the bettajive review magazine #39
Jake Calypso at Hemsby
it's our 20 year anniversary
.Welcome to issue #39 of our magazine. Yes readers, it's twenty years since the first Bettajive Review article appeared in print. This digital magazine has been going for the last five years, all through Covid 19 with nowhere to go, we still provided quality material. It's not as basic as 'taking a few photos then talking with your mates and dancing'. When the gig stops, when the weekender is a memory, when the festival is packed away, that's .when our work starts. Sorting, downloading and cropping photos, researching songs, band members, history, crediting original artists etc etc etc. All that in our 'spare' time.
Sure there are mistakes, the Facebook vultures are always circling, but we do our best to be as correct as possible. In this issue we review the sold out Hemsby 68 event as well as gigs from Lew Lewis and the Allstar Trio, The Jets and Slick as a Chicken. Our big interview this month is with vocalist, Miss Charlotte Porter.
In our next issue, we will review the Kelham Hall Vintage Festival and Hot Rock n Boogie weekender for you
All this is coming soon, keep checking back folks. And if you'd like to help us keep this magazine free, please use the button below. Many thanks. Enjoy the read
Sure there are mistakes, the Facebook vultures are always circling, but we do our best to be as correct as possible. In this issue we review the sold out Hemsby 68 event as well as gigs from Lew Lewis and the Allstar Trio, The Jets and Slick as a Chicken. Our big interview this month is with vocalist, Miss Charlotte Porter.
In our next issue, we will review the Kelham Hall Vintage Festival and Hot Rock n Boogie weekender for you
All this is coming soon, keep checking back folks. And if you'd like to help us keep this magazine free, please use the button below. Many thanks. Enjoy the read
the bettajive review
Reading articles on the internet, about the movies made in the 50’s around our music, is fascinating. Sometimes these movies were the only place many of us got to see the Rock n Roll pioneers perform in moving pictures. I’ve touched on the subject in a past upload of this magazine. Art barely imitated life back then, sometimes you could find yourselves hankering for the simplicity of life as portrayed in these movies. A rainy day in front of Talking Pictures (other free-to-air TV channels, are available) clearly illustrates what we mean. In these films, plotlines from that time were as thin as gossamer, a girl wanting a dress that another girl wants, a guy has to win a race to win a girl etc, against the backdrop hit tunes.
That, or trying to convince that Rock n Roll isn’t Satan’s music and it can be used for good, so no need to ban it, set against the backdrop of Alan Freed introducing the top acts of the day. Or indeed the classic blonde bombshell with the gravity defying figure, being made a star, with the best acts of the day, in glorious Technicolor by Deluxe.
How would the rock n roll film be made in today’s climate, with today’s values and technology? Difficult to find a subject that is not too controversial, isn’t it? OK, here’s the Bettajive Review production, (21st Century Faux, dad daldad da da daaaaa) ‘The Peeps Can Help Out’ which comes with the usual Bettajive disclaimer that any resemblance to films, themes, stories or productions of a similar name are purely co-incidental.
The opening scene has a small group of dancers in a village hall locality, dancing to ‘A Rockin Little Tune’. This unfortunate venue has seen better days, although it still stands defiantly, despite being hit by a doodlebug in the war. The walls were artexed in the eighties, and have been daubed with whatever end-of-line emulsion the committee could get hold of out of a Bargain Bucket. The toilets are a procession of joined together urinals or high-level avalanche cisterns above crazed toilet pans with wooden seats, and cobwebs like hammocks hang from the ceiling. Even avocado coloured sanitary ware, passed this hall by. The gentle miasma of varnish, furniture polish and wee is constant. It is though, still here, but wait, the word is, the developers are moving in.
That, or trying to convince that Rock n Roll isn’t Satan’s music and it can be used for good, so no need to ban it, set against the backdrop of Alan Freed introducing the top acts of the day. Or indeed the classic blonde bombshell with the gravity defying figure, being made a star, with the best acts of the day, in glorious Technicolor by Deluxe.
How would the rock n roll film be made in today’s climate, with today’s values and technology? Difficult to find a subject that is not too controversial, isn’t it? OK, here’s the Bettajive Review production, (21st Century Faux, dad daldad da da daaaaa) ‘The Peeps Can Help Out’ which comes with the usual Bettajive disclaimer that any resemblance to films, themes, stories or productions of a similar name are purely co-incidental.
The opening scene has a small group of dancers in a village hall locality, dancing to ‘A Rockin Little Tune’. This unfortunate venue has seen better days, although it still stands defiantly, despite being hit by a doodlebug in the war. The walls were artexed in the eighties, and have been daubed with whatever end-of-line emulsion the committee could get hold of out of a Bargain Bucket. The toilets are a procession of joined together urinals or high-level avalanche cisterns above crazed toilet pans with wooden seats, and cobwebs like hammocks hang from the ceiling. Even avocado coloured sanitary ware, passed this hall by. The gentle miasma of varnish, furniture polish and wee is constant. It is though, still here, but wait, the word is, the developers are moving in.
The boss of the developer company is a swarthy fellow chomping on a vaping cigar, as he stands in a cloud of watermelon and fizzy cherry exhaled vapour, eyeing the hall with passive aggressive envy, as Link Wary’s ‘Ace of Spades’ plays in the background (This replaces the long cashmere coat wearing, fedora adorned, cigar chomping meanie that when he hears the music, gnashes his teeth, throws his cigar to the ground and extinguishes it by twist-stamping on it in the 50’s film). He approaches the dance group and delivers adequate notification of planning consent by paper copy, and email, that the hall will be demolished to make way for ’affordable housing’. (in the 1950’s film, he’d just tell them to sling their hooks, get his heavies to start chucking the dancers out, tread on their records, and smash their Dansette record player)
The dancers are stunned, but vow to set up a Facebook group, X formerly known as Twitter, page, Instagram, Tik Tok, Threads, Snapchat and WhatsApp account (other social media outlets are available) and reach as many people as they can to help save the poor village hall. A fundraising gig is organised to buy the hall and save it, will you come, will they have enough people turn up. So many supporters put ‘going’ and ‘like’ on the status, retweet the status, my goodness it’s bound to be a success, the hall will be saved. In the old films they’d walk around the town with flyers, giving them out and sticking them to lamp posts, while a tune like ‘Walk Don’t Run’ is playing in the background.
The developer scans his computer, lap top, phone and tablet. He’s not amused, he spits out his camomile tea and almost chokes on his gluten free cake and vegan sausage roll at the thought of the hall potentially being saved. He puts an angry face emoji on the status of the dancers’ post. He uploads a ‘I can’t believe what I have just seen’ post to encourage ‘What’s up babe’ and ‘PM me babe’ responses. In the fifties film, he’d tear down one of the posters, crush it into a ball, and throw his cigar onto the ground with an evil teeth gnashing, look into the middle distance. With that, he’d organise some local hoodlums, characterised by their leather jackets, slightly unkempt look and hats at a jaunty angle, to go down to the hall on their motorbikes and trash the place before the gig can get going.
The day of the fundraising gig arrives, bands should be here, but there’s a problem! Where is everyone. Oh no, the developer has utilised his computer savvy employees to hack the invite page. He has informed the bands that they will be subject to a sound limiter, so the gig is postponed, with regret. One band, who only had 4G on his Samsung Galaxy S6, and didn’t get the message, shows up though, plugs their instruments in and starts to play. The dancers start dancing and one cleverly films them on their phone, and streams live on social media, using their mobile data (they’ve got 5G!), as of course, there’s no WiFi in the hall. Others on social media see it, bands see it, they realise they’ve been misinformed, the subject of a troll, and they set off for the event. Cue Johnny Burnette’s ‘Please Don’t Leave Me’. The old film plot involves the hoodlums turning tables over and ripping plugs out of the wall. Hang on though, they’ve met their match in the young lads staging the event. Fisticuffs ensue with the hoodlums coming off worse, especially with two grandmas who gleefully thump them with their umbrellas and agree they’ve thoroughly enjoyed that, as they’ve been waiting to do it for years.
As the crowd of people arrive, the word is spread on social media, and the donations flood in on the funding pages. The developer realises the error of his ways, by changing his angry emoji on his phone, to a love heart, and has a drink with the dancers, recycling his plastic cup of course while LaVern Baker’s ‘Saved’ plays in the background. The old film would see him throw his cigar down in frustration and start to stomp off, but for the two grandmas who grab him for a dance, which he gradually starts to enjoy, and the credits roll.
And that would be that in the original film, but at the end of ours, we ask that if anyone has been affected by the issues in this presentation, to go to the website, or phone such-and-such number.
I’ll have to go now, I can hear Spielberg calling.
The dancers are stunned, but vow to set up a Facebook group, X formerly known as Twitter, page, Instagram, Tik Tok, Threads, Snapchat and WhatsApp account (other social media outlets are available) and reach as many people as they can to help save the poor village hall. A fundraising gig is organised to buy the hall and save it, will you come, will they have enough people turn up. So many supporters put ‘going’ and ‘like’ on the status, retweet the status, my goodness it’s bound to be a success, the hall will be saved. In the old films they’d walk around the town with flyers, giving them out and sticking them to lamp posts, while a tune like ‘Walk Don’t Run’ is playing in the background.
The developer scans his computer, lap top, phone and tablet. He’s not amused, he spits out his camomile tea and almost chokes on his gluten free cake and vegan sausage roll at the thought of the hall potentially being saved. He puts an angry face emoji on the status of the dancers’ post. He uploads a ‘I can’t believe what I have just seen’ post to encourage ‘What’s up babe’ and ‘PM me babe’ responses. In the fifties film, he’d tear down one of the posters, crush it into a ball, and throw his cigar onto the ground with an evil teeth gnashing, look into the middle distance. With that, he’d organise some local hoodlums, characterised by their leather jackets, slightly unkempt look and hats at a jaunty angle, to go down to the hall on their motorbikes and trash the place before the gig can get going.
The day of the fundraising gig arrives, bands should be here, but there’s a problem! Where is everyone. Oh no, the developer has utilised his computer savvy employees to hack the invite page. He has informed the bands that they will be subject to a sound limiter, so the gig is postponed, with regret. One band, who only had 4G on his Samsung Galaxy S6, and didn’t get the message, shows up though, plugs their instruments in and starts to play. The dancers start dancing and one cleverly films them on their phone, and streams live on social media, using their mobile data (they’ve got 5G!), as of course, there’s no WiFi in the hall. Others on social media see it, bands see it, they realise they’ve been misinformed, the subject of a troll, and they set off for the event. Cue Johnny Burnette’s ‘Please Don’t Leave Me’. The old film plot involves the hoodlums turning tables over and ripping plugs out of the wall. Hang on though, they’ve met their match in the young lads staging the event. Fisticuffs ensue with the hoodlums coming off worse, especially with two grandmas who gleefully thump them with their umbrellas and agree they’ve thoroughly enjoyed that, as they’ve been waiting to do it for years.
As the crowd of people arrive, the word is spread on social media, and the donations flood in on the funding pages. The developer realises the error of his ways, by changing his angry emoji on his phone, to a love heart, and has a drink with the dancers, recycling his plastic cup of course while LaVern Baker’s ‘Saved’ plays in the background. The old film would see him throw his cigar down in frustration and start to stomp off, but for the two grandmas who grab him for a dance, which he gradually starts to enjoy, and the credits roll.
And that would be that in the original film, but at the end of ours, we ask that if anyone has been affected by the issues in this presentation, to go to the website, or phone such-and-such number.
I’ll have to go now, I can hear Spielberg calling.
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Dot….dot. Best tracks in the world ever ever to swizzle your stick for this issue are Rick Nelson’s ‘Oh Yeah, I’m in Love’, The Canadians ‘Rockin Through the Rye’ and Eric Delaney ‘Rock ‘n’ Roll King Cole’……We don’t take cameras to record hops, they are our ‘nights off’ , however we must flag up two we attended since the last issue. The Malthouse Suite, Syston in Leicestershire hosts The Rhythm Room with DJs Savoy Jump and CJ’s Jumping Boogie, and in Garforth WMC Leeds, The Diamond Club, featuring Diamond D and the Rhythm Rooster. Two top nights out with an exceptional variation of sounds from the 40’s and 50’s. Lots of Shazaming and Soundhounding for sure……. You’ll read about them below but I wonder, would the vegetarian option of Slick as a Chicken, be Slick as Halloumi?......Anyone else seen the advert on telly with the Rock A Teens’ ‘Woo Hoo’?......We also saw Relentless (pictured below) at an outdoor gig in the market place at Gainsborough, Lincs. It co-incided with a Farmer’s and Antique Market. Hugely varied set, not restricted to but certainly with a Rockabilly theme. A lot of passers-by stopped for a bit and dug the sounds, which as usual one person complained ‘it was too loud’ Pfft. There’s always one. That didn’t detract from the over all enjoyment, it’s a different vibe al fresco and in the company of, dare I suggest, ‘normals’, but greatly enjoyable…….Something new, best cover tracks performed live in the world ever ever. Those songs that a band or vocalist covers which make your jaw drop, starting with The Velvet Candles version of Roy Tyson’s ‘Oh What a Night for Love’, Laura B performing La Vern Baker’s ‘Saved’, and KC Byrd taking on Redd Stewart’s ‘Backward Turn Backward’………
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Cracking show for the beginning of May, click the flyer for details
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Towards the end of May in Lincolnshire, click flyer for details
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It's on! Yes the Rhythm Riot has found a new venue since the closure of the Pontins site. Vauxhall at Great Yarmouth is a smashing site, and now you can book your place online. What a line up folks. For more info, click on the flyer for details and how to book online
hemsby 68
Shaun Horton and the Tennessee Trio
It was a sell-out Hemsby in early March. Do you wonder why? Well, it might have had something to do with the stellar line up that Bill Guntrip and his team had put together, on the back of the previous two star studded Hemsbys. The fun had started on the Thursday evening with a DJ night, before the majority of attendees arrived on Friday. The check in was a breeze, and the beauty of this camp is that you can park your vehicle right next to your accommodation. Less of a hernia inducing struggle to bring your life from the car to the caravan methinks.
Friday’s live entertainment, began with a treat, Shaun Horton and the Tennessee Trio. Another masterclass in authentic mid-1950’s sounding Rockabilly from these four guys with Shaun taking vocals and rhythm guitar, Shaun Hoolan on lead guitar, in the rhythm room drummer Paul O’Donnell and Andy Sykes keeping it real on upright bass. The setlist was a rocking jaunt through the soundtrack to our collective youths, if you were of a certain vintage shall we say.
With the tight musicality of the band and Shaun’s vocal delivery, the likes of Hoyt Johnson’s ‘Enie Meanie Minie Mo’, have rarely sounded better this side of Tennessee. A rip-roaring take of Pat Cupp’s classic floor filler ‘Do Me No Wrong’, and the bass fiddle opening of Bob Doss’ ‘Don’t Be Gone Long’ were a delight, early doors in the set. Lloyd McCullough’s raw beauty ‘Gonna Love My Baby Now’, has a rich vocal style that Shaun replicates with impressive accuracy.
A couple of Johnny Horton numbers made the set, really welcome sounds of ‘Tell My Baby I Love Her’ and later on ‘I Don’t Like I Did Before’, slightly lesser tempo than the rockers, adding some light and shade to the show. Mac Curtis’ ‘That Ain’t Nothing but Right’, Warren Smith’s ‘Dear John’ and the rattling sound of Benny Ingram’s ‘Jello Sal’ concluded an ace set. ‘Lies, Lies, Lies’ and ‘Rockin’ With My Baby’ were added bonuses in the encore, well deserved it was too. Excellent start to the weekend.
Friday’s live entertainment, began with a treat, Shaun Horton and the Tennessee Trio. Another masterclass in authentic mid-1950’s sounding Rockabilly from these four guys with Shaun taking vocals and rhythm guitar, Shaun Hoolan on lead guitar, in the rhythm room drummer Paul O’Donnell and Andy Sykes keeping it real on upright bass. The setlist was a rocking jaunt through the soundtrack to our collective youths, if you were of a certain vintage shall we say.
With the tight musicality of the band and Shaun’s vocal delivery, the likes of Hoyt Johnson’s ‘Enie Meanie Minie Mo’, have rarely sounded better this side of Tennessee. A rip-roaring take of Pat Cupp’s classic floor filler ‘Do Me No Wrong’, and the bass fiddle opening of Bob Doss’ ‘Don’t Be Gone Long’ were a delight, early doors in the set. Lloyd McCullough’s raw beauty ‘Gonna Love My Baby Now’, has a rich vocal style that Shaun replicates with impressive accuracy.
A couple of Johnny Horton numbers made the set, really welcome sounds of ‘Tell My Baby I Love Her’ and later on ‘I Don’t Like I Did Before’, slightly lesser tempo than the rockers, adding some light and shade to the show. Mac Curtis’ ‘That Ain’t Nothing but Right’, Warren Smith’s ‘Dear John’ and the rattling sound of Benny Ingram’s ‘Jello Sal’ concluded an ace set. ‘Lies, Lies, Lies’ and ‘Rockin’ With My Baby’ were added bonuses in the encore, well deserved it was too. Excellent start to the weekend.
Paul Ansell's Number 9
Next up, another Hemsby crowd favourite, Paul Ansell’s Number 9, a band that was conceived over thirty years ago. Paul Ansell himself takes lead vocals and rhythm guitar, along with Tony Diavolo on lead guitar, bassist Guy Trigg and unusually, two drummers (with a kit each) Ricky McCann and Jimmy Russell. There are songs that are ever-present in a No9 set, the opener being no exception. ‘Ruby Don’t Take Your Love To Town’, first recorded by Waylon Jennings in ’66 and possibly best known by Kenny Rogers, has announced Paul Ansell’s shows for many years now.
Similarly, Don Gibson’s 1961 smash, ‘Sea of Heartbreak’ and Creedence Clearwater Revival’s ‘Proud Mary’ were a tonic for those down at stage front, and the melodic ‘Early Morning Rain’ was super smooth. Easing back into the up tempo sounds, they touched on the mid-70’s, with Iggy Pop’s ‘Passenger’ and the perennial dancefloor fave, ‘It Ain’t Right’.
Adding a bit of R&B sauce, they took on Bullmoose Jackson’s double entendre filled ‘Big Ten Inch Record’ from 1952 got the No9 workover and in another gear switch, Elvis’ ‘Pocketful of Rainbows’ from GI Blues. The last hurrah, was another massive crowd favourite, ‘Red Light’ which was met with loud adulation. Naturally they came back with a Rockabilly classic, ‘Lonesome Train’, which topped off a massively popular show.
Similarly, Don Gibson’s 1961 smash, ‘Sea of Heartbreak’ and Creedence Clearwater Revival’s ‘Proud Mary’ were a tonic for those down at stage front, and the melodic ‘Early Morning Rain’ was super smooth. Easing back into the up tempo sounds, they touched on the mid-70’s, with Iggy Pop’s ‘Passenger’ and the perennial dancefloor fave, ‘It Ain’t Right’.
Adding a bit of R&B sauce, they took on Bullmoose Jackson’s double entendre filled ‘Big Ten Inch Record’ from 1952 got the No9 workover and in another gear switch, Elvis’ ‘Pocketful of Rainbows’ from GI Blues. The last hurrah, was another massive crowd favourite, ‘Red Light’ which was met with loud adulation. Naturally they came back with a Rockabilly classic, ‘Lonesome Train’, which topped off a massively popular show.
The Spunyboys
Rounding off the evening’s live acts, from France, The Spunyboys, Remi playing, lifting, dancing with, jumping on and springing around on upright (and sometimes horizontal) bass, drummer Guillaume and lead guitarist Eddie. I don’t think anyone could suggest they have seen a Spunyboys show, where they thought the group lacked energy. It’s always high-octane and powerhouse performance when they take the stage and wherever else they care to go.
But it’s not all jumping around on instruments and tom-foolery, behind the visuals are three expert musicians, applying their talent to some fine tunes, many of which are extended to allow for acrobatics. Lee Dresser’s ‘El Camino Real’ for example, immensely popular with the crowd and immersive enough for them to join in with the chorus. Ronnie Dawson’s ‘Rockin’ Bones’ was another such an example, with probably the most participative tune in the set ‘How Low Do You Feel’ drawing the loudest thumping and rattling during ‘those’ bits
Sometimes with Remi cavorting about on his bass or meandering through the audience, it’s kind of difficult to stay focussed on the tunes, like the Brand New Cadillac sounding tune that I can’t place, and indeed the tribute to Remi and Carlene’s daughter Lily Mae. A thumping set to conclude a memorable first night at Hemsby.
But it’s not all jumping around on instruments and tom-foolery, behind the visuals are three expert musicians, applying their talent to some fine tunes, many of which are extended to allow for acrobatics. Lee Dresser’s ‘El Camino Real’ for example, immensely popular with the crowd and immersive enough for them to join in with the chorus. Ronnie Dawson’s ‘Rockin’ Bones’ was another such an example, with probably the most participative tune in the set ‘How Low Do You Feel’ drawing the loudest thumping and rattling during ‘those’ bits
Sometimes with Remi cavorting about on his bass or meandering through the audience, it’s kind of difficult to stay focussed on the tunes, like the Brand New Cadillac sounding tune that I can’t place, and indeed the tribute to Remi and Carlene’s daughter Lily Mae. A thumping set to conclude a memorable first night at Hemsby.
The Sundown Boys
Saturday, the first full day of live music, started mid-afternoon with some Grade-A Country-Rockabilly, with the Sundown Boys. Ordinarily a drumless trio of lead singer and rhythm guitarist, Dan Morley, Danny Brown on bass and lead guitarist, Scott Brown. This time however, they employed the drumming services of Curtis Doel, which added a different dimension to their sound.
What followed was a smashing collection of toe-tappers and rockers, all which were an absolute delight. Immediately I’ll flag up their version of Johnny Horton’s ‘I’ll Do It Every Time’ with the Horton & Mathis vocal harmonies perfectly performed, and Scott’s replication of the Grady Martin solo was spot on. Personal favourite of this scribe. So many songs vied for the attention, ‘Let’s Rock Tonight’, Glenn Glenn’s ‘One Cup Of Coffee and a Cigarette’ and another Singing Fisherman track ‘The Woman I Love’.
Some uptempo Rockabilly? Why not. How about their take on Mac Curtis’ ‘Granddaddy’s Rockin’ and John Worthan’s ‘The Cats Were Jumpin’ which worked particularly well with the addition of drums. From their 45 on the appropriately named Sundown label came ‘I’m Getting Wise’, written by Dan Morley, which has a ‘Darlene’ vibe going on. The flip to that single, Scott Brown’s ‘Fugitive’ , a Jimmy & Johnny sound, that has the tone of something straight out of 1955. Wally Willete and his Globe Rockers cut an oddity in 1959, ‘Pink Elephants’, which featured and the set climaxed with two belters, Tommy Lam’s ‘Speed Limit’ and Carl Perkins’ ‘Right String Baby, but the Wrong Yo-Yo’. Super stuff.
What followed was a smashing collection of toe-tappers and rockers, all which were an absolute delight. Immediately I’ll flag up their version of Johnny Horton’s ‘I’ll Do It Every Time’ with the Horton & Mathis vocal harmonies perfectly performed, and Scott’s replication of the Grady Martin solo was spot on. Personal favourite of this scribe. So many songs vied for the attention, ‘Let’s Rock Tonight’, Glenn Glenn’s ‘One Cup Of Coffee and a Cigarette’ and another Singing Fisherman track ‘The Woman I Love’.
Some uptempo Rockabilly? Why not. How about their take on Mac Curtis’ ‘Granddaddy’s Rockin’ and John Worthan’s ‘The Cats Were Jumpin’ which worked particularly well with the addition of drums. From their 45 on the appropriately named Sundown label came ‘I’m Getting Wise’, written by Dan Morley, which has a ‘Darlene’ vibe going on. The flip to that single, Scott Brown’s ‘Fugitive’ , a Jimmy & Johnny sound, that has the tone of something straight out of 1955. Wally Willete and his Globe Rockers cut an oddity in 1959, ‘Pink Elephants’, which featured and the set climaxed with two belters, Tommy Lam’s ‘Speed Limit’ and Carl Perkins’ ‘Right String Baby, but the Wrong Yo-Yo’. Super stuff.
Gene Gambler and the Shufflers
Some wizardry from Wales next with Gene Gambler and the Shufflers up next. David ‘Gene’ Willimas is the frontman with the rhythm guitar, Rob Nedin on lead guitar, depping on upright bass, Neil Roope, drummer Mark Kemlo and on the eighty eight keys, Billy Williams. A good Gene Gambler show is a gimmie, and this was no exception, as they announced themselves with the Big O’s ‘You’re My Baby’.
Drawing on their own material, came ‘Crazy Over You’ and ‘Heart of Black’, which fitted in brilliantly with the fifties covers. Whether it’s Sun, Starday, Capitol or Mercury sounds, this band replicates them perfectly. David’s voice is just the ticket for the likes of ‘Sweethearts or Strangers’ , the Jimmie Davis song showcased in the Carl Perkins style, Gene Simmins’ ‘Chains of Love’ and the whistling beauty ‘Find My Baby For Me’ from Sonny Burgess.
With the stage show as energetic as ever, almost seeing players topple into the audience, there was some light and shade to the show with the touching ‘Miss You’, their own harmonious ‘I Was a Fool’ and the Syd King ramble ‘Let ‘er Roll’, which invited the crowd to answer the call from the stage to join in. Musically it was tight and accomplished, the set list was bright and the stage presence by the band as exciting as it was *blurs mouth* years ago when they started out. An excellent and butt kicking show.
Drawing on their own material, came ‘Crazy Over You’ and ‘Heart of Black’, which fitted in brilliantly with the fifties covers. Whether it’s Sun, Starday, Capitol or Mercury sounds, this band replicates them perfectly. David’s voice is just the ticket for the likes of ‘Sweethearts or Strangers’ , the Jimmie Davis song showcased in the Carl Perkins style, Gene Simmins’ ‘Chains of Love’ and the whistling beauty ‘Find My Baby For Me’ from Sonny Burgess.
With the stage show as energetic as ever, almost seeing players topple into the audience, there was some light and shade to the show with the touching ‘Miss You’, their own harmonious ‘I Was a Fool’ and the Syd King ramble ‘Let ‘er Roll’, which invited the crowd to answer the call from the stage to join in. Musically it was tight and accomplished, the set list was bright and the stage presence by the band as exciting as it was *blurs mouth* years ago when they started out. An excellent and butt kicking show.
Go Getters
It's an unusual sight to behold the Go Getters live on a stage when the sun is still shining outside. Sure lead singer and drummer Peter Sandberg was wearing sunglasses, but that’s hardly unusual is it. He took his usual place behind the drumkit, flanked by Sam French on upright bass and lead guitarist Nick Whitfield. An explosive start to the show heralded their arrival with Larry Williams’ ‘Slow Down’ and the Hades burn-up of ‘Welcome to my Hell’.
There are no holds barred in a Go Getters set with modern day classic favourites like ‘Junkyard Dog’, ‘The Devil Made Me Do It’ and ‘No Brakes’ mixed it up with the well-known cover tracks, like ‘I Fought the Law’ and ‘Brand New Cadillac’. One of their own dance floor smashers appeared late-show, ‘No Heart To Spare’. Scarily that song came from their ‘Welcome to Sin City’ album which is the thick end of twenty-three years old!! Back even further to the mid-90’s and the stomping sound of ‘Mexigo’ rang out. They ended with the Ramones ‘Blitzkrieg Bop’ with ‘that’ chant (nothing to do with buying white goods either), which was a fitting crescendo to their set.
There are no holds barred in a Go Getters set with modern day classic favourites like ‘Junkyard Dog’, ‘The Devil Made Me Do It’ and ‘No Brakes’ mixed it up with the well-known cover tracks, like ‘I Fought the Law’ and ‘Brand New Cadillac’. One of their own dance floor smashers appeared late-show, ‘No Heart To Spare’. Scarily that song came from their ‘Welcome to Sin City’ album which is the thick end of twenty-three years old!! Back even further to the mid-90’s and the stomping sound of ‘Mexigo’ rang out. They ended with the Ramones ‘Blitzkrieg Bop’ with ‘that’ chant (nothing to do with buying white goods either), which was a fitting crescendo to their set.
Restless
Saturday evening started with a real blast, as the crowd crammed down the front for Restless to take the stage. Brothers Mark and Paul Harman, on lead guitar and bass respectively were joined by drummer Ben Cooper. So this was the original line up from all that time ago (I saw them at the Embassy Suite, Colchester just after they formed). What could we expect? A show with plenty of energy and exceptional guitar work, along with a set list that was made up of classic Restless tunes, and requests & ad libs from the crowd.
They were into it right from the start with the likes of ‘Edge on You’, the bass thudding beat of ‘Ghost Town’ and the fiery pace of ‘My Baby is a Hot Rod’, whipping up the lovers of the Neo sound. Over fifty years ago, Dutch band Golden Earring released ‘Radar Love’ with it’s unmistakable riffs, making it a hit worldwide. Replicated with some poise by Restless, it’s now as recognisable as one of their mainstay songs. Mark asked the audience for suggestions, one such was ‘Long Winding River’. This was from 1982 and apparently the lads hadn’t played it for a while, but I tell you what readers, you’d have never known, it was spot on.
Another track often shouted out by the crowd was ‘Ice Cold’, which was initially resisted by Mark. Eventually, he agreed, and brought on Dave ‘Porky’ Coates to the stage to take lead vocals. Frankly the place came unglued with the cheers and chorus shouted back. Where would you go from there? Well two more undeniable corkers, ‘Sixteen Tons’ and the tear-up of ‘Baby Please Don’t Go’. Not sure they even got off the stage before being called back again. ‘What do you want to hear?’ Mark asks. The majority verdict was ‘Long Black Shiny Car’, which Restless took Mike Page’s original to another level in the Neo style. A blistering end to a top drawer set.
They were into it right from the start with the likes of ‘Edge on You’, the bass thudding beat of ‘Ghost Town’ and the fiery pace of ‘My Baby is a Hot Rod’, whipping up the lovers of the Neo sound. Over fifty years ago, Dutch band Golden Earring released ‘Radar Love’ with it’s unmistakable riffs, making it a hit worldwide. Replicated with some poise by Restless, it’s now as recognisable as one of their mainstay songs. Mark asked the audience for suggestions, one such was ‘Long Winding River’. This was from 1982 and apparently the lads hadn’t played it for a while, but I tell you what readers, you’d have never known, it was spot on.
Another track often shouted out by the crowd was ‘Ice Cold’, which was initially resisted by Mark. Eventually, he agreed, and brought on Dave ‘Porky’ Coates to the stage to take lead vocals. Frankly the place came unglued with the cheers and chorus shouted back. Where would you go from there? Well two more undeniable corkers, ‘Sixteen Tons’ and the tear-up of ‘Baby Please Don’t Go’. Not sure they even got off the stage before being called back again. ‘What do you want to hear?’ Mark asks. The majority verdict was ‘Long Black Shiny Car’, which Restless took Mike Page’s original to another level in the Neo style. A blistering end to a top drawer set.
Cherry Casino and the Gamblers
Switching styles with the next act, the exceptional talents of Cherry Casino and the Gamblers. Lead singer and lead guitarist Axel Praefke, has an unmistakable vocal delivery, almost casual sounding, but perfect for the band’s style. That style is a jumping R&B jaunt through their own back catalogue and a few covers for good measure. He is backed by Michael ‘Humpty’ Kirscht on guitar and backing vocals, saxophonist Ike Stoye, drummer Gregor Gast and on upright bass Kevin Netzer
The set was a joy from start to finish with their own ‘My Baby Calls Me on the Phone’ mixed in amongst Joe Turner’s ‘Rebecca’ , Mickey Gilley’s ‘Call Me Shorty’ (you know the one, Big Cigar, Cadillac Car, great big Diamond Ring, that one) and another Turner in the form of ‘Love Rollercoaster’. Their own ‘Dream Boy’ is one of the fun sounding vocal tracks, with Axel doing the call, Humpty & Ike answering during the chorus. ‘Rockin and a-Rollin’ is a nippy original and ‘Baby C’mon Let’s Go’ kept the pace up with some classy guitar and sax work.
The heartbreak within the lyrics of ‘Plans Without Me’ are offset by a peach of a stroll beat, and ‘Kiss Me’ (not Marvin and Johnny’s song) is another almost novelty sound. The Jive Bombers’ ‘The Blues Don’t Mean a Thing’ and Willie Dixon’s ‘My Babe’ further showcased the band’s versatility, in a presentation that rocked, rolled and jumped throughout
The set was a joy from start to finish with their own ‘My Baby Calls Me on the Phone’ mixed in amongst Joe Turner’s ‘Rebecca’ , Mickey Gilley’s ‘Call Me Shorty’ (you know the one, Big Cigar, Cadillac Car, great big Diamond Ring, that one) and another Turner in the form of ‘Love Rollercoaster’. Their own ‘Dream Boy’ is one of the fun sounding vocal tracks, with Axel doing the call, Humpty & Ike answering during the chorus. ‘Rockin and a-Rollin’ is a nippy original and ‘Baby C’mon Let’s Go’ kept the pace up with some classy guitar and sax work.
The heartbreak within the lyrics of ‘Plans Without Me’ are offset by a peach of a stroll beat, and ‘Kiss Me’ (not Marvin and Johnny’s song) is another almost novelty sound. The Jive Bombers’ ‘The Blues Don’t Mean a Thing’ and Willie Dixon’s ‘My Babe’ further showcased the band’s versatility, in a presentation that rocked, rolled and jumped throughout
Jack Rabbit Slim
To conclude Saturday night, the return of Jack Rabbit Slim, another band that we were fortunate enough to see at their first gig many years ago. The only original member now is Bob Butfoy, vocalist, song writer, rhythm guitarist and maraca shaker extraordinaire, with Nico Sc’erri, lead guitarist Brett Waters and Tony Hillebrandt on drums. Really good to see Bob back on stage after some considerable time away. This line up reiterated the band’s standing as the Kings of Sleazabilly, with a no-holds-barred set as Saturday morphed into Sunday.
Add to that, almost the whole show consisted of original material, which Bob has considerable input to, and such is the band’s extensive index of tracks, they could of easily ran another set. Great to hear the thundering sounds of early material like ‘Rock-A Cha’ and ‘Blue Caravan’. Some great surf guitar sound with the instrumental cracker ‘Dragstrip’, with a boisterous baseline and super-cool guitar runs.
What was the cover track then? That was Elvis’ ‘Wolf Call’ originally from the 1965 film ‘Girl Happy’, expertly delivered among the originals. ‘Robert Johnson Blues’ has everything, a pulsing beat and some sliding guitar (check out the recorded tune as well for the Samuel L Jackson Ezekiel 25:17 speech from Pulp Fiction). The blast of ‘Devil Doll’ from 2012, rounded the show off with ‘Next Time’ and the rip-roaring ‘Rock ‘n’ Roll Bones’ hit the high spots as encore tunes. Great to see JRS back at Hemsby.
Add to that, almost the whole show consisted of original material, which Bob has considerable input to, and such is the band’s extensive index of tracks, they could of easily ran another set. Great to hear the thundering sounds of early material like ‘Rock-A Cha’ and ‘Blue Caravan’. Some great surf guitar sound with the instrumental cracker ‘Dragstrip’, with a boisterous baseline and super-cool guitar runs.
What was the cover track then? That was Elvis’ ‘Wolf Call’ originally from the 1965 film ‘Girl Happy’, expertly delivered among the originals. ‘Robert Johnson Blues’ has everything, a pulsing beat and some sliding guitar (check out the recorded tune as well for the Samuel L Jackson Ezekiel 25:17 speech from Pulp Fiction). The blast of ‘Devil Doll’ from 2012, rounded the show off with ‘Next Time’ and the rip-roaring ‘Rock ‘n’ Roll Bones’ hit the high spots as encore tunes. Great to see JRS back at Hemsby.
Hemsby dot….dot. Best tracks in the world ever ever to bubble your hot tub for Hemsby 68 were ‘No Time’ by the Titans, Smiley Lewis’ ‘School Days are Back Again’ and ‘Let It Roll’, by Glenn Douglas……..Big up and ‘nuff respect to the DJs over the weekend, both glue and lubricant to ensure the seamless continuation of music between the bands and keeping the dancefloor moving. To the role call, Bill, Jimmy and George Guntrip, Rockin’ Roland, Geordie Paul, Tojo, Gary’s Red Hot & Blue. If there wasn’t something for everyone within those DJ sets, then I guess you went to the wrong weekender……The table top sale, or boot sale if you please, well attended, a ton of top swag to buy, and a chance to have a blether without yelling at the top of your voice. Surprising how many sound like they have been gargling glass and gravel though……What can make or break a musical event, is the sound. With Rory Alderson and his team in the house, you know it’s going to be good, and indeed it was…….
The Doel Brothers
Sunday afternoon eased us all in with some ace Hillbilly, Western Swing and Country Bop, courtesy of the Doel Brothers. Three brothers, Gordon on rhythm guitar and vocals, David on lead guitar and vocals and drummer Tom Doel, are joined by Gary Boller on bass and Phil Morgan sliding the steel. Veterans of four albums on El Toro Records over the past ten years plus, they have a rich supply of their own material to draw on as well as some well, and not so well known covers.
They opened up with one such cover, harmonising through Johnny Champion’s 1968 sole release ‘Beer Drinking Daddy’, well suited to their style, and a bouncy start to the set. ‘Hunting Honey’ is a finger pickin’ delight which set up Johnny Horton’s ‘I’ll do it Every Time’. Apparently, Faron Young’s ‘I Hear You Talking’ hasn’t featured in their show, however it’s a song almost made for them, putting as they do, their own twist on the Hillbilly Heartthrob’s 1959 Capitol release.
‘New England in the Fall’, their tribute to the erstwhile New England Shake Up, is always good to hear, as are ‘Country Bum’, ‘Hole in my Shoe’ and ‘What’s the Matter Baby’. Tennessee Ernie Ford’s ‘Catfish Boogie’ had a welcome outing and their encore of the uplifting ‘Go Boy Go’ originally recorded by Carl Smith, was superb. Make no mistake peeps this was top drawer stuff.
They opened up with one such cover, harmonising through Johnny Champion’s 1968 sole release ‘Beer Drinking Daddy’, well suited to their style, and a bouncy start to the set. ‘Hunting Honey’ is a finger pickin’ delight which set up Johnny Horton’s ‘I’ll do it Every Time’. Apparently, Faron Young’s ‘I Hear You Talking’ hasn’t featured in their show, however it’s a song almost made for them, putting as they do, their own twist on the Hillbilly Heartthrob’s 1959 Capitol release.
‘New England in the Fall’, their tribute to the erstwhile New England Shake Up, is always good to hear, as are ‘Country Bum’, ‘Hole in my Shoe’ and ‘What’s the Matter Baby’. Tennessee Ernie Ford’s ‘Catfish Boogie’ had a welcome outing and their encore of the uplifting ‘Go Boy Go’ originally recorded by Carl Smith, was superb. Make no mistake peeps this was top drawer stuff.
Larry Adams Trio
Next up, some raw authentic sounding Rockabilly, from the deep south (well Gosport & Portsmouth anyway) and the Larry Adams Trio. A three piece without drums, with Larry Adams himself on vocals and rhythm guitar, the energetic and demonstrative Mark Howells on bass and after recently joining the band permanently, lead guitarist Dave Flynn. They opened with a sentiment shared by just about everyone at Hemsby, their own ‘I Dig That Bop’, a lively song to start with for sure.
From there, I’d suggest if you have seen a certain amount of years, it was a journey through the playlist of your youth. Each track was delivered with an enthusiasm that was matched by the response from the crowd. Johnny Powers’ bop classic ‘Long Blond Hair’, Buddy Holly’s ‘Moonlight Baby’ and Carl Perkins’ ‘Glad All Over’, three absolute kickers, setting the pace early doors.
Wayne Walker’s ‘All I Can Do Is Cry’, Buddy Shaw’s obscurity ‘Don’t Sweep That Dirt on Me’, which is the ‘B’ side to their 45rpm and Bo Davis/Eddie Cochran’s ‘Drowning all my Sorrows’ all stick on winners with the crowd, and very well presented, with just the right amount of percussive ‘tick’ on the bass and some splendid guitar riffs to complement the vocals. As ‘Baby Let’s Play House’ and Benny Joy’s ‘Wild Wild Lover’ climaxed the set, the audience were unanimous in their appreciation.
From there, I’d suggest if you have seen a certain amount of years, it was a journey through the playlist of your youth. Each track was delivered with an enthusiasm that was matched by the response from the crowd. Johnny Powers’ bop classic ‘Long Blond Hair’, Buddy Holly’s ‘Moonlight Baby’ and Carl Perkins’ ‘Glad All Over’, three absolute kickers, setting the pace early doors.
Wayne Walker’s ‘All I Can Do Is Cry’, Buddy Shaw’s obscurity ‘Don’t Sweep That Dirt on Me’, which is the ‘B’ side to their 45rpm and Bo Davis/Eddie Cochran’s ‘Drowning all my Sorrows’ all stick on winners with the crowd, and very well presented, with just the right amount of percussive ‘tick’ on the bass and some splendid guitar riffs to complement the vocals. As ‘Baby Let’s Play House’ and Benny Joy’s ‘Wild Wild Lover’ climaxed the set, the audience were unanimous in their appreciation.
Si Cranstoun
Si Cranstoun, for some years has almost polarised opinion at Rock n Roll events, and with fans he’s extremely popular. Here he was taking the stage and bringing his own style and interpretation of R&B to a crowded dancefloor. Belting out Smiley Lewis’ ‘Hook Line and Sinker’ he announced his arrival. ‘Shukin and Jivin’ with it’s whistling start, has a feel of ‘Slippin’ and Slidin’ about it, which quickly begat covers of Frankie Ford’s ‘Sea Cruise’ and Lord Creator’s ‘Don’t Stay Out Late’.
There’s never a lack of bounce and spin with a Si Cranstoun show, and this one continued with the likes of ‘Coupe De Ville’, the sing-along ‘Ella Hula’ with varying degrees of success in the crowd, and ‘Throwback’, applicable sentiments to much of the assembled. As with many artists that appear at weekenders, there are songs that are their calling card, or the track that first saw them burst into notoriety. It was a MySpace (remember that or are you too young readers?) post that first brought ‘Dynamo’ to many people’s attention. Nowadays, if Si decided to leave it out of his show, the repercussions could be felt for some time I’d suggest. He duly obliged, to the delight of many.
Some rousing takes of classic R&B tracks, Jackie Wilson’s ‘Reet Petite’ , Sam Cooke’s ‘Twisting the Night Away’ and Nappy Brown’s ‘Don’t Be Angry’ kept it real too.
There’s never a lack of bounce and spin with a Si Cranstoun show, and this one continued with the likes of ‘Coupe De Ville’, the sing-along ‘Ella Hula’ with varying degrees of success in the crowd, and ‘Throwback’, applicable sentiments to much of the assembled. As with many artists that appear at weekenders, there are songs that are their calling card, or the track that first saw them burst into notoriety. It was a MySpace (remember that or are you too young readers?) post that first brought ‘Dynamo’ to many people’s attention. Nowadays, if Si decided to leave it out of his show, the repercussions could be felt for some time I’d suggest. He duly obliged, to the delight of many.
Some rousing takes of classic R&B tracks, Jackie Wilson’s ‘Reet Petite’ , Sam Cooke’s ‘Twisting the Night Away’ and Nappy Brown’s ‘Don’t Be Angry’ kept it real too.
Jake Calypso
During the day, a quietly spoken visitor from Manin Pas-De-Calais France, named Herve, was around the site digging the music. Some time on Sunday afternoon, he went through a vortex and became Jake Calypso, and in the evening, joined by Red Hot, played the final live set of the weekender. Red Hot are made up of guitarist Christophe Gillet, drummer Thierry Sellier and on bass our own Dave Kopke. To say that he had the audience in the palm of his hand would be one way of putting it, however I’d suggest he ended up in the palms of the audience’s hands on more than one occasion.
It started off as many-a band would, suited and a Fender Sunburst guitar around the lead singer’s shoulder. Then, with the blue touchpaper lit, they exploded into action with the song synonymous with Jake, ‘My Baby Rocks’. Unusual you may think that he would lead off with probably his best known rocker, but that’s what he did. Almost immediately he was leaping around the stage, during the instrumental breaks and high yodelling through the vocals.
The crowd were into it from the start, joining in with ‘Rock n Roll Train’ single-held note, and answering to ‘Turn Me Loose’. And we were all back on choral form again with the ‘bup-a-bup-a-bups’ on ‘Call Me Baby’, a belter that’s shockingly over ten years old now. With Jake now crowd surfing, falling into the throng offstage and rolling about while still holding the tune together, the whole nutty mayhem somehow made sense. Behind the buffoonery, is a talented songwriter and musician, backed by a tight sounding trio of musicians. ‘I’m a Real Cool Cat’, and ‘I’m Just a Boppin Cat’, somehow shone through, and ‘Rockabilly Star’ summed up what the audience thought. Totally mesmerizingly crazy and hugely enjoyable.
A fitting end to what was an excellent Hemsby festival. Acts to please all tastes, cool tracks from the DJs and excellent sound. Hemsby has gained serious momentum post Covid and since Bill Guntrip has been at the helm. The next one, Number 69, has an equally varied and intriguing line up, which has already garnered plenty of interest. Git to gittun people
Gallery images below, click on them for full sized picture
It started off as many-a band would, suited and a Fender Sunburst guitar around the lead singer’s shoulder. Then, with the blue touchpaper lit, they exploded into action with the song synonymous with Jake, ‘My Baby Rocks’. Unusual you may think that he would lead off with probably his best known rocker, but that’s what he did. Almost immediately he was leaping around the stage, during the instrumental breaks and high yodelling through the vocals.
The crowd were into it from the start, joining in with ‘Rock n Roll Train’ single-held note, and answering to ‘Turn Me Loose’. And we were all back on choral form again with the ‘bup-a-bup-a-bups’ on ‘Call Me Baby’, a belter that’s shockingly over ten years old now. With Jake now crowd surfing, falling into the throng offstage and rolling about while still holding the tune together, the whole nutty mayhem somehow made sense. Behind the buffoonery, is a talented songwriter and musician, backed by a tight sounding trio of musicians. ‘I’m a Real Cool Cat’, and ‘I’m Just a Boppin Cat’, somehow shone through, and ‘Rockabilly Star’ summed up what the audience thought. Totally mesmerizingly crazy and hugely enjoyable.
A fitting end to what was an excellent Hemsby festival. Acts to please all tastes, cool tracks from the DJs and excellent sound. Hemsby has gained serious momentum post Covid and since Bill Guntrip has been at the helm. The next one, Number 69, has an equally varied and intriguing line up, which has already garnered plenty of interest. Git to gittun people
Gallery images below, click on them for full sized picture
interview with charlotte porter
Lincoln based vocalist, Miss Charlotte Porter, has been a feature of many venues in the East Midlands and surrounding area for a couple of years now. From shows at festivals like Bomber Command, Hot Rock n Boogie, Woodhall Spa 1940’s Festival and York Festival of Vintage, through restaurant and club performances, her vocal versatility and ability is evident in every song. Those styles include Jump-Jive and Swing through R&B, early Rock ’n’ Roll and the odd Rockabilly number. So, here’s Charlotte in her own words.
BJR. Usually, we ask how our interviewees first got into Rock n Roll, or whichever their favoured genre is, but as you cover so many, we’ll ask how you found 40’s/50’s music, and what was the first style you found?
CP – Around 11 years ago my Mum bought us tickets to see The Jive Aces at Lincoln Drill Hall and from the minute they stepped on stage I fell in love with them and the jump jive style and it escalated from there. Before that I had never had a style of music make me feel alive, I know that sounds cliché but it really is true in this case!
BJR. What sort of age were you then?
CP - 19
BJR. Did you always sing, or was that something that came with time?
CP – I have always sung, whether people wanted to hear it or not! But in the later years of secondary school I really started to find I could hold a note and started to take singing lessons (mainly to get out of Maths, but keep that between yourselves!) from then I kept it to myself until nearly 7 years ago when I started gigging.
BJR. Who are your major influences, past and present?
CP – My idol is Louis Prima, he was the first artist I listened to after watching The Jive Aces and the reason I now sing what I do. More recent influences are Ruth Brown, Imelda May and Janis Martin.
BJR. Do you recall your first performance in front of an audience?
CP – I do, it was a Wedding Fayre at a local, old train station that is now a B&B and Cafe (Bardney Heritage Centre) they had heard that I could sing after many conversations over fish and chips and little did I know that my Mum and Fiancé had plotted behind my back, bought me my first PA and had said I would love to be a part of their event, after the shock and the nerves, I remember getting my first booking and hundreds of people saying I should do this as a career and here we are, you guys wanting to know all about me in an interview...bonkers!
BJR. That's brilliant, so with that in mind, how did you make that step into performing as an artist in your own right?
CP – I started as I suppose most entertainers do, doing local, small gigs, afternoon tea style events, anything I could do to get my name out there, coming from the ‘Bomber County’ it was hard to get noticed with all the well established vintage singers around here but eventually word of mouth seemed to be my friend and I ended up getting more and more gigs and they started getting further and further afield.
BJR. Usually, we ask how our interviewees first got into Rock n Roll, or whichever their favoured genre is, but as you cover so many, we’ll ask how you found 40’s/50’s music, and what was the first style you found?
CP – Around 11 years ago my Mum bought us tickets to see The Jive Aces at Lincoln Drill Hall and from the minute they stepped on stage I fell in love with them and the jump jive style and it escalated from there. Before that I had never had a style of music make me feel alive, I know that sounds cliché but it really is true in this case!
BJR. What sort of age were you then?
CP - 19
BJR. Did you always sing, or was that something that came with time?
CP – I have always sung, whether people wanted to hear it or not! But in the later years of secondary school I really started to find I could hold a note and started to take singing lessons (mainly to get out of Maths, but keep that between yourselves!) from then I kept it to myself until nearly 7 years ago when I started gigging.
BJR. Who are your major influences, past and present?
CP – My idol is Louis Prima, he was the first artist I listened to after watching The Jive Aces and the reason I now sing what I do. More recent influences are Ruth Brown, Imelda May and Janis Martin.
BJR. Do you recall your first performance in front of an audience?
CP – I do, it was a Wedding Fayre at a local, old train station that is now a B&B and Cafe (Bardney Heritage Centre) they had heard that I could sing after many conversations over fish and chips and little did I know that my Mum and Fiancé had plotted behind my back, bought me my first PA and had said I would love to be a part of their event, after the shock and the nerves, I remember getting my first booking and hundreds of people saying I should do this as a career and here we are, you guys wanting to know all about me in an interview...bonkers!
BJR. That's brilliant, so with that in mind, how did you make that step into performing as an artist in your own right?
CP – I started as I suppose most entertainers do, doing local, small gigs, afternoon tea style events, anything I could do to get my name out there, coming from the ‘Bomber County’ it was hard to get noticed with all the well established vintage singers around here but eventually word of mouth seemed to be my friend and I ended up getting more and more gigs and they started getting further and further afield.
BJR. Guessing that as with most performers, the Covid 19 pandemic had a devastating effect on live shows. What did you do to keep yourself show-ready?
CP – Don’t mention the C word! I remember doing a gig in Lincoln the day before we went in to lockdown, it was heaving, we were all laughing and joking at the fact we weren’t going to be effected...boy were we wrong! I did a few Live videos which was great because people got to see me and comment and chat and ask me questions, I got to keep the voice going and I could do it all in my slippers, it’s the only thing I miss about covid, being able to perform in my slippers...
BJR. Since we all emerged from the pandemic years, you have turned full time professional. That is quite the step to take. Take us through that process, and what did you envisage the potential pitfalls to be (worldwide pandemics notwithstanding)
CP – Yes, I decided to leave my job in April 2022 to become a professional singer. I really didn’t know whether I was making a big mistake, I was in a stable, regularly paid job and suddenly I was having to rely on people wanting me. I had already been singing in between my then ‘day job’ for 4 years but I still went through a lot of self doubt at the time, ‘how dare I think I’m good enough to make a living out of singing’ especially as bars/pubs/venues were still trying to get back on their feet after the pandemic, why would they waste their much needed money on me warbling for a couple of hours. Obviously I was very wrong and it was THE best decision I could have made!
BJR. It’s interesting to know how artists approach their performances. Do you have a ready-made setlist or do you pick the songs based on the venue you are playing?
CP – I normally have a handful of songs I will definitely put in my sets, but normally I choose my sets to suit the event, for instance if I’m doing a pub or bar, I will add more well known swing tracks by Frank Sinatra & Dean Martin and also if there’s a younger crowd I’ll sometimes throw in an Amy Winehouse song, whereas if I’m doing a vintage event where I know there will be dancers, I will do more of the jump jive style, add a few strollers and try and keep the dance floor full, you don’t always get it right but it’s great fun trying to figure out a crowd through music.
BJR. Which shows stand out in your mind as ‘wow’ moments? Past or present or both 😊
CP – My biggest wow moment, wasn’t even my own gig, my best friend Nora took me down to London for a girly weekend to see The Jive Aces at Ronnie Scott’s and they called me up to sing Jump, Jive & Wail with them... THE Ronnie Scott’s! To me that will always stay with me. I would love to be able to do a full set there but for now I am more than content with saying I sang one song with my favourite band in that legendary venue!
I was also asked to go over to Lithuania to sing with a big swing band this year, unfortunately I was already booked but watch this space for another date...Charlotte on tour!?
I have to also mention singing at The Festival of Vintage at York Racecourse, that was my favourite event in the calendar, I wouldn’t miss it and the first time they got in touch asking me to be a part of it, I was ecstatic, it had been something I was aiming for! I’ll miss it now it has gone.
BJR. Who are the Hi Rollers and how does a show with them differ from a solo show (other than there’s more people on stage 😊 )
CP – Charlotte Porter & Hi-Rollers are a bunch of misfits who like playing good music together, Terry Garfoot my Fiancé – Lead Guitar, Vocals, Graham Gee (Gray) – Double Bass, Vocals and most recently Graham Potter (G) – Drums, with me on Lead vocals and sometimes snare drum if it’s a smaller venue. Terry & I met Gray through our love of Rock n Roll and Rockabilly and watching live music in Lincoln, we started going round each other’s houses having BBQs and started playing songs, we had a chat one day and decided to make a go of it and get some gigs in. We then decided that we needed a drummer and along came G, Terry’s best friend from Primary School who now joins us on our bigger gigs. The band plays more classic Rock n Roll, Blues and we’ve coined our own genre ‘Swingabilly’ we like to take non rock n roll songs and turn them in to our own style as well as playing originals.
BJR. Biggest problems you might encounter as a vocalist?
CP – Losing my voice! It’s only happened once so far, last year, it’s always in the back of your head, is it going to ever come back?!
BJR. Have you made any recordings, and are there any plans to record in the future?
CP – I have 1 Solo CD out at the minute called ‘On The Case’, if you’ve seen my solo act you will know I have a stack of old suitcases on stage with my name on, so that’s where the name for my first CD came from. There are plans for a 2nd solo CD in the next year, I feel like I’ve evolved and I’m completely different to when I did my first one. Also there have been whispers between the band that we want to do some recording so watch this space for some exciting updates!
BJR. Finally, now they've read up on you and the style of music you perform, how can people get in touch with you for bookings or further information
CP – For band or solo email [email protected]
Also follow on Facebook ‘Miss Charlotte Porter’ & ‘Charlotte Porter & The Hi-Rollers’
BJR. Many thanks Charlotte
Thanks for asking me, see you soon!
CP – Don’t mention the C word! I remember doing a gig in Lincoln the day before we went in to lockdown, it was heaving, we were all laughing and joking at the fact we weren’t going to be effected...boy were we wrong! I did a few Live videos which was great because people got to see me and comment and chat and ask me questions, I got to keep the voice going and I could do it all in my slippers, it’s the only thing I miss about covid, being able to perform in my slippers...
BJR. Since we all emerged from the pandemic years, you have turned full time professional. That is quite the step to take. Take us through that process, and what did you envisage the potential pitfalls to be (worldwide pandemics notwithstanding)
CP – Yes, I decided to leave my job in April 2022 to become a professional singer. I really didn’t know whether I was making a big mistake, I was in a stable, regularly paid job and suddenly I was having to rely on people wanting me. I had already been singing in between my then ‘day job’ for 4 years but I still went through a lot of self doubt at the time, ‘how dare I think I’m good enough to make a living out of singing’ especially as bars/pubs/venues were still trying to get back on their feet after the pandemic, why would they waste their much needed money on me warbling for a couple of hours. Obviously I was very wrong and it was THE best decision I could have made!
BJR. It’s interesting to know how artists approach their performances. Do you have a ready-made setlist or do you pick the songs based on the venue you are playing?
CP – I normally have a handful of songs I will definitely put in my sets, but normally I choose my sets to suit the event, for instance if I’m doing a pub or bar, I will add more well known swing tracks by Frank Sinatra & Dean Martin and also if there’s a younger crowd I’ll sometimes throw in an Amy Winehouse song, whereas if I’m doing a vintage event where I know there will be dancers, I will do more of the jump jive style, add a few strollers and try and keep the dance floor full, you don’t always get it right but it’s great fun trying to figure out a crowd through music.
BJR. Which shows stand out in your mind as ‘wow’ moments? Past or present or both 😊
CP – My biggest wow moment, wasn’t even my own gig, my best friend Nora took me down to London for a girly weekend to see The Jive Aces at Ronnie Scott’s and they called me up to sing Jump, Jive & Wail with them... THE Ronnie Scott’s! To me that will always stay with me. I would love to be able to do a full set there but for now I am more than content with saying I sang one song with my favourite band in that legendary venue!
I was also asked to go over to Lithuania to sing with a big swing band this year, unfortunately I was already booked but watch this space for another date...Charlotte on tour!?
I have to also mention singing at The Festival of Vintage at York Racecourse, that was my favourite event in the calendar, I wouldn’t miss it and the first time they got in touch asking me to be a part of it, I was ecstatic, it had been something I was aiming for! I’ll miss it now it has gone.
BJR. Who are the Hi Rollers and how does a show with them differ from a solo show (other than there’s more people on stage 😊 )
CP – Charlotte Porter & Hi-Rollers are a bunch of misfits who like playing good music together, Terry Garfoot my Fiancé – Lead Guitar, Vocals, Graham Gee (Gray) – Double Bass, Vocals and most recently Graham Potter (G) – Drums, with me on Lead vocals and sometimes snare drum if it’s a smaller venue. Terry & I met Gray through our love of Rock n Roll and Rockabilly and watching live music in Lincoln, we started going round each other’s houses having BBQs and started playing songs, we had a chat one day and decided to make a go of it and get some gigs in. We then decided that we needed a drummer and along came G, Terry’s best friend from Primary School who now joins us on our bigger gigs. The band plays more classic Rock n Roll, Blues and we’ve coined our own genre ‘Swingabilly’ we like to take non rock n roll songs and turn them in to our own style as well as playing originals.
BJR. Biggest problems you might encounter as a vocalist?
CP – Losing my voice! It’s only happened once so far, last year, it’s always in the back of your head, is it going to ever come back?!
BJR. Have you made any recordings, and are there any plans to record in the future?
CP – I have 1 Solo CD out at the minute called ‘On The Case’, if you’ve seen my solo act you will know I have a stack of old suitcases on stage with my name on, so that’s where the name for my first CD came from. There are plans for a 2nd solo CD in the next year, I feel like I’ve evolved and I’m completely different to when I did my first one. Also there have been whispers between the band that we want to do some recording so watch this space for some exciting updates!
BJR. Finally, now they've read up on you and the style of music you perform, how can people get in touch with you for bookings or further information
CP – For band or solo email [email protected]
Also follow on Facebook ‘Miss Charlotte Porter’ & ‘Charlotte Porter & The Hi-Rollers’
BJR. Many thanks Charlotte
Thanks for asking me, see you soon!
Hemsby 69 is selling well and will surely sell out again. Don't miss out on this stellar line up. Click flyer for details
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An excellent night in the offing at Chesterfield. Read about the club below and click on the flyer for details
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gig reviews
Lew Lewis
Proud to be an Oakie. The massive conurbation that is Gedney Dyke in the South Holland area of Lincolnshire, hosts the Oakie Boogie. This is an occasional event put on by DJ Courtney Oakes, in aid of the Alzheimer’s Society, takes place in the village hall, and Courtney usually invites a guest DJ as well as a live band. This particular night it was David ‘The Mailman’ Willis and both were in support of the live band for the night, Lew Lewis and his All Star Trio, up from the South Coast.
So good to see such a chunky headcount with folk gravitating over to Lincs from Norfolk and Cambridgeshire and surrounding areas. Some fine sounds from the decks too, mixing up all the flavours from classy rhythm and blues through to out and out Rockabilly and a lot of points in between.
Lew Lewis took to the stage with his trusty acoustic rhythm guitar and immediately grabbed everyone’s attention with Roy Orbison’s ‘I Like Love’ and Kenny Parchman’s ‘Treat Me Right’. Lew writes a pretty good song too and the first couple of which, ‘Be There When I Call’ and ‘You’re Enough’ sandwiched Johnny Cash’s ‘Folsom Prison Blues’ with some top guitar work from Brandon Hoadley. A couple of Charlie Rich dancefloor winners delighted the crowd, strolling to ‘Midnite Blues’ and jiving to ‘Rebound’, and some of the familiar covers were top drawer. Among those were top bop sounds of Johnny Burnette’s ‘All By Myself’, Charlie Feathers’ ‘Tongue Tied Jill’ and a bit of Johnny Kidd British RnR with ‘Casting My Spell on You’.
Four of the first five songs to begin the second set, were Lew’s own compositions, and a personal favourite featured. ‘Oooh Now’ is a real peach of a tune, that’s been around a while, but sounds as fresh as it did in 2016 when it metaphorically tickled the ear drums. Covers like ‘Lawdy Miss Clawdy’, Gene’s ‘Wildcat’ and Vince Taylor’s ‘Brand New Cadillac’ slowed it down slightly, while Roc LaRue’s ‘Baby Take Me Back’ and Johnny Horton’s ‘Got The Bull By The Horns’ rocked. ‘Tear it Up’ he vocalised in the encore, and they surely did.
So good to see such a chunky headcount with folk gravitating over to Lincs from Norfolk and Cambridgeshire and surrounding areas. Some fine sounds from the decks too, mixing up all the flavours from classy rhythm and blues through to out and out Rockabilly and a lot of points in between.
Lew Lewis took to the stage with his trusty acoustic rhythm guitar and immediately grabbed everyone’s attention with Roy Orbison’s ‘I Like Love’ and Kenny Parchman’s ‘Treat Me Right’. Lew writes a pretty good song too and the first couple of which, ‘Be There When I Call’ and ‘You’re Enough’ sandwiched Johnny Cash’s ‘Folsom Prison Blues’ with some top guitar work from Brandon Hoadley. A couple of Charlie Rich dancefloor winners delighted the crowd, strolling to ‘Midnite Blues’ and jiving to ‘Rebound’, and some of the familiar covers were top drawer. Among those were top bop sounds of Johnny Burnette’s ‘All By Myself’, Charlie Feathers’ ‘Tongue Tied Jill’ and a bit of Johnny Kidd British RnR with ‘Casting My Spell on You’.
Four of the first five songs to begin the second set, were Lew’s own compositions, and a personal favourite featured. ‘Oooh Now’ is a real peach of a tune, that’s been around a while, but sounds as fresh as it did in 2016 when it metaphorically tickled the ear drums. Covers like ‘Lawdy Miss Clawdy’, Gene’s ‘Wildcat’ and Vince Taylor’s ‘Brand New Cadillac’ slowed it down slightly, while Roc LaRue’s ‘Baby Take Me Back’ and Johnny Horton’s ‘Got The Bull By The Horns’ rocked. ‘Tear it Up’ he vocalised in the encore, and they surely did.
The Jets
A Good Friday. Cambridgeshire next, and we joined a pretty long, and steadily lengthening queue to get into March Jive Club. It’s been ages since we last attended the club, it might’ve even been the same band that was playing. Who were they? Well, the Jets of course, probably why the evening was so popular. Popularity that meant by 8pm there were already two hundred people in the house, and the floor filled courtesy of the decks and the selection of DJ for the night, Alison Bruce. Classic tunes aplenty and a good variety for the dancers.
Do the Jets need any introduction? Well, if you are reading our magazine for the first time, and not familiar with them, they are brothers Bob, Ray and Tony Cotton, on upright bass, guitar and drums respectively. They are in their fiftieth year as a band playing, though if you listen to Ray’s chronology, he was an amoeba when they started.
The thumping beat and flashing lights of ‘You Just Don’t Know How To Treat Your Man’ heralded their arrival on stage with Herschel Almond’s ‘Let’s Get It On’ maintaining the pace. In 1981, they made appearances on Top of the Pops, initially with their version of ‘Yes Tonight Josephine’ which reached #25. This might have been the gazillionth time they have performed the song, but it sounds as good as it did back then.
There was an easing off the gas for some stroll tunes, their own ‘Talk All Night’, ‘Charlene’ from 1986 and Carlo’s ‘Little Orphan Girl’. Enough with the slow stuff already, how about Johnny Burnette’s ‘Your Baby Blue Eyes’, which features Bob vocalising Johnny as well as anyone could. ‘Thunder Road’ is a rollocking good blues bopper and to top off the first set, some seminal Rockabilly in Chalie Feathers’ ‘One Hand Loose’.
With Larry Williams’ ‘Slow Down’ opening up the second set, the Jets switched between Gene Wyatt’s finest Rockabilly bopper, through Cliff Richard’s twisty-jiver from Summer Holiday ‘Dancing Shoes’ and the Marcels’ ‘Blue Moon’ (#1 on the day Ray was born apparently). Then from left field, a cover of Cavan’s ‘Teddy Boy Boogie’ and a sublime take on the Southlanders’ ‘Penny Loafers and Bobby Sox’, which I don’t think I’ve heard many (any?) other band do. Their own ‘When the Cat’s Away’ and the oft requested ‘Fine, Fine, Fine’ ended the show initially, but the super smooth a capella ‘Girlfriend’ and their second well known chart hit, ‘Love Makes the World Go Round’ formed the encore. Quality entertainment.
Do the Jets need any introduction? Well, if you are reading our magazine for the first time, and not familiar with them, they are brothers Bob, Ray and Tony Cotton, on upright bass, guitar and drums respectively. They are in their fiftieth year as a band playing, though if you listen to Ray’s chronology, he was an amoeba when they started.
The thumping beat and flashing lights of ‘You Just Don’t Know How To Treat Your Man’ heralded their arrival on stage with Herschel Almond’s ‘Let’s Get It On’ maintaining the pace. In 1981, they made appearances on Top of the Pops, initially with their version of ‘Yes Tonight Josephine’ which reached #25. This might have been the gazillionth time they have performed the song, but it sounds as good as it did back then.
There was an easing off the gas for some stroll tunes, their own ‘Talk All Night’, ‘Charlene’ from 1986 and Carlo’s ‘Little Orphan Girl’. Enough with the slow stuff already, how about Johnny Burnette’s ‘Your Baby Blue Eyes’, which features Bob vocalising Johnny as well as anyone could. ‘Thunder Road’ is a rollocking good blues bopper and to top off the first set, some seminal Rockabilly in Chalie Feathers’ ‘One Hand Loose’.
With Larry Williams’ ‘Slow Down’ opening up the second set, the Jets switched between Gene Wyatt’s finest Rockabilly bopper, through Cliff Richard’s twisty-jiver from Summer Holiday ‘Dancing Shoes’ and the Marcels’ ‘Blue Moon’ (#1 on the day Ray was born apparently). Then from left field, a cover of Cavan’s ‘Teddy Boy Boogie’ and a sublime take on the Southlanders’ ‘Penny Loafers and Bobby Sox’, which I don’t think I’ve heard many (any?) other band do. Their own ‘When the Cat’s Away’ and the oft requested ‘Fine, Fine, Fine’ ended the show initially, but the super smooth a capella ‘Girlfriend’ and their second well known chart hit, ‘Love Makes the World Go Round’ formed the encore. Quality entertainment.
Slick as a Chicken (not often your club emblem perfectly matches the lead singer :))
Classy Chezzy Chic. Chesterfield Rock n Roll Club never shy away from putting on new bands, and this gig was no exception. The interestingly named five-piece, Slick as a Chicken, who took their name from a line in Gene Simmons’ ‘I Done Told You’, were up from Peterborough, debuting in Derbyshire. You might recognise names from the likes of the Fencats and the Outsiders in the line-up. Joe Chapman takes the lead vocals, with backing vocals and rhythm guitarist Colin Larke, lead guitarist Tony Thomas seated and sporting a support boot, Steve Cage on upright bass and drummer Lee Hodges.
DJ for the night was Andy Barker, flying solo this time, blending the good and the great with the new and sometimes obscure. A hot melting pot of styles that kept the floor moving throughout. A decent number of peeps showed up despite there being a fair amount of free events on in the area.
The band blasted out onto the stage with the Sun winner ‘Flying Saucers Rock n Roll’ followed by a belter from Benny Joy, ‘Miss Bobby Sox’. We were liking the gear switches between the likes of Johnny Jay’s ‘Sugar Doll’ and the pacy ‘Warm Love’, originally by Johnny and Dorsey Burnette. The whole set was knitted together with a real rocking vibe with mid-tempo tunes like ‘Got a Hole in my Pocket’, stroll sounds like ‘Money Honey’ and the Recall’s 1965 rocker ‘Nobody’s Guy’, which ended the first set.
Set two picked up in the same vein as the first ended with Rex Allen’s ‘Knock Knock Rattle’ and the ‘other’ Recalls song, ‘Reesie’. And we need to flag up their take of Doug Powell’s ‘Jeannie With the Dark Blue Eyes’ as well, a tidy rocker to be sure. The lads did make mention of their liking of the Neo-Rockabilly sound, and recreated that later in the set with covers of the Blue Cats’ ‘Wild Night’, ‘Long Black Shiny Car’ in the Restless style and a real left fielder with the Polecats’ ‘Marie Celeste’ from the 1981 EP ‘Polecats are Go’.
The frantic rocker ‘Big Sandy’ (Bobby Roberts) and Benny Joy’s primitive and stripped back tear-up closed a fine show, with a deserved encore of the anthemic ‘Lonesome Train’. Smashing debut from the East Anglians.
DJ for the night was Andy Barker, flying solo this time, blending the good and the great with the new and sometimes obscure. A hot melting pot of styles that kept the floor moving throughout. A decent number of peeps showed up despite there being a fair amount of free events on in the area.
The band blasted out onto the stage with the Sun winner ‘Flying Saucers Rock n Roll’ followed by a belter from Benny Joy, ‘Miss Bobby Sox’. We were liking the gear switches between the likes of Johnny Jay’s ‘Sugar Doll’ and the pacy ‘Warm Love’, originally by Johnny and Dorsey Burnette. The whole set was knitted together with a real rocking vibe with mid-tempo tunes like ‘Got a Hole in my Pocket’, stroll sounds like ‘Money Honey’ and the Recall’s 1965 rocker ‘Nobody’s Guy’, which ended the first set.
Set two picked up in the same vein as the first ended with Rex Allen’s ‘Knock Knock Rattle’ and the ‘other’ Recalls song, ‘Reesie’. And we need to flag up their take of Doug Powell’s ‘Jeannie With the Dark Blue Eyes’ as well, a tidy rocker to be sure. The lads did make mention of their liking of the Neo-Rockabilly sound, and recreated that later in the set with covers of the Blue Cats’ ‘Wild Night’, ‘Long Black Shiny Car’ in the Restless style and a real left fielder with the Polecats’ ‘Marie Celeste’ from the 1981 EP ‘Polecats are Go’.
The frantic rocker ‘Big Sandy’ (Bobby Roberts) and Benny Joy’s primitive and stripped back tear-up closed a fine show, with a deserved encore of the anthemic ‘Lonesome Train’. Smashing debut from the East Anglians.
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Opening soon, a new shop for Razzle Dazzle Vintage. April and Andy Birdseye have spent a mental amount of time to bring their new premises up to a pristine condition to take their wide range of stock. Check out the opening date, and click on the flyer for details
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
