the bettajive review Magazine #37
Roy Dee is in our review of Hemsby 67
Happy New Year loyal readers, and welcome to our 37th issue of the Bettajive Review Magazine. This one has been a little while in the making but as you will see, it's worth it. In this issue we once again go where many publications don't, down at the front at Hemsby and out on the gig scene. Check out our review of the Jets gig at Chesterfield along with reviews of the latest 45s from Toto and the Raw Deals, The Wheelgrinders and the FTM label. Our interview is with Norfolk DJ Rockin Roland.
Welcome also, 2024. This year, April to be precise, will be twenty years since I've been writing as a published reviewer, and in turn as the Bettajive Review. Now not every gig you see us at, means we are there to write about and review. Sometimes we just like to go out and have a bit of jive and a chat with people. Don't be offended if we don't write your band or club up, it's nothing personal :)
We do however have some events that are already in the diary to review for the first half of the year. They include the Rockabilly Blowout, Hemsby 68, Kelham Hall Vintage Festival, Hot Rock n Boogie, Rockin' at Bomber Command, The Rockabilly Rave (hopefully, venue dependant), as well as clubs like Chesterfield Rock 'n' Roll Club for club events.
If you would like to help keep this magazine free to read for everyone, how about popping a donation over using the button below. Many thanks in advance
Welcome also, 2024. This year, April to be precise, will be twenty years since I've been writing as a published reviewer, and in turn as the Bettajive Review. Now not every gig you see us at, means we are there to write about and review. Sometimes we just like to go out and have a bit of jive and a chat with people. Don't be offended if we don't write your band or club up, it's nothing personal :)
We do however have some events that are already in the diary to review for the first half of the year. They include the Rockabilly Blowout, Hemsby 68, Kelham Hall Vintage Festival, Hot Rock n Boogie, Rockin' at Bomber Command, The Rockabilly Rave (hopefully, venue dependant), as well as clubs like Chesterfield Rock 'n' Roll Club for club events.
If you would like to help keep this magazine free to read for everyone, how about popping a donation over using the button below. Many thanks in advance
The Bettajive Review
Medias Tedious. If you are of a certain age, you might think this title is a character from a pre-eruption Pompeii comedy, described by the late great Frankie Howerd in his ‘prologue’. But to that I would say ‘nay, nay and thrice nay’ (see what I did there, oh please yourselves). I’m taking a left field view at how some media view those into certain fashions, music and periods in time.
Recently there has been interest in vintage clothing in the mainstream. Now, vintage clothing is a very generic term for garments from a bygone era, and a paltry twenty years have to have elapsed to make it so. Clothing pre-1920 is now classed as antique, so by the time many of us around (60) hit our eighties, we will be wearing antiques. You can almost see your children and grandchildren bundling your clobber up and taking it to the Antiques Roadshow, so when you shuffle off this mortal coil, they can trouser the profits.
It does seem strange that when we speak about vintage it’s synonymous with age. Yet the wine trade speak of ‘this year’s vintage’. Almost and oxymoron, I’d suggest, which surprisingly, isn’t a word describing an idiotic bullock.
Over the past few years, there has been a number of programs about the purchasing, maintenance and repairing of vintage clothing. Sometimes social media commentary has been polarised, swinging between the favourable appreciation of what can be done with a bit of TLC and some additional tassels, and others who are sweeping up bits of their telly in frustration. I guess we are sympathetic to both viewpoints. Some shows I’m sure have the slew of ‘Oh look at the funny people in (choose you era) clothing, see how they are wearing grandma’s style clothing’. So we now present a Bettajive Review fictitious program on vintage clothing. And our usual disclaimer, that any reference to a program or person, living or otherwise, is purely co-incidental…….honest.
“Now on the Lace and Cacks channel, it’s time for ‘Vintage, Mintage and Tintage’, and someone is a little reluctant to try on some period clothing”. Flower-power music from the 1960’s plays, raising eyebrows, as it’s not what might perceive as true ‘vintage’, given we were alive then! Some super-slim dancers in brightly coloured teeny dresses, gyrate and gradually part way for the presenter, Felicity Cantilever-Snood. Another double take by the viewers as we are all supposed to know who the hell, Felicity Cantilever-Snood actually is. If it was someone on your own ‘scene’ it would be easier to appreciate.
Felicity introduces her ‘team’, the first of which is Melvin Devereauxx (the additional ‘x’ is for showbiz effect). He’s the program’s tailor, and if you didn’t realise it, that’s why he has a tape measure draped over his shoulders throughout the season. His teeth are inordinately white, looks like he could do with a pie or two and annoyingly calls Felicity ‘Flick darling’ all the time. Not only is he the series tailor, he’s also tailor to the stars, although you’ve never heard of him, or for that matter half of the ‘stars’ he’s supposed to have dressed. Also, we have roving reporter Mariana Spang, speaking street lingo to the great unwashed on location ‘innit’.
Medias Tedious. If you are of a certain age, you might think this title is a character from a pre-eruption Pompeii comedy, described by the late great Frankie Howerd in his ‘prologue’. But to that I would say ‘nay, nay and thrice nay’ (see what I did there, oh please yourselves). I’m taking a left field view at how some media view those into certain fashions, music and periods in time.
Recently there has been interest in vintage clothing in the mainstream. Now, vintage clothing is a very generic term for garments from a bygone era, and a paltry twenty years have to have elapsed to make it so. Clothing pre-1920 is now classed as antique, so by the time many of us around (60) hit our eighties, we will be wearing antiques. You can almost see your children and grandchildren bundling your clobber up and taking it to the Antiques Roadshow, so when you shuffle off this mortal coil, they can trouser the profits.
It does seem strange that when we speak about vintage it’s synonymous with age. Yet the wine trade speak of ‘this year’s vintage’. Almost and oxymoron, I’d suggest, which surprisingly, isn’t a word describing an idiotic bullock.
Over the past few years, there has been a number of programs about the purchasing, maintenance and repairing of vintage clothing. Sometimes social media commentary has been polarised, swinging between the favourable appreciation of what can be done with a bit of TLC and some additional tassels, and others who are sweeping up bits of their telly in frustration. I guess we are sympathetic to both viewpoints. Some shows I’m sure have the slew of ‘Oh look at the funny people in (choose you era) clothing, see how they are wearing grandma’s style clothing’. So we now present a Bettajive Review fictitious program on vintage clothing. And our usual disclaimer, that any reference to a program or person, living or otherwise, is purely co-incidental…….honest.
“Now on the Lace and Cacks channel, it’s time for ‘Vintage, Mintage and Tintage’, and someone is a little reluctant to try on some period clothing”. Flower-power music from the 1960’s plays, raising eyebrows, as it’s not what might perceive as true ‘vintage’, given we were alive then! Some super-slim dancers in brightly coloured teeny dresses, gyrate and gradually part way for the presenter, Felicity Cantilever-Snood. Another double take by the viewers as we are all supposed to know who the hell, Felicity Cantilever-Snood actually is. If it was someone on your own ‘scene’ it would be easier to appreciate.
Felicity introduces her ‘team’, the first of which is Melvin Devereauxx (the additional ‘x’ is for showbiz effect). He’s the program’s tailor, and if you didn’t realise it, that’s why he has a tape measure draped over his shoulders throughout the season. His teeth are inordinately white, looks like he could do with a pie or two and annoyingly calls Felicity ‘Flick darling’ all the time. Not only is he the series tailor, he’s also tailor to the stars, although you’ve never heard of him, or for that matter half of the ‘stars’ he’s supposed to have dressed. Also, we have roving reporter Mariana Spang, speaking street lingo to the great unwashed on location ‘innit’.
Do we need Felicity Cantilever-Snood to help June to shop vintage?□
During the initial part of the program, there are references to ladies (for the purposes of this, 1940’s & 50’s icons) of our era. Stunning pics of Grace Kelly, Patricia Roc, Margaret Lockwood, Rita Hayworth and bombshells, Diana Dors, Marylin, Jean Harlow, Jayne Mansfield and Mamie Doren, grace our TV screen, and colour or colourised pics of their clothing are viewed slack-jawed by (us). The bed tune in the background to accompany the slideshow is usually something like ‘Raunchy’ by Eddie Freeman.
Now we cut to a four-bed detached house in an English leafy suburb, and a dreadfully over-spray-tanned, bleached blonde called Aimii, who is the subject of this week’s program. ‘Urgh’ blurts Aimii ‘I can’t think of anything worse that wearing old clothes, I mean, dead people might have worn them, and they smell, Urgh I don’t think I can do it’. At this point we are allied with the TV screen kickers, why take part in the poxy program then, you daft bat.
Fire up the background music again, Duane Eddy’s ‘Rebel Rouser’ and here comes ‘Flick’, sporting huge Sophia Loren sunglasses and thigh length boots (as well as other clothing, get your minds out of the gutter). Pseudo-pleasantries and air kisses over with, and lets have a look in Aimmi’s wardrobe. The oldest piece she has hanging in there is a Kookai (other French fashion designers are available) Jersey Maxi Dress that is sooooooo last season, she’s thinking of sending it to a chazza shop. They both leave the house and Felicity takes Aimii to a local vintage emporium.
‘Oh, I don’t think I can go in, it’s nasty looking, and I bet it smells’. Now readers, and those of you who enjoy the vintage shopping environment, be it clothing, records or kitchenalia, you may experience a certain redolence on occasions, but it’s hardly like a cat has curled one out in the corner is it. Will Aimii go in the store? Will she chicken out? Do we give a, what the cat has curled out? Find out, after the break.
Following the ad break, here’s Mariana Spang (innit) out in town, among like the common peeps innit. ‘Would you like wear old clothing innit?’ she enquires of mainly middle and advancing aged passers-by. Unsurprisingly there’s a resounding ‘Yes’. A twenty-something flibbety-gibbet fanfares that ‘This top is my mum’s’. Quite, she must be ancient. Mariana enters a high street chazza shop. ‘I’m in like this charity shop innit, and I’ve just come across this fantastic piece innit, and I reckon Melvin could work his magic on it, aaaaand it’s only £5.50’. Looks painfully transparent to us, clearly the researchers have gone ahead and cherry picked the item, hanging it in a prominent position for Miriana to find, and thus barring the hoi-polloi from swiping it. Miriana leaves shop and heads down the street as Johnny and the Hurricanes ‘Red River Rock’ plays.
Aimii in the meantime has been shoe-horned into the vintage store, probably lured by a manilla envelope stuffed with cash. The shop is a veritable treasure chest of the finest items from the 1940’s up to the 1990’s, not that our subject can see it. It makes you wonder why they didn’t ask some people from the Rave/Riot/Hemsby/et al. They would dive in, swim around and chasee from rail to rail. With Aimii though, you feel like buying one of the chamber pots, putting it over her head and repeatedly banging it with wooden laundry tongs.
We are in the workshop now, and in runs Miriana. ‘I’ve got summink for ya Melvin to work your magic on innit’. Melvin surveys the garment with incredulity, ‘Well I’ll do my best dahhhhling’. Will he be able to resurrect the garment? Will it be wearable again? Do give what the cat has curled out? Find out, after the break.
Aaand we’re back, Aimii has been poured into a stunning fifties day dress, that many of our female friends would trade their first-born for. Guess what. She doesn’t like it. It looks like Felicity is losing the will to live, as a brightly coloured mid-60’s number (cut to pic of Twiggy against the musical backdrop of ‘All Day and All of the Night’) is rejected as is a 1970’s Margot Leadbetter style trouser suit. Finally, she’s found something, my goodness it’s something that looks remarkably like a Jersey Maxi Dress that looks uncannily like the one in Aimii’s wardrobe. There’s a collective headbutting of TVs among vintage lovers.
Back in the workshop, it looks like Kelvin has taken to the dress from the charity shop (innit) with some tailor’s shears and snicker-snacked it to fit around a model that looks like a matchstick with the wood scraped off. Some flowers, tassels and sequins, are set against a new lilac tint, which has increased the value of it by £200 apparently. The model takes three exaggerated steps and a thrust toward the camera to show it off. The three presenters reunite to chat about the day.
If the guest doesn’t want to join in with the raison d’etre of the program, it makes you wonder why they apply to go on it in the first place. Would they not be better asking the collective ‘us’? Probably not, thinking about it, that would be ‘people going shopping’, basically. And Felicity Cantilever-Snood might have a bit of difficulty doing a piece to camera at the stalls we go to at the weekenders without disappearing in a tide of shoppers.
There’s yet to be a quality program about how people source their clothing, look after it, clean it and alter it. How they find a few yards of the finest 1950’s material and make a super garment from it. Though I’d be waiting for the show to visit the homes of such people and find when they drew their curtains, there were suit shaped holes cut out of them. I’m certain Melvin Devereauxx would approve.
Now we cut to a four-bed detached house in an English leafy suburb, and a dreadfully over-spray-tanned, bleached blonde called Aimii, who is the subject of this week’s program. ‘Urgh’ blurts Aimii ‘I can’t think of anything worse that wearing old clothes, I mean, dead people might have worn them, and they smell, Urgh I don’t think I can do it’. At this point we are allied with the TV screen kickers, why take part in the poxy program then, you daft bat.
Fire up the background music again, Duane Eddy’s ‘Rebel Rouser’ and here comes ‘Flick’, sporting huge Sophia Loren sunglasses and thigh length boots (as well as other clothing, get your minds out of the gutter). Pseudo-pleasantries and air kisses over with, and lets have a look in Aimmi’s wardrobe. The oldest piece she has hanging in there is a Kookai (other French fashion designers are available) Jersey Maxi Dress that is sooooooo last season, she’s thinking of sending it to a chazza shop. They both leave the house and Felicity takes Aimii to a local vintage emporium.
‘Oh, I don’t think I can go in, it’s nasty looking, and I bet it smells’. Now readers, and those of you who enjoy the vintage shopping environment, be it clothing, records or kitchenalia, you may experience a certain redolence on occasions, but it’s hardly like a cat has curled one out in the corner is it. Will Aimii go in the store? Will she chicken out? Do we give a, what the cat has curled out? Find out, after the break.
Following the ad break, here’s Mariana Spang (innit) out in town, among like the common peeps innit. ‘Would you like wear old clothing innit?’ she enquires of mainly middle and advancing aged passers-by. Unsurprisingly there’s a resounding ‘Yes’. A twenty-something flibbety-gibbet fanfares that ‘This top is my mum’s’. Quite, she must be ancient. Mariana enters a high street chazza shop. ‘I’m in like this charity shop innit, and I’ve just come across this fantastic piece innit, and I reckon Melvin could work his magic on it, aaaaand it’s only £5.50’. Looks painfully transparent to us, clearly the researchers have gone ahead and cherry picked the item, hanging it in a prominent position for Miriana to find, and thus barring the hoi-polloi from swiping it. Miriana leaves shop and heads down the street as Johnny and the Hurricanes ‘Red River Rock’ plays.
Aimii in the meantime has been shoe-horned into the vintage store, probably lured by a manilla envelope stuffed with cash. The shop is a veritable treasure chest of the finest items from the 1940’s up to the 1990’s, not that our subject can see it. It makes you wonder why they didn’t ask some people from the Rave/Riot/Hemsby/et al. They would dive in, swim around and chasee from rail to rail. With Aimii though, you feel like buying one of the chamber pots, putting it over her head and repeatedly banging it with wooden laundry tongs.
We are in the workshop now, and in runs Miriana. ‘I’ve got summink for ya Melvin to work your magic on innit’. Melvin surveys the garment with incredulity, ‘Well I’ll do my best dahhhhling’. Will he be able to resurrect the garment? Will it be wearable again? Do give what the cat has curled out? Find out, after the break.
Aaand we’re back, Aimii has been poured into a stunning fifties day dress, that many of our female friends would trade their first-born for. Guess what. She doesn’t like it. It looks like Felicity is losing the will to live, as a brightly coloured mid-60’s number (cut to pic of Twiggy against the musical backdrop of ‘All Day and All of the Night’) is rejected as is a 1970’s Margot Leadbetter style trouser suit. Finally, she’s found something, my goodness it’s something that looks remarkably like a Jersey Maxi Dress that looks uncannily like the one in Aimii’s wardrobe. There’s a collective headbutting of TVs among vintage lovers.
Back in the workshop, it looks like Kelvin has taken to the dress from the charity shop (innit) with some tailor’s shears and snicker-snacked it to fit around a model that looks like a matchstick with the wood scraped off. Some flowers, tassels and sequins, are set against a new lilac tint, which has increased the value of it by £200 apparently. The model takes three exaggerated steps and a thrust toward the camera to show it off. The three presenters reunite to chat about the day.
If the guest doesn’t want to join in with the raison d’etre of the program, it makes you wonder why they apply to go on it in the first place. Would they not be better asking the collective ‘us’? Probably not, thinking about it, that would be ‘people going shopping’, basically. And Felicity Cantilever-Snood might have a bit of difficulty doing a piece to camera at the stalls we go to at the weekenders without disappearing in a tide of shoppers.
There’s yet to be a quality program about how people source their clothing, look after it, clean it and alter it. How they find a few yards of the finest 1950’s material and make a super garment from it. Though I’d be waiting for the show to visit the homes of such people and find when they drew their curtains, there were suit shaped holes cut out of them. I’m certain Melvin Devereauxx would approve.
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Dot….dot. Best tracks in the world ever ever to overlock your pantaloons for this month are ‘Sassafras’ by the Mellow Kings, The Checkers’ ‘White Cliffs of Dover’ and Mac Curtis’ ‘Half Hearted Love’…….If you even know me a little bit, you’ll appreciate that the gigs with the Jets, are the only ones I want any outfit called the Jets to do well 😊…..Remember readers, a rockin’ club is not just for Christmas……Before anyone else asks, no we don’t know what’s happening at Pontins!......
The Jets @ Chesterfield
Baby it’s cold outside. Early in December in the Midlands, winter arrived with a vengeance for a few days. The night Chesterfield Rock n Roll Club put their pre-Christmas gig on featuring the Jets, was particularly cold early doors. The local flasher was seen to be describing himself to people and even Pingu decided to nip indoors for a warm. Not deterred, decent numbers rolled up at the Birdholme club, digging the vibes from Andy B and Steve O spinning the wax.
The Jets are heading towards a half century milestone, since they first started out, not that aaaaannybody would remember that far back(!) Ray insisted that he wasn’t born until ’86 during the show (who was that on TOTP?). What would you expect from a Jets show? Diverse styles and top Rock ‘n’ Roll? You betcha, by the barrowload, announcing themselves with a blast of Buddy Holly’s ‘Rock Around With Ollie Vee’. Straight into the hits next with the thumping drum beat of ‘Yes Tonight Josephine’ from 1981, which you can still see from the Top of the Pops vids on the internet.
The gritty and confrontational sound of ‘Razor Alley’ switched the ambience somewhat, before another gear change and the Marcels’ ‘Blue Moon’, and another with Cavan’s anthem ‘Teddy Boy Boogie’. If that little lot doesn’t demonstrate the band’s versatility, then add to the melting pot, the like of their own ‘Talk All Night’, with Carlo’s (Mastrangelo) 1963 Laurie cut ‘Little Orphan Girl’ nudged in among Rockabilly classics ‘Sittin’ on Top of the World’, their debut single ‘Rockabilly Baby’ and Grandaddy’s Rockin’. Of course, something from the latest CD was a welcome visitor, and ‘Hey Little Doll’ was just the ticket near the end of the first set.
A smashing between-sets record selection from Andy and Steve, set everyone up for the second set which picked up with Larry Williams’ ‘Slow Down’ and their own 1996 rocker ‘Looking Pretty Good’. Top boppin’ to Gene Wyatt’s ‘Lover Boy’ and strollin’ to ‘Annie’, ‘Heartbreaker’ Johnny Kidd’s ‘Shakin’ All Over’ and Sam the Sham’s ‘Wooly Bully’ (which morphed a bit of ‘Lip Up Fatty’ into it). Given the festive time of the year, a couple of Yuletide numbers were inevitable. ‘White Christmas’ was showcased with tongues planted in cheeks, and additional ‘Bom oo yatatata’ if you’re of a particular vintage to recall Eric and Ernie’s 1963 novelty record. ‘Rockin’ Around the Christmas Tree’ and ‘Run Run Rudolph’ satisfied the Santa fans before we were back in blues bop mode and the rip-roaring ‘Thunder Road’ and another Rockabilly anthem ‘Train Kept a’Rollin’.
Naturally, Ray, Bob and Tony were rowdily called back for encore(s), touching on ‘Blue Skies’ after regular requests from members of the audience, before rocking out ‘Love Makes The World Go Round’, ‘Hear Me Now’ and the stage filling ‘Fine, Fine, Fine’, with ‘James Dean’ topping the lot off.
Bill-topping performance by the Jets, as per usual, and an ace night out in Derbyshire, which only an hour after the event, was dolloped on by heavy snow. It was beginning to look a lot like Christmas…..
The Jets are heading towards a half century milestone, since they first started out, not that aaaaannybody would remember that far back(!) Ray insisted that he wasn’t born until ’86 during the show (who was that on TOTP?). What would you expect from a Jets show? Diverse styles and top Rock ‘n’ Roll? You betcha, by the barrowload, announcing themselves with a blast of Buddy Holly’s ‘Rock Around With Ollie Vee’. Straight into the hits next with the thumping drum beat of ‘Yes Tonight Josephine’ from 1981, which you can still see from the Top of the Pops vids on the internet.
The gritty and confrontational sound of ‘Razor Alley’ switched the ambience somewhat, before another gear change and the Marcels’ ‘Blue Moon’, and another with Cavan’s anthem ‘Teddy Boy Boogie’. If that little lot doesn’t demonstrate the band’s versatility, then add to the melting pot, the like of their own ‘Talk All Night’, with Carlo’s (Mastrangelo) 1963 Laurie cut ‘Little Orphan Girl’ nudged in among Rockabilly classics ‘Sittin’ on Top of the World’, their debut single ‘Rockabilly Baby’ and Grandaddy’s Rockin’. Of course, something from the latest CD was a welcome visitor, and ‘Hey Little Doll’ was just the ticket near the end of the first set.
A smashing between-sets record selection from Andy and Steve, set everyone up for the second set which picked up with Larry Williams’ ‘Slow Down’ and their own 1996 rocker ‘Looking Pretty Good’. Top boppin’ to Gene Wyatt’s ‘Lover Boy’ and strollin’ to ‘Annie’, ‘Heartbreaker’ Johnny Kidd’s ‘Shakin’ All Over’ and Sam the Sham’s ‘Wooly Bully’ (which morphed a bit of ‘Lip Up Fatty’ into it). Given the festive time of the year, a couple of Yuletide numbers were inevitable. ‘White Christmas’ was showcased with tongues planted in cheeks, and additional ‘Bom oo yatatata’ if you’re of a particular vintage to recall Eric and Ernie’s 1963 novelty record. ‘Rockin’ Around the Christmas Tree’ and ‘Run Run Rudolph’ satisfied the Santa fans before we were back in blues bop mode and the rip-roaring ‘Thunder Road’ and another Rockabilly anthem ‘Train Kept a’Rollin’.
Naturally, Ray, Bob and Tony were rowdily called back for encore(s), touching on ‘Blue Skies’ after regular requests from members of the audience, before rocking out ‘Love Makes The World Go Round’, ‘Hear Me Now’ and the stage filling ‘Fine, Fine, Fine’, with ‘James Dean’ topping the lot off.
Bill-topping performance by the Jets, as per usual, and an ace night out in Derbyshire, which only an hour after the event, was dolloped on by heavy snow. It was beginning to look a lot like Christmas…..
Mick Wheeler. Just before we went upload, we heard the sad news of the passing of Mick Wheeler. Many of you will have seen Mick on stage keeping it real on bass with the North East four piece, the Infernos. Always a consummate player and seemingly unflappable whenever on stage.
We send our sincere condolences to Mick’s family and friends and the Infernos.
We send our sincere condolences to Mick’s family and friends and the Infernos.
The Rockabilly Blowout, how do they cram so much quality into one day? Click flyer for details
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Back for year 5, a cracking line up. Click the flyer for details
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hemsby 67
Alan Power and the Aftershocks
As the nights were drawing in, November doesn’t have much positive going for it, in our house. Mind you, the prospect of Hemsby Rock n Roll Weekender, always lifts the mood, and this one was no exception. As with the Rhythm Riot reported on by us last issue, this event was a sellout, which is brilliant news, especially as it was the first such Hemsby, since Bill Guntrip had taken the weekender over. What had tempted so many to the north Norfolk campsite? Well, the line-up for a start, switching styles throughout from straight-ahead, no-nonsense Rockabilly, pumping piano and Rhythm and Blues. What’s not to like?
The accommodation at the Hemsby site has undergone a tremendous investment over the past few years and it’s clearly paying off. The caravans are warm and well appointed, with each one boasting free wifi (handy for research!). Not that we spent too much time in ours. Too much on offer once we’d gone through the super-smooth check in process.
It all started early Friday evening, with Ireland’s, Alan Power and the Aftershocks. This
four-piece is making waves on the music circuit, and it was the third such show we had seen this year. Once again, the show didn’t disappoint, their presence heralded by a top delivery of Elvis’ ‘Baby Let’s Play House’. There have been parallels drawn between Alan and the young Elvis sound. Don’t think for one minute this is a tribute show with flaky moves, this is a young man performing in his own style, and equally deserving of such a comparison.
The set list swung from style to style, the likes of the Echo Valley Boys’ ‘Wash Machine Boogie’ partnering with (for example) Sister Rosetta Tharp’s gospel rocker ‘This Train’. ‘Morning Blues’, more Elvis (among many others) with the rousing ‘Down By The Riverside’ and an out an out tear-up Rockabilly classic with Mac Curtis’ ‘If I Had Me a Woman’. A bit of Sun stuff maybe? Why not, and a couple of seminal classics, ‘That’s Alright Mama’ and Carl Perkins’ ‘Matchbox’. Alan took a step back from vocals to bring in Jimmy on guitar for a masterclass rendition of ‘Fickle Chicken’.
Loving the shift between the likes of ‘Folsom Prison Blues’ and the contrast in the gospel sound of ‘Peace in the Valley’. Originally written in the late 30’s for Sister Mahalia Jackson, Alan Power’s vocal exquisiteness was a treat to behold. A taste of a set that rocked & rolled in places, and in others, provoked philosophical admiration at the performance.
The accommodation at the Hemsby site has undergone a tremendous investment over the past few years and it’s clearly paying off. The caravans are warm and well appointed, with each one boasting free wifi (handy for research!). Not that we spent too much time in ours. Too much on offer once we’d gone through the super-smooth check in process.
It all started early Friday evening, with Ireland’s, Alan Power and the Aftershocks. This
four-piece is making waves on the music circuit, and it was the third such show we had seen this year. Once again, the show didn’t disappoint, their presence heralded by a top delivery of Elvis’ ‘Baby Let’s Play House’. There have been parallels drawn between Alan and the young Elvis sound. Don’t think for one minute this is a tribute show with flaky moves, this is a young man performing in his own style, and equally deserving of such a comparison.
The set list swung from style to style, the likes of the Echo Valley Boys’ ‘Wash Machine Boogie’ partnering with (for example) Sister Rosetta Tharp’s gospel rocker ‘This Train’. ‘Morning Blues’, more Elvis (among many others) with the rousing ‘Down By The Riverside’ and an out an out tear-up Rockabilly classic with Mac Curtis’ ‘If I Had Me a Woman’. A bit of Sun stuff maybe? Why not, and a couple of seminal classics, ‘That’s Alright Mama’ and Carl Perkins’ ‘Matchbox’. Alan took a step back from vocals to bring in Jimmy on guitar for a masterclass rendition of ‘Fickle Chicken’.
Loving the shift between the likes of ‘Folsom Prison Blues’ and the contrast in the gospel sound of ‘Peace in the Valley’. Originally written in the late 30’s for Sister Mahalia Jackson, Alan Power’s vocal exquisiteness was a treat to behold. A taste of a set that rocked & rolled in places, and in others, provoked philosophical admiration at the performance.
Toto and the Raw Deals
Next up, another band making some serious waves on the circuit, Toto and the Raw Deals. Charismatic front man, Salvatore ‘Toto’ Marziano, strums the bejesus out of his acoustic guitar, backed by Joe Newbon on lead, bassist Sam French a drummer Tony Hillebrandt. Their style is as enthusiastic as it is authentic-sounding, their set list well-chosen and ideal for whipping up the crowd stage front, the glow-light beach balls lobbed into and among them, notwithstanding.
They opened their show with the up-tempo Country rocker, ‘Honky Tonkin’s What I Do Best’, originally by Marty Stuart and Travis Tritt in 1996. I’d suggest that it’s rapidly becoming their signature opener, and ‘This Train’ rattled through soon after, along with ‘One More Line’ and ‘Breathless’. Not many bands will take on the likes of ‘Polly Put The Kettle On’, and do it the justice that these lads do, before they switched from Blues to Rockabilly with George (McCormack) and Earl (Aycock) ‘Done Gone’ and Charlie Feathers’ class act ‘Stutterin’ Cindy’.
Even the beach balls bouncing around on the stage, and indeed onto members of the band, didn’t make them miss a single step. A new one on us from the band was Sturgill Simpson’s ‘You Can Have the Crown’ from as recent as 2013. So suited to the band’s style, and really well presented. Add to that their own beauty, ‘I Wish I Was From Memphis’ and ‘Moonshine Blues’ which sandwiched the rattling version of Tommy Lam’s ‘Speed Limit’.
We simply have to flag up the take of the Burnette/Osborne penned ‘Here Comes That Feeling’ which many might recall as a Brenda Lee song. A really excellent take. A brace of real kickers made the encore, the blazing pace of ‘This Here Rocker’s Gone Country’ and the call and answer session with the audience in ‘The Train Kept a Rollin’. Top drawer.
They opened their show with the up-tempo Country rocker, ‘Honky Tonkin’s What I Do Best’, originally by Marty Stuart and Travis Tritt in 1996. I’d suggest that it’s rapidly becoming their signature opener, and ‘This Train’ rattled through soon after, along with ‘One More Line’ and ‘Breathless’. Not many bands will take on the likes of ‘Polly Put The Kettle On’, and do it the justice that these lads do, before they switched from Blues to Rockabilly with George (McCormack) and Earl (Aycock) ‘Done Gone’ and Charlie Feathers’ class act ‘Stutterin’ Cindy’.
Even the beach balls bouncing around on the stage, and indeed onto members of the band, didn’t make them miss a single step. A new one on us from the band was Sturgill Simpson’s ‘You Can Have the Crown’ from as recent as 2013. So suited to the band’s style, and really well presented. Add to that their own beauty, ‘I Wish I Was From Memphis’ and ‘Moonshine Blues’ which sandwiched the rattling version of Tommy Lam’s ‘Speed Limit’.
We simply have to flag up the take of the Burnette/Osborne penned ‘Here Comes That Feeling’ which many might recall as a Brenda Lee song. A really excellent take. A brace of real kickers made the encore, the blazing pace of ‘This Here Rocker’s Gone Country’ and the call and answer session with the audience in ‘The Train Kept a Rollin’. Top drawer.
The Rockin' 8 Balls
Making a welcome return to the Hemsby stage, after quite the break, to finish off the first night, were the Rockin 8 Balls from Finland. Formed in ’99, they’ve probably become synonymous, mostly with their reworking of the Delmore Brothers 1946 paragon ‘Freight Train Boogie’ which has filled many-a dancefloor over the past twenty or so years. But there’s a lot more to this band than that one song.
‘Take Me To That Place’ set the pace with the frantic and worrisome lyrics of ‘Who’s That Knocking’ keeping it at fever pitch. ‘Shirley Lee’ gave way to the gritty sound of ‘I’m a Man’ and the brighter tempo of ‘Midnight Train’ which belies the lyrical sentiment. It wasn’t all high-octane stuff, they reeled it for Johnny Horton’s ‘Lovers Rock’, before they cranked it up again for another floor filler, Nat Couty’s ‘Woodpecker Rock’ and Billy Lee Riley’s ‘Flying Saucer Rock n Roll’.
Such was the clamour for ‘that’ track, the band were never going to be allowed to leave the stage. The place almost came unglued as the opening bars of ‘Freight Train Boogie’ rang out. It sounds as fresh and as accurate as on the record and was a treat to witness, as was ‘Lonely Moon’ to top it all off. A fitting end to a Friday night that would rival any that had gone before at Hemsby, such was the quality of the acts.
‘Take Me To That Place’ set the pace with the frantic and worrisome lyrics of ‘Who’s That Knocking’ keeping it at fever pitch. ‘Shirley Lee’ gave way to the gritty sound of ‘I’m a Man’ and the brighter tempo of ‘Midnight Train’ which belies the lyrical sentiment. It wasn’t all high-octane stuff, they reeled it for Johnny Horton’s ‘Lovers Rock’, before they cranked it up again for another floor filler, Nat Couty’s ‘Woodpecker Rock’ and Billy Lee Riley’s ‘Flying Saucer Rock n Roll’.
Such was the clamour for ‘that’ track, the band were never going to be allowed to leave the stage. The place almost came unglued as the opening bars of ‘Freight Train Boogie’ rang out. It sounds as fresh and as accurate as on the record and was a treat to witness, as was ‘Lonely Moon’ to top it all off. A fitting end to a Friday night that would rival any that had gone before at Hemsby, such was the quality of the acts.
Lobo Jones and the Rhythm Hounds
Saturday shenanigans began with another British band causing a buzz on the circuit. Lobo Jones and the Rhythm Hounds are a high energy quartet, that mix up their own material with some ace cover songs. Led by Eliot ‘Lobo’ Jones on rhythm guitar and vocals, lead guitarist Morgan Willis, with Mark Howells on bass and behind the cans, Zack Godden. The set is pure energy from the get-go, thinking about Larry Donn’s ‘Honey Bun’ as one that featured early doors.
The set had a hefty chunk of original material within it, the first example of which was the pulsing beat of ‘Bad Bad Baby’ , with the call-and-answer gem ‘If You Ain’t Gonna Rock It’ sounding great. Some classics like ‘Pink n Black’, ‘Big Fool, ‘This is the Night’ and ‘Milkcow Blues’ rattled through. ‘I’m Mad’, an Eliot Jones original slotted in perfectly as did another top rocker, ‘Wind Up Baby’.
A couple of tracks from back when that could’ve been written for the band today, Don Woody’s ‘Barking up the Wrong Tree’ and Dale Hawkins’ ‘Worried ‘bout You Baby’ appeared, before the set concluded with the notable blues bop sound of ‘The Creature’, the title track from their most recent album ‘Howlin’ and rounding off with ‘The Twister’. Make no mistake this was a blazing set by the four-piece, acing the musicianship and vocals with the finest song selection.
The set had a hefty chunk of original material within it, the first example of which was the pulsing beat of ‘Bad Bad Baby’ , with the call-and-answer gem ‘If You Ain’t Gonna Rock It’ sounding great. Some classics like ‘Pink n Black’, ‘Big Fool, ‘This is the Night’ and ‘Milkcow Blues’ rattled through. ‘I’m Mad’, an Eliot Jones original slotted in perfectly as did another top rocker, ‘Wind Up Baby’.
A couple of tracks from back when that could’ve been written for the band today, Don Woody’s ‘Barking up the Wrong Tree’ and Dale Hawkins’ ‘Worried ‘bout You Baby’ appeared, before the set concluded with the notable blues bop sound of ‘The Creature’, the title track from their most recent album ‘Howlin’ and rounding off with ‘The Twister’. Make no mistake this was a blazing set by the four-piece, acing the musicianship and vocals with the finest song selection.
The Tennessee Hotshots
From North of the border for another returning act, the superlative Scottish trio, the Tennessee Hotshots. Formed in 2001, the line up of Sy McBain on bass, Martin Barrett on lead guitar and drummer Patrick Dolan, are always a fine spectacle to behold. Straight into the original rockers with ‘Breaking My Heart’, a nippy tune with some ace guitar work, written by Sy. Jerry Reed’s, God’s gift to women tune, ‘Mister Whizz’ hit the spot, and ‘Wildcat Tamer’ was a smashing rock-out.
The show is as visible and immersive as it is musical, Sy’s a keen and accomplished bassist and the ideal vocalist to deliver the likes of ‘Just Because’, Moon Mullican’s swinging ‘Seven Nights to Rock’ and their own, outstanding ‘Rock ‘n’ Roll Rampage’ which pertains to a venue local to the band. This has a first-rate jive tempo, with shout-back chorus, and some blazing riffs on the six strings by Martin.
This was one of those sets that simply flew by, with the raw and gritty ‘You Don’t Love Me’, complementing Johnny Horton’s sultry ‘Lover’s Rock’ and the finale of ‘I Don’t Think So’ another golden nugget from the pen of Sy. Tip top show from the ‘Shots who had a couple of hours to rest up before backing the next act.
The show is as visible and immersive as it is musical, Sy’s a keen and accomplished bassist and the ideal vocalist to deliver the likes of ‘Just Because’, Moon Mullican’s swinging ‘Seven Nights to Rock’ and their own, outstanding ‘Rock ‘n’ Roll Rampage’ which pertains to a venue local to the band. This has a first-rate jive tempo, with shout-back chorus, and some blazing riffs on the six strings by Martin.
This was one of those sets that simply flew by, with the raw and gritty ‘You Don’t Love Me’, complementing Johnny Horton’s sultry ‘Lover’s Rock’ and the finale of ‘I Don’t Think So’ another golden nugget from the pen of Sy. Tip top show from the ‘Shots who had a couple of hours to rest up before backing the next act.
Ira Lee
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Marcel Bontempi (left) with Martin Barrett
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That act was Marcel Bontempi and Ira Lee from Kassel, Germany. Originally members of the Montesas, and latterly Dr Bontempi’s Snake Oil Company, both Ira and Marcel take vocals and rhythm and lead guitar respectively. They opened with a cover of Bill Haley’s ‘Train of Sin’ injecting a bit of additional pace into the guitar work and vocals. ‘Old Mad Witch’ followed, a spooky horror rocker from 1957 (Dave Gardener). Love the velocity of this tune, and the harmony vocals in the chorus.
‘Bull Frog’ (a bit like ‘Houndog’, but nothing like it if you get me), ‘Spiderman’, yes that tune which is from the comic book character of the same name and the ‘papa oo mau mau’ sound of ‘Shag Rag’, sounded superb early in the set. The haunting ‘Crawfish’ from King Creole, was a duet with Elvis and Kitty White. Marcel and Ira’s version injected a bit more pace, without losing any of the original’s appeal. To cover a classic is one thing, but to put your own stamp on it is another. Here Marcel takes Gene Vincent’s ‘Race With The Devil’ and injects his talent vocally and musically to present a super cool take on the track.
Gin Gilette’s ‘Train to Satanville’ has made a couple of artists setlists over the years, most notably Ruby Ann, for example. This version from Marcel and Ira, is a true foot-stomper. Many people have been bopping around to ‘Dig a Hole’ for some years now. This is another cover, most notably from the 1957 cut by the Maddox Brothers and Rose, and again differs from the choral, vocal delivery, turning it into a kicking dance floor winner.
A super set concluded with ‘Haunted House’ and ‘Headless Horsemen’. Two talents at the top of their game, backed by grade A musicians.
‘Bull Frog’ (a bit like ‘Houndog’, but nothing like it if you get me), ‘Spiderman’, yes that tune which is from the comic book character of the same name and the ‘papa oo mau mau’ sound of ‘Shag Rag’, sounded superb early in the set. The haunting ‘Crawfish’ from King Creole, was a duet with Elvis and Kitty White. Marcel and Ira’s version injected a bit more pace, without losing any of the original’s appeal. To cover a classic is one thing, but to put your own stamp on it is another. Here Marcel takes Gene Vincent’s ‘Race With The Devil’ and injects his talent vocally and musically to present a super cool take on the track.
Gin Gilette’s ‘Train to Satanville’ has made a couple of artists setlists over the years, most notably Ruby Ann, for example. This version from Marcel and Ira, is a true foot-stomper. Many people have been bopping around to ‘Dig a Hole’ for some years now. This is another cover, most notably from the 1957 cut by the Maddox Brothers and Rose, and again differs from the choral, vocal delivery, turning it into a kicking dance floor winner.
A super set concluded with ‘Haunted House’ and ‘Headless Horsemen’. Two talents at the top of their game, backed by grade A musicians.
Roy Dee and the Spitfires
Next up, a real firecracker of a show from Portugal’s Roy Dee and the Spitfires. You want raw and wild Rockabilly? Well, here’s a fine example of the art from this Wild Records’ four-piece, headed up by Roy Duke on a jumbo sized, supreme looking Epiphone acoustic guitar. It took quite a beating throughout the show as Roy delivered his vocals almost hidden under his baker-boy hat.
Narvel Felts’ ‘Did You Tell Me’ set a blistering pace that was maintained throughout, with ‘I Got a Woman’ and the alcohol fused, thumping beat of ‘ABC Booze’.
We had the searing guitar riffs from Oscar Gomes, complementing the vocals and a thumping back beat courtesy of El Pavoni on bass and stand in drummer Danny Da Silva, all combining for a loud, proud and musically incendiary sound. ‘I Got Demons’ kicked collective butts, and ‘Blue Fire’ eased off the pedal just enough to please the strollers. ‘Rollin’ Through the Night’, ‘I Keep on Moving’ and ‘Like a Rocket to My Baby’ all rocked out, to a seriously appreciative crowd. ‘Shake Shake Like a Rattle Snake’ and Mickey Lee Lane’s ‘Senior Class’ ended a memorable show.
Narvel Felts’ ‘Did You Tell Me’ set a blistering pace that was maintained throughout, with ‘I Got a Woman’ and the alcohol fused, thumping beat of ‘ABC Booze’.
We had the searing guitar riffs from Oscar Gomes, complementing the vocals and a thumping back beat courtesy of El Pavoni on bass and stand in drummer Danny Da Silva, all combining for a loud, proud and musically incendiary sound. ‘I Got Demons’ kicked collective butts, and ‘Blue Fire’ eased off the pedal just enough to please the strollers. ‘Rollin’ Through the Night’, ‘I Keep on Moving’ and ‘Like a Rocket to My Baby’ all rocked out, to a seriously appreciative crowd. ‘Shake Shake Like a Rattle Snake’ and Mickey Lee Lane’s ‘Senior Class’ ended a memorable show.
The Delta Bombers
The few souls that had not gravitated to the main hall yet, gradually appeared to the point where it looked like the whole camp was ready for the Delta Bombers. The band are from Las Vegas, Nevada, and were formed by guitarist Andrew Himmler and vocalist/acoustic guitarist Chris Moinichen in 2008. After a couple of personnel changes, the line up is now completed with drummer P. J. Franco and on upright bass and electric bass, Gregorio Garcia. Originally their record releases were on Wild Records, however more recently they have self-released various titles.
The sound, if you aren’t familiar with it, is a heavy fusion of Rock ‘n’ Roll, Rockabilly, Blues and Rock. And it’s not for the faint hearted either, thundering back-beat in the rhythmic engine room and blazing guitar work, setting up the energetic vocals. The joint was jumping from the get-go with their cover of Bob Luman’s ‘This is the Night’ opening a pulsating show.
‘Howlin’ the raucous title track to a 2012 album of the same name drew massive cheers as soon as the opening bars sounded, and ‘Pressure and Time’ had the crowd jumping in rhythm. And they were in full voice with the guys in ‘Hey You Know You Wanna’ with the call and answer chorus.
The frenzied tune from the new release ‘Hit the Floor’, actually hit you between the eyes. If there was Delta Bombers track that could be their signature song, it would be ‘The Wolf’ which is ten years plus, old now. It’s even featured in the credits of the documentary TV program ‘Night Coppers’ on Channel 4. The opening vocal all but took the lid of the ballroom, as did, to be honest, the whole triumphant show.
Hemsby dot….dot. Best tracks in the world ever ever to honky tonk your hardwood floor for this Hemsby were, Eddie Cochran’s ‘Am I Blue’, Carl Perkins’ ‘I Wouldn’t Have You’, BB King’s ‘You’re Gonna Miss Me’ and the Federals’ ‘Baby Baby Oh My Darlin’……..Hey DJ play us some…. Yes, they did. A really top-drawer selection of tunes to suit all tastes, much the same as the acts. So with not a hint of favouritism, or in any particular order, gold stars to Tojo, Simon Flintstone, Simon Moon, Trev Collins, Whistle Stop and the Guntrip family……The Delta Bombers, controversial? I should think so, the bass player is a Green Bay Packers fan 😊 ….. Definition of ‘autopilot’, some of the people setting up at the table top sale on Sunday morning after a couple of hours sleep……Sunday morning at 11am the hall fell silent for a perfectly observed two minutes of Remembrance. A well organised service once again, and a super vocal version of ‘We’ll Meet Again’ by Alan Power…… Gallery images below, click on them for slideshow or full sized pic
The sound, if you aren’t familiar with it, is a heavy fusion of Rock ‘n’ Roll, Rockabilly, Blues and Rock. And it’s not for the faint hearted either, thundering back-beat in the rhythmic engine room and blazing guitar work, setting up the energetic vocals. The joint was jumping from the get-go with their cover of Bob Luman’s ‘This is the Night’ opening a pulsating show.
‘Howlin’ the raucous title track to a 2012 album of the same name drew massive cheers as soon as the opening bars sounded, and ‘Pressure and Time’ had the crowd jumping in rhythm. And they were in full voice with the guys in ‘Hey You Know You Wanna’ with the call and answer chorus.
The frenzied tune from the new release ‘Hit the Floor’, actually hit you between the eyes. If there was Delta Bombers track that could be their signature song, it would be ‘The Wolf’ which is ten years plus, old now. It’s even featured in the credits of the documentary TV program ‘Night Coppers’ on Channel 4. The opening vocal all but took the lid of the ballroom, as did, to be honest, the whole triumphant show.
Hemsby dot….dot. Best tracks in the world ever ever to honky tonk your hardwood floor for this Hemsby were, Eddie Cochran’s ‘Am I Blue’, Carl Perkins’ ‘I Wouldn’t Have You’, BB King’s ‘You’re Gonna Miss Me’ and the Federals’ ‘Baby Baby Oh My Darlin’……..Hey DJ play us some…. Yes, they did. A really top-drawer selection of tunes to suit all tastes, much the same as the acts. So with not a hint of favouritism, or in any particular order, gold stars to Tojo, Simon Flintstone, Simon Moon, Trev Collins, Whistle Stop and the Guntrip family……The Delta Bombers, controversial? I should think so, the bass player is a Green Bay Packers fan 😊 ….. Definition of ‘autopilot’, some of the people setting up at the table top sale on Sunday morning after a couple of hours sleep……Sunday morning at 11am the hall fell silent for a perfectly observed two minutes of Remembrance. A well organised service once again, and a super vocal version of ‘We’ll Meet Again’ by Alan Power…… Gallery images below, click on them for slideshow or full sized pic
Mischief!
Sunday afternoon began with a change to the billing as Betty and the Bootleggers had to bow out due to the dreaded Covid striking among the band members. So, after a lively and hastily arranged jam session, the stage was set for Hemsby favourites, Mischief! from Holland. Brothers Patrick and Daze van der Erf on bass and lead guitar, with Richard Verhuel on drums are regular visitors to these shores, performing top rockin’ tunes. It’s surprising just how many they cram into a forty-five-minute show.
The brothers do vocal harmony extremely well, duetting superbly on the Everly Brothers’ ‘Should We Tell Him’, the Morgan Twins’ ‘At The TV Hop’ and their own sublime composition, ‘Sweet Lovin’ Kind’. This trio are as visual as they are musical, Daze is a thing-on-a-spring playing guitar, bouncing about the stage and still somehow keeping in tune and on beat. And he’s a pretty good vocalist as well with a rendition of Jimmy Kirkland’s ‘I Wonder if you Wonder’ and the humorous and titter-some ‘Grow Up’.
Patrick took lead vocals on ‘Broken Heart’, which has an upbeat lilt and another of their own, ‘In Dreams’. Notable harmonies continued with the likes of the Everly Brothers’ ‘This Little Girl of Mine’ and ‘Claudette’. And we must make mention of the superlative 'Hello Blues' and ‘Writing on the Wall’ which is the title track of the latest album, and a super smooth track it is too. Mischief! never disappoint, and this was another classy show at Hemsby.
The brothers do vocal harmony extremely well, duetting superbly on the Everly Brothers’ ‘Should We Tell Him’, the Morgan Twins’ ‘At The TV Hop’ and their own sublime composition, ‘Sweet Lovin’ Kind’. This trio are as visual as they are musical, Daze is a thing-on-a-spring playing guitar, bouncing about the stage and still somehow keeping in tune and on beat. And he’s a pretty good vocalist as well with a rendition of Jimmy Kirkland’s ‘I Wonder if you Wonder’ and the humorous and titter-some ‘Grow Up’.
Patrick took lead vocals on ‘Broken Heart’, which has an upbeat lilt and another of their own, ‘In Dreams’. Notable harmonies continued with the likes of the Everly Brothers’ ‘This Little Girl of Mine’ and ‘Claudette’. And we must make mention of the superlative 'Hello Blues' and ‘Writing on the Wall’ which is the title track of the latest album, and a super smooth track it is too. Mischief! never disappoint, and this was another classy show at Hemsby.
Ray Gelato
Speaking of class acts, a segue for which I make no apology, the first act for the evening was just that. Ray Gelato and the Giants. We often speak of the soundtrack to our collective youth(s), and although Rockabilly made up a hefty chunk of it, so did the swinging R&B sound, and it’s that Ray Gelato serves up by the barrowload. Deep breath, here’s the line-up. Ray Gelato himself takes vocals and tenor sax, with Danny Marsden on trumpet, trombonist Andy Rogers, pianist Gunter Kurmayr, Olly Wilby blowing up a storm on tenor and alto sax, with the rhythm kept by bassist Manuel Alvarez and drummer Ed Richardson.
The show itself is as polished as the shine on Ray’s shoes, with the nippy ‘When You’re Smiling’ heralding their arrival on stage. Ray can shout the blues as well when called on, and the rousing singalong (well at least I did!) of Wynonie’s ‘Quiet Whisky’ was a real pleasure, as was ‘Bloodshot Eyes’ and the saucepot lyrics of ‘Lovin’ Machine’. You could stand anywhere in the hall and get the full experience of the phat sound from the band, which is both tight and inspiring.
Inevitably you could draw comparisons with this band and the Louis Prima sound, and indeed ‘Jump Jive and Wail’ made an appearance, however, check out the original sound of ‘My Last Meatball’. This antipasto themed tune has a sound that could have come straight out of ‘The Wildest’ era, so authentic is the resonance. Cab Calloway’s ‘Jumping Jive (hep hep)’ was expertly delivered as was ‘Should I’ and ‘Brother Ray’, with ‘Just a Gigolo’ ending the show, before more, and very welcome, Prima to top it off with the encore of ‘Jump Jive and Wail’. Outstanding.
The show itself is as polished as the shine on Ray’s shoes, with the nippy ‘When You’re Smiling’ heralding their arrival on stage. Ray can shout the blues as well when called on, and the rousing singalong (well at least I did!) of Wynonie’s ‘Quiet Whisky’ was a real pleasure, as was ‘Bloodshot Eyes’ and the saucepot lyrics of ‘Lovin’ Machine’. You could stand anywhere in the hall and get the full experience of the phat sound from the band, which is both tight and inspiring.
Inevitably you could draw comparisons with this band and the Louis Prima sound, and indeed ‘Jump Jive and Wail’ made an appearance, however, check out the original sound of ‘My Last Meatball’. This antipasto themed tune has a sound that could have come straight out of ‘The Wildest’ era, so authentic is the resonance. Cab Calloway’s ‘Jumping Jive (hep hep)’ was expertly delivered as was ‘Should I’ and ‘Brother Ray’, with ‘Just a Gigolo’ ending the show, before more, and very welcome, Prima to top it off with the encore of ‘Jump Jive and Wail’. Outstanding.
The Rimshots
Switching gears, the Western Swing, Hillbilly and Rockabilly sound of the Rimshots up from Wales. Fronted by the Penarth pin-up John Lewis on vocals and rhythm guitar, and joined by Rob Nedin on lead guitar, drummer Mark Kemlo, Tony Biggs on bass and occasionally, Paul Godden on steel guitar.
They put together a crowd pleasing and rocking set starting out with the diamond track ‘Rock All Night’, which always gets the juices flowing. ‘Cold Sweat’ with it’s haunting vocal sound and the stomping beat of ‘You Save My Heart’ rocked out, setting up the likes of Don Willis’ ‘Boppin High School Baby’ and ‘Hobo Blues’.
There’s rarely a show featuring John Lewis that doesn’t have any Hank Williams in it, and for that matter one particular tune. ‘Ramblin Man’ has been one of the most requested for ‘Curly’ to perform, and this show was no exception, as the powerful vocals of his version, and increasing tempo filling the hall. Combining Eddy Arnold’s ‘Cattle Call’ with Charlie Adams ‘Cattin’ Around’ was a masterstroke.
The back-and-forth banter with the crowd is always a feature of the Rimshots show, and the encouragement to join in with ‘Pick a Bale of Cotton’, reiterating that it’s pick a bale a DAY not hay. The early single ‘Volcano’ hit the high and goldens, and their classic anthem ‘One More Beer’ received rapturous cheers. Typically, top show from the Rimshots
They put together a crowd pleasing and rocking set starting out with the diamond track ‘Rock All Night’, which always gets the juices flowing. ‘Cold Sweat’ with it’s haunting vocal sound and the stomping beat of ‘You Save My Heart’ rocked out, setting up the likes of Don Willis’ ‘Boppin High School Baby’ and ‘Hobo Blues’.
There’s rarely a show featuring John Lewis that doesn’t have any Hank Williams in it, and for that matter one particular tune. ‘Ramblin Man’ has been one of the most requested for ‘Curly’ to perform, and this show was no exception, as the powerful vocals of his version, and increasing tempo filling the hall. Combining Eddy Arnold’s ‘Cattle Call’ with Charlie Adams ‘Cattin’ Around’ was a masterstroke.
The back-and-forth banter with the crowd is always a feature of the Rimshots show, and the encouragement to join in with ‘Pick a Bale of Cotton’, reiterating that it’s pick a bale a DAY not hay. The early single ‘Volcano’ hit the high and goldens, and their classic anthem ‘One More Beer’ received rapturous cheers. Typically, top show from the Rimshots
Dylan Kirk
Concluding the live acts, another high-octane presentation from piano maestro Dylan Kirk with his band, the Killers, into which he had drafted the six string picking talents of Jerome Van Gasteren. You know what you’ll get with a Dylan Kirk show normally, however the wind had been knocked out of his sails a little bit, due to a 1-0 defeat to a bin a couple of days before. Crutches set aside, he and Jerome were joined on stage by Sam French on bass and drummer Curtis Doel.
So much to appreciate in this breathless set, tear-ups like Ronnie Self’s ‘Bop A Lena’ and Little Victor’s ‘Papa Lou and Gran’ demonstrating the blistering pace this band can set. ‘Call Me Shorty’ (you know the one, big cigar Cadillac car, that one) and Carl Perkins’ ‘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.
The show reached several prodigious crescendos, 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. 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.
Massive congratulations to Bill Guntrip and his team. A sold out Hemsby, excellent acts, DJs on fine form, and diverse variety of styles from the stage. What more could you want? Well, Hemsby 68 of course 8-9-10 March 2024. Be there! Check out the flyer below and click on it for details
So much to appreciate in this breathless set, tear-ups like Ronnie Self’s ‘Bop A Lena’ and Little Victor’s ‘Papa Lou and Gran’ demonstrating the blistering pace this band can set. ‘Call Me Shorty’ (you know the one, big cigar Cadillac car, that one) and Carl Perkins’ ‘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.
The show reached several prodigious crescendos, 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. 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.
Massive congratulations to Bill Guntrip and his team. A sold out Hemsby, excellent acts, DJs on fine form, and diverse variety of styles from the stage. What more could you want? Well, Hemsby 68 of course 8-9-10 March 2024. Be there! Check out the flyer below and click on it for details
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interview with Rockin' Roland
It was 2005, and a chance encounter with a flyer that first drew our attention to a club in Norfolk. The Starfighter Rock n Roll club had put on a night with Charlie Gracie, and it was the first of well over 100 we attended over the following years. Resident DJ for all of those events, was Rockin’ Roland, who booked the bands, hosting many, first to arrive and last to leave the Wreningham Village Hall.
As attendees, we’ve chatted about this and that over the years, and recently it suddenly dawned on us, we need you all to know what his secret of longevity on the Rock n Roll scene is.
BJR. As we do with a lot of our interviewees, we’ll start by asking, where did your interest in 1950’s music first begin?
RR - My first awareness of 50's music dawned when I was about 12 & was blown away by watching Elvis in 'King Creole', shortly after an Aunt sent me a record token which wasn't much help as I didn't have a record player !, with that Token I bought my first Elvis Album, (Elvis Is Back' which I still have) a few months later a friend of my mums gave me a couple of boxes of original 45's & a record player !,this was to be my first exposure to Johnny Burnette, Eddie Cochran & Gene Vincent which excited & fuelled my budding teenage rampage !, it also formed my contempt for the Beatles & other lightweight 60's sounds.
BJR. So were you a part of what was so-named, the Rockabilly Revival in the 70’s and 80’s? Presumably you had the drape as many of us did. Was it coloured or monochrome so to speak?
RR – I can't honestly say that I was a part of the so called 'Rockabilly Revival' as I was a dyed in the wool Teddy Boy, my first drape was black with Leopard skin collars & cuffs, but had several others throughout the years, but not the dull so called 'Edwardians' I was a 70's Teddy Boy & intensely defensive & proud of it although as I was already spinning the wax I would have been enjoying & promoting the music.
BJR. Favourite artists? Past or present, it’s up to you
RR – Past - Elvis, Bill Fury, Tommy Steele – Present – High Strung Ramblers, Omar & The Stringpoppers, Rockin Ryan, John Lewis.
BJR. How about your first forays into DJing. Were you exclusively a Rock ‘n’ Roll DJ?
RR – My first experience was D.Jing at youth club when I was again about 12/13 as I took my original 50's 45's while the others were playing their 70's 45's so I guess I was already on a different path. My first real opportunity came when a large local pub (The Robert Kett) in Wymondham had a change of manager & the new manager John Maton had moved from a pub in Hoddesdon who had a large Teddy Boy clientele & seeing me in my drape asked if I had any D.J experience as we was interested in having a rockin record hop !, so I ended up practicing behind closed doors in the lounge bar as John had bought the entire set up from a local mobile D.J & set it up in the pub permanently after a few weeks we had a gig !!
BJR. Now to running gigs and events. When did you start that, and who was your first booking?
RR – Although I had been D.Jing in Pubs/Clubs in Norwich & around the local area the 'Starfighter' was my first real foray into my own club & that was back in 2002 at the Norfolk Dumpling, the first gig was on Friday 18th June 2003 & featured 'The 'Small Town Giants' over 20 years ago !!
BJR. As we recall, the Starfighter Club began it’s life at the celebrated Norfolk Dumpling in Norwich. What are your recollections of those days.
RR – The birthplace was 'The Norfolk Dumpling' a Cafe with Function Room built in the early fifties for the use of the patrons of the 'Norwich Cattle Market', Lorry Drivers & the local bus companies, so it was to coin a phrase well used, sticky floor, fag holes in the red velvet seating, nicotine stained ceiling tiles with the odd roof leak !, a PERFECT rockin venue !
BJR. What prompted the move to Wreningham Village Hall?
RR – Due to changes in business useage the site was sold & was to become an industrial estate, we managed to hang on for a while but reluctantly in the end had to leave, fortunately David who managed the Dumpling also was the Licencee at ';Wreningham Village Hall' so we packed our bags & moved !!
BJR. You have had some exceptional acts appear at the Starfighter. Can you name a few standouts?
RR – Well that is a conundrum !, it's been a wonderful journey of over 20 years & has been a star studded adventure with many bands playing in the U.K for the first time, new bands from the U.K (now household names who had their first gigs with us) original Artists from the U.S.A & everything in between, so I will answer in this way, my personal standouts have been : Ray Campi, Gene Summers, Shane Fenton, Jack Baymoore, Marrs Attacks, Johnny Bach & Jack Rabbit Slim,,,,,,but there could easily be another 10 to add to that !
BJR. What would you say are the main issues you encounter(ed) running a club?
RR ; That's an interesting question !, most of the 'Issues' were a pleasure to have & just meant in the main having to make a bigger personal effort, hiring Vans, picking up bands from airports, hosting foreign bands & artists (mostly at my home) borrowing P.A's & Instruments etc. With regard to longevity & continuity being fully in control with regard to which acts to book, negotiating fees, accommodation & ultimately all finance has enabled a smooth management, not having a committee to wrangle with is a larger blessing that you may imagine & being a bit of a perfectionist I wanted it right & then the responsibility starts & ends with me, however I couldn't have made it such a great experience for the bands without the fantastic support of a small but dedicated team & must mention Tonya (the better half), Gary, Polo, Jamie, Mark & Alan all of whom have contributed to our success & long life !. On the minus side on which I don't wish to dwell, the continuing lack of communication between promoters, fellow D,J's & Venues has at times been problematical & not always coincidental, disappointing in many ways but however a perennial national dilemma.
As attendees, we’ve chatted about this and that over the years, and recently it suddenly dawned on us, we need you all to know what his secret of longevity on the Rock n Roll scene is.
BJR. As we do with a lot of our interviewees, we’ll start by asking, where did your interest in 1950’s music first begin?
RR - My first awareness of 50's music dawned when I was about 12 & was blown away by watching Elvis in 'King Creole', shortly after an Aunt sent me a record token which wasn't much help as I didn't have a record player !, with that Token I bought my first Elvis Album, (Elvis Is Back' which I still have) a few months later a friend of my mums gave me a couple of boxes of original 45's & a record player !,this was to be my first exposure to Johnny Burnette, Eddie Cochran & Gene Vincent which excited & fuelled my budding teenage rampage !, it also formed my contempt for the Beatles & other lightweight 60's sounds.
BJR. So were you a part of what was so-named, the Rockabilly Revival in the 70’s and 80’s? Presumably you had the drape as many of us did. Was it coloured or monochrome so to speak?
RR – I can't honestly say that I was a part of the so called 'Rockabilly Revival' as I was a dyed in the wool Teddy Boy, my first drape was black with Leopard skin collars & cuffs, but had several others throughout the years, but not the dull so called 'Edwardians' I was a 70's Teddy Boy & intensely defensive & proud of it although as I was already spinning the wax I would have been enjoying & promoting the music.
BJR. Favourite artists? Past or present, it’s up to you
RR – Past - Elvis, Bill Fury, Tommy Steele – Present – High Strung Ramblers, Omar & The Stringpoppers, Rockin Ryan, John Lewis.
BJR. How about your first forays into DJing. Were you exclusively a Rock ‘n’ Roll DJ?
RR – My first experience was D.Jing at youth club when I was again about 12/13 as I took my original 50's 45's while the others were playing their 70's 45's so I guess I was already on a different path. My first real opportunity came when a large local pub (The Robert Kett) in Wymondham had a change of manager & the new manager John Maton had moved from a pub in Hoddesdon who had a large Teddy Boy clientele & seeing me in my drape asked if I had any D.J experience as we was interested in having a rockin record hop !, so I ended up practicing behind closed doors in the lounge bar as John had bought the entire set up from a local mobile D.J & set it up in the pub permanently after a few weeks we had a gig !!
BJR. Now to running gigs and events. When did you start that, and who was your first booking?
RR – Although I had been D.Jing in Pubs/Clubs in Norwich & around the local area the 'Starfighter' was my first real foray into my own club & that was back in 2002 at the Norfolk Dumpling, the first gig was on Friday 18th June 2003 & featured 'The 'Small Town Giants' over 20 years ago !!
BJR. As we recall, the Starfighter Club began it’s life at the celebrated Norfolk Dumpling in Norwich. What are your recollections of those days.
RR – The birthplace was 'The Norfolk Dumpling' a Cafe with Function Room built in the early fifties for the use of the patrons of the 'Norwich Cattle Market', Lorry Drivers & the local bus companies, so it was to coin a phrase well used, sticky floor, fag holes in the red velvet seating, nicotine stained ceiling tiles with the odd roof leak !, a PERFECT rockin venue !
BJR. What prompted the move to Wreningham Village Hall?
RR – Due to changes in business useage the site was sold & was to become an industrial estate, we managed to hang on for a while but reluctantly in the end had to leave, fortunately David who managed the Dumpling also was the Licencee at ';Wreningham Village Hall' so we packed our bags & moved !!
BJR. You have had some exceptional acts appear at the Starfighter. Can you name a few standouts?
RR – Well that is a conundrum !, it's been a wonderful journey of over 20 years & has been a star studded adventure with many bands playing in the U.K for the first time, new bands from the U.K (now household names who had their first gigs with us) original Artists from the U.S.A & everything in between, so I will answer in this way, my personal standouts have been : Ray Campi, Gene Summers, Shane Fenton, Jack Baymoore, Marrs Attacks, Johnny Bach & Jack Rabbit Slim,,,,,,but there could easily be another 10 to add to that !
BJR. What would you say are the main issues you encounter(ed) running a club?
RR ; That's an interesting question !, most of the 'Issues' were a pleasure to have & just meant in the main having to make a bigger personal effort, hiring Vans, picking up bands from airports, hosting foreign bands & artists (mostly at my home) borrowing P.A's & Instruments etc. With regard to longevity & continuity being fully in control with regard to which acts to book, negotiating fees, accommodation & ultimately all finance has enabled a smooth management, not having a committee to wrangle with is a larger blessing that you may imagine & being a bit of a perfectionist I wanted it right & then the responsibility starts & ends with me, however I couldn't have made it such a great experience for the bands without the fantastic support of a small but dedicated team & must mention Tonya (the better half), Gary, Polo, Jamie, Mark & Alan all of whom have contributed to our success & long life !. On the minus side on which I don't wish to dwell, the continuing lack of communication between promoters, fellow D,J's & Venues has at times been problematical & not always coincidental, disappointing in many ways but however a perennial national dilemma.
BJR. In addition to DJing in the UK, Rock ‘n’ Roll has taken you to several other places. Care to tell our readers about them?
RR – Time !, where has it gone !, I have been fortunate to D.J all over Europe for what has now been for 35years plus !, slept drunk as a lord on the beach in Spain, half frozen to death in snowy woods in Norway, worse for wear on Moonshine in Sweden, lost in Amsterdam , locked out of my B&B in Holstein it's been BRILLIANT, & many adventures not for tender ears !!......it's Rock & Roll after all !.
BJR. You have also DJ’d on radio over the years, and indeed currently. Fill us in on that part of your DJing
RR - Rockin on the Radio !...this has been another adventure that I hardly envisaged 25 years ago !, It all began over 17years ago on B.B.C Radio Norfolk with 2 shows a month, & was followed with guest appearances & interviews on various European stations while D.J'ing abroad, including one on a Tram in Oslo on the way to a gig !. Visits to Lou. B guesting on his 'Jukebox Diner' show on St Fm ( now S.M.C Today) & now my own 2 hour show on the fabulous 'Splinterwood Radio' on Saturday evenings from 6-8pm !!...who's knows what's next the worlds a big place !!!
BJR. In your experience, what are the positives (and negatives if you wish) of being part of the Rock n Roll circuit/scene?
RR – What a wonderful question !!....When I came home from the Barbers for the first time with a D.A after 'Short Back & Sides' for years, waiting for my Dad to explode, to putting on my first Drape & Dad asking me where I was going to be selling my ice cream, to my first overnight in a Police cell & the odd Court Appearance, it's been a life I wouldn't have swapped for the world !, the sense of belonging, the company of beautiful women, great music & making the very best of friends makes it your life & everything that's good about it !!, the only downside is that I wished I had taken more photographs,& not bought so many rough motorbikes, although the memories & friendships past & present still stay sharp forever !.
BJR. What does the future hold?
RR – Times to come should be as powerful, impactful & exciting as those of the past if we look after our interests (not to keen with 'The Scene') & in years to come. Today; will be other folks good old days, we seem to spend an inordinate amount of time looking backward
when maybe we should have bigger eyes for the future, after rockin my way both around the years & physically around Europe for the last 45years I hope I have gained a little wisdom & maybe an element of foresight, although not clairvoyant by any means, I feel that to ensure a bright & healthy future we need to encourage those who may not yet have had the joy that our music & lifestyle brings, we have unfortunately historically been judgemental & not always encouraging nor welcoming to those outside of our interests, this is changing & is vital for the future. another important element that I feel needs considering & is within our remit & ability to address, is the thorny subject of 'Cliques' & 'Elitism' with regards to D.J's at weekenders & the larger events. In my pursuit of good music I have had the considerable pleasure to listen to some fantastic D.J's who don't get a look in at the larger festivals as they
by & large don't 'belong' to one of these 'cliques' & that is real loss for us all, some of our more enlightened promoters have cleverly identified this omission & taken remedial steps although there is a way to go!. If I had to make one further observation it would be this & it is only my own personal view, I would like to see less, 60's Garage & Soul, & other fringe elements brought into our realm & maybe we need a little rewind to re-establish our origins, I think 'Old School' is one of the favoured phrases !!, Overall our music is in experienced hands & I am very much looking forward to what the future may bring!!
RR – Time !, where has it gone !, I have been fortunate to D.J all over Europe for what has now been for 35years plus !, slept drunk as a lord on the beach in Spain, half frozen to death in snowy woods in Norway, worse for wear on Moonshine in Sweden, lost in Amsterdam , locked out of my B&B in Holstein it's been BRILLIANT, & many adventures not for tender ears !!......it's Rock & Roll after all !.
BJR. You have also DJ’d on radio over the years, and indeed currently. Fill us in on that part of your DJing
RR - Rockin on the Radio !...this has been another adventure that I hardly envisaged 25 years ago !, It all began over 17years ago on B.B.C Radio Norfolk with 2 shows a month, & was followed with guest appearances & interviews on various European stations while D.J'ing abroad, including one on a Tram in Oslo on the way to a gig !. Visits to Lou. B guesting on his 'Jukebox Diner' show on St Fm ( now S.M.C Today) & now my own 2 hour show on the fabulous 'Splinterwood Radio' on Saturday evenings from 6-8pm !!...who's knows what's next the worlds a big place !!!
BJR. In your experience, what are the positives (and negatives if you wish) of being part of the Rock n Roll circuit/scene?
RR – What a wonderful question !!....When I came home from the Barbers for the first time with a D.A after 'Short Back & Sides' for years, waiting for my Dad to explode, to putting on my first Drape & Dad asking me where I was going to be selling my ice cream, to my first overnight in a Police cell & the odd Court Appearance, it's been a life I wouldn't have swapped for the world !, the sense of belonging, the company of beautiful women, great music & making the very best of friends makes it your life & everything that's good about it !!, the only downside is that I wished I had taken more photographs,& not bought so many rough motorbikes, although the memories & friendships past & present still stay sharp forever !.
BJR. What does the future hold?
RR – Times to come should be as powerful, impactful & exciting as those of the past if we look after our interests (not to keen with 'The Scene') & in years to come. Today; will be other folks good old days, we seem to spend an inordinate amount of time looking backward
when maybe we should have bigger eyes for the future, after rockin my way both around the years & physically around Europe for the last 45years I hope I have gained a little wisdom & maybe an element of foresight, although not clairvoyant by any means, I feel that to ensure a bright & healthy future we need to encourage those who may not yet have had the joy that our music & lifestyle brings, we have unfortunately historically been judgemental & not always encouraging nor welcoming to those outside of our interests, this is changing & is vital for the future. another important element that I feel needs considering & is within our remit & ability to address, is the thorny subject of 'Cliques' & 'Elitism' with regards to D.J's at weekenders & the larger events. In my pursuit of good music I have had the considerable pleasure to listen to some fantastic D.J's who don't get a look in at the larger festivals as they
by & large don't 'belong' to one of these 'cliques' & that is real loss for us all, some of our more enlightened promoters have cleverly identified this omission & taken remedial steps although there is a way to go!. If I had to make one further observation it would be this & it is only my own personal view, I would like to see less, 60's Garage & Soul, & other fringe elements brought into our realm & maybe we need a little rewind to re-establish our origins, I think 'Old School' is one of the favoured phrases !!, Overall our music is in experienced hands & I am very much looking forward to what the future may bring!!
A message from the Rockabilly Rave and Rhythm Riot.
You may have already seen that Pontins have today announced the immediate closure of the Camber Sands site. As you can imagine, we have been inundated with calls and messages about this and the future of the Rockabilly Rave and Rhythm Riot.
When we have had a chance to speak to Pontins, and explore possible alternatives, we will let everyone know how this will affect future events.
We are already exploring options and will be working hard to bring you news as soon as possible.
In the meantime, please be assured that, if you have already booked with us, all payments are safe and will be transferred to the new event or refunded in full.
Thank you for all your kind messages of support.
From us at the Bettajive Review, we always think of the Rave or the Riot as a 'thing', not a 'place', so moving it from one pile of bricks to another pile of bricks, is infinitely better than losing these quality events. Let's give everyone concerned the time and space to get sorted, and bear in mind they were as much in the dark about Pontins closure as the rest of us
You may have already seen that Pontins have today announced the immediate closure of the Camber Sands site. As you can imagine, we have been inundated with calls and messages about this and the future of the Rockabilly Rave and Rhythm Riot.
When we have had a chance to speak to Pontins, and explore possible alternatives, we will let everyone know how this will affect future events.
We are already exploring options and will be working hard to bring you news as soon as possible.
In the meantime, please be assured that, if you have already booked with us, all payments are safe and will be transferred to the new event or refunded in full.
Thank you for all your kind messages of support.
From us at the Bettajive Review, we always think of the Rave or the Riot as a 'thing', not a 'place', so moving it from one pile of bricks to another pile of bricks, is infinitely better than losing these quality events. Let's give everyone concerned the time and space to get sorted, and bear in mind they were as much in the dark about Pontins closure as the rest of us
This event was great last year, check out the early bird offer too. Click on either flyer
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vinyl record reviews
Toto and the Raw Deals – Live From One Nine Five
One of the hottest bands on the rockin’ music circuit now, Toto and the Raw Deals, have a new 45rpm out on Mark Philips’ FTM Records label. This is a well packaged single, in addition to the standard white cover/sleeve, it slips into a sepia-coloured picture sleeve designed by Sam French. The artwork shows the Pontins chalet like this record was conceived and laid down live in, at the 25th Rockabilly Rave.
The band are Salvatore ‘Toto’ Marziano on rhythm guitar and vocals, Joe Newbon on lead guitar, drummer Tony Hillebrandt and Sam French on bass. The two songs were recorded by Peter Lawson using vintage tape equipment. Formalities done with, how does the record sound?
The ‘A’ side, ‘Polly Put The Kettle On’, a guaranteed dancefloor winner originally recorded by John Lee Curtis ‘Sonny Boy’ Williamson in 1947. This 2023 version by the guys, is an absolute beauty, musically and vocally. Top blues bopping to be sure.
On the ‘B’ side a reworking of ‘Here Comes That Feeling’. The song was written by Joe Osborne and Dorsey Burnette, the most significant recording of which, chart-wise was by Brenda Lee. Her recording reached No5 in 1962 as the ‘B’ side to ‘Everybody Loves Me But You’. Toto and the Raw Deals have taken this tune, breathing their own life into it while paying due reverence to the original(s), closer to Dorsey’s recording.
Excellent
One of the hottest bands on the rockin’ music circuit now, Toto and the Raw Deals, have a new 45rpm out on Mark Philips’ FTM Records label. This is a well packaged single, in addition to the standard white cover/sleeve, it slips into a sepia-coloured picture sleeve designed by Sam French. The artwork shows the Pontins chalet like this record was conceived and laid down live in, at the 25th Rockabilly Rave.
The band are Salvatore ‘Toto’ Marziano on rhythm guitar and vocals, Joe Newbon on lead guitar, drummer Tony Hillebrandt and Sam French on bass. The two songs were recorded by Peter Lawson using vintage tape equipment. Formalities done with, how does the record sound?
The ‘A’ side, ‘Polly Put The Kettle On’, a guaranteed dancefloor winner originally recorded by John Lee Curtis ‘Sonny Boy’ Williamson in 1947. This 2023 version by the guys, is an absolute beauty, musically and vocally. Top blues bopping to be sure.
On the ‘B’ side a reworking of ‘Here Comes That Feeling’. The song was written by Joe Osborne and Dorsey Burnette, the most significant recording of which, chart-wise was by Brenda Lee. Her recording reached No5 in 1962 as the ‘B’ side to ‘Everybody Loves Me But You’. Toto and the Raw Deals have taken this tune, breathing their own life into it while paying due reverence to the original(s), closer to Dorsey’s recording.
Excellent
The Wheelgrinders – My Little Sister’s Got a Motorbike EP
Greg, Caroline and Stuart, make up Canadian based trio the Wheelgrinders. To date they have released two albums, ‘Torqueflight Baby’ in 2017 and ‘Crank It Hard’ from 2018. Now here’s an EP ahead of their tour of Europe upcoming in 2024, including some of their favourite tracks to cover.
I don’t know about you readers, but ‘My Little Sister’s Got a Motorbike’ is synonymous with Crazy Cavan and the Rhythm Rockers. Yes, it’s that very song covered here, utilising Greg’s vintage Norton motorbike to kick it all off. Pacy and punchy, this version stays true to the original, with the exuberance the Wheelgrinders added into the mix
Johnny ‘T’ Talley’s 1956 Mercury cut ‘I’ve Changed My Wild Mind’ is up next, lighter on the back beat, to really good effect. If you know the Wheelgrinders’ music you’ll easily gather that they are influenced by Eddie Cochran. On the flip, they are paying tribute, they present the Cochran Brothers’ ‘I’m Ready’, a short and sweet rocker, well delivered.
Charlie Rich’s ‘Break Up’ is also given the Wheelgrinder treatment, just the type of track that lends itself to their style. The final track is a cover of Skeets McDonald’s 1959 recording on Capitol Records, ‘What a Lonesome Life It’s Been’. This is a country ramble that jogs along perfectly, and the band co-opt the steel guitar talents of Jimmy Roy for the breaks.
Smashing 45, and perfect companions to the two albums
Greg, Caroline and Stuart, make up Canadian based trio the Wheelgrinders. To date they have released two albums, ‘Torqueflight Baby’ in 2017 and ‘Crank It Hard’ from 2018. Now here’s an EP ahead of their tour of Europe upcoming in 2024, including some of their favourite tracks to cover.
I don’t know about you readers, but ‘My Little Sister’s Got a Motorbike’ is synonymous with Crazy Cavan and the Rhythm Rockers. Yes, it’s that very song covered here, utilising Greg’s vintage Norton motorbike to kick it all off. Pacy and punchy, this version stays true to the original, with the exuberance the Wheelgrinders added into the mix
Johnny ‘T’ Talley’s 1956 Mercury cut ‘I’ve Changed My Wild Mind’ is up next, lighter on the back beat, to really good effect. If you know the Wheelgrinders’ music you’ll easily gather that they are influenced by Eddie Cochran. On the flip, they are paying tribute, they present the Cochran Brothers’ ‘I’m Ready’, a short and sweet rocker, well delivered.
Charlie Rich’s ‘Break Up’ is also given the Wheelgrinder treatment, just the type of track that lends itself to their style. The final track is a cover of Skeets McDonald’s 1959 recording on Capitol Records, ‘What a Lonesome Life It’s Been’. This is a country ramble that jogs along perfectly, and the band co-opt the steel guitar talents of Jimmy Roy for the breaks.
Smashing 45, and perfect companions to the two albums
FTM v/s Steve Stack ‘O’ Wax – 45rpm
Another release in the DJ Club Series from Mark Phillips’ FTM Record label. This time it’s FTM versus Steve Stack ‘O’ Wax, with a limited amount of hand numbered 45rpm singles. One hundred on light blue vinyl, I’d even suggest a nostalgic ‘ice blue’, for anyone who wore those jeans back in the day, and one hundred and eighty on black vinyl.
Steves choice is Johnny Winter (1944 -2014) who was a singer and blues guitarist of considerable note on the Atlantic Record label. This track ‘You’ll Be The Death of Me’ is a ‘B’ side from 1964. A funky sound very much of the era
FTM’s selection is ‘Sassy’ by The Wonder Who? Would you believe this band was a pseudonym for the Four Seasons. ‘Sassy’ is a ‘B’ side from 1965, and is a cracking surfy instrumental stroller. It was from their debut single, where the band covered Bob Dylan’s ‘Don’t Think Twice’.
Another release in the DJ Club Series from Mark Phillips’ FTM Record label. This time it’s FTM versus Steve Stack ‘O’ Wax, with a limited amount of hand numbered 45rpm singles. One hundred on light blue vinyl, I’d even suggest a nostalgic ‘ice blue’, for anyone who wore those jeans back in the day, and one hundred and eighty on black vinyl.
Steves choice is Johnny Winter (1944 -2014) who was a singer and blues guitarist of considerable note on the Atlantic Record label. This track ‘You’ll Be The Death of Me’ is a ‘B’ side from 1964. A funky sound very much of the era
FTM’s selection is ‘Sassy’ by The Wonder Who? Would you believe this band was a pseudonym for the Four Seasons. ‘Sassy’ is a ‘B’ side from 1965, and is a cracking surfy instrumental stroller. It was from their debut single, where the band covered Bob Dylan’s ‘Don’t Think Twice’.
Nate Nelson/Jimmy Gilford - FTM Records 45rpm
For January 2024, FTM Records start the new year with some corking releases. This one, is limited to a hundred copies on white vinyl, and a hundred and seventy on black vinyl. It features two tracks that have featured in the Flat Top Brothers DJ sets in the past, now you can own them on one top drawer 45rpm.
The ‘A’ side ‘Misery Street’ is by Jimmy Gilford, whose career spanned five decades and won him awards like ‘Entertainer of the Year’ in cities like Detroit and New York. ‘Misery Street’ is a ‘B’ side to ‘I Wanna Be Your Baby’ from 1965. It has a kind of Jackie Wilson/Otis Reading feel to the beat, and a cool vibe.
On the flip, ‘Tell Me Why’ by Nate Nelson (1932 – 1984). He was a member of the Flamingos (’53 – ’61) and latterly, the Platters. The vocal delivery of ‘Tell Me Why’ is similar to the ‘A’ side, and is from 1961, indicative of the changing in styles from the 50’s to the 60’s. Good jive feel.
Groovin’ twin spin
For January 2024, FTM Records start the new year with some corking releases. This one, is limited to a hundred copies on white vinyl, and a hundred and seventy on black vinyl. It features two tracks that have featured in the Flat Top Brothers DJ sets in the past, now you can own them on one top drawer 45rpm.
The ‘A’ side ‘Misery Street’ is by Jimmy Gilford, whose career spanned five decades and won him awards like ‘Entertainer of the Year’ in cities like Detroit and New York. ‘Misery Street’ is a ‘B’ side to ‘I Wanna Be Your Baby’ from 1965. It has a kind of Jackie Wilson/Otis Reading feel to the beat, and a cool vibe.
On the flip, ‘Tell Me Why’ by Nate Nelson (1932 – 1984). He was a member of the Flamingos (’53 – ’61) and latterly, the Platters. The vocal delivery of ‘Tell Me Why’ is similar to the ‘A’ side, and is from 1961, indicative of the changing in styles from the 50’s to the 60’s. Good jive feel.
Groovin’ twin spin
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After a mental 2023, April and Andy, who may or may not be known as 'Raz and Daz', are both looking forward to trading at various events in the UK this year. In the meantime, click on the photo or the flyer to the left to go straight to their website and check out the pristine fayre on offer
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Racketeer Radio brings you the New Golden Age of Radio with over 20 scheduled radio programs from around the world, airing each week. Racketeer Radio features the longest running radio program on air, favorite radio programs from 1930s - 1950s as well as the latest programs in the vintage revival.
Hear your favorite classics, along with the newest released tunes from Big Band, Swing, Jump Rhythm and Blues to Lounge, Rockabilly and More. In the Racketeer Radio App find News, Updates, Events and More, go to linktr.ee/RacketeerRadio.
There is now a site up an running where you can check out what's on and upload your gigs. See MBSN Gig Guide (bluesuedenews.co.uk) for details.
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.
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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 2024
Many thanks
If you have enjoyed our magazine, why not pop a donation over by using the button below. Many thanks
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 2024. 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 2024
Many thanks
If you have enjoyed our magazine, why not pop a donation over by using the button below. Many thanks
