guitar, bassist Tony Biggs and drummer Mark Kemlo. It might have only been 7pm, but they drew a chunky number in from the glorious sunshine outside. And it was (dodgy segue alert!) a glorious Sun track that opened the show, with Hayden Thompson’s ‘Fairlane Rock’.
‘Crazy Over You’ one of the band’s own compositions from their first album (twenty years ago no less) rocked-up next, the first of three from that release with ‘Heart of Black’ and ‘Moanin’ Minnie’ making welcome appearances. Gene Vincent’s two and a quarter minute tear-up ‘Hold Me, Hug Me, Rock Me’ whipped up the crowd at the front of the stage as David slid and rolled around the stage during the solos. A simply sublime version of Jack Huddle’s ‘Starlight Starbright’ rubbed shoulders with Buddy Holly’s ‘Tell Me How’
Somehow within the stage antics, David ended up wearing Tony’s glasses, I think during ‘Stutterin’ Cindy’, such was the racket down the front, and self-preservation hastened my retreat from stage front. Not that it took anything away from the appreciation of the performance, especially with Carl Perkins’ ‘Baby You Can Do No Wrong’ and a Jack Earls tribute ‘Crawdad Hole’. Just excellent.
‘Crazy Over You’ one of the band’s own compositions from their first album (twenty years ago no less) rocked-up next, the first of three from that release with ‘Heart of Black’ and ‘Moanin’ Minnie’ making welcome appearances. Gene Vincent’s two and a quarter minute tear-up ‘Hold Me, Hug Me, Rock Me’ whipped up the crowd at the front of the stage as David slid and rolled around the stage during the solos. A simply sublime version of Jack Huddle’s ‘Starlight Starbright’ rubbed shoulders with Buddy Holly’s ‘Tell Me How’
Somehow within the stage antics, David ended up wearing Tony’s glasses, I think during ‘Stutterin’ Cindy’, such was the racket down the front, and self-preservation hastened my retreat from stage front. Not that it took anything away from the appreciation of the performance, especially with Carl Perkins’ ‘Baby You Can Do No Wrong’ and a Jack Earls tribute ‘Crawdad Hole’. Just excellent.
The Sun & Lightning show
Sonne und blitzen. From Germany, the Sun and Lightning Show, with some very familiar faces, made up of the Round Up Boys, along with Randy Richer and Dylan Kirk. The story was that the lads went to Sun studios with the hope of laying down some tracks in the original and authentic way, only to be told they would be recorded digitally. A massive disappointment, resulted in them returning home and laying down their music in the way they wanted to. Here, for the Rockabilly Rave, was some of that material, played live for similar results.
Some of the material was covers of fifties tunes. Mack Self’s ‘Vibrate’ for example, an oddity from ’58 that wasn’t initially released. It’s jangling and repetitive guitar beat was given a different feel, to really good effect, very impressive. The set opened however, with one of their own tracks ‘I’m Gonna Have Things My Way’, with Axel Praefke’s vocal cadence en pointe, accompanied by the chunking beat of the rhythm section. You could, if you want to, compare that sound with the recreated ‘Baby That’s Good’ originally by Edwin Bruce. ‘Love Me Baby’ is another tune so suited to Axel’s style, while ‘You’ brought Ike Stoye out front for vocals.
Everyone on stage had a go, and instruments & players were changed throughout, during the delightfully titled ‘Foxy Fannie’ and the Jerry Lee Lewis influenced ‘Gimmie a Nickel’ and ‘Hush Don’t Say a Word’. The familiar ‘Apron Strings’ and ‘Red Hot’ initially closed the show, while ‘Pumpin’ Piano Man’ and the Charlie Rich classic ‘Rebound’ hit the high spots in the encore.
Some of the material was covers of fifties tunes. Mack Self’s ‘Vibrate’ for example, an oddity from ’58 that wasn’t initially released. It’s jangling and repetitive guitar beat was given a different feel, to really good effect, very impressive. The set opened however, with one of their own tracks ‘I’m Gonna Have Things My Way’, with Axel Praefke’s vocal cadence en pointe, accompanied by the chunking beat of the rhythm section. You could, if you want to, compare that sound with the recreated ‘Baby That’s Good’ originally by Edwin Bruce. ‘Love Me Baby’ is another tune so suited to Axel’s style, while ‘You’ brought Ike Stoye out front for vocals.
Everyone on stage had a go, and instruments & players were changed throughout, during the delightfully titled ‘Foxy Fannie’ and the Jerry Lee Lewis influenced ‘Gimmie a Nickel’ and ‘Hush Don’t Say a Word’. The familiar ‘Apron Strings’ and ‘Red Hot’ initially closed the show, while ‘Pumpin’ Piano Man’ and the Charlie Rich classic ‘Rebound’ hit the high spots in the encore.
Marti Brom
Class. The blue-chip spots on Friday night, began with the very welcome return of St. Louis Missouri native Marti Brom, to the main stage. Marti’s vocal style, for those who haven’t heard her before, sounds like a union between Janis Martin, Patsy Cline and maybe a nod toward Rose Maddox. The style of the set blends Country, Rockabilly and R&B, and simply put, was a delight from start to finish. She drew on an impressive back catalogue, throughout, some originals, some covers.
I’ll be honest readers, if Marti had come on stage, sung ‘Blue Tattoo’ and ‘Get a Little Goner’ that would’ve done for me, as they are two of the best songs in the world ever ever. Not that you should think the rest of the set wasn’t quality, I mean, ‘Little Ol Wine Drinker Me’ from 66/67 (Charlie Walker, Robert Mitchum, Dean Martin), set up the zippy beat of ‘If If Was a Fifth’ from 2019. Janis Martin’s bright and breezy ode to infidelity among young lovers, ‘Love and Kisses’ nipped along, before ‘Get a Little Goner’. This a beaut of a honky tonk number with just the right amount of ‘twang’ accompanying Marti’s majestic delivery.
Another track from the 2019 ‘Midnight Bus’ album, the lively ‘Loveaholic’, was offset by the more haunting sound of ‘Not For Nothing’. Then, pray silence for ‘Blue Tattoo’, a song over twenty years old, penned by Teri Joyce (Austin Tx), the impact of which never seems to wane. If you’re new to it, go find it. This live version didn’t have the steel guitar and fiddle sound of the original, but it did have the exceptional performance the crowd loved.
Of course, we didn’t switch off there, ‘Eat My Words’ rocked, as did the foot stomping ‘Unproclaimed Love’ which was written by Marti. And we just have to flag up the take of Jean Shepard’s emotional ‘When Your House is not a Home’ from 1967, and ‘Forbidden Fruit’ from the Ripsaw years. All highlights from a dream of a set.
I’ll be honest readers, if Marti had come on stage, sung ‘Blue Tattoo’ and ‘Get a Little Goner’ that would’ve done for me, as they are two of the best songs in the world ever ever. Not that you should think the rest of the set wasn’t quality, I mean, ‘Little Ol Wine Drinker Me’ from 66/67 (Charlie Walker, Robert Mitchum, Dean Martin), set up the zippy beat of ‘If If Was a Fifth’ from 2019. Janis Martin’s bright and breezy ode to infidelity among young lovers, ‘Love and Kisses’ nipped along, before ‘Get a Little Goner’. This a beaut of a honky tonk number with just the right amount of ‘twang’ accompanying Marti’s majestic delivery.
Another track from the 2019 ‘Midnight Bus’ album, the lively ‘Loveaholic’, was offset by the more haunting sound of ‘Not For Nothing’. Then, pray silence for ‘Blue Tattoo’, a song over twenty years old, penned by Teri Joyce (Austin Tx), the impact of which never seems to wane. If you’re new to it, go find it. This live version didn’t have the steel guitar and fiddle sound of the original, but it did have the exceptional performance the crowd loved.
Of course, we didn’t switch off there, ‘Eat My Words’ rocked, as did the foot stomping ‘Unproclaimed Love’ which was written by Marti. And we just have to flag up the take of Jean Shepard’s emotional ‘When Your House is not a Home’ from 1967, and ‘Forbidden Fruit’ from the Ripsaw years. All highlights from a dream of a set.
The Bellfuries
Yells for the Bells. The hall remained populated in readiness for blue-chip part deux and the Bellfuries. Joey Simeone is as close as you’ll get to a modern-day poet in the rockin’ style. When many of us heard the ‘Just Plain Lonesome’ album, now over twenty years ago, it immediately became a modern-day classic. This show he was backed by ace drummer Bobby Trimble, Deke Dickerson on lead guitar and on electric bass Jeff ‘Shecky’ Seaver. So, with Joey slinging his Arnold Hoyer ‘Solist’ arch-top guitar, the assembled had a pretty good idea that this was going to be a special set, especially when ‘Love Found Me’ had them singing along.
Almost every opening bar heralded an audience reaction of familiarity, and tagging along next was the dance floor winner, ‘Bad Seed Sown’. ‘Stealing Kisses’ and ‘You Must Be a Loser’ drew a similar rapturous recognition. From ‘Workingman’s Bellfuries’ came the narrative of ‘Why Do You Haunt Me’, a poignant tune among the rockers, followed by the title track to the now legendary ‘Just Plain Lonesome’. “Cease fire soldier lay your weapon at your feet” is always the catalyst for the audience to join in (with varying degrees of success) with at ‘Ahh oo’s’ of ‘Loving Arms’. Certainly, it must be gratifying for any artist to hear a crowd sing back their lyrics to them*, and the Bellfuries positively encourage it.
The Texas based fugitive story within ‘Beaumont Blues’ and the evergreen ‘Your Love (all that I’m missin’)’ ended the set, before ‘Cupid’ (another singalong) and the track that many were introduced to the band rang out. ‘Hey Mister Locomotive’ was a proper and welcome conclusion to a tip top show.
Almost every opening bar heralded an audience reaction of familiarity, and tagging along next was the dance floor winner, ‘Bad Seed Sown’. ‘Stealing Kisses’ and ‘You Must Be a Loser’ drew a similar rapturous recognition. From ‘Workingman’s Bellfuries’ came the narrative of ‘Why Do You Haunt Me’, a poignant tune among the rockers, followed by the title track to the now legendary ‘Just Plain Lonesome’. “Cease fire soldier lay your weapon at your feet” is always the catalyst for the audience to join in (with varying degrees of success) with at ‘Ahh oo’s’ of ‘Loving Arms’. Certainly, it must be gratifying for any artist to hear a crowd sing back their lyrics to them*, and the Bellfuries positively encourage it.
The Texas based fugitive story within ‘Beaumont Blues’ and the evergreen ‘Your Love (all that I’m missin’)’ ended the set, before ‘Cupid’ (another singalong) and the track that many were introduced to the band rang out. ‘Hey Mister Locomotive’ was a proper and welcome conclusion to a tip top show.
Darrel Higham
Forceful. Last on Friday, Darrel Higham and the Enforcers, with Darrel on guitar and vocals, Tony Hillebrandt on drums and Adan Miles on bass. Recent shows have opened with Herbie Smith’s 1959 metrical jiver ‘Baby Moon’ and indeed this was what got it all going, setting up rockers like ‘Gimme That Drink’, and the Cliff Gallup riff charged ‘Jumpin’ With Gene’. ‘Dark Haired Woman’, ‘Rock All Night’ and Roc La Rue’s ‘Baby Take Me Back’.
It wasn’t all out and out rockers, there was time for something slower and melodic, with Elvis’ ‘Pocketful of Rainbows’ from GI Blues, and Eddie Cochran’s ‘Hallelujah I Love Her So’, before we were back in the fast lane again. ‘Bop Machine’, Eddie Cochran’s zippy instrumental ‘Scratchin’ and the frantic Gene Vincent exuberance ‘B-I-Bickey Bi Bo Bo Go’ ratcheted up the fervour, bringing in Rockabilly anthem ‘Jitterbop Baby’ and Restless’ ‘Ice Cold’.
Speaking of anthems (dodgy segue #2) the encore featured ‘Rockabilly Boogie’ and in tribute to the weather (dodgy segue #3) Elvis’ ‘Burning Love’. A tight sounding trio on fine form to conclude a splendid day & night’s entertainment.
It wasn’t all out and out rockers, there was time for something slower and melodic, with Elvis’ ‘Pocketful of Rainbows’ from GI Blues, and Eddie Cochran’s ‘Hallelujah I Love Her So’, before we were back in the fast lane again. ‘Bop Machine’, Eddie Cochran’s zippy instrumental ‘Scratchin’ and the frantic Gene Vincent exuberance ‘B-I-Bickey Bi Bo Bo Go’ ratcheted up the fervour, bringing in Rockabilly anthem ‘Jitterbop Baby’ and Restless’ ‘Ice Cold’.
Speaking of anthems (dodgy segue #2) the encore featured ‘Rockabilly Boogie’ and in tribute to the weather (dodgy segue #3) Elvis’ ‘Burning Love’. A tight sounding trio on fine form to conclude a splendid day & night’s entertainment.
Ravin’ dot….dot. Best tracks in the world ever ever at the Rave #25 to coat your peanuts, are Carl Perkins’ ‘Tennessee’, ‘Twistin’ at the Top’ by Bobby Swanson and ‘Shakin’ the Blues’ by Johnny Paycheck…….Tell you what readers, the youngsters coming to the Rave now are looking sharp. Someone mentioned they’ll replace ‘us old farts’. Well, they’ll replace us, but the ‘old farts’ are the ‘two-cans-and-a-takeaway’ brigade sat in front of the telly, instead of being at events like this…… *Strange, not strange, that no one quotes the Bettajive Review stuff back to us…….We arrived at our chalet, and, hang on a minute, it’s all clean and tidy, we had to come out and go back in again!.......Call me old fashioned, but why are the dinosaurs at Camber Pontins behind a massive fence? Not like they are going to metamorphosise into a Jurassic Park-meets-Rockabilly Rave mash up are they (anyone who makes a comment with Rockabilly and Dinosaurs in the same sentence, go to the back of the class). There’s a film there somewhere……There was a ten second space at the Rave when neither Deke Dickerson, Tony Hillebrandt and Sam French were not on any stage. Can we be assured such an oversite will not be repeated at future Raves please 😉 ………One of the many things that keep the Rave at the top of it’s game, is the sound, and Rory Alderson and his crew do just that. It’s not just twiddling knobs, balancing a torch between your teeth and wearing shorts in winter as some might think. There’s some serious skill and aptitude to making each band sound at their most pristine…..And let’s also highlight (arf arf) Jajsa Van Andel’s expert lighting.…..If I were to pick one of the four days to be ‘the best’, which is kind of like trying to pick a first among equals, I’d have to say Saturday’s menu kicked some serious booty, read on……Gallery images below, click on them for full sized pick, and if you want to pop us a donation using the button below
The Round Up Boys
Round ‘em up. Saturday afternoon, and a real triple threat so to speak. Three bands from Europe bringing their ‘A’ game in different style, beginning with the Round Up Boys from Germany. Lead singer and lead guitarist Michael ‘Humpty’ Kirscht, taking on not only vocals and amusing transitions between songs, but acting as ‘referee’ given his black and white striped shirt. He was joined by Axel Praefke on drums, Ike Stoye on rhythm guitar and bassist Kevin Netzer. Combine such talent on the same stage, and you’re bound to have a good set, and indeed this was such an event.
The choices fair zipped along, with the eminence of ‘Come Back Baby’ and ‘Mean Little Mama’ or ‘Gemeine Kleine Mutti’ as it was announced, shining through. Chuck Berry’s ‘Thirty Days’ got the Round Up treatment, complete with a side glancing duck-walk as the crowd cheered Humpty through the solo. Rusty York’s ‘Sugaree’ or for the Germans in the audience ‘Zuckerree’ , Thomas Wayne’s ‘You’re The One That Done It’ and Curtis Johnson’s ‘Sittin’ on top of the World’ came over superbly. The whole set was amusing, jubilant and above all musically excellent.
The choices fair zipped along, with the eminence of ‘Come Back Baby’ and ‘Mean Little Mama’ or ‘Gemeine Kleine Mutti’ as it was announced, shining through. Chuck Berry’s ‘Thirty Days’ got the Round Up treatment, complete with a side glancing duck-walk as the crowd cheered Humpty through the solo. Rusty York’s ‘Sugaree’ or for the Germans in the audience ‘Zuckerree’ , Thomas Wayne’s ‘You’re The One That Done It’ and Curtis Johnson’s ‘Sittin’ on top of the World’ came over superbly. The whole set was amusing, jubilant and above all musically excellent.
Rockin' Bonnie Western Bound Combo
Buona Bonnie. Next on, the fabulous Rockin Bonnie Western Bound Combo, from Italy. Officially, I suppose, they were making their debut at the Rave, although they’ve all played in slightly different guises in the past. The band have amalgamated the musical talents of the Starliters and Bonnie’s other incarnations like the Mighty Ropers and the Rot Gut Shots. Rockin’ Bonnie (Sabrina Cocciolo) takes the lead vocals, and rhythm guitar, and she’s joined by Massimo Zampini (Max hereinafter) on lead guitar and vocals bassist Roberto Marmieri (Bobby Vain), drummer Navajo Manuel Joe, with Matteo Ringressi (Driftin’ Matt Monroe) displaying exceptional versatility on fiddle and console steel guitar.
Decked out in her blue Western wear suit, Bonnie seemed oblivious to the temperature in the heat and set about delivering a fine set of Honky Tonk and Western Swing. They mixed cover tunes with their own material, which has such an attention to detail, it sounds like it’s straight out of 1950’s Grand Old Opry. Red Foley’s ‘Salty Dog Rag’ was a lively fiddle sawing sound early doors with Hank Williams’ ‘I’m Satisfied With You’ from 1947, jaunty and sprightly following along. The first of the originals, ‘Hell Ride Boogie’, written by Max, is another sliding steel, diamond of a track, with a slightly softer rhythm section, and shout-back chorus to Bonnie’s lead.
The Max penned duet ‘Somebody’s Gonna Take Your Place’, couples heartache, and slightly maudlin fiddle accompanying the somewhat resentful lyrics, performed and pitched perfectly while ‘Loss’, Max takes the majority of the vocals, immediately put us in mind of George Jones, in the ‘Race is On’ ilk. Billy Strange’s ‘The Devil in Me’ and Bob Wills ‘Tater Pie’ along with their own ‘Serenade in G’ were first class, as was ‘Sure Fire Kisses’ a cover of Justin Tubb & Goldie Hill’s 1954 duet. Just an inspiring and uplifting show from start to finish.
Decked out in her blue Western wear suit, Bonnie seemed oblivious to the temperature in the heat and set about delivering a fine set of Honky Tonk and Western Swing. They mixed cover tunes with their own material, which has such an attention to detail, it sounds like it’s straight out of 1950’s Grand Old Opry. Red Foley’s ‘Salty Dog Rag’ was a lively fiddle sawing sound early doors with Hank Williams’ ‘I’m Satisfied With You’ from 1947, jaunty and sprightly following along. The first of the originals, ‘Hell Ride Boogie’, written by Max, is another sliding steel, diamond of a track, with a slightly softer rhythm section, and shout-back chorus to Bonnie’s lead.
The Max penned duet ‘Somebody’s Gonna Take Your Place’, couples heartache, and slightly maudlin fiddle accompanying the somewhat resentful lyrics, performed and pitched perfectly while ‘Loss’, Max takes the majority of the vocals, immediately put us in mind of George Jones, in the ‘Race is On’ ilk. Billy Strange’s ‘The Devil in Me’ and Bob Wills ‘Tater Pie’ along with their own ‘Serenade in G’ were first class, as was ‘Sure Fire Kisses’ a cover of Justin Tubb & Goldie Hill’s 1954 duet. Just an inspiring and uplifting show from start to finish.
Mischief!
Mustn’t miss Mischief. Finally for Saturday afternoon, regular favourites Mischief! from the Netherlands. This trio, brothers Patrick and Daze van der Erf and Richard Verhuel are celebrating thirty years playing together. They announced themselves with ‘Pure Love’ and Jimmy Kirkland’s ‘I Wonder if you Wonder’, setting up an ace from up the sleeve with the Everly Brothers’ ‘Should We Tell Him’, from 1958. There’s an infectious enthusiasm that these lads generate, that permeates through the audience, with Daze bouncing around the stage and somehow keeping his guitar solos en-pointe.
‘Grow Up’ is just laugh-out loud brilliant lyrically, and ‘Writing on the Wall’, the title track to their new LP once again demonstrated the brothers’ admirable vocal harmonies. Some straight-ahead hot Rockabilly with ‘(She’s a) Mystery to Me’ and the torrid rock-out of Charlie Rich’s ‘Rebound’. Their own ‘In Dreams’ and ‘Hot Wheels’ mixed up with a corking version of another Everly Brothers standard, the Roy Orbison composition ‘Claudette’ and Al Ferrier’s ‘Blue Stop Knocking at my Door’.
A thundering set concluded with the Excels’ ‘Let’s Dance’, a desperate sounding garage rocker from ’65 which was loudly appreciated and brought the lads, soaked in sweat from the almost tropical temperature in the hall, back for ‘Hey Mae’. Smashing stuff.
‘Grow Up’ is just laugh-out loud brilliant lyrically, and ‘Writing on the Wall’, the title track to their new LP once again demonstrated the brothers’ admirable vocal harmonies. Some straight-ahead hot Rockabilly with ‘(She’s a) Mystery to Me’ and the torrid rock-out of Charlie Rich’s ‘Rebound’. Their own ‘In Dreams’ and ‘Hot Wheels’ mixed up with a corking version of another Everly Brothers standard, the Roy Orbison composition ‘Claudette’ and Al Ferrier’s ‘Blue Stop Knocking at my Door’.
A thundering set concluded with the Excels’ ‘Let’s Dance’, a desperate sounding garage rocker from ’65 which was loudly appreciated and brought the lads, soaked in sweat from the almost tropical temperature in the hall, back for ‘Hey Mae’. Smashing stuff.
The Honkabillies
Being twice as Frank. Upstairs began with Wild Records recording artists, The Honkabillies, with (to that point MC) Frankie Riedel on rhythm guitar and vocals, Frankie ‘Junior’ Riedel on lead guitar and vocals, with Claire Riedel on drums and Sam French on upright bass. Most of this set were Honkabillies originals, and they launched in to the show with ‘I Hope Your Heaven Turns Out To Be Hell’. Their sound nowadays differs from the ‘Dogonne’ days, but is no less enjoyable. ‘Bye Bye Baby’ is a case in point (nothing to do with the Bay City Rollers either!!), with it’s almost angry sounding lead guitar, utilising the lower end of the scale, and just the right amount of reverb.
‘Love on Fire’ has a more, sultry pace to it, as does ‘Lockdown Lonely’ taking many of us back to the strange beginning to the decade and sitting indoors for days on end. Picking it up again was ‘Drinkin’ Hidin’ and Runnin’ that I could imagine Johnny Horton recording had he lived into later years. ‘Hey There Mister Driver’ reins in the tempo in readiness for a couple of covers. ‘Big River’ has been a mainstay in the Honkabillies set for some years now, and Wayne ‘The Train’ Hancock’s ‘Miller Jack and Mad Dog’ added some juke joint honky tonk, and the BR549’s ‘Bettie Bettie’ is a cool duet with the two Frankies taking vocals together. ‘Hog Wild’, ‘Doin’ Time’ and ‘I Still Carry On’ resonated through the crowd who were noisily appreciative.
Another Honkabillies regular cover, made the encore, the version of the Delmore Brothers’ ‘Freight Train Boogie’, with the inevitable calling and answering from the crowd. Brill start to the evening.
‘Love on Fire’ has a more, sultry pace to it, as does ‘Lockdown Lonely’ taking many of us back to the strange beginning to the decade and sitting indoors for days on end. Picking it up again was ‘Drinkin’ Hidin’ and Runnin’ that I could imagine Johnny Horton recording had he lived into later years. ‘Hey There Mister Driver’ reins in the tempo in readiness for a couple of covers. ‘Big River’ has been a mainstay in the Honkabillies set for some years now, and Wayne ‘The Train’ Hancock’s ‘Miller Jack and Mad Dog’ added some juke joint honky tonk, and the BR549’s ‘Bettie Bettie’ is a cool duet with the two Frankies taking vocals together. ‘Hog Wild’, ‘Doin’ Time’ and ‘I Still Carry On’ resonated through the crowd who were noisily appreciative.
Another Honkabillies regular cover, made the encore, the version of the Delmore Brothers’ ‘Freight Train Boogie’, with the inevitable calling and answering from the crowd. Brill start to the evening.
Mary Ann
It’s Rag-time. The second Dutch band to play on Saturday were up next, Mary Ann and the Ragtime Wranglers, consisting of Mary Ann on vocals, lead guitarist Joe Sixpackk, Huey Moor on bass and Seitse Heslinga keeping it real on drums. There are tracks that this combo perform so well, you hope they bring them to the show, and indeed Rex Allen’s ‘Knock Knock Rattle’ is one such song. Yep, track one, kaboom, we’re in the zone, especially when it was followed by one of Mary Ann’s own tunes, ‘So You Think You’ll Come Back’. ‘Really Got a Right To Cry’ and ‘You and Me’ sounded fine, as did the cover of Buddy’s ‘Blue Days, Black Nights’.
Just have to flag up an excellent ‘Little Ole You’ originally by Wayne Walker, Clyde McPhatter’s ‘Lover Please’ and Janis Martin’s ‘Drugstore Rock n Roll’, a triple treat if ever there was one. Mary Ann’s own stroll beat tune ‘Beau From Tupelo’ slotted in well and their version of Justin Tubb’s ‘Rock It On Down To My House’ is a true highlight. ‘I’ll Be Your Slave’ is a nippy rock-along number, coupled with Rose Maddox’s ‘Hey Little Dreamboat’ which is perfect for Mary Ann’s vocal style.
The Ragtime Wranglers sound is very tight, the guitar solos exquisite accompaniment to the pulsating rhythm, which culminated in the encore of another Mary Ann original, ‘Strange Things’. Super set
Just have to flag up an excellent ‘Little Ole You’ originally by Wayne Walker, Clyde McPhatter’s ‘Lover Please’ and Janis Martin’s ‘Drugstore Rock n Roll’, a triple treat if ever there was one. Mary Ann’s own stroll beat tune ‘Beau From Tupelo’ slotted in well and their version of Justin Tubb’s ‘Rock It On Down To My House’ is a true highlight. ‘I’ll Be Your Slave’ is a nippy rock-along number, coupled with Rose Maddox’s ‘Hey Little Dreamboat’ which is perfect for Mary Ann’s vocal style.
The Ragtime Wranglers sound is very tight, the guitar solos exquisite accompaniment to the pulsating rhythm, which culminated in the encore of another Mary Ann original, ‘Strange Things’. Super set
The Infernos
Hot stuff. If ever there is a band that typifies the raison d’etre of the Rockabilly Rave, it would be the Infernos, from the North East of England. Ian Agar is the lead vocalist and rhythm guitarist, with his brother Gary on drums. Mick Wheeler slaps the bass and guitar supremo Ian Rhodes, dazzles on lead. They hit the ground running with Johnny Knight’s flawless 1958 belter ‘Rock n Roll Guitar’. Billy Lee Riley’s ‘Trouble Bound’ with its rolling drum beat from the Sun label and Roc La Rue’s ’57 rocker, ‘Baby Take Me Back’.
So many songs demonstrated the paradigm of Rockabilly from the 50’s, from the well-known, like Roy Orbison’s ‘Domino’ to the slightly more obscure song by the Country Dudes, ‘Havin’ a Ball’. In another tribute to Jack Earls, two tracks you might not have expected made the set, no ‘Slow Down’ or ‘Her Jim’ this time. They chose a top bopper ‘My Gal Mary Ann’ and the angsty tone of ‘They Can’t Keep Me From You’. John Kerby’s 1964 rarity, ‘Get Hot or Go Home’ was as hot as a firecracker, before we were back on the Sun trail and Warren Smith’s ‘Who Took My Baby’. If there was a first among equals in this set, for me, it would be Tarheel Slim’s ‘Number 9 Train’, the tempo and the rhythm was the perfect crescendo for the show. There was also time for a couple more, Marlon Grisham’s ‘Ain’t That a Dilly’ and Benny Joy’s feverish and frantic ‘Crash the Party’ closed a show by one of the finest exponents of this music.
So many songs demonstrated the paradigm of Rockabilly from the 50’s, from the well-known, like Roy Orbison’s ‘Domino’ to the slightly more obscure song by the Country Dudes, ‘Havin’ a Ball’. In another tribute to Jack Earls, two tracks you might not have expected made the set, no ‘Slow Down’ or ‘Her Jim’ this time. They chose a top bopper ‘My Gal Mary Ann’ and the angsty tone of ‘They Can’t Keep Me From You’. John Kerby’s 1964 rarity, ‘Get Hot or Go Home’ was as hot as a firecracker, before we were back on the Sun trail and Warren Smith’s ‘Who Took My Baby’. If there was a first among equals in this set, for me, it would be Tarheel Slim’s ‘Number 9 Train’, the tempo and the rhythm was the perfect crescendo for the show. There was also time for a couple more, Marlon Grisham’s ‘Ain’t That a Dilly’ and Benny Joy’s feverish and frantic ‘Crash the Party’ closed a show by one of the finest exponents of this music.
Big Sandy
Straight up, he Flys Rite. Does Big Sandy need any introduction? Probably not for most, as he’s been a titan of Rockabilly music since before Pontius was a Pilate. His band, the Flyrite Boys, had Peckham native Ashley Kingman on lead guitar, where he’s been for a number of years now. Ricky McCann was behind the cans and original Flyrite boy, Wally Hersom took the bass duties. The simply excellent ‘Love That Man’ had the crowd straight away, and ‘Heaven is the Other Way’ is as divine as the title suggests. The jaunty ‘It’s a Mystery to Me’, was followed by the twangy slowy, ‘Spanish Dagger’.
Jackie Lee Cochran’s ‘Hip Shakin’ Mama’ was one of a trio covers that made welcome appearances. The other two were from the Freddy Fender tribute release, a gorgeous rendition of ‘Before the Next Teardrop Falls’, and ‘Wasted Days and Wasted Nights’ a swamp pop number that could’ve been written for Big Sandy, due to it suiting his style so well. The country sound of ‘If You Should Come Back To Me’ (I think Charlie Pride/Johnny Paycheck, I await the deluge). A Big Sandy expertly structured tune followed ‘Honey Stick Around a While’, then ‘Hold Me’ rang out.
‘Hold Me’ is over thirty years old now, but sounds as fresh as it did in the early 90’s, and still must be one of Big Sandy’s top ten songs. Another such number, ‘Chalk It Up To The Blues’ drew a massive response. Naturally the crowd weren’t going to let it end there, and back they came for the Ruby Records release (shocking that this was seven years ago already) ‘Fine Fine Superfine’, and followed it up with ‘Miss Tracey’ from their 1990 debut album. Big Sandy’s shows are always next level, as was this one.
Jackie Lee Cochran’s ‘Hip Shakin’ Mama’ was one of a trio covers that made welcome appearances. The other two were from the Freddy Fender tribute release, a gorgeous rendition of ‘Before the Next Teardrop Falls’, and ‘Wasted Days and Wasted Nights’ a swamp pop number that could’ve been written for Big Sandy, due to it suiting his style so well. The country sound of ‘If You Should Come Back To Me’ (I think Charlie Pride/Johnny Paycheck, I await the deluge). A Big Sandy expertly structured tune followed ‘Honey Stick Around a While’, then ‘Hold Me’ rang out.
‘Hold Me’ is over thirty years old now, but sounds as fresh as it did in the early 90’s, and still must be one of Big Sandy’s top ten songs. Another such number, ‘Chalk It Up To The Blues’ drew a massive response. Naturally the crowd weren’t going to let it end there, and back they came for the Ruby Records release (shocking that this was seven years ago already) ‘Fine Fine Superfine’, and followed it up with ‘Miss Tracey’ from their 1990 debut album. Big Sandy’s shows are always next level, as was this one.
Toto and the Raw Deals
Go go, Toto. The final act for Saturday, playing their second set at this Rave (the first was in the pub) was Toto and the Raw Deals. Salvatore ‘Toto’ Marziano takes the lead vocals and rhythm guitar, with Joe Newbon on lead, drummer Tony Hillebrandt and Sam French on bass. They have taken Marty Stuart’s ‘Honky Tonkin’s What I Do Best’ and almost made it their own signature tune. This was once again their kick-start to get the gig going. ‘This Train’ rolled along next with a rare cover of ‘Polly Put The Kettle On’ which was a delight.
Another Marty Stuart tune, ‘Touch Me, Turn Me On, Burn Me Down’ hit the high and goldens. Chuck Berry’s ‘Nadine’ slowed the pace slightly, and a really good version of Brenda Lee’s 1962 #5 chart hit, ‘Here Comes That Feeling’. There’s an electricity within the performance that you can’t help but be carried along with, generated by all four musicians, and there were four barn-burners to bring the show up to a culmination. Charlie Feathers ‘Stutterin’ Cindy’, the Toto original ‘This Here Rocker’s Gone Country’ , Jimmy Wages Sun kicker ‘Miss Pearl’ and the finale of Ronnie Dawson’s ‘Up Jumped the Devil’. A breathless ending to a terrific day and night’s live music.
Another Marty Stuart tune, ‘Touch Me, Turn Me On, Burn Me Down’ hit the high and goldens. Chuck Berry’s ‘Nadine’ slowed the pace slightly, and a really good version of Brenda Lee’s 1962 #5 chart hit, ‘Here Comes That Feeling’. There’s an electricity within the performance that you can’t help but be carried along with, generated by all four musicians, and there were four barn-burners to bring the show up to a culmination. Charlie Feathers ‘Stutterin’ Cindy’, the Toto original ‘This Here Rocker’s Gone Country’ , Jimmy Wages Sun kicker ‘Miss Pearl’ and the finale of Ronnie Dawson’s ‘Up Jumped the Devil’. A breathless ending to a terrific day and night’s live music.
Ravin’ dot….dot part deux. Best tracks at the Rave #25 ever ever to dink your vinyl centres are ‘Rock ‘n’ Roll Mr Bullfrog’ by Moon Mullican, Roy Hall’s ‘You Ruined My Blue Suede Shoes’ and ‘Six Foot Under’ by Charlie Crockett…….Just under forty hours in the venues and my annual complaint, I didn’t hear ‘Jitterbop Baby’ (awaits ‘Well I played it’, on Facebook) apart from Darrell Higham and the Western Stringbyrds live………. The boot sale this Rave, was so well subscribed, the sellers spilled out into the foyer on either sides of the downstairs hall. Could’ve done with it being open an hour or two longer…….Missing from the regular line-up at the Rave this year, the Aztec Werewolf DJ Del Villarreal as MC. Frankie Riedell and Danny Brown filled the gap upstairs, while Rave staff electrically charged-up (like Kenneth Williams in Carry On Screaming*) and dusted the cobwebs off of the recently retired, Russ Sear who also took on MC-ing. *At this juncture, we would point out that he wasn’t left ‘frying tonight’ 😊’) …….. A cover of a Rimsky Korsakov tune. Was there a tune with it’s origin earlier than 1899 at this Rave?.......As I stood at the front of the stage, in close quarters to many others moving about I thought ‘Stop jostling’, then immediately though ‘He wrote ‘The Entertainer’ didn’t he?........Gallery images below, click on them for full sized pics
Crazy Joe
Seven year Tritsch (or is it longer) Sunday and it was a bit cooler, with some respite from the withering heat, and some good old English rain to keep with tradition. The first act on in the downstairs hall, Crazy Joe. Yes folks, the Doctor is in, Crazy Joe Tritschler, engineering lecturer and ace guitarist, returning after a lot of years, with Deke Dickerson on bass and Kyle Eldridge on drums. This show was a masterclass in guitar work and with the runs on the board from the upstairs show, the assembled crowd knew they were in for a treat.
What followed was a virtuosic performance by the self-professed ‘King of Nerd-abilly’ which burst into life with ‘Rusted out Cadillac Blues’. ‘Steel Guitar Rag’ went through the musical quern to suit this trio, and sounded particularly cool. The amusingly titled ‘I Like My Chicken Fryin’ Size’, smashing, and ‘Pants on Fire’ was just jaw dropping. The latter track, was a high-octane surf sounding track with the shout-back chorus of, not surprisingly, ‘Pants on Fire’, which the crowd got the hang of. ‘The Springfield Special’ was a foot-stomping ride, and there was time for a reprise of ‘Flight of the Beverly Bumblebillies’ a mash-up of Rimsky Korsakov’s ‘Flight of the Bumble Bee’.
Kyle weighed in with a couple of guitar numbers, one of which was ‘Blast Off’ (Joe Maphis/Merle Travis) Crazy Joe sat on Deke’s shoulders for a number, and the encore of ‘Yak, Yak, Yak ’ topped of an exhilarating show.
What followed was a virtuosic performance by the self-professed ‘King of Nerd-abilly’ which burst into life with ‘Rusted out Cadillac Blues’. ‘Steel Guitar Rag’ went through the musical quern to suit this trio, and sounded particularly cool. The amusingly titled ‘I Like My Chicken Fryin’ Size’, smashing, and ‘Pants on Fire’ was just jaw dropping. The latter track, was a high-octane surf sounding track with the shout-back chorus of, not surprisingly, ‘Pants on Fire’, which the crowd got the hang of. ‘The Springfield Special’ was a foot-stomping ride, and there was time for a reprise of ‘Flight of the Beverly Bumblebillies’ a mash-up of Rimsky Korsakov’s ‘Flight of the Bumble Bee’.
Kyle weighed in with a couple of guitar numbers, one of which was ‘Blast Off’ (Joe Maphis/Merle Travis) Crazy Joe sat on Deke’s shoulders for a number, and the encore of ‘Yak, Yak, Yak ’ topped of an exhilarating show.
The Western Stringbyrds
Byrd’s the word. The last act downstairs for this Rave, were a new band from the Netherlands, although there was a familiar face at the helm. The Western Stringbyrds, a four-piece made up of KC Byrd on lead vocals and guitar(s), on drums, Marco Groeneveld, bassist Mike van Lierop and on lead guitar, Eddie Byrd (KC’s son). Some may have thought this would be the Barnstompers ‘tweede deel’, but other than KC’s idiosynchratic vocal style, the similarities pretty much end there.
Onie Wheeler’s ‘Going Back to the City’ fired the starting pistol, and KC’s voice is so well suited to this style and the changes in pitch. Hasil Adkins’ ‘The Blues Walked In’ followed with the impressive ‘Born To Love One Woman’ (Ric Cartey) nudging the psyche. If I had to pick a song that sounded so close to the original recording, it would probably be Dick Curless’ ‘Travellin’ Man’, which was just outstanding. Loved the bright sound of ‘It Had To Be That Way’, Hardrock Gunter’s ‘Hesitation Boogie’ and Freddie Hart’s Columbia cracker ‘Snatch it and Grab it’. Some Carl Mann from Sun? Why not, and the mid-tempo ‘Foolish One’ was an inspired choice.
My goodness readers, Don Rich’s ‘Happy Go Lucky Guitar’ was just a super instrumental addition, which set up the likes of the Cochran Brothers’ ‘I’m Ready’ and Gene Brown’s ‘Big Door’. Redd Stewart’s ‘Yes I’ve Come Back To You’ was another fine number near the end of the set, which culminated in Hal Harris’ ‘Jitterbop Baby’. It was our, and many others, introduction to the new incarnation featuring KC Byrd. And we are certainly glad we made that acquaintance.
Onie Wheeler’s ‘Going Back to the City’ fired the starting pistol, and KC’s voice is so well suited to this style and the changes in pitch. Hasil Adkins’ ‘The Blues Walked In’ followed with the impressive ‘Born To Love One Woman’ (Ric Cartey) nudging the psyche. If I had to pick a song that sounded so close to the original recording, it would probably be Dick Curless’ ‘Travellin’ Man’, which was just outstanding. Loved the bright sound of ‘It Had To Be That Way’, Hardrock Gunter’s ‘Hesitation Boogie’ and Freddie Hart’s Columbia cracker ‘Snatch it and Grab it’. Some Carl Mann from Sun? Why not, and the mid-tempo ‘Foolish One’ was an inspired choice.
My goodness readers, Don Rich’s ‘Happy Go Lucky Guitar’ was just a super instrumental addition, which set up the likes of the Cochran Brothers’ ‘I’m Ready’ and Gene Brown’s ‘Big Door’. Redd Stewart’s ‘Yes I’ve Come Back To You’ was another fine number near the end of the set, which culminated in Hal Harris’ ‘Jitterbop Baby’. It was our, and many others, introduction to the new incarnation featuring KC Byrd. And we are certainly glad we made that acquaintance.
Dylan Kirk
Killer Dyller. We said farewell to the downstairs hall for the live shows and made sure we were in place upstairs for one of the circuit’s dynamic performers, Dylan Kirk and the Killers. Dylan is a piano player par excellent, ably backed by Sam French on lead guitar, Curtis Doel on drums and bassist Luke Nicholls. No quarter give and none asked in this show, which burst into life with Little Victor’s ‘Papa Lou and Gran’. The title track of his 2022 album, ‘King of the Hop’, written by Axel Praefke tore through next with Joel Hill’s ‘I Thought It Over’ and Mel Dorsey’s ‘Little Lil’ hot on the heels.
‘Call Me Shorty’ (you know the one, big cigar Cadillac car, that one) and Carl Perkin’s ‘Put Your Cat Clothes On’ kept up that rolling piano beat as the temperature in the hall increased with the intensity of the performers on stage. Dylan was on the piano as well as being at it, as the show reached a prodigious climax, including the powerhouse ‘Junkie’, Micky Lee Lane’s ‘Senior Class’ and Ronnie Dawson’s ‘Monkey Beat City’. A resounding round of appreciation form the crowd brought him back for the Sonics’ ‘Shot Down’. Comparisons may well be made between Dylan Kirk and piano greats like Jerry Lee Lewis & Little Richard. There’s likely to be influences, but he’s got his own style that has confident energy and panache by the barrowload.
‘Call Me Shorty’ (you know the one, big cigar Cadillac car, that one) and Carl Perkin’s ‘Put Your Cat Clothes On’ kept up that rolling piano beat as the temperature in the hall increased with the intensity of the performers on stage. Dylan was on the piano as well as being at it, as the show reached a prodigious climax, including the powerhouse ‘Junkie’, Micky Lee Lane’s ‘Senior Class’ and Ronnie Dawson’s ‘Monkey Beat City’. A resounding round of appreciation form the crowd brought him back for the Sonics’ ‘Shot Down’. Comparisons may well be made between Dylan Kirk and piano greats like Jerry Lee Lewis & Little Richard. There’s likely to be influences, but he’s got his own style that has confident energy and panache by the barrowload.
Amber Foxx
Foxxy. From Anaheim California, making a welcome return to the Rave stage, the flame-red haired Amber Foxx and her band, which is made up of her husband Bobby Cavener on bass, drummer Bobby Trimble and lead guitarist Ashely Kingman. A much-anticipated set opened with the delightful ‘When My Dreamboat Comes Back Home’ and Joanie King’s sole ‘A’ side release from ’57, ‘Ok Doll, It’s a Deal’. Jeani Mack’s ‘Dirty Dishes’ and Bill Reader’s ‘Till I Waltz Again With You’ shone early doors too.
There’s always a jouissance that surrounds an Amber Foxx show, and that was palpable here. Then along came ‘Perfidia’, a song that has it’s origins in the late 1930’s. Amber’s version was simply glorious vocally, it would’ve sent a shiver up a statue, and a treat to witness. A bit of pace was injected after that with Shirley Gunter’s ‘Oop Shoop’ . ‘Havin’ a Ball’ and Janis Martin’s ‘Bang Bang’ maintained the highest of quality in the set, which ended with a belting take of Lillian Briggs’ ‘Come Here’. An encore was never in doubt and this was the effervescent sound of Patti Lynn’s ‘Same Old Blues’ (1964). It was terrific to have Amber back on stage at the Rave.
There’s always a jouissance that surrounds an Amber Foxx show, and that was palpable here. Then along came ‘Perfidia’, a song that has it’s origins in the late 1930’s. Amber’s version was simply glorious vocally, it would’ve sent a shiver up a statue, and a treat to witness. A bit of pace was injected after that with Shirley Gunter’s ‘Oop Shoop’ . ‘Havin’ a Ball’ and Janis Martin’s ‘Bang Bang’ maintained the highest of quality in the set, which ended with a belting take of Lillian Briggs’ ‘Come Here’. An encore was never in doubt and this was the effervescent sound of Patti Lynn’s ‘Same Old Blues’ (1964). It was terrific to have Amber back on stage at the Rave.
Stars on Sunday On Sundays at the Rockabilly Rave, there’s recently been some kind of showcase, and this year’s theme was the Stars of Rockabilly. Simply put, a house band, and guest artists taking on a few songs from well-known Rockabilly artists. The band for the whole show, were Darrel Higham on lead guitar, Bob Cotton on bass, Dylan Kirk on piano and drummer Tony Hillebrandt. First up, Scotty Baker, with Darrel Higham, as the Cochran Brothers, a show they’ve put on a few times before. Three top rockers followed, ‘Tired and Sleepy’, Rockin’ and Flyin’ and ‘I’m Ready’. Real quality.
Eliott ‘Lobo’ Jones was up next as Ronnie Self. Of course, this was going to be a tear-up and Elliot set about ‘You’re So Right For Me’ with some gusto, before launching in to ‘Pretty Bad Blues’ and finishing with ‘Bop-A-Lena’. Dylan Kirk took centre stage as Vik recording artist Joe Clay. Here were three Rockabilly anthems, ‘Goodbye Goodbye’, ‘You Look That Good To Me’ and the wonderful ‘Sixteen Chicks’.
Who would you know who could take on the mighty Pat Cupp’s back catalogue? Someone who regularly performs his songs, Les Prendergast (LP). ‘Long Gone Daddy’ rang out, followed by ‘That Girl of Mine’, but it was ‘Do Me No Wrong’ that had such accuracy and authenticity about it, you really had to do a double take.
The ubiquitous Deke Dickerson teamed up with Mary Ann as the Collins Kids, with some cool duet sounds of ‘Move a Little Closer Baby’, ‘Hop Skip and Jump’ and despite Deke’s onstage commentary about advancing years, they did a cracking version of ‘Hot Rod’. And they were stage bombed by those naughty guitar fellows Crazy Joe and Kyle Eldridge too, which by the look on Deke’s face, wasn’t planned.
Party time to end with, Big Sandy as Sonny Burgess. Also on stage to contribute to the genuineness of the Pacers sound, trumpet player Barry Few. It was the debut on Sun that got the show on the road with ‘Red Headed Woman’ and ‘Find My Baby For Me’ was a kicker. Finally, along with the audience, ‘Ain’t Got a Thing’, which is a real party time song, and had the whole crowd singing along.
The encore, headed up by Big Sandy was as much ad-libbed as it was spontaneous, fuelled by ‘enthusiasm’ shall we say. Sure it ran over time but nobody cared. This was an inspired choice of showcase, and very well done. Gallery pics below, click on them for full sized image
Eliott ‘Lobo’ Jones was up next as Ronnie Self. Of course, this was going to be a tear-up and Elliot set about ‘You’re So Right For Me’ with some gusto, before launching in to ‘Pretty Bad Blues’ and finishing with ‘Bop-A-Lena’. Dylan Kirk took centre stage as Vik recording artist Joe Clay. Here were three Rockabilly anthems, ‘Goodbye Goodbye’, ‘You Look That Good To Me’ and the wonderful ‘Sixteen Chicks’.
Who would you know who could take on the mighty Pat Cupp’s back catalogue? Someone who regularly performs his songs, Les Prendergast (LP). ‘Long Gone Daddy’ rang out, followed by ‘That Girl of Mine’, but it was ‘Do Me No Wrong’ that had such accuracy and authenticity about it, you really had to do a double take.
The ubiquitous Deke Dickerson teamed up with Mary Ann as the Collins Kids, with some cool duet sounds of ‘Move a Little Closer Baby’, ‘Hop Skip and Jump’ and despite Deke’s onstage commentary about advancing years, they did a cracking version of ‘Hot Rod’. And they were stage bombed by those naughty guitar fellows Crazy Joe and Kyle Eldridge too, which by the look on Deke’s face, wasn’t planned.
Party time to end with, Big Sandy as Sonny Burgess. Also on stage to contribute to the genuineness of the Pacers sound, trumpet player Barry Few. It was the debut on Sun that got the show on the road with ‘Red Headed Woman’ and ‘Find My Baby For Me’ was a kicker. Finally, along with the audience, ‘Ain’t Got a Thing’, which is a real party time song, and had the whole crowd singing along.
The encore, headed up by Big Sandy was as much ad-libbed as it was spontaneous, fuelled by ‘enthusiasm’ shall we say. Sure it ran over time but nobody cared. This was an inspired choice of showcase, and very well done. Gallery pics below, click on them for full sized image
John Lewis & His Trio
Curly whirling. Finally for the live acts, John Lewis and his Trio from Wales (and surrounding area, i.e Great Britain). John takes lead guitar and vocals with Nick Whitfield on upright bass, Gary Agar on drums and pianist Stuart McIlroy, with additional harmony vocals from Daze & Patrick from Mischief! Whatever guise John takes (Rimshots, Johnny Bach, solo or this one) you get a varied, amusing, occasionally maniacal, and musically confident show, and all of those attributes were present in the tribute to Mac Curtis ‘Flat Top Cat’ that declared his show open.
Hank Williams’ haunting ‘Ramblin’ Man’ is a mainstay of a John Lewis set, beginning much as the original and speeding rapidly to a conclusion. Good to hear the two new singles as well, ‘Someone Walked Over My Grave’ which is on red splatter vinyl and the (future) dancefloor winner ‘Happy Ending’ from the green splatter vinyl 45. Another Hank tune ‘You Win Again’ along with, dare we suggest, Tom Jones’ ‘Chills and Fever’ featured, as did ‘Sanity’ from a previous album with the Mischief! lads on harmonies.
There’s a particular instrumental track that’s often made the ‘Trio show over the years, the oddly titled ‘Where’s me F**king Snouts’ which has an interesting backstory, and the Jiants’ ‘Tornado’ was among the first songs John performed when joining the Rimshots. A Crazy Cavan song, plus the flip to the single ended a typically masterful set.
Another one gone and never told me mother. Dear me, on Thursday, it seemed that the Rave was going to last forever, and within a blink of an eye, we were all ramming stuff back into our cars to travel back to the drudgery of reality outside of the confines of the Rave. You may have got to this point and wondered if was possible that everything was ‘that’ good. Well, yes it was, we don’t do ‘gush’ for ‘gush’ sake. Musically and vocally the acts were well rehearsed, professional, proficient, and enthusiastic. Some bands attention to detail was just awesome, the DJs demonstrated their devotion to playing the best that is out there.
Congratulations to Jerry Chatabox on the 25th anniversary, and promised continuation of the Rockabilly Rave into 2024. See you there
© Andrew Smith, June Smith, The Bettajive Review. Other publications & plagiarists, get lost, our lawyers are watching
Hank Williams’ haunting ‘Ramblin’ Man’ is a mainstay of a John Lewis set, beginning much as the original and speeding rapidly to a conclusion. Good to hear the two new singles as well, ‘Someone Walked Over My Grave’ which is on red splatter vinyl and the (future) dancefloor winner ‘Happy Ending’ from the green splatter vinyl 45. Another Hank tune ‘You Win Again’ along with, dare we suggest, Tom Jones’ ‘Chills and Fever’ featured, as did ‘Sanity’ from a previous album with the Mischief! lads on harmonies.
There’s a particular instrumental track that’s often made the ‘Trio show over the years, the oddly titled ‘Where’s me F**king Snouts’ which has an interesting backstory, and the Jiants’ ‘Tornado’ was among the first songs John performed when joining the Rimshots. A Crazy Cavan song, plus the flip to the single ended a typically masterful set.
Another one gone and never told me mother. Dear me, on Thursday, it seemed that the Rave was going to last forever, and within a blink of an eye, we were all ramming stuff back into our cars to travel back to the drudgery of reality outside of the confines of the Rave. You may have got to this point and wondered if was possible that everything was ‘that’ good. Well, yes it was, we don’t do ‘gush’ for ‘gush’ sake. Musically and vocally the acts were well rehearsed, professional, proficient, and enthusiastic. Some bands attention to detail was just awesome, the DJs demonstrated their devotion to playing the best that is out there.
Congratulations to Jerry Chatabox on the 25th anniversary, and promised continuation of the Rockabilly Rave into 2024. See you there
© Andrew Smith, June Smith, The Bettajive Review. Other publications & plagiarists, get lost, our lawyers are watching
Here's a great line up for Hot Rock n Boogie #5, click for details
|
Make your plans for next May at Bomber Command, click flyer for details
|
|
Here's Andy and April from Razzle Dazzle Vintage. You've seen them at the weekenders this year, now check out their store online. You'd be mental not to
|
|
Racketeer Radio brings you the New Golden Age of Radio with over 20 scheduled radio programs from around the world, airing each week. Racketeer Radio features the longest running radio program on air, favorite radio programs from 1930s - 1950s as well as the latest programs in the vintage revival.
Hear your favorite classics, along with the newest released tunes from Big Band, Swing, Jump Rhythm and Blues to Lounge, Rockabilly and More. In the Racketeer Radio App find News, Updates, Events and More, go to linktr.ee/RacketeerRadio. |
Notice to advertisers:- The advertisers in this issue, have paid for their adverts, if you would like to run one with us, and have your event/facility open to our 40,000 + viewers per month, drop us a line to [email protected] for details. If you have a company that makes and sells clothing or accessories, you have a themed event or location, you run a record label or shop, you can advertise with us as well. Anything associated with Rock n Roll music, or 1940’s, 1950’s related. We will include a brief article on your company and services if required, as well with your advert, and a clickable link attached to the flyer, which will take customers directly to your webpage or event page on social media. Adverts are £25.00 per month, much less than most printed magazines, and reaching far more potential customers and attendees, more bang for your buck.
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the button. This has to be a two way street for us to be able to continue beyond 2022. Many thanks
Bands and artists who would like their music or latest record release reviewed. We listen to records several times before writing a word about them. We research songs if they are covers, credit writers, performers and musicians. In effect, we pay true reverence to your recordings, not relying in on merely describing a song as a bopper, jiver or stroller. If we don't know about your release, we can't review it. You can send it to us in electronic form or the actual article, drop us an email and we'll arrange it. We do not plagiarise unlike some other sites and publications. Get in touch at [email protected] if you want your record included.
When you get chance to, as seemingly the case is now, do go and support live music, gigs, clubs and bands. Never before has the industry needed it's customers than now. It's much more exiting than two cans and a takeaway in front of the telly.
When we are able to get out and about, if you would like us to cover your event or club night, please get in touch. For two press passes, we will review your event, or your band's show at a gig, in detail, in both words and pictures. We are out there, boots on the ground, front, centre and right and most points in between.
Photographs in this magazine have been provided by the subjects, for use here, or are from our own library. All are copyright
NB, Events and all advertised services are supplied by the advertisers themselves. We do not accept any responsibility for any alterations or adjustments, cancellations or disputes between customers and the advertisers. Please check before booking, travelling to, or buying from advertisers in our magazine
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please avoid copying and pasting articles or parts of articles to your websites or social media, we'd much prefer people to visit our site direct. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome. We do not share links to adult sites here, although adults are welcome to read it. We are considering deleting some early issues and we're interested in your thoughts on whether we should keep them or not. Drop us a note with your thoughts sometime.
Keep up to date with us here, or on our various platforms:-
Facebook https://www.facebook.com/The-Bettajive-Review-569161136474404/
Instagram https://www.instagram.com/bettajivereview/
Twitter https://twitter.com/AndrewBettajive
email:- [email protected]
https://www.linkedin.com/in/andrew-smith-b626aa63/
Cheers 'til next month
Andrew and June
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. This is the way we can continue beyond 2023
Many thanks
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the button. This has to be a two way street for us to be able to continue beyond 2022. Many thanks
Bands and artists who would like their music or latest record release reviewed. We listen to records several times before writing a word about them. We research songs if they are covers, credit writers, performers and musicians. In effect, we pay true reverence to your recordings, not relying in on merely describing a song as a bopper, jiver or stroller. If we don't know about your release, we can't review it. You can send it to us in electronic form or the actual article, drop us an email and we'll arrange it. We do not plagiarise unlike some other sites and publications. Get in touch at [email protected] if you want your record included.
When you get chance to, as seemingly the case is now, do go and support live music, gigs, clubs and bands. Never before has the industry needed it's customers than now. It's much more exiting than two cans and a takeaway in front of the telly.
When we are able to get out and about, if you would like us to cover your event or club night, please get in touch. For two press passes, we will review your event, or your band's show at a gig, in detail, in both words and pictures. We are out there, boots on the ground, front, centre and right and most points in between.
Photographs in this magazine have been provided by the subjects, for use here, or are from our own library. All are copyright
NB, Events and all advertised services are supplied by the advertisers themselves. We do not accept any responsibility for any alterations or adjustments, cancellations or disputes between customers and the advertisers. Please check before booking, travelling to, or buying from advertisers in our magazine
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please avoid copying and pasting articles or parts of articles to your websites or social media, we'd much prefer people to visit our site direct. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome. We do not share links to adult sites here, although adults are welcome to read it. We are considering deleting some early issues and we're interested in your thoughts on whether we should keep them or not. Drop us a note with your thoughts sometime.
Keep up to date with us here, or on our various platforms:-
Facebook https://www.facebook.com/The-Bettajive-Review-569161136474404/
Instagram https://www.instagram.com/bettajivereview/
Twitter https://twitter.com/AndrewBettajive
email:- [email protected]
https://www.linkedin.com/in/andrew-smith-b626aa63/
Cheers 'til next month
Andrew and June
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. This is the way we can continue beyond 2023
Many thanks
