the bettajive review magazine #38
Shaun Horton features in our review of the 10th Rockabilly Blowout
Well hello and welcome to our 38th Bettajive Review Magazine. First things first, our HEMSBY review will be in the next issue, #39. There are a number of events we are attending this year and we want to give each one our best attention. Therefore this month we feature the 10th Rockabilly Blowout as well as regular club events.
Next issue, will also mark 20 years since the Bettajive Review started, originally in print, and now on this website. We have a big interview planned for then, with Miss Charlotte Porter
This issue also marks the time where we have to pay our website host, so anyone who would like to donate to help us out, please use the button below. Many thanks
Next issue, will also mark 20 years since the Bettajive Review started, originally in print, and now on this website. We have a big interview planned for then, with Miss Charlotte Porter
This issue also marks the time where we have to pay our website host, so anyone who would like to donate to help us out, please use the button below. Many thanks
the bettajive review
No no Nostalgia. You know what readers, I’m now of a ‘vintage’ where me, June and some of our friends, kind of wonder where the years have gone. I mean folks, how did I become more than twice the age of the (current at the time of writing) Labour MP for Selby and Ainsty. When did I pass through that vortex that means you go into a room and forget why you went into in the first place, why you stand at an open freezer with a monkey wrench and no idea how you got there, or for that matter, why. How come I can sit minding my own business and suddenly choke uncontrollably on nothing other than air?
When you look into the mirror and wonder who that is looking back at you, and those high-powered hand driers cause rather too many skin ripples! Inside though, most of us are still those lean and hungry teenagers that first burst out onto this Rock n Roll scene in nineteen hundred and frozen-to-death.
A friend of ours a little while ago, had put together a film of old clips from the mid 70’s. Teds from Essex, around Colchester, Canvey Island, Chelmsford, Southend and the like, on Bank Holidays, the police turning up in Transit vans and shoo-ing them off the street. In Southend there were lots of fights, goading, objurgation, chiding, and throwing stuff, with other sub-cultures. However, along the coast in posher Frinton, rivalry would have been limited to carefully considered insults such as ‘You sir, are wearing a most ill-fitting garment’, or, ‘When was the last time you checked the price of gold and associated commodities?” Wounding!
I was thirteen or fourteen at the time this film was made, the friends in it would have been in their early twenties or very late teens. They talked about stuff like, cars and staying over at mates after gigs, being out all-night playing Rockabilly, and beer. All us young-uns had to talk about, was how crap Geography or Science was that afternoon, or indeed any other afternoon. Bleedin’ Oxbow lakes indeed, I’ve lost count of the number of times that knowledge has been useful in my adult life since school, or how many times I’ve needed a Liebig condenser…...
When you look into the mirror and wonder who that is looking back at you, and those high-powered hand driers cause rather too many skin ripples! Inside though, most of us are still those lean and hungry teenagers that first burst out onto this Rock n Roll scene in nineteen hundred and frozen-to-death.
A friend of ours a little while ago, had put together a film of old clips from the mid 70’s. Teds from Essex, around Colchester, Canvey Island, Chelmsford, Southend and the like, on Bank Holidays, the police turning up in Transit vans and shoo-ing them off the street. In Southend there were lots of fights, goading, objurgation, chiding, and throwing stuff, with other sub-cultures. However, along the coast in posher Frinton, rivalry would have been limited to carefully considered insults such as ‘You sir, are wearing a most ill-fitting garment’, or, ‘When was the last time you checked the price of gold and associated commodities?” Wounding!
I was thirteen or fourteen at the time this film was made, the friends in it would have been in their early twenties or very late teens. They talked about stuff like, cars and staying over at mates after gigs, being out all-night playing Rockabilly, and beer. All us young-uns had to talk about, was how crap Geography or Science was that afternoon, or indeed any other afternoon. Bleedin’ Oxbow lakes indeed, I’ve lost count of the number of times that knowledge has been useful in my adult life since school, or how many times I’ve needed a Liebig condenser…...
I joked that those in the film, were the icons of the time, and we simple apprentice rock n roll oiks, who shouldn’t make eye contact, merely scatter rose petals ahead of them as they walked by in soft focus and slow motion. It sounds a bit silly now, five- or six-years age difference is nothing at our time of life. But at that time, it was a chasm. As a teenager, the teachers at school and a number of adults used to say things like ‘What are you going to wear when you’re in your twenties?’ Errr, this? ‘Do you reckon you’ll still be wearing that stuff when you’re 40/50/60? (for example). *Points to self* Errr yes.
So, was that the theme of this article? Nostalgia? I guess so. It’s always an eye-roller when you read newspaper and magazine articles about 1940’s or 50’s festivals ‘today’. All this ‘step back in time for a nostalgic journey’ cobblers, which is the lazy go-to strapline, does grate. Wartime festivals and the like could only really be nostalgic for people like my mum, who lived through it, usually punctuated by ‘We didn’t have that then, it was rationed!’. :-D A nostalgic experience for many our age would be seeing videos of Mud’s ‘Tiger Feet’, Sweet’s ‘Ballroom Blitz’ through to ‘Rio’ by Duran Duran, on one of the few TOTP broadcasts that are still allowed(!)
Moreso than when I see film from the 1950s with the original Teds walking about town centres back then. Simply because I wasn’t around at the time. The films of the old Caister weekender, however, that brings back memories of living on air and four of us yayhoos including luggage in my Escort estate, still with room to spare. ‘Hee Haw Breakdown’ by Nolan Cormier, ’99 Chicks’ by Ron Haydock and the Boppers, Johnny Powers’ ‘Long Blonde Hair/Rock Rock’ and ‘Love Me’ by the Phantom, those are the memories that are immediately evoked.
So, was that the theme of this article? Nostalgia? I guess so. It’s always an eye-roller when you read newspaper and magazine articles about 1940’s or 50’s festivals ‘today’. All this ‘step back in time for a nostalgic journey’ cobblers, which is the lazy go-to strapline, does grate. Wartime festivals and the like could only really be nostalgic for people like my mum, who lived through it, usually punctuated by ‘We didn’t have that then, it was rationed!’. :-D A nostalgic experience for many our age would be seeing videos of Mud’s ‘Tiger Feet’, Sweet’s ‘Ballroom Blitz’ through to ‘Rio’ by Duran Duran, on one of the few TOTP broadcasts that are still allowed(!)
Moreso than when I see film from the 1950s with the original Teds walking about town centres back then. Simply because I wasn’t around at the time. The films of the old Caister weekender, however, that brings back memories of living on air and four of us yayhoos including luggage in my Escort estate, still with room to spare. ‘Hee Haw Breakdown’ by Nolan Cormier, ’99 Chicks’ by Ron Haydock and the Boppers, Johnny Powers’ ‘Long Blonde Hair/Rock Rock’ and ‘Love Me’ by the Phantom, those are the memories that are immediately evoked.
Buddy Knox’s ‘Party Doll’, there’s a particularly nostalgic track for me, it was the first track I took to the youth centre ad hoc to dance to. Actually, it was on one off a triple LP, with some sixty songs on it, you know the type, only fifteen of them any good and the rest superfluous bilge used as filler. Can’t do a wild bop to ‘Hey Paula’ or ‘Rhythm of the Rain’ can you (rhetorical question). Charlie Gracie’s ‘Fabulous’ c/w ‘Butterfly’ on an Abkco 45rpm, one of the first true Rock n Roll singles I ever bought and thought it was worth a fortune. ‘Teenage Boogie’ by Webb Pierce, the first ‘rare’ track I ever heard, and Chess Rockabillies album, the first LP of real Rockabilly I owned, having bought it on a school football trip to Bridgend. Those tracks encourage fond reminiscence for me.
As well as it being the best Rockabilly track in the world ever ever, Hal Harris’ Jitterbop Baby’ also reminds me of the long-gone Queens Hotel in Southend, downstairs with 50’s Flash spinning the wax. It was also a place where I first heard Shirley Caddell’s ‘Big Bounce’ and recalling all the ‘Carry On’ style quips from the assembled, Houndog Taylor’s ‘Take Five’, Gene Maltais ‘Ragin’ Sea’ and Bob Jaxon’s ‘Beach Party’.
The Bluetones ‘Shake Shake’ (Yes, yes, I know my copy is an 80’s repro Thank you!), Frankie Lymon’s ‘Goody Goody’ and Pat Cupp’s ‘Do Me No Wrong’ are more nostalgic tracks, from the Silver Era club in Maldon and DJ Maurice ‘Rocking Machine’ Stutely , another building that was flattened and replaced. Sonny West’s ‘RockOla Ruby’ Wreningham anthem, Jimmy Pritchett’s ‘That’s the way I Feel’ the first jive I had with June at Witham’s Jukebox club, ‘Rampage’ by The Planet Rockers ‘our’ tune from the 2004 Rockabilly Rave to date.
As well as it being the best Rockabilly track in the world ever ever, Hal Harris’ Jitterbop Baby’ also reminds me of the long-gone Queens Hotel in Southend, downstairs with 50’s Flash spinning the wax. It was also a place where I first heard Shirley Caddell’s ‘Big Bounce’ and recalling all the ‘Carry On’ style quips from the assembled, Houndog Taylor’s ‘Take Five’, Gene Maltais ‘Ragin’ Sea’ and Bob Jaxon’s ‘Beach Party’.
The Bluetones ‘Shake Shake’ (Yes, yes, I know my copy is an 80’s repro Thank you!), Frankie Lymon’s ‘Goody Goody’ and Pat Cupp’s ‘Do Me No Wrong’ are more nostalgic tracks, from the Silver Era club in Maldon and DJ Maurice ‘Rocking Machine’ Stutely , another building that was flattened and replaced. Sonny West’s ‘RockOla Ruby’ Wreningham anthem, Jimmy Pritchett’s ‘That’s the way I Feel’ the first jive I had with June at Witham’s Jukebox club, ‘Rampage’ by The Planet Rockers ‘our’ tune from the 2004 Rockabilly Rave to date.
Aged 15, with one of 'those' cardis
The word nostalgia, can mean melancholy, or sentimental, mawkishness or soppiness. Something to avoid there then. What about clothes though, they trigger a nod of recognition. Cripes I saw someone wearing a pair of Ice Blue Jeans the other day. I was about sixteen when I fell out the a*se of the last pair I had, vaulting the railings at our local football ground. Waist band to crotch in one ripping nanosecond, irreparable. Similarly plaid jackets with faux woollen lining, especially the ones that were red and black, now on the rails at a weekender near you. How well do you recall the chukka boot, ice blue jeans, lumberjack shirt and plaid jacket combo?
Creepers and winkle picker boots, both black pairs I saw on a stall. The creepers I wore so much that they made a wheezing sound walking when they got wet. The pickers were lethal on the ice as they had no tread, a thought you might have as your left heel disappeared over your right shoulder. A knitted cardigan with wooden buttons, mention that and the nostalgia is not necessarily the 70’s Rockabilly, but Val Doonican singing ‘Walk Tall’. Or if it was a patterned cardi, Paul Michael Glazer in Starsky and Hutch. Add into the mix, a song I heard only today, that evoked memories of all us young teds at the fun fair (the arrival of which was better than any rain dance). The South African band, Clout’s 1978 hit ‘Substitute’ was the soundtrack to whizzing round the dodgems or Noah’s Ark, until they changed the LP for Rock n Roll covers on ‘Puttin’ on the Style’.
Even smells can make you feel nostalgic. Cossack hairspray versus Falcon, that knock-on-wood sound when hair was rigidly set by it, and a sodding great hole caused in the ozone layer just above the user. Worse still was, if you went out in the drizzle, it would literally set like concrete. Many of us changed to wax and grease, and in the wake of someone’s passing ‘do’, you can tell people’s favoured brands (Dax Wave and Groom if they want to send some :D ).
So, rasping creepers, strains of ‘Paddy McGinty’s Goat’, split jeans, granite quiffs and migraine inducing socks. Wistful reminiscence indeed 😊
A sight, sound, smell, a line from a song, what’s your yearning?
Creepers and winkle picker boots, both black pairs I saw on a stall. The creepers I wore so much that they made a wheezing sound walking when they got wet. The pickers were lethal on the ice as they had no tread, a thought you might have as your left heel disappeared over your right shoulder. A knitted cardigan with wooden buttons, mention that and the nostalgia is not necessarily the 70’s Rockabilly, but Val Doonican singing ‘Walk Tall’. Or if it was a patterned cardi, Paul Michael Glazer in Starsky and Hutch. Add into the mix, a song I heard only today, that evoked memories of all us young teds at the fun fair (the arrival of which was better than any rain dance). The South African band, Clout’s 1978 hit ‘Substitute’ was the soundtrack to whizzing round the dodgems or Noah’s Ark, until they changed the LP for Rock n Roll covers on ‘Puttin’ on the Style’.
Even smells can make you feel nostalgic. Cossack hairspray versus Falcon, that knock-on-wood sound when hair was rigidly set by it, and a sodding great hole caused in the ozone layer just above the user. Worse still was, if you went out in the drizzle, it would literally set like concrete. Many of us changed to wax and grease, and in the wake of someone’s passing ‘do’, you can tell people’s favoured brands (Dax Wave and Groom if they want to send some :D ).
So, rasping creepers, strains of ‘Paddy McGinty’s Goat’, split jeans, granite quiffs and migraine inducing socks. Wistful reminiscence indeed 😊
A sight, sound, smell, a line from a song, what’s your yearning?
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Dot…dot. Best tracks in the world ever ever to smash your avocado for this issue are ‘Bopland’ by Ray Collins Hot Club, The Mills Brothers’ ‘That’s Right’ and ‘Let It Roll’ by Glenn Douglas……How rocking are you? I went into a shop ahead of Shrove Tuesday, and bought a real lemon to use on my pancakes. The rest of the shop watched in awe, one said, ‘Wow, he’s really rockin’…….”Are we there yet, I need a wee, it’s not fair, are we there yet, how come he can have some and I can’t, how far is it, are we there yet, she’s doing ‘that’ again, it’s not fair, are we there yet?” Sound familiar? Well, it’s kind of like some of the comments on the Rhythm Riot page. Just wait already…… McD’s using ‘Little Bitty Pretty One’ in their adverts eh?......
Maybe we’re getting it wrong. So much has happened since I started writing the Bettajive Review. Just over ten years ago we set up this website. When I began the Bettajive Review as a ‘thing’, nearly twenty years ago, I barely knew what a website was, Dot com was short for Dorothy, least of all how to own/build/maintain one. Now it seems, in the words of Roy Walker (if you know, you know) ‘It’s good, but it’s not right’, as we get emails all the time from people, both for this website and our day-job site, saying that it’s good but it’s crap, give us a barrowload of cash and we’ll make it better.
Social media has been a real boon but it is rather a strange thing when you analyse it. Some of our friends on social media are a third of our age. Now imagine this, randomly running up to someone a third your age, shouting ‘Hi I want to be your friend, here’s a list of what I like and a photograph of my dinner’. How fast would they run away?
Promote on Insta or Tik Tok and become and influencer. Okaaaaaaay, so I had a look at how ‘they’ do it. Here’s the Bettajive Review take on it. Get a box sent to you by a business and make a jerky short film using the following formula. 1/ Show box to the camera with a pseudo-amazed ‘ooh I wasn’t expecting this’ look on your face, 2/ shake said box and feign interest and listen to what’s inside, 3/ pout lips as you undo the wrapping. Finding another box within, repeat steps 1,2 & 3. 4/ Remove contents of package with a theatrical gasp of breath of adulation, 5/ Wiggle contents of package in front of the camera to demonstrate how lucky you are 6/ Use/eat/wear/listen to said item and go ‘ooo’
Do I do that with the Bettajive Review somehow? Doubt it. A quick go, and it was more like Frankie Howerd in ‘Up Pompeii’ (for you over 45’s). But hey, if anyone wants to send stuff………. I’ll do my best ‘Ere, no, missus, OOO, titter ye not, nay nay and thrice nay, the prologue 😊
Maybe we’re getting it wrong. So much has happened since I started writing the Bettajive Review. Just over ten years ago we set up this website. When I began the Bettajive Review as a ‘thing’, nearly twenty years ago, I barely knew what a website was, Dot com was short for Dorothy, least of all how to own/build/maintain one. Now it seems, in the words of Roy Walker (if you know, you know) ‘It’s good, but it’s not right’, as we get emails all the time from people, both for this website and our day-job site, saying that it’s good but it’s crap, give us a barrowload of cash and we’ll make it better.
Social media has been a real boon but it is rather a strange thing when you analyse it. Some of our friends on social media are a third of our age. Now imagine this, randomly running up to someone a third your age, shouting ‘Hi I want to be your friend, here’s a list of what I like and a photograph of my dinner’. How fast would they run away?
Promote on Insta or Tik Tok and become and influencer. Okaaaaaaay, so I had a look at how ‘they’ do it. Here’s the Bettajive Review take on it. Get a box sent to you by a business and make a jerky short film using the following formula. 1/ Show box to the camera with a pseudo-amazed ‘ooh I wasn’t expecting this’ look on your face, 2/ shake said box and feign interest and listen to what’s inside, 3/ pout lips as you undo the wrapping. Finding another box within, repeat steps 1,2 & 3. 4/ Remove contents of package with a theatrical gasp of breath of adulation, 5/ Wiggle contents of package in front of the camera to demonstrate how lucky you are 6/ Use/eat/wear/listen to said item and go ‘ooo’
Do I do that with the Bettajive Review somehow? Doubt it. A quick go, and it was more like Frankie Howerd in ‘Up Pompeii’ (for you over 45’s). But hey, if anyone wants to send stuff………. I’ll do my best ‘Ere, no, missus, OOO, titter ye not, nay nay and thrice nay, the prologue 😊
Ed Stephenson of the Revolutionaires
24 Revs up. It was a while before a decent event came up on our calendar in early 2024. To start with a bang, we chose the Revolutionaires at Gainsborough’s Blues Club (so named after the primary colour of the football team’s strip as opposed to the music genre). Dick Lindsay put the event on and took DJ duties as well, with proceeds going to the Safe Harbour charity. Over a hundred peeps showed up for the event, digging the sounds from the decks while the Revolutionaires set up on the stage.
Brothers Ed and Rich Stephenson have been ever present in the band, Ed taking vocals,
lead guitar, keyboards, harmonica and physical gyration duties, and Rich on bass guitar. They were joined by drummer John Lambert and guesting on sax, Alex Bland. It’s always an energetic and enthusiastic show when the Revs are on stage, as they announced themselves with Chuck Berry’s ‘Roll Over Beethoven’ and Carl Perkins’ ‘Matchbox’. Dancers loved the resonance of ‘Flip Flop and Fly’, and the super-cool instrumental ‘Last Night’ recorded originally by the Mar-Keys (betcha think of ‘Bottom’ when you hear it!).
A fan favourite got the boppers out, the band’s reworking of the Robins’ ‘Riot in Cell Block Number Nine’ into a blues bopper is always a delight. Alex came to the fore with the Champs’ ‘Tequila’ before the first set concluded to the strains of ‘Keep a Knockin’.
The second set jumped into life with Moon Mullican’s ‘Seven Nights to Rock’, picking up the baton from the first set. Tommy Tucker’s 1964 smash ‘Hi-Heel Sneakers’ got the Revolutionaires treatment, as did the extended version of ‘Shake Rattle and Roll’. There’s always room for Ed’s harmonica-soaked blues track, a foot stomping wonderment, that’s a mainstay of their shows. Kudos also once again for Alex Bland, as he took on Dick Dale’s ‘Miserlou’ with Ed complementing on guitar, recounting the surf classic.
There was no relenting toward the end of the set as another mainstay hit the crowd. Slim Harpo’s ‘Shake Your Hips’, was released in 1966, and has been more influential than it’s chart position would suggest, having limped in at #116 on one chart. It’s a track that has sold well over the ensuing years I’d suggest. The Revs bring their own style to it, to great effect. Topping everything off, a kicker from the Joe Turner catalogue ‘Jump For Joy’ and I think I can speak for the crowd, we certainly did.
Gallery images below, click on them for full pic
Brothers Ed and Rich Stephenson have been ever present in the band, Ed taking vocals,
lead guitar, keyboards, harmonica and physical gyration duties, and Rich on bass guitar. They were joined by drummer John Lambert and guesting on sax, Alex Bland. It’s always an energetic and enthusiastic show when the Revs are on stage, as they announced themselves with Chuck Berry’s ‘Roll Over Beethoven’ and Carl Perkins’ ‘Matchbox’. Dancers loved the resonance of ‘Flip Flop and Fly’, and the super-cool instrumental ‘Last Night’ recorded originally by the Mar-Keys (betcha think of ‘Bottom’ when you hear it!).
A fan favourite got the boppers out, the band’s reworking of the Robins’ ‘Riot in Cell Block Number Nine’ into a blues bopper is always a delight. Alex came to the fore with the Champs’ ‘Tequila’ before the first set concluded to the strains of ‘Keep a Knockin’.
The second set jumped into life with Moon Mullican’s ‘Seven Nights to Rock’, picking up the baton from the first set. Tommy Tucker’s 1964 smash ‘Hi-Heel Sneakers’ got the Revolutionaires treatment, as did the extended version of ‘Shake Rattle and Roll’. There’s always room for Ed’s harmonica-soaked blues track, a foot stomping wonderment, that’s a mainstay of their shows. Kudos also once again for Alex Bland, as he took on Dick Dale’s ‘Miserlou’ with Ed complementing on guitar, recounting the surf classic.
There was no relenting toward the end of the set as another mainstay hit the crowd. Slim Harpo’s ‘Shake Your Hips’, was released in 1966, and has been more influential than it’s chart position would suggest, having limped in at #116 on one chart. It’s a track that has sold well over the ensuing years I’d suggest. The Revs bring their own style to it, to great effect. Topping everything off, a kicker from the Joe Turner catalogue ‘Jump For Joy’ and I think I can speak for the crowd, we certainly did.
Gallery images below, click on them for full pic
Lobo Jones and the Rhythm Hounds
Derbys and Jones. The first gig of 2024 at Chesterfield Rock n Roll Club featured a band that have been on the club’s radar for a while. Having to move halls, dates and a worldwide pandemic had all stood in the way of the Derbyshire club presenting Lobo Jones and the Rhythm Hounds. But here they were at last, Elliot ‘Lobo’ Jones on vocals and rhythm guitar, ace lead guitarist Morgan Willis, drummer Zack Godden and keeping it real on bass, Mark Howells.
The dependable duo of Andy B and Steve O, mixed up the flavours on the decks, as a decent headcount of locals and not-so-locals showed up for the gig. Thinking about it, this was the first time we had seen the band in a club environment, having caught a number of shows at weekenders over recent years.
The opener was a real blast, the frantic and intense sound of Ronnie Self’s Bop-a-Lena’, which set up Bob Luman’s ‘This is the Night’ and Bobby Lee Trammell’s ‘Shirley Lee’. A trio of Rockabilly classics that pretty much sums up the band’s style. But of course, read on.
Easing off the gas slightly, ‘Big Fool’ and ‘When It Rains, It Pours’ were a treat, as was the newest of new songs (think they were premiering it that night) called ‘Monkey Off My Back’. Hope that this hits the wax soon, as it’s a top-drawer Rockabilly number, with a super beat and authentic cadence.
A well-received first set was followed by an equally consummate performance in the second set. They tore into Larry Donn’s ‘Honey Bun’ and Roy Orbison’s ‘You’re My Baby’ was sandwiched by two corking originals from their 2022 LP, ‘I’m Mad’ and the title track ‘Howlin’. Another original, the delightful jaunt ‘If You Ain’t Gonna Rock It’ slotted in nicely and ‘Wind Up Baby’ is a true toe tapper. ‘Little Twister’ which finished the show and ‘The Creature’ also from the album, have the authenticity and freshness, that favourably rub shoulders with originals, the likes of ‘Hip Shakin’ Mama’ for example. Top show, worth the wait for the Chezzy crowd.
The dependable duo of Andy B and Steve O, mixed up the flavours on the decks, as a decent headcount of locals and not-so-locals showed up for the gig. Thinking about it, this was the first time we had seen the band in a club environment, having caught a number of shows at weekenders over recent years.
The opener was a real blast, the frantic and intense sound of Ronnie Self’s Bop-a-Lena’, which set up Bob Luman’s ‘This is the Night’ and Bobby Lee Trammell’s ‘Shirley Lee’. A trio of Rockabilly classics that pretty much sums up the band’s style. But of course, read on.
Easing off the gas slightly, ‘Big Fool’ and ‘When It Rains, It Pours’ were a treat, as was the newest of new songs (think they were premiering it that night) called ‘Monkey Off My Back’. Hope that this hits the wax soon, as it’s a top-drawer Rockabilly number, with a super beat and authentic cadence.
A well-received first set was followed by an equally consummate performance in the second set. They tore into Larry Donn’s ‘Honey Bun’ and Roy Orbison’s ‘You’re My Baby’ was sandwiched by two corking originals from their 2022 LP, ‘I’m Mad’ and the title track ‘Howlin’. Another original, the delightful jaunt ‘If You Ain’t Gonna Rock It’ slotted in nicely and ‘Wind Up Baby’ is a true toe tapper. ‘Little Twister’ which finished the show and ‘The Creature’ also from the album, have the authenticity and freshness, that favourably rub shoulders with originals, the likes of ‘Hip Shakin’ Mama’ for example. Top show, worth the wait for the Chezzy crowd.
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Next up, debuting at Chesterfield, Slick as a Chicken. Click the flyer for details
Jack and the Real Deals
Jump Leeds. A new club for us to visit next, with Jack and the Real Deals playing at The New Leeds Rock n Roll Club, with Steve Hicky on sounds. The Spinning Wheel, was the venue, handily, and thankfully, just of the M621 (a completely new motorway to us as well, we never knew they went up that high numerically). A 7pm door was advertised, and arriving around that time, it was clear to us that this was going to be a well-attended event.
The band are well established on the Rock n Roll circuit, featuring Jon-Jack Boxwell on lead vocals, rhythm guitar and occasional maracas, his ‘twin’ Simon ‘Sid’ Farley on lead guitar and backing vocals, Dave Kopke slapping the bass and drummer Andy Turner. The first of their two sets kicked off with the Collins Kids’ ‘Whistle Bait’ and a super take of Sonny Deckelman’s ‘I Got Love’, perfectly suited to Jack’s vocal delivery.
There are tracks that are simply timeless, the ones many of us heard in the 70’s and 80’s that sound as inspiring today. Warren Smith’s ‘Uranium Rock’ is one such tune, expertly presented here, as was the hip swinging ‘Lonesome Tears in my Eyes’, and a barn-burner version of another Burnette track ‘Warm Love’. The strollers were out for ‘Spark Plug’, ‘Morse Code’, Benny Barnes’ ‘You’re Gonna Pay’ and Tommy Sands’ ‘Worrying Kind’. Really good to hear a brace of their own tunes as well ‘Chain Gang Blues’ and ‘Everybody Move Around’, with Buddy’s ‘Down the Line’ ending a smashing first set.
Eddie Cash’s ‘Doing Alright’ opened up the second set, and there were some ace harmony vocals in Jimmy Lee and Wayne Walker’s rousing rocker ‘Love Me’. The Crickets’ super-cool ‘Love Made a Fool of You’, and the ever present in a Real Deals set ‘Chains of Love’ (Gene Summers) made welcome appearances, and ‘Sweet Sweet Girl’ was top drawer. Two more of the original tracks ‘Moth to a Flame’ and ‘Jokers Wild’ featured with ‘Rock n Roll Guitar’ ending the set. They were never going to get off that easily, and the crowd demanded a double encore, of Jay Swan’s ‘You Don’t Love Me’ and a kick a*se crescendo of ‘Stutterin’ Cindy’. Looks like a go-to venue upcoming at the Spinning Wheel for some top rockin’ in Yorkshire.
Gallery images, click on them for full sized pic
The band are well established on the Rock n Roll circuit, featuring Jon-Jack Boxwell on lead vocals, rhythm guitar and occasional maracas, his ‘twin’ Simon ‘Sid’ Farley on lead guitar and backing vocals, Dave Kopke slapping the bass and drummer Andy Turner. The first of their two sets kicked off with the Collins Kids’ ‘Whistle Bait’ and a super take of Sonny Deckelman’s ‘I Got Love’, perfectly suited to Jack’s vocal delivery.
There are tracks that are simply timeless, the ones many of us heard in the 70’s and 80’s that sound as inspiring today. Warren Smith’s ‘Uranium Rock’ is one such tune, expertly presented here, as was the hip swinging ‘Lonesome Tears in my Eyes’, and a barn-burner version of another Burnette track ‘Warm Love’. The strollers were out for ‘Spark Plug’, ‘Morse Code’, Benny Barnes’ ‘You’re Gonna Pay’ and Tommy Sands’ ‘Worrying Kind’. Really good to hear a brace of their own tunes as well ‘Chain Gang Blues’ and ‘Everybody Move Around’, with Buddy’s ‘Down the Line’ ending a smashing first set.
Eddie Cash’s ‘Doing Alright’ opened up the second set, and there were some ace harmony vocals in Jimmy Lee and Wayne Walker’s rousing rocker ‘Love Me’. The Crickets’ super-cool ‘Love Made a Fool of You’, and the ever present in a Real Deals set ‘Chains of Love’ (Gene Summers) made welcome appearances, and ‘Sweet Sweet Girl’ was top drawer. Two more of the original tracks ‘Moth to a Flame’ and ‘Jokers Wild’ featured with ‘Rock n Roll Guitar’ ending the set. They were never going to get off that easily, and the crowd demanded a double encore, of Jay Swan’s ‘You Don’t Love Me’ and a kick a*se crescendo of ‘Stutterin’ Cindy’. Looks like a go-to venue upcoming at the Spinning Wheel for some top rockin’ in Yorkshire.
Gallery images, click on them for full sized pic
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Great value weekender in Lincolnshire
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rockabilly blowout #10
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Ten ten. Do you recall your CB radio codes? 10-10 til we do it again? Well, there was a finality about the 10th Rockabilly Blowout, as Kev Robson took the decision to bow out and close the brand. Ten years and at the conclusion of this event, which was an all dayer, returning to the original format, the twenty-thousand-pound mark was passed. That’s how much had been raised for Asthma UK charity in the name of James Robson.
This event had seen Polly and Greg Escrader take over the organisation of the line up and, well, pretty much everything else it seemed. Five bands, a selection of some top DJs made up the day’s entertainment, which opened at noon and DJ Fifties Tash. Classic sounds from the decks early doors, along with the Flat Top Brothers (Dave and Mark Philips). And a tip of the hat to Rory Alderson, ‘doing’ the sound for the event. Strange to call him a veteran, we knew him when he was in short trousers, oh hang on, he still is! But with so many festivals and weekenders on our circuit already under his belt, I guess a veteran is what he is. And with that experience, comes tailor-made levels to suit every act and bring out the best in them. That set up the first band to take the stage
This event had seen Polly and Greg Escrader take over the organisation of the line up and, well, pretty much everything else it seemed. Five bands, a selection of some top DJs made up the day’s entertainment, which opened at noon and DJ Fifties Tash. Classic sounds from the decks early doors, along with the Flat Top Brothers (Dave and Mark Philips). And a tip of the hat to Rory Alderson, ‘doing’ the sound for the event. Strange to call him a veteran, we knew him when he was in short trousers, oh hang on, he still is! But with so many festivals and weekenders on our circuit already under his belt, I guess a veteran is what he is. And with that experience, comes tailor-made levels to suit every act and bring out the best in them. That set up the first band to take the stage
The Wolf Notes
The Wolf Notes were up first, and before I face another social media ducking stool, that’s what the Wolftones are now called. Dave ‘Flat-Top’ Phillips brought them onto the stage to a loud welcome as they launched into ‘Three O’Clock Baby’. Their sound has a raw rocking blues that meets neo-Rockabilly, and it’s the phattest sound for sure. The band are Jay Bircumshaw on lead vocals and rhythm guitar, Shaun Sullivan on lead guitar, drummer Sherman Dakota and bassist Graham ‘Grez’ Sanders, with the harmonica wailing courtesy of Tex Warner.
Tracks like the Sonics’ ‘Shot Down’ fitted in perfectly with their own material, of which there was plenty, ‘Dropped’ and ‘Cheatin’ Man’ being fine examples early doors. A massive thumbs-up for Shaun Sullivan, leading the charge on Link Wray’s ball-busting instrumental from 1965, ‘Ace of Spades’. Just a perfect rendition, complete with twisting the tuning-knob of the E-string, for the full Linkster effect.
The most recent CD release on Western Star Records, is ten years old now for heaven’s sake. Their songs from that album and the preceding one, were sounding as fresh today. ‘Hot Rod Car’ and ‘Shake It Baby’ closed the show before some well-deserved extras in the shape of ‘I’m a Dead Man Walking’ and ‘No Matter What I Do’. And it’s only 3pm!
Tracks like the Sonics’ ‘Shot Down’ fitted in perfectly with their own material, of which there was plenty, ‘Dropped’ and ‘Cheatin’ Man’ being fine examples early doors. A massive thumbs-up for Shaun Sullivan, leading the charge on Link Wray’s ball-busting instrumental from 1965, ‘Ace of Spades’. Just a perfect rendition, complete with twisting the tuning-knob of the E-string, for the full Linkster effect.
The most recent CD release on Western Star Records, is ten years old now for heaven’s sake. Their songs from that album and the preceding one, were sounding as fresh today. ‘Hot Rod Car’ and ‘Shake It Baby’ closed the show before some well-deserved extras in the shape of ‘I’m a Dead Man Walking’ and ‘No Matter What I Do’. And it’s only 3pm!
Fat and Rockin'
The second band had not only to deal with a name change, but personnel shake up too. Fat and Furious, were a four-piece fronted by Dave ‘Porky’ Coates. With two band members leaving a few weeks before the Blowout, Porky brought in his brother Johnny on drums, while Tim Read remained on bass. James brought a new dimension on keyboards while Harry Chappell took up lead guitar duties. I think they went out as Fat and Rockin’, but what’s in a name, when you’ve got a bunch of performers like these guys.
It is somewhat unusual to see Porky without his rhythm guitar, however his musical input in addition to lead vocals, was a selection of harmonicas. The set they presented was wide-ranging and varied, as the first few tracks illustrated. ‘Good Rocking Tonight’ fired the starting pistol, followed by Red Hot & Blue’s ‘Sure Like the Look in Your Eyes’ and a top drawer take of Howlin’ Wolf’s ‘You’ll Be Mine’.
Indeed, we must flag up another of the ‘Wolf’s tracks, that got similar reverence in the set, the haunting ‘Smokestack Lightning’, spot on. That was immediately offset by a swing in styles to Hayden Thompson’s ‘Fairlane Rock’ and the tear-up of Gene Summers’ ‘School of Rock n Roll’.
Going way back, to Robert Johnson and the 1936 blues standard ‘Sweet Home Chicago’, through Jackie Brenson’s ‘Rocket 88’ and Johnny Cash’s ‘Folsom Prison Blues’, further demonstrated the bands versatility, in a well-received and memorable set. Kudos to all involved in getting a top show together at short notice.
It is somewhat unusual to see Porky without his rhythm guitar, however his musical input in addition to lead vocals, was a selection of harmonicas. The set they presented was wide-ranging and varied, as the first few tracks illustrated. ‘Good Rocking Tonight’ fired the starting pistol, followed by Red Hot & Blue’s ‘Sure Like the Look in Your Eyes’ and a top drawer take of Howlin’ Wolf’s ‘You’ll Be Mine’.
Indeed, we must flag up another of the ‘Wolf’s tracks, that got similar reverence in the set, the haunting ‘Smokestack Lightning’, spot on. That was immediately offset by a swing in styles to Hayden Thompson’s ‘Fairlane Rock’ and the tear-up of Gene Summers’ ‘School of Rock n Roll’.
Going way back, to Robert Johnson and the 1936 blues standard ‘Sweet Home Chicago’, through Jackie Brenson’s ‘Rocket 88’ and Johnny Cash’s ‘Folsom Prison Blues’, further demonstrated the bands versatility, in a well-received and memorable set. Kudos to all involved in getting a top show together at short notice.
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Blowout dot…dot. Best tracks in the world ever ever to out your blow for the final time were ‘Twenty One’ by Tommy Danton, The Ventures ‘2000lb Bee (Part 2) and Big Al Downing’s ‘Yes I’m Loving You’………A massive thumbs up to the DJs over the day, deep breath for a name-check for Be Bop Kaz, The Flat Top Brothers, Fifties Tash, Little Carl, Brummie Si and Andy Roadoiler……….I’ve often wondered what a dirty burger was. Those from the food truck outside were lush, especially the filling all over my hands. So that’s why……Those conveyor toasters in the hotel, they are a bit like Clint Eastwood aren’t they? You pass your bread through once and it comes out a bit blonde. Do you put it through again? Well, do ya? Make my day, punk. OK who played toast roulette and filled the restaurant with black smoke?.....
Alan Power and the Aftershocks
Shockwaves. A band making a lot of waves on the Rock n Roll music circuit lately are Alan Power and the Aftershocks, a truly gifted four-piece from Ireland. Alan himself is a towering presence on stage with his rhythm guitar, and just the right air of aptitude and flair, to deliver a fine show. There has been a number of comparisons with Alan Power and Elvis Presley’s style, although let’s put that to bed to start with. Sure, there’s Elvis material in the show, a case in point being ‘Baby Let’s Play House’, that opened the show, but this is no tribute act.
Some really wide-ranging tunes made up this peach of a set, which swung from Sister Rosetta Tharpe’s ‘This Train’, through to the audience being immersed in Cab Calloway’s call and answer, scat lyrics of ‘Minnie the Moocher’. Some skiffle? Why not? How about Chas McDevitt’s ‘Freight Train’ then? (rhetorical question). Jim Law’s (Shields) guitar work complemented Alan’s vocals perfectly throughout with Liam Ascot on drums and Cian Dalton on bass keeping it real in the rhythm section.
The one instrumental track the lads included, was a tip top rendition of The Atmospheres’ ‘The Fickle Chicken’ which fitted well amongst the gospel sounding ‘Down By The Riverside’ and out and out Rockabilly vibe of ‘If I Had Me a Woman’ and ‘Tear it Up’. One of the encore songs, ‘Dirty Old Town’, I’ve always associated with Irish singers, two of the most prominent being the Dubliners in ’68 and the Pogues in ’85, even though it was written about Salford (Greater Manchester). That aside, Alan Power added his vocal style to the lyrical discontent of the song. Smashing set once again
Some really wide-ranging tunes made up this peach of a set, which swung from Sister Rosetta Tharpe’s ‘This Train’, through to the audience being immersed in Cab Calloway’s call and answer, scat lyrics of ‘Minnie the Moocher’. Some skiffle? Why not? How about Chas McDevitt’s ‘Freight Train’ then? (rhetorical question). Jim Law’s (Shields) guitar work complemented Alan’s vocals perfectly throughout with Liam Ascot on drums and Cian Dalton on bass keeping it real in the rhythm section.
The one instrumental track the lads included, was a tip top rendition of The Atmospheres’ ‘The Fickle Chicken’ which fitted well amongst the gospel sounding ‘Down By The Riverside’ and out and out Rockabilly vibe of ‘If I Had Me a Woman’ and ‘Tear it Up’. One of the encore songs, ‘Dirty Old Town’, I’ve always associated with Irish singers, two of the most prominent being the Dubliners in ’68 and the Pogues in ’85, even though it was written about Salford (Greater Manchester). That aside, Alan Power added his vocal style to the lyrical discontent of the song. Smashing set once again
Shaun Horton
Hort stuff. And the treats kept coming, with Shaun Horton and the Tennessee Trio taking the stage next. Initially, I’d suggest, an all too rare appearance for the band, however it was to be one of two in as many weeks for us (see next issue as well).
Shaun takes vocals and rhythm guitar, with Shaun Hoolan string picking on lead guitar, Andy Sykes on upright bass and drummer Paul O’Donnell. They produce a sublime mix of classically sounding authentic Rockabilly. Shaun’s vocal delivery has nuances of Hank Williams, Johnny Horton and Hoyt Johnson, complemented perfectly by the tight sound of the band.
With Sonny West’s ‘Rockola Ruby’ opening the show, it was a track by one of the artists mentioned earlier, Hoyt Johnson, ‘Enie Meanie Minie Mo’, that stirred the soul along with a spot on take of Pat Cupp’s ‘Do Me No Wrong’ and Lloyd McCullogh’s ’56 Republic cut ‘Gonna Love My Baby’. Excellent guitar work on both augmenting the vocals. The tumbling slap bass beat of Bob Doss’ Starday debut, opened up the rolling gem ‘Don’t Be Gone Long’.
A bit of Johnny Horton perhaps? Yeah, why not, and the joy that is ‘Tell My Baby I Love Her’ which set up a track with almost obverse lyrics, Bill Bowen’s ‘Don’t Shoot Me Baby’, and another Singing Fisherman song ‘I Don’t Like I Did Before’. The crowd loved it as song after song vied for their attention. ‘Dear John’ and ‘That Ain’t Nothing But Right’ whipped the set up to a conclusion, with the pacy and punchy ‘Jello Sal’ polishing it all off. A masterclass in how genuine Rockabilly sounds.
Shaun takes vocals and rhythm guitar, with Shaun Hoolan string picking on lead guitar, Andy Sykes on upright bass and drummer Paul O’Donnell. They produce a sublime mix of classically sounding authentic Rockabilly. Shaun’s vocal delivery has nuances of Hank Williams, Johnny Horton and Hoyt Johnson, complemented perfectly by the tight sound of the band.
With Sonny West’s ‘Rockola Ruby’ opening the show, it was a track by one of the artists mentioned earlier, Hoyt Johnson, ‘Enie Meanie Minie Mo’, that stirred the soul along with a spot on take of Pat Cupp’s ‘Do Me No Wrong’ and Lloyd McCullogh’s ’56 Republic cut ‘Gonna Love My Baby’. Excellent guitar work on both augmenting the vocals. The tumbling slap bass beat of Bob Doss’ Starday debut, opened up the rolling gem ‘Don’t Be Gone Long’.
A bit of Johnny Horton perhaps? Yeah, why not, and the joy that is ‘Tell My Baby I Love Her’ which set up a track with almost obverse lyrics, Bill Bowen’s ‘Don’t Shoot Me Baby’, and another Singing Fisherman song ‘I Don’t Like I Did Before’. The crowd loved it as song after song vied for their attention. ‘Dear John’ and ‘That Ain’t Nothing But Right’ whipped the set up to a conclusion, with the pacy and punchy ‘Jello Sal’ polishing it all off. A masterclass in how genuine Rockabilly sounds.
$lim $lip and the $liders
$lippin’ in. To conclude the event, a real treat, the return of $lim $lip and the $liders, hereinafter $$$ cos this typist is too lazy-a*sed. The dream team of Greg Escrader on lead vocals and rhythm guitar, Andy Wren on lead guitar, Darren Richards slapping the upright bass and drummer Gary Griffin. The set exploded into life with a kickin’ take of ‘Slippin’ In’, with Andy Wren’s composition ‘Feeling So Blue’ hot on the heels. Tearing into Chuck Dallis’ ‘Good Show but No Go’, the lads offset that frantic tempo with the super stroll sound of ‘Cheat on Me Baby’.
‘Something On You’ and ‘Crying Over You’ originals by Greg and Andy respectively, sandwiched a barn-burning version of Link Wray’s tribute to poultry ‘Run, Chicken, Run’. Ratcheting up the pace again, we had ‘Bop-a-Lena’ and the Jades’ ‘Blue Black Hair’, with the growling tempo of Gary Griffin’s ‘You Can’t Fool Me’. The rarely covered ‘Two Timer’, originally by Jimmy Gray in 1960 got the $$$ rework and the ballsy original ‘Pay the Price’ was rowdily cheered.
The mean and moody delivery of Bill Allen and the Backbeats’ ‘Please Give Me Something’ lent itself ideally to Greg’s vocal presentation, before another zingy rocker ‘Keep Me Satisfied’ (written by Andy) and another kicker, ‘My Baby Don’t Want Me No More’ to end the set. Get ‘em back, we haven’t heard enough, said the crowd, or syllables to that effect. They obliged with ‘Go Wild’, the title track Greg wrote for the CD of that name, and the equally desperate ‘Love Me’, by the Phantom.
We all gravitated into the record room to finish the day off, recollecting a smashing event.
‘Something On You’ and ‘Crying Over You’ originals by Greg and Andy respectively, sandwiched a barn-burning version of Link Wray’s tribute to poultry ‘Run, Chicken, Run’. Ratcheting up the pace again, we had ‘Bop-a-Lena’ and the Jades’ ‘Blue Black Hair’, with the growling tempo of Gary Griffin’s ‘You Can’t Fool Me’. The rarely covered ‘Two Timer’, originally by Jimmy Gray in 1960 got the $$$ rework and the ballsy original ‘Pay the Price’ was rowdily cheered.
The mean and moody delivery of Bill Allen and the Backbeats’ ‘Please Give Me Something’ lent itself ideally to Greg’s vocal presentation, before another zingy rocker ‘Keep Me Satisfied’ (written by Andy) and another kicker, ‘My Baby Don’t Want Me No More’ to end the set. Get ‘em back, we haven’t heard enough, said the crowd, or syllables to that effect. They obliged with ‘Go Wild’, the title track Greg wrote for the CD of that name, and the equally desperate ‘Love Me’, by the Phantom.
We all gravitated into the record room to finish the day off, recollecting a smashing event.
We leave the final words, below to Polly.
The Rockabilly Blowout event has now been here for an unbelievable 10 years and throughout this time, it has brought much fun, laughter and happiness to so many people.
The Rockabilly Blowout is only here due to one of the worst reasons possible, and this is because 13-year-old James Robson had a fatal Asthma attack and passed away in 2014.
When James passed away, his father Kevin Robson was given so much support from the Rockabilly scene, that he decided to put on an event in his son's memory and to raise vital funds for Asthma & Lung UK. This is the only reason why this event exists.
2024 marks the 10th year since James left this world, and The Rockabilly Blowout Team feel this is a good time to pause and reflect on the future and what this holds.
We have had many offers of taking over/buying The Rockabilly Blowout, but I must make it 100% clear that The Rockabilly Blowout is not for sale and this is not up for Negotiation.
I myself, feel honoured and privileged to have been involved in this event over the years, and then this year, to be trusted enough to take on the responsibility of planning and executing The Rockabilly Blowout with James' twin brother Harry Robson.
As this year is the 10th anniversary of James' passing, Harry is bravely running the 2024 London Marathon on 21st April for Asthma & Lung UK in memory of his brother. If you wish to support Harry, you can do this via his Just Giving Page https://justgiving.com/fundraising/runforjamesr
Polly Escrader
The Rockabilly Blowout event has now been here for an unbelievable 10 years and throughout this time, it has brought much fun, laughter and happiness to so many people.
The Rockabilly Blowout is only here due to one of the worst reasons possible, and this is because 13-year-old James Robson had a fatal Asthma attack and passed away in 2014.
When James passed away, his father Kevin Robson was given so much support from the Rockabilly scene, that he decided to put on an event in his son's memory and to raise vital funds for Asthma & Lung UK. This is the only reason why this event exists.
2024 marks the 10th year since James left this world, and The Rockabilly Blowout Team feel this is a good time to pause and reflect on the future and what this holds.
We have had many offers of taking over/buying The Rockabilly Blowout, but I must make it 100% clear that The Rockabilly Blowout is not for sale and this is not up for Negotiation.
I myself, feel honoured and privileged to have been involved in this event over the years, and then this year, to be trusted enough to take on the responsibility of planning and executing The Rockabilly Blowout with James' twin brother Harry Robson.
As this year is the 10th anniversary of James' passing, Harry is bravely running the 2024 London Marathon on 21st April for Asthma & Lung UK in memory of his brother. If you wish to support Harry, you can do this via his Just Giving Page https://justgiving.com/fundraising/runforjamesr
Polly Escrader
New in Newark
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First class line up for Hemsby 69
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interview with ray gelato
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For many years now, Ray Gelato has been bringing his style of jazz, swing, rhythm & blues, jump jive and Rock ‘n’ Roll to audiences in the UK and worldwide. Following us catching a couple of shows in 2023, at Hot Rock ‘n’ Boogie and Hemsby 67, we thought that an interview was a must for such a prominent and talented musician. (photos supplied by Ray Gelato for use in this article)
BJR. We’ll start by asking a question we ask all our interviewees. Where did your love for 1940’s and 50’s music begin?
RG It began with my dad who was a US airman . He got stationed over here in the 50’s . Dad had a great rock n Roll record collection including albums by Bill Haley , Chuck Berry etc . My interest in 40’s swing stuff came later when I started going to Rockin clubs in the 70’s . Some of the DJ’s were playing Louis Jordan and Big Joe Turner , which was really pushing the boat out at that time .
BJR. Which artists were your initial favourites and did they influence you to become a musician?
RG Well id have to say that my first influence was Bill Haley who my dad had seen in the US during the mid 50’s . I loved the sound of that band . They had a great drive and the sax player was a guy called Rudy Pompilli . He was my first hero on the sax . Haley guitar player , Franny Beecher , played with Benny Goodman !
I was also fortunate to have seen Haley live and I guess that really inspired me to want to play music . It was such an exciting show . This was in 1979 and Bill could still do it .
The other was Louis Jordan who’s music I’d heard around the Rockin clubs . Then I would say Louis Prima , but I became aware of him later on .
BJR. What came first, Ray the singer or Ray the instrumentalist?
RG I started as a sax player , first influenced by Rudy Pompilli who was with Bill Haley . I used to practice along to my dad’s records . I started to get into all the sax players on the Rock and Roll records and R&B recordings . Guys like Red Prysock , Sam The Man Taylor and Lee Allen . I later found out that these guys were all jazz players so learning their stuff and copying their sounds gave me a good grounding in music .
The singing came later when I was with the Chevalier Bros . I sang totally by accident and was kind of pushed to the mike by the bands guitar player on a gig !! I’ve been doing it ever since but I never set out to be a vocalist at all and did it out of necessity .
BJR. You are known for playing the saxophone in your band. Was that your first instrument of choice of did you have another in mind?
RG No , I only ever wanted to play the tenor sax .
BJR. Who were/are your musical influences, past or present?
RG Well there are too many to mention but here’s a few : Bill Haley , little Richard , Fats Domino , Wynonie Harris , Lionel Hampton , Louis Prima , Sam Butera , Louis Jordan , Sinatra , Bobby Darin , Tony Bennett .
On sax , Illinois Jacquet , Arnett Cobb , Lester Young , Coleman Hawkins .. all of the jazz greats basically .
I love the rockin guys like Sam the Man Taylor , Rudy Pompilli , Lee Allen , Herb Hardesty etc .
Once I start naming I always leave somebody out as there are really too many to list !
Present day , I’d have to say I get influenced by the great musicians that I work with every night . They inspire me or by great bands that I hear on festivals . One that knocked me out was a Western Swing band from Italy called Lovesick who I saw in December .
BJR. Do you recall your first live performance? Dare we ask how old you were…..
RG Yeah , it was with a Rockin band called Rebound and the song was Rock with The Caveman by Tommy Steele !!! I guess I was 18 or 19 at the time . I was SO nervous !
BJR. And your first band what were they called?
RG The first band that actually hired me was a long established Rock and Roll band called the Dynamite Band . I gained a lot of experience with that band and we played all the Rockin clubs and festivals like Caister etc . They started to move into more swing based material and that was good too . A great bunch of guys who believed in me as I had no experience at that time and was just a learner .
BJR. Were you caught up with the Rock n Roll revival of the 70’s and early 80’s? So many subcultures around at that time, such a varied and diverse music scene drawing from all sorts of genres. Were you influenced by that time?
RG Oh yes! I was a little Teddy Boy in 1976 then became more of a rockabilly later on .
The scene really was incredible with so many Rockin clubs and live venues featuring live bands . At that time there was music everywhere in London and being part of it made me what I am today . I don’t think I would be playing music if I hadn’t have been part of that scene .
I’d sit in with rocking bands , R&B bands , swing bands . Anybody that would let me play !
There were indeed many sub cultures like skinheads and mods . There were fights breaking out all over the place !! London in the 70’s was quite violent .
However , that scene gave kids something to do and create an identity with the clothes and the music .
It’s sad now that that youth culture scene is dead and kids dress the same and listen to the same , lame music with banal and sexualised lyrics .
I don’t want to sound like an old fart but I really did see the best of it and I’m glad that I was part of that exciting time .
BJR. We’ll start by asking a question we ask all our interviewees. Where did your love for 1940’s and 50’s music begin?
RG It began with my dad who was a US airman . He got stationed over here in the 50’s . Dad had a great rock n Roll record collection including albums by Bill Haley , Chuck Berry etc . My interest in 40’s swing stuff came later when I started going to Rockin clubs in the 70’s . Some of the DJ’s were playing Louis Jordan and Big Joe Turner , which was really pushing the boat out at that time .
BJR. Which artists were your initial favourites and did they influence you to become a musician?
RG Well id have to say that my first influence was Bill Haley who my dad had seen in the US during the mid 50’s . I loved the sound of that band . They had a great drive and the sax player was a guy called Rudy Pompilli . He was my first hero on the sax . Haley guitar player , Franny Beecher , played with Benny Goodman !
I was also fortunate to have seen Haley live and I guess that really inspired me to want to play music . It was such an exciting show . This was in 1979 and Bill could still do it .
The other was Louis Jordan who’s music I’d heard around the Rockin clubs . Then I would say Louis Prima , but I became aware of him later on .
BJR. What came first, Ray the singer or Ray the instrumentalist?
RG I started as a sax player , first influenced by Rudy Pompilli who was with Bill Haley . I used to practice along to my dad’s records . I started to get into all the sax players on the Rock and Roll records and R&B recordings . Guys like Red Prysock , Sam The Man Taylor and Lee Allen . I later found out that these guys were all jazz players so learning their stuff and copying their sounds gave me a good grounding in music .
The singing came later when I was with the Chevalier Bros . I sang totally by accident and was kind of pushed to the mike by the bands guitar player on a gig !! I’ve been doing it ever since but I never set out to be a vocalist at all and did it out of necessity .
BJR. You are known for playing the saxophone in your band. Was that your first instrument of choice of did you have another in mind?
RG No , I only ever wanted to play the tenor sax .
BJR. Who were/are your musical influences, past or present?
RG Well there are too many to mention but here’s a few : Bill Haley , little Richard , Fats Domino , Wynonie Harris , Lionel Hampton , Louis Prima , Sam Butera , Louis Jordan , Sinatra , Bobby Darin , Tony Bennett .
On sax , Illinois Jacquet , Arnett Cobb , Lester Young , Coleman Hawkins .. all of the jazz greats basically .
I love the rockin guys like Sam the Man Taylor , Rudy Pompilli , Lee Allen , Herb Hardesty etc .
Once I start naming I always leave somebody out as there are really too many to list !
Present day , I’d have to say I get influenced by the great musicians that I work with every night . They inspire me or by great bands that I hear on festivals . One that knocked me out was a Western Swing band from Italy called Lovesick who I saw in December .
BJR. Do you recall your first live performance? Dare we ask how old you were…..
RG Yeah , it was with a Rockin band called Rebound and the song was Rock with The Caveman by Tommy Steele !!! I guess I was 18 or 19 at the time . I was SO nervous !
BJR. And your first band what were they called?
RG The first band that actually hired me was a long established Rock and Roll band called the Dynamite Band . I gained a lot of experience with that band and we played all the Rockin clubs and festivals like Caister etc . They started to move into more swing based material and that was good too . A great bunch of guys who believed in me as I had no experience at that time and was just a learner .
BJR. Were you caught up with the Rock n Roll revival of the 70’s and early 80’s? So many subcultures around at that time, such a varied and diverse music scene drawing from all sorts of genres. Were you influenced by that time?
RG Oh yes! I was a little Teddy Boy in 1976 then became more of a rockabilly later on .
The scene really was incredible with so many Rockin clubs and live venues featuring live bands . At that time there was music everywhere in London and being part of it made me what I am today . I don’t think I would be playing music if I hadn’t have been part of that scene .
I’d sit in with rocking bands , R&B bands , swing bands . Anybody that would let me play !
There were indeed many sub cultures like skinheads and mods . There were fights breaking out all over the place !! London in the 70’s was quite violent .
However , that scene gave kids something to do and create an identity with the clothes and the music .
It’s sad now that that youth culture scene is dead and kids dress the same and listen to the same , lame music with banal and sexualised lyrics .
I don’t want to sound like an old fart but I really did see the best of it and I’m glad that I was part of that exciting time .
BJR. Were you to compose a CV at any time, what would your standout gigs or performances be, if indeed you could narrow them down.
RG Truthfully there are so many but I’d have to say Umbria Jazz in Italy , we have been there 12 times ! Ronnie Scotts at Xmas time is always a standout and Hemsby last November was a memorable gig with all the Rockin crowd loving the band .
BJR. You’re a songwriter as well as performer of material by some of the greats. Does the melody or the lyrics come first?
RG Well I’ve always believed that this music must move forward and in order to make that happen , you have to write your own songs . Of course people want and expect the covers but I’m pleased to say that our originals have become some of the most requests songs in our book .
Usually I write the lyrics first then try to fit a melody around it .
BJR. I recall reading a tweet on your feed, just as Covid hit, leaving many of your fellow performers, not knowing when, or for that matter, if, you’d all meet up again. We’ve asked a few of our interviewees about that time. How in the short term and indeed to date, did this affect you and your career?
RG It was a strange time for sure , almost like a dream . I tried to keep the music going during Covid with little online sets from my home and the positive thing was that I built up many more fans by those ‘ Coffee with Ray ‘ sessions . I really enjoyed those .
The negative was the loss of work , the cancellations and then the year after Covid . That was almost worse because we had many flight cancellations and loss of even more income and gigs ! That was one of the worst years of my life ! I’m pleased to say that things have picked and last year was very busy and this year doesn’t look too bad , despite the cost of living crisis having an effect of bookings .
I’d say the Covid thing took it out of me and financially , I’m still behind because of it .
RG Truthfully there are so many but I’d have to say Umbria Jazz in Italy , we have been there 12 times ! Ronnie Scotts at Xmas time is always a standout and Hemsby last November was a memorable gig with all the Rockin crowd loving the band .
BJR. You’re a songwriter as well as performer of material by some of the greats. Does the melody or the lyrics come first?
RG Well I’ve always believed that this music must move forward and in order to make that happen , you have to write your own songs . Of course people want and expect the covers but I’m pleased to say that our originals have become some of the most requests songs in our book .
Usually I write the lyrics first then try to fit a melody around it .
BJR. I recall reading a tweet on your feed, just as Covid hit, leaving many of your fellow performers, not knowing when, or for that matter, if, you’d all meet up again. We’ve asked a few of our interviewees about that time. How in the short term and indeed to date, did this affect you and your career?
RG It was a strange time for sure , almost like a dream . I tried to keep the music going during Covid with little online sets from my home and the positive thing was that I built up many more fans by those ‘ Coffee with Ray ‘ sessions . I really enjoyed those .
The negative was the loss of work , the cancellations and then the year after Covid . That was almost worse because we had many flight cancellations and loss of even more income and gigs ! That was one of the worst years of my life ! I’m pleased to say that things have picked and last year was very busy and this year doesn’t look too bad , despite the cost of living crisis having an effect of bookings .
I’d say the Covid thing took it out of me and financially , I’m still behind because of it .
BJR. Do you have a set list of songs you play, or do you consider the venue and audience, for example the 100 Club v/s Hemsby Rock n Roll for example you’re playing to and tailor the setlist to them?
RG Yeah , we have 100’s of songs in the book and I do tailor the repertoire to the specific gigs . Hemsby and the 100 club I will play more Rockin , driving tunes and other clubs of festivals we may play a few more jazzy things but where ever we work , people enjoy the songs and are open minded enough to accept new things .
However , I never work from a set list and anything can happen on the night .
Usually we start with When You’re Smilin and we end with Just A Gigolo but In between it changes every night .
BJR. Are there any plans for future recordings?
RG Yes we have a live recording from our Xmas shows at Ronnie Scotts coming out this year . It’ll probably be on vinyl .
BJR. How can people get in touch with you and the band, for bookings and merchandise?
RG Best way is through our website www.raygelato.com
I can also be found on FB and Instagram .
BJR. Thank you for taking part in this interview
My pleasure and thanks
RG Yeah , we have 100’s of songs in the book and I do tailor the repertoire to the specific gigs . Hemsby and the 100 club I will play more Rockin , driving tunes and other clubs of festivals we may play a few more jazzy things but where ever we work , people enjoy the songs and are open minded enough to accept new things .
However , I never work from a set list and anything can happen on the night .
Usually we start with When You’re Smilin and we end with Just A Gigolo but In between it changes every night .
BJR. Are there any plans for future recordings?
RG Yes we have a live recording from our Xmas shows at Ronnie Scotts coming out this year . It’ll probably be on vinyl .
BJR. How can people get in touch with you and the band, for bookings and merchandise?
RG Best way is through our website www.raygelato.com
I can also be found on FB and Instagram .
BJR. Thank you for taking part in this interview
My pleasure and thanks
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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.
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
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
