the bettajive review magazine #40
Sister Suzie on top form at Hot Rock n Boogie #5
We have made it to issue #40 readers. Some said we wouldn't last a year, but here we are. In this issue we have our reviews of Kelham Hall Vintage Festival and Hot Rock n Boogie #5 featuring among others, Sister Suzie, pictured above. Note that our review of Rockin' at Bomber Command, will be in the NEXT issue. This is so we can give every event due justice and column inches (ooer missus). We also, have a review of the Nobster's latest release on CD, Rumble on the Rock, #4, The Aftermath
The Bettajive Review
Clunk-click on a field trip. Tell you what readers, we have attended whole weekenders at outside events. Now to clarify the term, I’m basing the following on the event, loosely described as, ‘in a tent, in a field’. It’s at the mercy of the weather, which is as unpredictable as…er…well…. the weather. Here’s a Bettajive basic first impressions guide to the outdoor weekender event, and as usual, similarities to any specific event, are purely co-incidental…..honest :).
First off, we are not campers in whichever form. I still have probably misguided impression of having to eat endless Pot Noodles (other ramen-style instant snack foods are available), walk miles like a mountain goat to compensate for the site’s gradient for a jug of water, get chomped alive by winged insects and having to poo on a dock leaf. I’ve always said I’d give you a list of diseases I would rather have, than go camping. Those that like it, hey good on yer, knock yourselves out, and you probably will when the wind blows your principal pole over and connects with the cranium. No dear readers, we tend to opt for the nearby hostelry and visit the event on a daily, or indeed twice daily basis.
There are campers, and motorhomers/caravaners, I don’t know how well the two get along. It seems that no matter how accomplished one person’s accommodation looks, someone next to them has it better. How people manage to survive in those miniature canvas inverted croissant-like shelters, pitched on areas more suited to bovine and ovine residents (casual produce still being aromatically if not physically, evident all around) in a force eight gale and horizontal rain, I do not know. Next to them is a caravan so slick, it has centrally heated door knobs, window boxes with fresh herbs, an escalator, an East wing and double-glazed fish tank. No stooping or walking like Groucho Marx to get around in such a magnificent abode, and the rockin’ music sounds so good emanating from the built in sound system.
The addition of flags is very important to your portable domicile, so you can identify where you are geographically, and Stars and Stripes, Union Jack and Skull & Crossbones are mandatory, fixed to very whippy poles. Oh, a blue dragon windsock and bunting, around your pitch/plot
Onsite facilities. Shower blocks, I have to say are immensely impressive, even set at a jaunty angle on the site, at least the water, which is refreshingly hot, runs away… The portable thunderboxes are assembled together like a group homage to Doctor Who’s Tardis (what’s the plural of ‘Tardis’? Tardises?? Tardi?). And thoroughly fragrant they are too(!), even with the mysterious wet precipitate, more prominent toward the end of each day, just as you walk in. And why does that hand sanitiser not come out on the first two pumps, then shishes an almighty, unabsorbable dollop, like a 99 cone, into your palm and up your sleeve on the third? Warning though, always remember, the doors open outwards, before it connects with your nose, or indeed anyone ready to enter following your departure.
The marquee, the hub of all activity is resplendent towering above all else. Professionally erected, it transcends the ‘tent in a field’ label it’s sometimes given. No worries about the wind or rainfall, as it regally repels all efforts from mother nature to topple it. Under the canvas, the weekend’s entertainment takes place. The substrate initially is terra firma, although given the natural undulation of the ground in a field, and the slightly lower lighting levels under canvas, it can turn into a mischievous imp.
Grass and earth stay still for years, but the unsuspecting footfall of the general guest, will find the most ankle twisting divet in the area, resulting in an unceremonious crumble downwards. And just for regular Bettajive Review readers, as you are at a weekender this must be highlighted by surrounding attendees, with a loud ‘Wayhayyyyy---ah!’ and in extreme cases, your carnal competence called into question. Grass has no prejudice, no matter how cool or beautiful you are, it’s a great leveller, even without being level, and that’s another thing.
It’s a bowling green that’s the most likely to be level (I know, not ‘crown green’ before you write in!). Bowling green? Rockin’ gig? Same sentence? Noooo, not going to happen is it. So, the site for many an outdoor event is unlikely to be level, some have a gentle list to the starboard side, others tilt rather more noticeably. Similarly, so do the dancefloors placed thereupon, that are sometimes randomly laid sheets of plywood, secured by gaffer tape. Another leveller.
The thing is with an enclosed area under a tarpaulin, with the differences in temperature inside and out, condensation is created. It plays havoc, with occasional hilarious consequences. Shoes with EVA soles are usually a bullet proof, traction sure dance shoe, that is until they come in contact with H2O. They reduce the wearer from competent terpsichorean enthusiast to something like a greyhound with the zoomies, on lino. The solution seems to be a little moonwalking to get the water off the soles, the side effect being that you then squeak like a mouse, or with a full floor, it sounds like the Miami Heat in training.
The sound systems, are impressive too. It must be difficult to get your levels right in such an unstable environment, the whingey local neighbour’s complaints notwithstanding. The ones we’ve been to have competent sound engineers, and the sound has been a clear close to the stage as it is at the opposing end of the marquee.
The ambience and the entire experience, differs from that you may well be used to in the Holiday Camp setting, for example, but does it rock? You bet it does.
Clunk-click on a field trip. Tell you what readers, we have attended whole weekenders at outside events. Now to clarify the term, I’m basing the following on the event, loosely described as, ‘in a tent, in a field’. It’s at the mercy of the weather, which is as unpredictable as…er…well…. the weather. Here’s a Bettajive basic first impressions guide to the outdoor weekender event, and as usual, similarities to any specific event, are purely co-incidental…..honest :).
First off, we are not campers in whichever form. I still have probably misguided impression of having to eat endless Pot Noodles (other ramen-style instant snack foods are available), walk miles like a mountain goat to compensate for the site’s gradient for a jug of water, get chomped alive by winged insects and having to poo on a dock leaf. I’ve always said I’d give you a list of diseases I would rather have, than go camping. Those that like it, hey good on yer, knock yourselves out, and you probably will when the wind blows your principal pole over and connects with the cranium. No dear readers, we tend to opt for the nearby hostelry and visit the event on a daily, or indeed twice daily basis.
There are campers, and motorhomers/caravaners, I don’t know how well the two get along. It seems that no matter how accomplished one person’s accommodation looks, someone next to them has it better. How people manage to survive in those miniature canvas inverted croissant-like shelters, pitched on areas more suited to bovine and ovine residents (casual produce still being aromatically if not physically, evident all around) in a force eight gale and horizontal rain, I do not know. Next to them is a caravan so slick, it has centrally heated door knobs, window boxes with fresh herbs, an escalator, an East wing and double-glazed fish tank. No stooping or walking like Groucho Marx to get around in such a magnificent abode, and the rockin’ music sounds so good emanating from the built in sound system.
The addition of flags is very important to your portable domicile, so you can identify where you are geographically, and Stars and Stripes, Union Jack and Skull & Crossbones are mandatory, fixed to very whippy poles. Oh, a blue dragon windsock and bunting, around your pitch/plot
Onsite facilities. Shower blocks, I have to say are immensely impressive, even set at a jaunty angle on the site, at least the water, which is refreshingly hot, runs away… The portable thunderboxes are assembled together like a group homage to Doctor Who’s Tardis (what’s the plural of ‘Tardis’? Tardises?? Tardi?). And thoroughly fragrant they are too(!), even with the mysterious wet precipitate, more prominent toward the end of each day, just as you walk in. And why does that hand sanitiser not come out on the first two pumps, then shishes an almighty, unabsorbable dollop, like a 99 cone, into your palm and up your sleeve on the third? Warning though, always remember, the doors open outwards, before it connects with your nose, or indeed anyone ready to enter following your departure.
The marquee, the hub of all activity is resplendent towering above all else. Professionally erected, it transcends the ‘tent in a field’ label it’s sometimes given. No worries about the wind or rainfall, as it regally repels all efforts from mother nature to topple it. Under the canvas, the weekend’s entertainment takes place. The substrate initially is terra firma, although given the natural undulation of the ground in a field, and the slightly lower lighting levels under canvas, it can turn into a mischievous imp.
Grass and earth stay still for years, but the unsuspecting footfall of the general guest, will find the most ankle twisting divet in the area, resulting in an unceremonious crumble downwards. And just for regular Bettajive Review readers, as you are at a weekender this must be highlighted by surrounding attendees, with a loud ‘Wayhayyyyy---ah!’ and in extreme cases, your carnal competence called into question. Grass has no prejudice, no matter how cool or beautiful you are, it’s a great leveller, even without being level, and that’s another thing.
It’s a bowling green that’s the most likely to be level (I know, not ‘crown green’ before you write in!). Bowling green? Rockin’ gig? Same sentence? Noooo, not going to happen is it. So, the site for many an outdoor event is unlikely to be level, some have a gentle list to the starboard side, others tilt rather more noticeably. Similarly, so do the dancefloors placed thereupon, that are sometimes randomly laid sheets of plywood, secured by gaffer tape. Another leveller.
The thing is with an enclosed area under a tarpaulin, with the differences in temperature inside and out, condensation is created. It plays havoc, with occasional hilarious consequences. Shoes with EVA soles are usually a bullet proof, traction sure dance shoe, that is until they come in contact with H2O. They reduce the wearer from competent terpsichorean enthusiast to something like a greyhound with the zoomies, on lino. The solution seems to be a little moonwalking to get the water off the soles, the side effect being that you then squeak like a mouse, or with a full floor, it sounds like the Miami Heat in training.
The sound systems, are impressive too. It must be difficult to get your levels right in such an unstable environment, the whingey local neighbour’s complaints notwithstanding. The ones we’ve been to have competent sound engineers, and the sound has been a clear close to the stage as it is at the opposing end of the marquee.
The ambience and the entire experience, differs from that you may well be used to in the Holiday Camp setting, for example, but does it rock? You bet it does.
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Dot…..dot Best tracks in the world ever ever to zest your lemons for this month are ‘Broadway’ by Hank Ballard, Jimmie Edwards’* ‘Your Love is a Good Love’, and ‘Track Down Baby’ by Tom James….… *This is a different Jimmy Edwards to the handle-bar moustachioed comedian of the 50’s and 60’s......Walking into town the other day, we could hear a loud thumping of a car stereo, at the traffic lights. Three young lads in a souped-up Renault Clio (other French vehicle manufacturers are available) blasting out, would you believe, Little Richard’s ‘Tutti Frutti’!! There’s hope for the youth of today yet........I’ve heard so many versions of Hank Williams ‘Long Gone Lonesome Blues’ and ‘Lovesick Blues’, but none from the Shetlands!! The music of Thomas Fraser, native of said island, was introduced to me a couple of years ago. Check him out on YouTube readers…...There are those that might accuse me of plagiarism! Their words, not mine…..Best cover tracks in the world ever ever by today’s artists for this month, Miss Mary and the Mister Rights’ take of Damita Jo’s ‘Mr. Blues’, Johnny Burnette’s ‘Please Don’t Leave Me’ performed by the Jets, and The Sundown Boys, covering Johnny Horton’s ‘I’ll Do It Every Time’…….You will notice this month readers, no gigs! Truth be told, with a weekender at either end of the month which we reviewed elsewhere, there was nothing that caught our eye in between. Other than The Rhythm Room with Savoy Jump and CJ’s Jumpin’ Boogie which was a pretty well attended record hop at Syston’ Malthouse Suite. Therefore, we had a couple of weekends ‘off’. Quite frankly, I sincerely hope it’s a situation we don’t repeat too often!.........
Dear readers, this magazine is a lot of work. When a band comes on, we do our best to get into position to take photos. The band is on usually for two forty five minute sets. We generally need around ten minutes to get some usable photographs. Is that too much to ask? (Rhetorical question for those who complain, and then spend the next twenty minutes with their backs to the band talking to their mates) We don't wear fluorescent vests, or a trilby with a 'press' ticket in the band, maybe we should set a trend. 'Wow' they'd say, 'He's really rockin'.........
Help keep this magazine free to read by popping a donation over by using the button below. Many thanks
Dear readers, this magazine is a lot of work. When a band comes on, we do our best to get into position to take photos. The band is on usually for two forty five minute sets. We generally need around ten minutes to get some usable photographs. Is that too much to ask? (Rhetorical question for those who complain, and then spend the next twenty minutes with their backs to the band talking to their mates) We don't wear fluorescent vests, or a trilby with a 'press' ticket in the band, maybe we should set a trend. 'Wow' they'd say, 'He's really rockin'.........
Help keep this magazine free to read by popping a donation over by using the button below. Many thanks
Click flyer for details
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A word from head office of the Rhythm Riot
We're so excited about the the Rhythm Riot in October.
With 21 bands, 85 hours of rockin' DJs, 3 air-conditioned music venues, the best vintage shopping, indoor flea market, classic & custom car cruise, and so much more, PLUS a couple of brand new features that you really won't want to miss...
Friday afternoon's TROPICAL POOL PARTY hosted by Craig Simpson of Wild Streak Records.
And, on Saturday afternoon, a BACKYARD JAM SESSION on the covered outdoor patio.
It's gonna be an awesome weekend and there are still caravans available for groups of 4-8 people, so get together with your friends and book NOW at www.RhythmRiot.com
Or, if your friends already have accommodation or a touring pitch booked you can call us to get wristbands and add into their booking.
Touring pitches are also available if you want to bring your own motor home, campervan or caravan.
We're so excited about the the Rhythm Riot in October.
With 21 bands, 85 hours of rockin' DJs, 3 air-conditioned music venues, the best vintage shopping, indoor flea market, classic & custom car cruise, and so much more, PLUS a couple of brand new features that you really won't want to miss...
Friday afternoon's TROPICAL POOL PARTY hosted by Craig Simpson of Wild Streak Records.
And, on Saturday afternoon, a BACKYARD JAM SESSION on the covered outdoor patio.
It's gonna be an awesome weekend and there are still caravans available for groups of 4-8 people, so get together with your friends and book NOW at www.RhythmRiot.com
Or, if your friends already have accommodation or a touring pitch booked you can call us to get wristbands and add into their booking.
Touring pitches are also available if you want to bring your own motor home, campervan or caravan.
THE ROCKABILLY RAVE IS BACK! SAVE THE DATE!
The Rockabilly Rave will take place at Vauxhall Holiday Park, Great Yarmouth, on the 27th– 31st March 2025.
Jerry Chatabox says:
Last year saw a fantastic anniversary Rockabilly Rave followed by a sell-out Hot Rod Hayride and a record-breaking sold-out Rhythm Riot. We came home absolutely knackered but buzzing with excitement about the future of the rockin’ scene.
Then our Rave and Riot venue closed overnight. No warning. No explanation. No apology. A surprising end to 25 fantastic years at Pontins, but perhaps a timely one due to the lack of maintenance of the site and the chalets.
Our search for a new venue started immediately. It’s not easy to find great spaces for music and dancing, with superb quality accommodation, good food options and friendly staff. But we did! And at an award-winning holiday park.
Understandably, because Vauxhall Holiday Park is a massively popular site we couldn’t get a summer date for the Rave. The only date available was the end of March, so it was either take the March date, or close the Rave. Knowing how many people love the Rave and the joy it brings to thousands of fans from around the world, you’ll be thrilled to know we’re going ahead 27th – 31st March 2025! Save the date – booking will open when the new website is ready.
Come and enjoy all the usual Rave features, International acts and DJ’s spread over three venues, the biggest indoor vintage and retro market place, superb food options and of course the five star quality accommodation. Enjoy being back at a huge Rockabilly Rave full of people drinking and dancing and laughing, and just hanging out with their friends from round the world.
Rave On Cats!
The Rockabilly Rave will take place at Vauxhall Holiday Park, Great Yarmouth, on the 27th– 31st March 2025.
Jerry Chatabox says:
Last year saw a fantastic anniversary Rockabilly Rave followed by a sell-out Hot Rod Hayride and a record-breaking sold-out Rhythm Riot. We came home absolutely knackered but buzzing with excitement about the future of the rockin’ scene.
Then our Rave and Riot venue closed overnight. No warning. No explanation. No apology. A surprising end to 25 fantastic years at Pontins, but perhaps a timely one due to the lack of maintenance of the site and the chalets.
Our search for a new venue started immediately. It’s not easy to find great spaces for music and dancing, with superb quality accommodation, good food options and friendly staff. But we did! And at an award-winning holiday park.
Understandably, because Vauxhall Holiday Park is a massively popular site we couldn’t get a summer date for the Rave. The only date available was the end of March, so it was either take the March date, or close the Rave. Knowing how many people love the Rave and the joy it brings to thousands of fans from around the world, you’ll be thrilled to know we’re going ahead 27th – 31st March 2025! Save the date – booking will open when the new website is ready.
Come and enjoy all the usual Rave features, International acts and DJ’s spread over three venues, the biggest indoor vintage and retro market place, superb food options and of course the five star quality accommodation. Enjoy being back at a huge Rockabilly Rave full of people drinking and dancing and laughing, and just hanging out with their friends from round the world.
Rave On Cats!
Kelham Hall Vintage Festival
Within fifty-two acres of parkland in the village of Kelham, Notts, stands Kelham Hall (aka The Renaissance at Kelham). The 19th Century, Grade 1 listed building itself has an impressive façade, and was designed by the architect George Gilbert Scott. The style is Gothic Revival, interestingly built asymmetrically and the towers are largely irregular. The interior (that we were privy to at the time) is equally spectacular.
The Great Hall, was the focus for the music, which boasted impressive brickwork arches and rendered walls and ceiling, in almost a scratch coat style, coloured blue. The ceiling is a dome that seems to go on into infinity. The other areas were for the vintage shopping, a modern-day marquee, adorned with chandeliers, and the Carriage Court, which again, whilst lower in height, boasts impressive arched brickwork and a domed ceiling.
I make no excuse for the above, I spent forty years sticking this stuff together for a living, so a fair amount of the time was spent looking at the fabric of the place, and being in awe of some of the processes involved at the time of construction.
Within fifty-two acres of parkland in the village of Kelham, Notts, stands Kelham Hall (aka The Renaissance at Kelham). The 19th Century, Grade 1 listed building itself has an impressive façade, and was designed by the architect George Gilbert Scott. The style is Gothic Revival, interestingly built asymmetrically and the towers are largely irregular. The interior (that we were privy to at the time) is equally spectacular.
The Great Hall, was the focus for the music, which boasted impressive brickwork arches and rendered walls and ceiling, in almost a scratch coat style, coloured blue. The ceiling is a dome that seems to go on into infinity. The other areas were for the vintage shopping, a modern-day marquee, adorned with chandeliers, and the Carriage Court, which again, whilst lower in height, boasts impressive arched brickwork and a domed ceiling.
I make no excuse for the above, I spent forty years sticking this stuff together for a living, so a fair amount of the time was spent looking at the fabric of the place, and being in awe of some of the processes involved at the time of construction.
Leeds City Stompers
On to the actual event, which took place from Friday evening through to Sunday afternoon, with live entertainment taking place Friday evening, all day Saturday and through Sunday. The Great Hall had large circular tables and adequate seating, with a large area as the dancefloor. Unusually there was no DJ (something the organisers have addressed for future events we’re told) and the sudden appearance of the Leeds City Stompers did take a few by surprise.
The style of this band, on first viewing looked like we might be in for a Blues treat with lead singer and lead guitarist Martyn Roper slinging a natty looking resonator, backed by Ian Blackburn on bass and John Arnesen on drums and other percussive stuff. They opened up with the instantly recognisable Johnny Cash ’55 Sun cut, ‘Folsom Prison Blues’, and immediately swung back to 1930 and ‘The Sunny Side of the Street’, more hopped up than the Ted Lewis original (they started singing before over a minute had played for start).
Then some washboard rattling blues from the Blind Boy Fuller catalogue and ‘Rag Mama’ from ’35, and the barnstorming Little Walter, Checker classic ‘My Babe’ rubbed shoulders with some Western Swing in the form of ‘Catty Town’ (Pee Wee King). The kazoos were out for Cannon’s Jug Stompers’ ‘Walk Right In’, a song that is heading for a hundred years old, and some sing-along to end the set in fine Cab Calloway style, in ‘Minnie The Moocher’.
A similar blend hit the high spots in the second set, taking Lieber and Stoller’s composition, ‘Kansas City’ from 1952 mixing with the African-American spiritual ‘Down By The Riverside’ which is over a century old now. A hefty chunk of set two composed of true classics, Louis Jordan’s ‘Choo Choo Ch’Boogie’, strains of Phil Harris and Louis Prima in Jungle Book with ‘King of the Swingers’, Hank Williams’ ‘Hey Good Lookin’ and a brace of Elvis tunes in the shape of ‘Mystery Train’ and ‘Houndog’ (or Junior Parker and Big Mama Thornton if you must).
A song that perfectly suited the band’s style made up their thank-you-and-goodnight. ‘Mama Don’t Allow No Music Playing In Here’ was a rousing was to conclude a massively diverse and well received show.
The style of this band, on first viewing looked like we might be in for a Blues treat with lead singer and lead guitarist Martyn Roper slinging a natty looking resonator, backed by Ian Blackburn on bass and John Arnesen on drums and other percussive stuff. They opened up with the instantly recognisable Johnny Cash ’55 Sun cut, ‘Folsom Prison Blues’, and immediately swung back to 1930 and ‘The Sunny Side of the Street’, more hopped up than the Ted Lewis original (they started singing before over a minute had played for start).
Then some washboard rattling blues from the Blind Boy Fuller catalogue and ‘Rag Mama’ from ’35, and the barnstorming Little Walter, Checker classic ‘My Babe’ rubbed shoulders with some Western Swing in the form of ‘Catty Town’ (Pee Wee King). The kazoos were out for Cannon’s Jug Stompers’ ‘Walk Right In’, a song that is heading for a hundred years old, and some sing-along to end the set in fine Cab Calloway style, in ‘Minnie The Moocher’.
A similar blend hit the high spots in the second set, taking Lieber and Stoller’s composition, ‘Kansas City’ from 1952 mixing with the African-American spiritual ‘Down By The Riverside’ which is over a century old now. A hefty chunk of set two composed of true classics, Louis Jordan’s ‘Choo Choo Ch’Boogie’, strains of Phil Harris and Louis Prima in Jungle Book with ‘King of the Swingers’, Hank Williams’ ‘Hey Good Lookin’ and a brace of Elvis tunes in the shape of ‘Mystery Train’ and ‘Houndog’ (or Junior Parker and Big Mama Thornton if you must).
A song that perfectly suited the band’s style made up their thank-you-and-goodnight. ‘Mama Don’t Allow No Music Playing In Here’ was a rousing was to conclude a massively diverse and well received show.
Phil Haley and his Comments
Next up the venerable four piece, Phil Haley and His Comments. Phil Haley unsurprisingly is the lead singer and lead guitarist, with Martyn Savage on bass, Allen Paris blowing up a storm Rudy Pompilli style and drummer Gary Davidson.
The first of the two sets by the band, followed the Bill Haley path, delving in to a pretty vast catalogue, from the earlier stuff, like ‘Real Rock Drive’ and ‘Dance With a Dolly’ through to the golden age of the mid and late 1950’s. This stuff I’m sure everyone who’s ever set foot in a Rock n Roll club will know. The floor immediately filled to the opening bars of ‘Shake Rattle and Roll’ that announced the band’s arrival.
‘Rip It Up’, the frantic rocker released by Haley in ’56 at the same time as Little Richard, always sets the show up, and Allen Paris’ proficient sax playing keeps the pace going with ‘Rudy’s Rock’. That usually becomes ‘Goofin’ Around’ with lots of stage acrobatics from Martyn Savage and his bass. Both sets contained a big old slab of Bill Haley music, the likes of ‘Don’t Knock the Rock’, the thumping bass beat of ‘Birth of a Boogie’ and ‘Hide and Seek’ with Martyn taking on Billy Williamson’s vocals with the usual reverence.
Twenty plus years ago, in Australia, Phil Haley and his Comments recorded what can be considered a modern-day classic. ‘Talk to Me’ is a stick-on dance floor winner, and unsurprisingly, it did it’s job here again. ‘Tom Hark’, a bouncy instrumental from 1956, originally recorded by Elias and his Zig-Zag Jive Flutes heralded the end of the set, which was extended again by the ultimate Rock n Roll record, ‘Rock Around the Clock’.
The first of the two sets by the band, followed the Bill Haley path, delving in to a pretty vast catalogue, from the earlier stuff, like ‘Real Rock Drive’ and ‘Dance With a Dolly’ through to the golden age of the mid and late 1950’s. This stuff I’m sure everyone who’s ever set foot in a Rock n Roll club will know. The floor immediately filled to the opening bars of ‘Shake Rattle and Roll’ that announced the band’s arrival.
‘Rip It Up’, the frantic rocker released by Haley in ’56 at the same time as Little Richard, always sets the show up, and Allen Paris’ proficient sax playing keeps the pace going with ‘Rudy’s Rock’. That usually becomes ‘Goofin’ Around’ with lots of stage acrobatics from Martyn Savage and his bass. Both sets contained a big old slab of Bill Haley music, the likes of ‘Don’t Knock the Rock’, the thumping bass beat of ‘Birth of a Boogie’ and ‘Hide and Seek’ with Martyn taking on Billy Williamson’s vocals with the usual reverence.
Twenty plus years ago, in Australia, Phil Haley and his Comments recorded what can be considered a modern-day classic. ‘Talk to Me’ is a stick-on dance floor winner, and unsurprisingly, it did it’s job here again. ‘Tom Hark’, a bouncy instrumental from 1956, originally recorded by Elias and his Zig-Zag Jive Flutes heralded the end of the set, which was extended again by the ultimate Rock n Roll record, ‘Rock Around the Clock’.
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Miss Lily Lovejoy
Saturday was the first full day of the festival, when you could appreciate the gardens and architecture of the hall building. The classic cars parked proudly on the gravel path that surrounded the lawns that were manicured to the point that you could almost play snooker on them.
Some seriously sharply dressed people showed up, an exceptional display of hats and outfits, as the crowd perused the finery on sale from all the stalls. Bags, jewellery, coats, shoes, memorabilia and other vintage miscellanea, expertly presented.
The main hall boasted some solo vocalists, singing to backing tracks. The acts were brought forward to a more prominent place in the hall, very conducive for Miss Lily Lovejoy and her immersive performance, as well as Ashlea Lauren and Miss Rosy Rivets.
Some seriously sharply dressed people showed up, an exceptional display of hats and outfits, as the crowd perused the finery on sale from all the stalls. Bags, jewellery, coats, shoes, memorabilia and other vintage miscellanea, expertly presented.
The main hall boasted some solo vocalists, singing to backing tracks. The acts were brought forward to a more prominent place in the hall, very conducive for Miss Lily Lovejoy and her immersive performance, as well as Ashlea Lauren and Miss Rosy Rivets.
Swing Commanders
The evening brought two acts on top form, starting with the Swing Commanders, who have to be one of the most versatile bunch of musicians, playing the most varied vintage set-list. Ordinarily it would be like ‘so and so on bass, so and so-else on guitar’ but truth be told the number of instruments outnumbered the five musicians considerably. With that in mind, Peter Riley takes the majority of lead vocals and predominantly plays the upright bass. He’s joined by Gaynor Sutcliffe on violin/fiddle (you choose), guitarist Dan Smith, drummer Stuart Smith and multi-instrumentalist and vocalist, Siena Lloyd.
‘The Sunny Side of the Street’ was the jaunty start to the set, followed by a fine take of ‘In The Mood’ and ‘Take the A Train’. From jazz and big band, they switched to some Western Swing, and Bob Wills’ saucily titled ‘I Had Someone Else Before I Had You’. ‘Remember Our Faded Love’ (Patsy Cline) had the audience in barn dance formation, before they were back in couples for ‘Ragtime Cowboy Joe’ (which this author nominates Jo Stafford’s version as the best of the ‘original’ recordings). The next announced Virginia formation dance, had the participants in opposing lines for a combination of ‘Michael Row the Boat Ashore’ and ‘Down By The Riverside’. ‘The Orange Blossom Special’ originally from 1938 and synonymous with Johnny Cash’s recording in the mid-60’s, provided a fiddle-tastic end to the first set.
Set two swung from style to style with seamless, consummate ease, from Louis Jordan’s jumping ‘Ain’t Nobody Here But Us Chickens’, through the Jazzy Blues standard, ‘St James Infirmary Blues’ made popular by Louis Armstrong in the late 20’s. They needed to do something that befitted their surroundings, it was announced, and sure enough, they chose Ludwig Van Beethoven’s 5th in C Minor, from 1808, probably the oldest tune we’ve ever heard at a vintage event. OK, so that was the first few bars, that are pretty much recognisable by anyone, which suddenly morphed into Chuck Berry’s rock n roll classic, ‘Roll Over Beethoven’.
Foot stomping followed to the traditional Country/Folk frolic ‘Cotton Eye Joe’, the Dixieland sound of ‘Basin Street Blues’, and a couple of train rambles with ‘Choo Choo Ch’Boogie’ and Chattanooga Choo Choo’. Commanding Swing indeed readers, as the crowd wanted more, we had two in mind. Sure enough, one was granted, Cab Calloway’s ‘Minnie the Moocher’ topped off an exquisite set.
‘The Sunny Side of the Street’ was the jaunty start to the set, followed by a fine take of ‘In The Mood’ and ‘Take the A Train’. From jazz and big band, they switched to some Western Swing, and Bob Wills’ saucily titled ‘I Had Someone Else Before I Had You’. ‘Remember Our Faded Love’ (Patsy Cline) had the audience in barn dance formation, before they were back in couples for ‘Ragtime Cowboy Joe’ (which this author nominates Jo Stafford’s version as the best of the ‘original’ recordings). The next announced Virginia formation dance, had the participants in opposing lines for a combination of ‘Michael Row the Boat Ashore’ and ‘Down By The Riverside’. ‘The Orange Blossom Special’ originally from 1938 and synonymous with Johnny Cash’s recording in the mid-60’s, provided a fiddle-tastic end to the first set.
Set two swung from style to style with seamless, consummate ease, from Louis Jordan’s jumping ‘Ain’t Nobody Here But Us Chickens’, through the Jazzy Blues standard, ‘St James Infirmary Blues’ made popular by Louis Armstrong in the late 20’s. They needed to do something that befitted their surroundings, it was announced, and sure enough, they chose Ludwig Van Beethoven’s 5th in C Minor, from 1808, probably the oldest tune we’ve ever heard at a vintage event. OK, so that was the first few bars, that are pretty much recognisable by anyone, which suddenly morphed into Chuck Berry’s rock n roll classic, ‘Roll Over Beethoven’.
Foot stomping followed to the traditional Country/Folk frolic ‘Cotton Eye Joe’, the Dixieland sound of ‘Basin Street Blues’, and a couple of train rambles with ‘Choo Choo Ch’Boogie’ and Chattanooga Choo Choo’. Commanding Swing indeed readers, as the crowd wanted more, we had two in mind. Sure enough, one was granted, Cab Calloway’s ‘Minnie the Moocher’ topped off an exquisite set.
Sarah Mai
It was 2019, when we received a copy of ‘Ain’t Gonna Hush’ by Sarah Mai. Since then, we’d hoped our paths would have crossed, worldwide pandemics notwithstanding, it took a mere five years. Finally, here she was with her band, the Rhythm Riots, consisting of Cody Lee on keyboards, Lottie B blowing up a storm on sax, Nick Player on bass and drummer Paul Wooden.
The musical style of this combo, I guess you could categorise as up-tempo Rhythm and Blues, but it’s by no means limited to the one genre. Indeed, they opened up with a Rock n Roll classic, ‘Whole Lotta Shakin’ Goin’ On’, and a soulful and heartfelt vocal of Ray Charles’ ‘Hallelujah I Love Her So’ which in this case, Sarah changed to ‘him’. Naturally with her vocal delivery, you’d almost expect some of the ‘greats’ tunes, the likes of Ruth Brown and LaVern Baker, and the superb ‘Teardrops From My Eyes’, from 1950, was an aural treat.
The jazzy standard, ‘Alright, OK, You Win’ had the Peggy Lee lilt to the vocal, whilst Ruth’s ‘5-10-15 Hours’ eased the pace slightly. Cody Lee pitched in with the dance floor winner, ‘Shakin Mother For Ya’ and Fats’ ‘Be My Guest’, while Sarah’s vocals on ‘Don’t Mess With My Man’ were a delight. ‘Got Nobody To Love’ (Terry Timmins I think) ended a top drawer opening set.
The second set began in a laid-back state with Sarah reclined in one of the onstage chairs while the band rocked out ‘Route 66’, before she returned with the epic Etta James belter ‘I Just Wanna Make Love To You’. LaVern’s ‘Whipper Snapper’ nipped along as did Ruth’s ‘As Long as I’m Moving’ and Bob & Lucille’s ‘Eeny Meeny Minie Mo’. A fine session concluded with the title track of Sarah’s CD ‘Ain’t Gonna Hush’, a top cover of Cordella Di Milo’s original. Grade A vocals, a striking and energetic stage presence and an hour and a half of heavenly jump blues. What’s not to like?
We were unable to attend on the Sunday, to see Miss Charlotte Porter, Sarah Mai and Johnny Victory’s respective shows. Kelham Hall Vintage Festival is likely to cement itself as the go to event in the Midlands for the combination of spectacular shopping and super live acts.
Gallery images below, click on them for full sized images of sights from the festival
The musical style of this combo, I guess you could categorise as up-tempo Rhythm and Blues, but it’s by no means limited to the one genre. Indeed, they opened up with a Rock n Roll classic, ‘Whole Lotta Shakin’ Goin’ On’, and a soulful and heartfelt vocal of Ray Charles’ ‘Hallelujah I Love Her So’ which in this case, Sarah changed to ‘him’. Naturally with her vocal delivery, you’d almost expect some of the ‘greats’ tunes, the likes of Ruth Brown and LaVern Baker, and the superb ‘Teardrops From My Eyes’, from 1950, was an aural treat.
The jazzy standard, ‘Alright, OK, You Win’ had the Peggy Lee lilt to the vocal, whilst Ruth’s ‘5-10-15 Hours’ eased the pace slightly. Cody Lee pitched in with the dance floor winner, ‘Shakin Mother For Ya’ and Fats’ ‘Be My Guest’, while Sarah’s vocals on ‘Don’t Mess With My Man’ were a delight. ‘Got Nobody To Love’ (Terry Timmins I think) ended a top drawer opening set.
The second set began in a laid-back state with Sarah reclined in one of the onstage chairs while the band rocked out ‘Route 66’, before she returned with the epic Etta James belter ‘I Just Wanna Make Love To You’. LaVern’s ‘Whipper Snapper’ nipped along as did Ruth’s ‘As Long as I’m Moving’ and Bob & Lucille’s ‘Eeny Meeny Minie Mo’. A fine session concluded with the title track of Sarah’s CD ‘Ain’t Gonna Hush’, a top cover of Cordella Di Milo’s original. Grade A vocals, a striking and energetic stage presence and an hour and a half of heavenly jump blues. What’s not to like?
We were unable to attend on the Sunday, to see Miss Charlotte Porter, Sarah Mai and Johnny Victory’s respective shows. Kelham Hall Vintage Festival is likely to cement itself as the go to event in the Midlands for the combination of spectacular shopping and super live acts.
Gallery images below, click on them for full sized images of sights from the festival
Bill Guntrip says ✨A huge thank you to all of you that have booked for Hemsby 69! ✨ The accommodation is now fully booked but the GOOD news is that we are offering weekend entertainment passes for just £99. Crash with a friend, get a hotel, sleep on the floor, in the car or wherever you like! Click the website link
hot rock n boogie #5
J G and the Ultimates
It was the event that nearly didn’t happen, Hot Rock n Boogie #4 was going to be the last, until it started, and organisers Claire and Neil Seabrook of Boston Jive, decided to give #5 a go. And what a stellar line-up they put together for 2024 at the Springfield Events and Conference Centre, Spalding in Lincolnshire. As with last time, there was a Friday evening pre-party, this year, featuring the returning J G and the Ultimates.
House rocking Blues, jumping and jiving Rhythm and Blues are both guaranteed in a JG show, as is the quality of the musicianship. That was provided by Jay Gipson (JG) on lead guitar and vocals, Karl Hird on tenor sax, Stu Gipson taking up both trumpet and harmonica duties, Orlando Shearer on bass, Sam Wain on piano and drummer Dan Buskell. It was only after the show we found out that the band had been put together almost at the last minute, however the sound was such that it was clear we had a hugely talented bunch on the stage.
From the opening bars of ‘Party Like Never’ and ‘Shake That Thing’, the floor was populated and the crowd were into it. A belting version of Roy Montrell’s ‘(Every Time I Hear) That Mellow Saxophone’ set up the naughty theme of Wynonie Harris’ ‘Bloodshot Eyes’ and Joe Tex’s ‘You Little Babyface Thing’. What a terrific trio they were to be sure, and instantly recognisable danceable ditties. Similarly, ‘Shake Rattle and Roll’ , ‘Tequila’ and ‘Georgia Slop’ clearly indicates the band’s versatility as a well-received first set drew to a close.
The second set hit the ground running with a rousing rendition of ‘Rocket Boogie’ and a vocally soulful take of Charles Sheffield’s ‘It’s Your Voodoo Working’ and the humorous and catchy ‘Drunk’ originally by Jimmy Liggins from 1953. Jay was on the finest guitar form with Frankie Lee Sims ‘She Likes to Boogie Real Slow’ and Elmore James’ ‘Shake Your Money Maker’. Some absolute peaches in amongst these two sets, which also included the lyrically adjusted ‘Nite Life Boogie’, to suit the event, becoming ‘Hot Rock n Boogie Number Five’. The perfect artist and band, for an opening night.
House rocking Blues, jumping and jiving Rhythm and Blues are both guaranteed in a JG show, as is the quality of the musicianship. That was provided by Jay Gipson (JG) on lead guitar and vocals, Karl Hird on tenor sax, Stu Gipson taking up both trumpet and harmonica duties, Orlando Shearer on bass, Sam Wain on piano and drummer Dan Buskell. It was only after the show we found out that the band had been put together almost at the last minute, however the sound was such that it was clear we had a hugely talented bunch on the stage.
From the opening bars of ‘Party Like Never’ and ‘Shake That Thing’, the floor was populated and the crowd were into it. A belting version of Roy Montrell’s ‘(Every Time I Hear) That Mellow Saxophone’ set up the naughty theme of Wynonie Harris’ ‘Bloodshot Eyes’ and Joe Tex’s ‘You Little Babyface Thing’. What a terrific trio they were to be sure, and instantly recognisable danceable ditties. Similarly, ‘Shake Rattle and Roll’ , ‘Tequila’ and ‘Georgia Slop’ clearly indicates the band’s versatility as a well-received first set drew to a close.
The second set hit the ground running with a rousing rendition of ‘Rocket Boogie’ and a vocally soulful take of Charles Sheffield’s ‘It’s Your Voodoo Working’ and the humorous and catchy ‘Drunk’ originally by Jimmy Liggins from 1953. Jay was on the finest guitar form with Frankie Lee Sims ‘She Likes to Boogie Real Slow’ and Elmore James’ ‘Shake Your Money Maker’. Some absolute peaches in amongst these two sets, which also included the lyrically adjusted ‘Nite Life Boogie’, to suit the event, becoming ‘Hot Rock n Boogie Number Five’. The perfect artist and band, for an opening night.
Earl Jackson
Saturday, marks the first full day of the event, and it was a fairly early start, with jive tuition from the hosts, Boston Jive. An informal but nonetheless informative and well attended class that catered for both beginners and those with some experience alike.
First live act for the day, another welcome-back to Earl Jackson and his band. Decked out in a striking blue and white jacket, with hints of J.B. Lenoir, Earl slung the strap of his trusty red Gibson guitar over his shoulder and set about a delight of a show. His genial and self-deprecating personality engaged really well with the audience, accompanied by the ever-present infectious laugh. And he plays a pretty good tune as well with ‘Slippin’ and Slidin’ leading the charge.
You’d usually expect some Chuck Berry in an Earl Jackson set, and the crowd didn’t have to wait long, with the likes of ‘Nadine’, ‘You Never Can Tell’ (drawing impressions of Uma Thurman and John Travolta from some), ‘Roll Over Beethoven’, ‘Little Queenie and the Rock n Roll anthem, ‘Johnny B Goode’. There was duck-walking a-plenty during the Chuck tracks later in the show.
It wasn’t all Chuck, we have to flag up the kicking version of Howling Wolf’s ‘Howlin’ for my Darling’ with some additional ‘how-how-how-hows’ and Richard Berry/the Sonics’ ‘Have Love Will Travel’. With a bright take on Clyde McPhatter’s ‘Deep Sea Ball’ and Elvis’ ‘Shoppin’ Around’ mixed in amongst the classic rockers, this made for a smashing show from Earl.
First live act for the day, another welcome-back to Earl Jackson and his band. Decked out in a striking blue and white jacket, with hints of J.B. Lenoir, Earl slung the strap of his trusty red Gibson guitar over his shoulder and set about a delight of a show. His genial and self-deprecating personality engaged really well with the audience, accompanied by the ever-present infectious laugh. And he plays a pretty good tune as well with ‘Slippin’ and Slidin’ leading the charge.
You’d usually expect some Chuck Berry in an Earl Jackson set, and the crowd didn’t have to wait long, with the likes of ‘Nadine’, ‘You Never Can Tell’ (drawing impressions of Uma Thurman and John Travolta from some), ‘Roll Over Beethoven’, ‘Little Queenie and the Rock n Roll anthem, ‘Johnny B Goode’. There was duck-walking a-plenty during the Chuck tracks later in the show.
It wasn’t all Chuck, we have to flag up the kicking version of Howling Wolf’s ‘Howlin’ for my Darling’ with some additional ‘how-how-how-hows’ and Richard Berry/the Sonics’ ‘Have Love Will Travel’. With a bright take on Clyde McPhatter’s ‘Deep Sea Ball’ and Elvis’ ‘Shoppin’ Around’ mixed in amongst the classic rockers, this made for a smashing show from Earl.
Cody Lee
Cody Lee and the Boogie Boys were up next, ivory tickling on the eighty-eight keys at it’s finest. An energetic show was a pleasure for the dancers in the crowd as he fired out the traps with Champion Jack Dupree’s ‘Shakin’ Mother For Ya’. Out of the many many popular floor fillers, I have to flag up the cover of Ivory Joe Hunter’s ‘Shooty Booty’, a song cut on Atlantic in 1959, and far too often passed by. Smashing showcasing of this one mid-show peeps, and one that comes under ‘compilers perks’ as it’s a particular fave of ours.
With the initial touchpaper lit, the set bounced and jumped through a well-known catalogue of R&B and piano masterworks, from the RnR pioneers. Big Joe Turner’s ‘Boogie Woogie Country Girl’. Fats’ ‘Be My Guest’, ‘I’m Walkin’ and ‘I’m Ready’, plus the seminal ‘Down The Road a Piece’, from 1940 by the Will Bradley Trio, although many will think Amos Milburn from the early 50’s.
Those tunes blended in with a couple of variances, like ‘Unchain my Heart’, ‘You Never Can Tell’ and one I’m not sure we’ve heard covered before. That was the vibrant R&B number ‘Mardi Gras in New Orleans’ originally by Professor Longhair in 1949, and also known as ‘Go To the Mardi Gras’ which Fats Domino recorded in ’53. Similarly, ‘Gotta Gimmie Whatcha Got’ by Julia Lee in ’46 and another piano maestro Merrill E Moore in ’56. Cody and the lads paid reverence to those recordings while adding their own exuberant style to them.
A highly rhythmic set by a band on ace form.
With the initial touchpaper lit, the set bounced and jumped through a well-known catalogue of R&B and piano masterworks, from the RnR pioneers. Big Joe Turner’s ‘Boogie Woogie Country Girl’. Fats’ ‘Be My Guest’, ‘I’m Walkin’ and ‘I’m Ready’, plus the seminal ‘Down The Road a Piece’, from 1940 by the Will Bradley Trio, although many will think Amos Milburn from the early 50’s.
Those tunes blended in with a couple of variances, like ‘Unchain my Heart’, ‘You Never Can Tell’ and one I’m not sure we’ve heard covered before. That was the vibrant R&B number ‘Mardi Gras in New Orleans’ originally by Professor Longhair in 1949, and also known as ‘Go To the Mardi Gras’ which Fats Domino recorded in ’53. Similarly, ‘Gotta Gimmie Whatcha Got’ by Julia Lee in ’46 and another piano maestro Merrill E Moore in ’56. Cody and the lads paid reverence to those recordings while adding their own exuberant style to them.
A highly rhythmic set by a band on ace form.
Memphis Lee
No less than seven musicians took the stage next as Memphis Lee and the Creepers. Two saxes, two guitars, upright bass, drums and keyboards made of a truly phat sound. This set swung from ‘Honey Hush’ at the start, through the rather un-PC lyrics of the Ronnie Dawson sound of ‘Red Hot Mama’, and the super-cool jazzy lilt of Nat King Cole’s 1959 hit, ‘Midnight Flyer’.
Some straight-ahead Rock n Roll with a couple of Eddie Cochran tunes, the powerhouse ‘Skinny Jim’ and the adolescent aspiration, ‘Teenage Heaven’. Lloyd Price’s ‘Mailman Blues’ was a nippy R&B number and Lazy Lester’s ‘Sugar Coated Love’ was another standout, alongside Big John Greer’s ‘Come Back Uncle John’.
Multitalented vocalists and musicians, all plying in the tightest and closest fashion. All of which was really well received. Whether you’re into stuff like ‘Breaking up the House’ or George Fleming’s ‘Yes I’m Gonna Tell’, there was something for everyone in this accomplished set.
Some straight-ahead Rock n Roll with a couple of Eddie Cochran tunes, the powerhouse ‘Skinny Jim’ and the adolescent aspiration, ‘Teenage Heaven’. Lloyd Price’s ‘Mailman Blues’ was a nippy R&B number and Lazy Lester’s ‘Sugar Coated Love’ was another standout, alongside Big John Greer’s ‘Come Back Uncle John’.
Multitalented vocalists and musicians, all plying in the tightest and closest fashion. All of which was really well received. Whether you’re into stuff like ‘Breaking up the House’ or George Fleming’s ‘Yes I’m Gonna Tell’, there was something for everyone in this accomplished set.
Cherry Casino and the Gamblers
Saturday evening, brought on one of Claire’s favourite bands. From Germany, Cherry Casino and the Gamblers. Hot rhythms, jump jive and R&B, that’s what you get with a Cherry Casino set, and Axel Praefke and the lads jumped straight in with one of their own beauties ‘All Night Long’. Axe is backed by Michael ‘Humpty’ Kirscht on guitar and backing vocals/hollers, saxophonist Ike Stoye, Gregor Gast on drums and bassist & chief album advertiser Kevin Netzer.
A lot of their show contains self-composed material, wonderfully rhythmic and delivered with Axel’s humorous vocal drawl. ‘You’re Too High For Me’ nipped along while ‘My Baby Called Me on the Phone’ slowed it down a bit. A couple of Big Joe Turner numbers made welcome appearances, ‘Rebecca’ and the stick-on winner, ‘Love Rollercoaster’.
Their own ‘Dream Boy’ is another fine example of the call-and-answer style that they do so well, and the saucy, pucker-up sound of ‘Kiss Me’ added another tick in the dance delight box. The Jive Bombers’ ‘The Blues Don’t Mean a Thing’ is perfect for Cherry Casino to cover, and the finale of ‘Fat Mama’s Daughter’ for all it’s alternate sax and string bending guitar work, was a triumph. What a top drawer set.
A lot of their show contains self-composed material, wonderfully rhythmic and delivered with Axel’s humorous vocal drawl. ‘You’re Too High For Me’ nipped along while ‘My Baby Called Me on the Phone’ slowed it down a bit. A couple of Big Joe Turner numbers made welcome appearances, ‘Rebecca’ and the stick-on winner, ‘Love Rollercoaster’.
Their own ‘Dream Boy’ is another fine example of the call-and-answer style that they do so well, and the saucy, pucker-up sound of ‘Kiss Me’ added another tick in the dance delight box. The Jive Bombers’ ‘The Blues Don’t Mean a Thing’ is perfect for Cherry Casino to cover, and the finale of ‘Fat Mama’s Daughter’ for all it’s alternate sax and string bending guitar work, was a triumph. What a top drawer set.
The Nite Howlers
The final act on Saturday, from Bourges, France, were the Nite Howlers. This was one of two appearances by lead singer Olivier LaPorte, two differing styles but both equally special. This one leaned more to a 50’s Rockabilly to very early 60’s Rock ‘n’ Roll sound. And what a great sound it was with Jesus Lopez and Pepe Lee keeping it real on drums and bass respectively and lead guitarist Jules Chabard (Moonshiner).
The take-no-prisoners set sprung into life with ‘Because You’re Mine’ and Eddie Cash’s ‘Doing Alright’, and a proper tear up with their own bop beat, ‘Cold Cold Woman’. One instrumental graced the set, ‘Slave Girl’ (think that was Ray Ethier originally), and their reworking of Carl Perkins’ mid-60’s rocker ‘Lonely Heart’ was a masterstroke. Also check out their take of Charlie Feathers’ ‘She’s Gone’, which is just a touch quicker than the original, but first class nonetheless.
‘Corona Bop’, wonder where that title came from, rocked, as did Ray Melton’s ‘Bopping Guitar’. The pace and power of the show shouldn’t be underestimated; however, it was never uncontrolled, musically it was spot-on throughout. The thumping ‘Seven Days a Week’ and ‘Chicken Back’ rounded off the show, with another Charlie Feathers cover ‘You Believe Everyone But Me’, making up the encore. Smashing way to conclude the Saturday night.
The take-no-prisoners set sprung into life with ‘Because You’re Mine’ and Eddie Cash’s ‘Doing Alright’, and a proper tear up with their own bop beat, ‘Cold Cold Woman’. One instrumental graced the set, ‘Slave Girl’ (think that was Ray Ethier originally), and their reworking of Carl Perkins’ mid-60’s rocker ‘Lonely Heart’ was a masterstroke. Also check out their take of Charlie Feathers’ ‘She’s Gone’, which is just a touch quicker than the original, but first class nonetheless.
‘Corona Bop’, wonder where that title came from, rocked, as did Ray Melton’s ‘Bopping Guitar’. The pace and power of the show shouldn’t be underestimated; however, it was never uncontrolled, musically it was spot-on throughout. The thumping ‘Seven Days a Week’ and ‘Chicken Back’ rounded off the show, with another Charlie Feathers cover ‘You Believe Everyone But Me’, making up the encore. Smashing way to conclude the Saturday night.
Hot Rockin’ dot….dot. Best tracks in the world ever ever to hot your rocks for this year were, Kitty Kallen’s ‘Hey Good Lookin’, Paul Anka’s ‘Train of Love’ and ‘Buzz Buzz Buzz’ by the Hollywood Flames………In addition to the main ballroom, there are pop-up shows in the café, from Pagan and Rusti Steel. Both doing engaging one-man shows, they drew a chunky number of attendees, plus a fair number who liked to listen alfresco, due to the clement weather……Big up to the DJs for the weekender, Mr Big Feet who also took up the MC duties along with Mark ‘Kicking the Boogie’. Air Monkey, Slim Boy in the main hall, along with Idaho Redd, Tone Deaf, Little Demon and Pagan in the DJ Lounge……Sunday began with another jive tuition session, this time from Want2Jive’s Dave Baxter and Louise Davison. Watching from the sidelines, I have to say, I never knew it was such a technical thing. Another formal and equally informal class that mixed fun with instruction…..Rumours that the Seabrooks were solely responsible for a jump in Café Nero’s (other espresso based coffee, frappe, tea and edible items stores, are available) profits, could be easily authenticated 😊 ……
Rusti Steel solo show in the Cafe Corner
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Sunday morning jive class with Dave Baxter and Louise Davison of Want2Jive
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Toto and the Raw Deals
Sunday began with a bang, bringing Toto and the Raw Deals to the Spalding stage. Salvatore ‘Toto’ Marziano takes the lead vocals and rhythm guitar, backed by Joe Newbon on guitar, Sam French on bass and drummer Tony Hillebrandt. They always bring a selection of their own material mixed well with conscientiously chosen cover songs.
It takes some talent to take on ‘This Train’ and ‘Polly Put The Kettle On’ and put your own spin on it while keeping respect to the original. That’s what they do well. And ‘Shaking the Blues’ morphing into ‘Stutterin’ Cindy’ was a powerhouse combo. Switching gears a bit, we had a super cool take of Brenda Lee’s ‘Here Comes That Feeling’ from the early sixties, while Jimmy Wages frantic ‘Miss Pearl’ cleared out any lasting cobwebs from the crowd.
Salvatore’s own ‘Haunting Me’ was a country sounding reflective number, that he composed after becoming a father. Hope this makes the cut next time they record in the studio, as the subject matter is very moving. ‘This Here Rocker’s Gone Country’ and ‘Moonshine Blues’ (a recent 45) both originals and both corkers, along with the Blond Bomber’s ‘Up Jumped the Devil’ closed a typically energetic and engaging show.
It takes some talent to take on ‘This Train’ and ‘Polly Put The Kettle On’ and put your own spin on it while keeping respect to the original. That’s what they do well. And ‘Shaking the Blues’ morphing into ‘Stutterin’ Cindy’ was a powerhouse combo. Switching gears a bit, we had a super cool take of Brenda Lee’s ‘Here Comes That Feeling’ from the early sixties, while Jimmy Wages frantic ‘Miss Pearl’ cleared out any lasting cobwebs from the crowd.
Salvatore’s own ‘Haunting Me’ was a country sounding reflective number, that he composed after becoming a father. Hope this makes the cut next time they record in the studio, as the subject matter is very moving. ‘This Here Rocker’s Gone Country’ and ‘Moonshine Blues’ (a recent 45) both originals and both corkers, along with the Blond Bomber’s ‘Up Jumped the Devil’ closed a typically energetic and engaging show.
King Joe and the Atlantics
Joe Newbon stayed to front his own band next, King Joe and the Atlantics. A moreover different sound which had a true R&B feel, and some super smooth vibes, opening up with the pivotal groove ‘Chicken Shack Boogie’. ‘Set Him Free’ had a bright and breezy feel to it with the instantly recognisable ‘Sea Cruise’ adding familiar zing to the dancefloor.
The novel ‘The Music Goes Round and Around’, originally from 1935, covered by the likes of Louis Prima and Louis Armstrong, and a nostalgic nod from those who recalled the great trombonist, George Chisolm on Play Away in our childhood. The lads on stage hit the high spots with their version for sure.
Covering Buddy Johnson’s ‘It’s Obdacious’ doesn’t happen that often, so it was a refreshing inclusion mid-set, along with Fats’ semi-lament about the working week, ‘Blue Monday’. The band were so tight, and the original tune written by bassist Peter Lawson, ‘Quit Foolin’ Around’ could have come from one of the early 50’s R&B titans, it’s authenticity is so apparent. It’s there again with Joe Newbon’s own ‘Midnight Rain’, and the crowd loved the rattlingly good take of Louis Jordan’s ‘Ella Mae’.
Splendid stuff from a band with a pure-blooded sound and a vibrant delivery.
The novel ‘The Music Goes Round and Around’, originally from 1935, covered by the likes of Louis Prima and Louis Armstrong, and a nostalgic nod from those who recalled the great trombonist, George Chisolm on Play Away in our childhood. The lads on stage hit the high spots with their version for sure.
Covering Buddy Johnson’s ‘It’s Obdacious’ doesn’t happen that often, so it was a refreshing inclusion mid-set, along with Fats’ semi-lament about the working week, ‘Blue Monday’. The band were so tight, and the original tune written by bassist Peter Lawson, ‘Quit Foolin’ Around’ could have come from one of the early 50’s R&B titans, it’s authenticity is so apparent. It’s there again with Joe Newbon’s own ‘Midnight Rain’, and the crowd loved the rattlingly good take of Louis Jordan’s ‘Ella Mae’.
Splendid stuff from a band with a pure-blooded sound and a vibrant delivery.
Charlotte Porter and the Hi Rollers
A quick trip through the corridor to the DJ Lounge to catch up with a set from Charlotte Porter, this time with her band, the Hi Rollers. This spot in the venue is a bit more intimate, the band being almost at eye level with the audience, and at times virtually amongst the dancers. A super-varied set followed, taking on Jimmy Reed’s, or Elvis if you prefer, ‘Big Boss Man’, following up with Gene Pitney’s ‘Miss Charlotte Porter’, ok, ok, ‘The Boss’ Daughter’.
It rocked and rolled through the likes of Gene’s ‘Be Bop a Lula’, Jimmie Rodgers ‘Kisses Sweeter Than Wine’, and swapping vocalists through ‘Folsom Prison Blues’, ‘That’s Alright Mama’ and ‘Tainted Love’. There was even some time for a bit of Gloria Gaynor with her 1978 smash, ‘I Will Survive’ played in a vintage stylie.
A decent sized and appreciative crowd, were swept along by the set, which set the evening up perfectly.
It rocked and rolled through the likes of Gene’s ‘Be Bop a Lula’, Jimmie Rodgers ‘Kisses Sweeter Than Wine’, and swapping vocalists through ‘Folsom Prison Blues’, ‘That’s Alright Mama’ and ‘Tainted Love’. There was even some time for a bit of Gloria Gaynor with her 1978 smash, ‘I Will Survive’ played in a vintage stylie.
A decent sized and appreciative crowd, were swept along by the set, which set the evening up perfectly.
Sister Suzie
The first act on for the last night, was a mint northern lass and wor marra, Sister Suzie and the Right Band. The band are correctly named, with Matt Jackson leading the charge on guitar, Al Nichols on sax, bassist Tom Sikory and drummer Wes Brown. They were the perfect backing for Suzie who is one of those artists that wears her musical heart on her sleeve and has a personality that shines like sparkles on her jumpsuit. Along with a chunk of ‘nudge-nudge’ double entendre, and indeed single entendre, should such a thing exist.
It was Jimmy Reed’s ‘Shame, Shame, Shame’ from ’63 that opened the show (incidentally, not the Shirley and Co song), full of allure and charisma. She writes a pretty darn good song as well (often alongside Matt), and the title track of her album ‘Ain’t No Lady’ followed in quick succession with ‘Working Girl’ (about a girl who works a lot at her job, not, well you fill it in). A new blues bopper had been promised for the show, and folks, it’s a real kick a*se tune, called ‘Tumblin’. Needs to be waxed soon methinks.
Carol Fran’s ‘Knock Knock’, with added ‘howay man’ to announce it, was a hoot, and the ballad ‘Yours’ would bring a tear to a glass eye with it’s wonderfully controlled lyrical delivery. Something a bit more light-hearted followed with Roscoe Gordon’s ‘Cheese and Crackers’ with plenty of audience participation. Now along with a jolly tune or two, Suzie can write bitterness and frustration with equal assurance. Simply put, ‘Another Waste of My Time’ is a tale of frustration, and being left to ‘one’s own devices’. You can put the meat on those particular bones at your leisure, but she mighta gan propa radge man. A bit like in the venomous 'Bitch Back' as well, lyrical vitriol as it's very best.
Something to lighten the mood again, with duelling kazoos between Suzie and Matt, I think the track was ‘Layla-Sue’ A show-stopping set concluded with the premium of original blues boppers, ‘Big Mistake’, once again from her album. Outstanding stuff, a lass with sass and class. Howay man.
It was Jimmy Reed’s ‘Shame, Shame, Shame’ from ’63 that opened the show (incidentally, not the Shirley and Co song), full of allure and charisma. She writes a pretty darn good song as well (often alongside Matt), and the title track of her album ‘Ain’t No Lady’ followed in quick succession with ‘Working Girl’ (about a girl who works a lot at her job, not, well you fill it in). A new blues bopper had been promised for the show, and folks, it’s a real kick a*se tune, called ‘Tumblin’. Needs to be waxed soon methinks.
Carol Fran’s ‘Knock Knock’, with added ‘howay man’ to announce it, was a hoot, and the ballad ‘Yours’ would bring a tear to a glass eye with it’s wonderfully controlled lyrical delivery. Something a bit more light-hearted followed with Roscoe Gordon’s ‘Cheese and Crackers’ with plenty of audience participation. Now along with a jolly tune or two, Suzie can write bitterness and frustration with equal assurance. Simply put, ‘Another Waste of My Time’ is a tale of frustration, and being left to ‘one’s own devices’. You can put the meat on those particular bones at your leisure, but she mighta gan propa radge man. A bit like in the venomous 'Bitch Back' as well, lyrical vitriol as it's very best.
Something to lighten the mood again, with duelling kazoos between Suzie and Matt, I think the track was ‘Layla-Sue’ A show-stopping set concluded with the premium of original blues boppers, ‘Big Mistake’, once again from her album. Outstanding stuff, a lass with sass and class. Howay man.
Roy Thompson
The second coming for the massively talented Olivier LaPorte, this time in the guise of Roy Thompson. Ordinarily it would be with the Mellow Kings, but with a multi-national group of musicians, I think it was just ‘his band; for that night. This show was more leaning to the rhythm and blues side of Rock ‘n’ Roll, as opposed to the previous night’s Rockabilly masterclass.
They announced themselves with Plas Johnson’s (he of the Pink Panther solo) ‘Hoppin’ Mad’, before launching into Jimmy McCracklin’s rip roaring ‘Georgia Slop’. The supreme stroll beats of ‘Burnt Toast and Black Coffee’, Lenny Johnson’s ‘Walk Ginny Walk’ and Charlie Rich’s mid-60’s recording on Smash (Mercury) records, ‘Mohair Sam’.
So much to appreciate in this set, like Long John Hunter’s electric guitar blues delight ‘Ride With Me Baby’, a ‘B’ side from 1961, the fantastic R&B rocker from Otis Blackwell, ‘Oh What a Wonderful Time’ and their own ‘Kokomo Joe’. The 1958 Guitar Jr, track ‘Roll Roll Roll’ was a perfect addition as was the Chuck Berry-esque take of Eddie Clearwater’s ‘Hey Bernadine’. Rounding off with two well-deserved encores we had ‘Just Rockin and a Rollin’ and ‘Ain’t That Just Like a Woman’, which concluded a truly excellent collection of slightly lesser know, or shall we say, lesser played R&B gems.
They announced themselves with Plas Johnson’s (he of the Pink Panther solo) ‘Hoppin’ Mad’, before launching into Jimmy McCracklin’s rip roaring ‘Georgia Slop’. The supreme stroll beats of ‘Burnt Toast and Black Coffee’, Lenny Johnson’s ‘Walk Ginny Walk’ and Charlie Rich’s mid-60’s recording on Smash (Mercury) records, ‘Mohair Sam’.
So much to appreciate in this set, like Long John Hunter’s electric guitar blues delight ‘Ride With Me Baby’, a ‘B’ side from 1961, the fantastic R&B rocker from Otis Blackwell, ‘Oh What a Wonderful Time’ and their own ‘Kokomo Joe’. The 1958 Guitar Jr, track ‘Roll Roll Roll’ was a perfect addition as was the Chuck Berry-esque take of Eddie Clearwater’s ‘Hey Bernadine’. Rounding off with two well-deserved encores we had ‘Just Rockin and a Rollin’ and ‘Ain’t That Just Like a Woman’, which concluded a truly excellent collection of slightly lesser know, or shall we say, lesser played R&B gems.
The Spunyboys
Can you believe it’s the end already? Who would you choose to go out with a bang (un pan ou un coup)? French trio, the Spunyboys Remi, quite literally on upright bass, his drummer brother Guillaume team up with guitarist Eddie make up, probably the most visual and energetic trio at Hot Rock n Boogie.
I wonder if sometimes, a Spuny-set is pretty much one long ad-lib, there seems no structure to a set list, they kind of do what the audience wants them to. ‘El Camino Real’ tripped off the tongue, while their own ‘Bop For Life’ got the audience well into call and answer mode. Thumping chairs, bottles and shoes aplenty to ‘How Low Do You Feel’, and ‘King of the Road’, blended in with some Bluegrass sounding tunes while the guys bounded and jumped about the stage.
Johnny Horton’s ‘One woman Man’ was completely offset by Cavan’s ‘Teddy Boy Boogie’ and the reworking of Elvis’ ‘Viva Las Vegas’ to a more geographically suitable ‘Viva Skeg Vegas’. High octane, high energy, a bass named Francesca, and a well-crafted collection of songs, delivered just how the crowd loved.
That’s the way to do it folks. The end of HRB#5 and the promise of HRB#6 still ringing in the ears as the crowd squinted with the hall lights coming on after a final DJ session. See the flyer elsewhere in this magazine and make sure you circle the dates on your calendar.
I wonder if sometimes, a Spuny-set is pretty much one long ad-lib, there seems no structure to a set list, they kind of do what the audience wants them to. ‘El Camino Real’ tripped off the tongue, while their own ‘Bop For Life’ got the audience well into call and answer mode. Thumping chairs, bottles and shoes aplenty to ‘How Low Do You Feel’, and ‘King of the Road’, blended in with some Bluegrass sounding tunes while the guys bounded and jumped about the stage.
Johnny Horton’s ‘One woman Man’ was completely offset by Cavan’s ‘Teddy Boy Boogie’ and the reworking of Elvis’ ‘Viva Las Vegas’ to a more geographically suitable ‘Viva Skeg Vegas’. High octane, high energy, a bass named Francesca, and a well-crafted collection of songs, delivered just how the crowd loved.
That’s the way to do it folks. The end of HRB#5 and the promise of HRB#6 still ringing in the ears as the crowd squinted with the hall lights coming on after a final DJ session. See the flyer elsewhere in this magazine and make sure you circle the dates on your calendar.
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You've read the review, now check out the line up for 2025 and click on the flyer for details and to book your place
Below is a gallery of images from the Hot Rock n Boogie #5 weekender. Click on them for full size pictures
cd review
Rumble on the Rock #4
Radio and club DJ Nobster, has once again called on some of clubland’s top DJs to put together the 4th monster compilation of top dance floor tracks. Rumble on the Rock pertains to the DJ and band event held at the Mister Sister Showbar, in Fanabe, Tenerife in mid-November. Matching the CD and the event flyer, you’ll see who is involved in the upcoming event.
We open up with a Nobster choice, ‘Loempia’, a guitar based instrumental by the Freedom Riders from Belgium, who recorded this in 1962, on Decca Records. Curiously it’s one of those recordings that would have made a better ‘A’ side on the original 45rpm, as it’s a pretty cool vibe. Nobsters’ other tunes are ‘Roll Over Beethoven’, by the wonderfully named Roscoe and his Little Green Men, who take on Chuck’s original with enthusiasm. Finally, it’s Sam Baker’s ‘Crazy About You’, an ace twelve bar blues guitar driven shouter.
Brummie Si weighs in with a trio of beauties, that are stick-on dance floor winners. If you have been to events over the past twenty some years, chances are you have seen the floor fill up to Mickey Lee Lane’s ‘Senior Class’ from the 1965 Swan twin spin, b/w ‘The Zoo’. Bunker Hill’s raucous foot stomping bopper from ’62 ‘Hide and Go Seek’ and Reggie Perkins kicker ‘High School Caesar’ from ’59.
The Flattop Brothers, always deliver something of quality from the vaults, and this threesome is no exception. Bobby Doyle’s 1960 ‘Hot Seat’ has a top stroll beat. In a varied career, Bobby Doyle (1939 – 2006) worked with Kenny Rogers and Blood Sweat & Tears. Both acts are somewhat removed from this cool tune. ‘Dance Back To Me’ by Dick Jacobs and his Orchestra, has a hefty chunk of Jackie Wilson’s ‘Hey Hey Heys’ from ‘Come Back To Me’, and he does get a writing credit on the recording. ‘Air Travel’ is another 1962 stroller from Ray & Bob, who incidentally are Bobby Ray Appleberry and Bobby Swayne, not two thirds of the Jets….
Bullmoose Jackson’s sauce-fest double entendre riddled ‘Big Ten-Inch Record’ announces Lady Luck Lexy’s first choice. The DJ and compere at the event, has contributed to these releases before, and they are always cracking choices for dancers. The ever-popular Trini Lopez’s ‘Sinner Not a Saint’ has drawn many a stroller onto the floor, while her third selection of the Cadets’ ‘I Want You’, a track of the purest class from 1956.
The Ducats ‘Hey Woman’ is the first offering from Tall Mark. The mid-60’s band from Newfoundland, produced this driving rocker in ’65, and must have had little time in the studio as it’s less than a minute and three quarters duration. ‘Tiger’ by Little Joe Allen and his Off Beats appear to gave only had one single release in 1958. This isn’t to be confused with the Fabian track of the same name by the way. Thirdly we have Randy McKee’s ‘No Doubt About It’ which slots into the ‘Popcorn’ genre apparently. Good stroller this one.
Scottish vinyl aficionado Tojo provides Frankie Dee’s ‘Shake It Up Baby’ with the Carter Rays backing on this 45 from 1958, and then digs into the Gene Vincent catalogue to pick the sublime sax driven ‘Greenback Dollar’. This reworking of the traditional Davis and Nelson 1929(!) release, came out of a recording session in 1959, from the ‘Crazy Times’ LP. Innovative harmonica player, Little Walter, recorded ‘Teenage Beat’ in 1956, and this instrumental is a masterclass in up tempo blues and super-cool beats.
Those legendary Coral recordings by Johnny Burnette and the Rock ‘n’ Roll Trio are the stuff of legend as well as the soundtrack to much of our lives. Deano pitches in with the heavily reverbed ‘Rock Therapy’ from that time. The scalding vocal delivery of LaVern Baker makes up his second choice on the CD. At a bit under two minutes long, you could get ‘Voodoo Voodoo’ on Atlantic 45 with ‘Hey Memphis’. A great track. As is ‘Make a Little Love’ by Curtis Irvin, a cracking R&B number from a shellac release in 1954.
Three single contributions round off the selections, Toni Versfeld takes Johnny Horton outstanding ‘I’ll Do It Everytime’ with backing from (country’s) Johnny Mathis and Grady Martin on guitar. Love it. The Belmonts’ lively ditty from 1963 ‘Walk On Boy’ is the choice, while Gina Tugwell hits the high spots with Ruth Brown’s anthemic ‘This Little Girl’s Gone Rockin’.
But wait, there’s more. Some tracks from the ands that will appear at the event. The Rockin’ Balboas from Spain pack a punch (see what I did there, this isn’t just thrown together you know readers) with ‘The Party Is Here’. Lady Luck Lexy and the Riverside Boys weigh in with a smashing original track ‘Ready to Rock n Roll’, before the growling guitar and gravelly vocal delivery of the McCurdy Brothers take over with ‘If it Weren’t For the Blues’. Last up, the frantic and slightly unhinged sound of Jake Calypso, and ‘Torrid Love’, with his instantly recognisable vocal inflections and nuances.
What a cracking release by the Nobster. That’s it, go get one!
Radio and club DJ Nobster, has once again called on some of clubland’s top DJs to put together the 4th monster compilation of top dance floor tracks. Rumble on the Rock pertains to the DJ and band event held at the Mister Sister Showbar, in Fanabe, Tenerife in mid-November. Matching the CD and the event flyer, you’ll see who is involved in the upcoming event.
We open up with a Nobster choice, ‘Loempia’, a guitar based instrumental by the Freedom Riders from Belgium, who recorded this in 1962, on Decca Records. Curiously it’s one of those recordings that would have made a better ‘A’ side on the original 45rpm, as it’s a pretty cool vibe. Nobsters’ other tunes are ‘Roll Over Beethoven’, by the wonderfully named Roscoe and his Little Green Men, who take on Chuck’s original with enthusiasm. Finally, it’s Sam Baker’s ‘Crazy About You’, an ace twelve bar blues guitar driven shouter.
Brummie Si weighs in with a trio of beauties, that are stick-on dance floor winners. If you have been to events over the past twenty some years, chances are you have seen the floor fill up to Mickey Lee Lane’s ‘Senior Class’ from the 1965 Swan twin spin, b/w ‘The Zoo’. Bunker Hill’s raucous foot stomping bopper from ’62 ‘Hide and Go Seek’ and Reggie Perkins kicker ‘High School Caesar’ from ’59.
The Flattop Brothers, always deliver something of quality from the vaults, and this threesome is no exception. Bobby Doyle’s 1960 ‘Hot Seat’ has a top stroll beat. In a varied career, Bobby Doyle (1939 – 2006) worked with Kenny Rogers and Blood Sweat & Tears. Both acts are somewhat removed from this cool tune. ‘Dance Back To Me’ by Dick Jacobs and his Orchestra, has a hefty chunk of Jackie Wilson’s ‘Hey Hey Heys’ from ‘Come Back To Me’, and he does get a writing credit on the recording. ‘Air Travel’ is another 1962 stroller from Ray & Bob, who incidentally are Bobby Ray Appleberry and Bobby Swayne, not two thirds of the Jets….
Bullmoose Jackson’s sauce-fest double entendre riddled ‘Big Ten-Inch Record’ announces Lady Luck Lexy’s first choice. The DJ and compere at the event, has contributed to these releases before, and they are always cracking choices for dancers. The ever-popular Trini Lopez’s ‘Sinner Not a Saint’ has drawn many a stroller onto the floor, while her third selection of the Cadets’ ‘I Want You’, a track of the purest class from 1956.
The Ducats ‘Hey Woman’ is the first offering from Tall Mark. The mid-60’s band from Newfoundland, produced this driving rocker in ’65, and must have had little time in the studio as it’s less than a minute and three quarters duration. ‘Tiger’ by Little Joe Allen and his Off Beats appear to gave only had one single release in 1958. This isn’t to be confused with the Fabian track of the same name by the way. Thirdly we have Randy McKee’s ‘No Doubt About It’ which slots into the ‘Popcorn’ genre apparently. Good stroller this one.
Scottish vinyl aficionado Tojo provides Frankie Dee’s ‘Shake It Up Baby’ with the Carter Rays backing on this 45 from 1958, and then digs into the Gene Vincent catalogue to pick the sublime sax driven ‘Greenback Dollar’. This reworking of the traditional Davis and Nelson 1929(!) release, came out of a recording session in 1959, from the ‘Crazy Times’ LP. Innovative harmonica player, Little Walter, recorded ‘Teenage Beat’ in 1956, and this instrumental is a masterclass in up tempo blues and super-cool beats.
Those legendary Coral recordings by Johnny Burnette and the Rock ‘n’ Roll Trio are the stuff of legend as well as the soundtrack to much of our lives. Deano pitches in with the heavily reverbed ‘Rock Therapy’ from that time. The scalding vocal delivery of LaVern Baker makes up his second choice on the CD. At a bit under two minutes long, you could get ‘Voodoo Voodoo’ on Atlantic 45 with ‘Hey Memphis’. A great track. As is ‘Make a Little Love’ by Curtis Irvin, a cracking R&B number from a shellac release in 1954.
Three single contributions round off the selections, Toni Versfeld takes Johnny Horton outstanding ‘I’ll Do It Everytime’ with backing from (country’s) Johnny Mathis and Grady Martin on guitar. Love it. The Belmonts’ lively ditty from 1963 ‘Walk On Boy’ is the choice, while Gina Tugwell hits the high spots with Ruth Brown’s anthemic ‘This Little Girl’s Gone Rockin’.
But wait, there’s more. Some tracks from the ands that will appear at the event. The Rockin’ Balboas from Spain pack a punch (see what I did there, this isn’t just thrown together you know readers) with ‘The Party Is Here’. Lady Luck Lexy and the Riverside Boys weigh in with a smashing original track ‘Ready to Rock n Roll’, before the growling guitar and gravelly vocal delivery of the McCurdy Brothers take over with ‘If it Weren’t For the Blues’. Last up, the frantic and slightly unhinged sound of Jake Calypso, and ‘Torrid Love’, with his instantly recognisable vocal inflections and nuances.
What a cracking release by the Nobster. That’s it, go get one!
Back by popular demand at Chesterfield in July folks. Click on the flyer for details
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Razzle Dazzle Vintage, in addition to appearing at various events on the calendar, have now opened a new shop in Lincolnshire. You can find them on Google Maps, as well as their website Vintage Store - Razzle Dazzle Vintage . Check out their range of pristine vintage items and retro jewellery, and pay them a visit soon
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
