the bettajive review magazine #41
Marcel Bontempi is part of our Rampage #7 review
Welcome to our 41st issue of our magazine. Below you will see reviews of the Rockin' at the Bomber Command event in Lincoln, from Scotland Rockin' Rampage #7 , Chesterfield Rock n Roll Club's latest presentation with the Mystery Train Riders, and we also dip our toe into the world of Outlaw music in Cambridgeshire.
Keep checking back for the full upload in the next day or two. Advertisers, please get in touch if you want to be in this issue, for just twenty five of your English pounds (your ad will reach several thousand people). You can use the button below, and to donate to help us keep this magazine free to read
Keep checking back for the full upload in the next day or two. Advertisers, please get in touch if you want to be in this issue, for just twenty five of your English pounds (your ad will reach several thousand people). You can use the button below, and to donate to help us keep this magazine free to read
The Bettajive Review
Pre-Modernism. So much has happened since I first got into the scene we call ‘rockin’. There, as far as I know, rarely used to be jiving with multiple partners at gigs, at least back then in the 70’s and early 80’s. Girls used to dance with each other, usually mates that had practised in their bedrooms in between ‘washing their hair’ and singing into brushes. If a romantically involved couple jived, they did with each other and usually no one else. After all, there was a time you shouldn’t look at someone’s pint, let alone dance with their partner!
I missed the formation of many of the jive classes, and now there are lots, catering for the rock ‘n’ rollers and 40’s dancers alike. Some years ago, the edges became somewhat blurred and the terms ‘Modern Jive’, ‘LeRoc’ and ‘Ceroc’ crept into the vocabulary. (I would include ‘shag’ but some of our readers have adolescent minds in the gutter) Practitioners of such arts slipped into rockin’ gigs, accompanied by furrowed brows and pursed lips from some of the rock n roll crowd. But why, I wonder?
As ‘Rock n Roll’ as we know it encompasses so many different genres, Rockabilly, Western Swing, Hillbilly, Doo Wop, Jump Jive and R & B for example, clearly some groups of dancers will find their chosen musical preference, overlapping into another. We go to gigs with Rockabilly bands and DJs, and are just as happy going to a gig with more of a 40’s feel. The Modern Jivers seem to be able to jive to virtually anything though.
Many tend to look at our (gig) tunes as jivers, strollers or boppers (I’m leaving out slow-ies for now), and it’s with a certain degree of puzzlement we note couples try and jive where all the ladies are strolling in lines. Simply because of the K-tel Battling tops potential. Incidentally you don’t need to go to a class to learn how to stroll, all the women I know, learnt in the ladies toilets…..I’m told.
People ask sometimes, how you can tell what’s a bopper or a jiver. Well simply put, it’s the beat, and maybe all the people doing the same dance might be a hint! Seriously though, some tunes lend themselves to one dance style and are etched in rockin’ folk lore, as one or t’other.
The classes or tutors that teach rock n roll jiving, tend to be more informal and teach the basics, so anyone can master the simple stuff and build their own style. Or if you’ve been out of it for a while and sound as rusty as Talos* when you move, they can provide the ‘oil’ to get you back into it. Thank heavens it’s not as rigid and stilted as some of the other classes that teach ‘The Jive’. I’m sure you’ve seen those displays by ‘Jivers’ on the telly, and indeed part of that ‘strict’ dancing show, if it’s not been cancelled by the time you read this. Don’t they look strange? Oooer missus. And in reality, some of those moves, if you tried them at a club gig, you’d wipe out half the other dancers like a human strimmer, or put the lights out with some of the acrobatics.
Teaching couples of this type of 1-2-3 1-2-3 dance, have you noticed, tend to have one standard and one odd name like Fubelik and Sharon or Kelvin and Pecilli. You’ve seen them on posters, in the dip-down pose, inordinately white teeth & cheesy grins, he’s wearing a ludicrously large hat and trousers like he’s stood in two barrage balloons, she’s wearing swing trousers with massive bell-bottoms, and there are 3D cartoon stars flying over their shoulders. I’m sure many of you readers couldn’t be bothered whether you’re kicking or flicking, or whether your hand placement is supposed to be open or closed. The bottom line is you want to be enjoying yourself.
To illustrate with a fictional scenario. It’s probable that you’ve seen 1-2-3 1-2-3 schooled couples at gigs or weekenders who have just got their rolled-up certificates with a ribbon round them from the end-of-course jamboree, taking to the floor. New dance shoes, sometimes those awful trainer looking ones, that spoil just about every outfit they’ve been combined with, or two-tones, that look great but are hopeless if they get wet!
Needing an area the size of Central Park to dance in, forsaking the health of all others, they prance heel-to-toe about with precise placement. Uh-oh, he’s out of step, which is met by a withering Medusa-like stare from the her. Fubelik (who she clearly fancied) never did that, his bum cheeks were like a pair of golf balls in a stocking, and her partner is reminded of that! He gestures that she should have been going clock instead of anti-clock, she storms off, gets drunk on pints of Blue WKD (other brands of alcopop, are available) and they don’t speak for the rest of the weekender. Next thing, she’s out dancing with a cool dude, with all the grace of a fairy elephant, before collapsing in a tearful heap of inebriation, crinoline and petticoats.
Disgusted by now, her partner has picked up his pink shoe bag and towel and has cleared off back to the chalet. To this point, the towel had occupied an unusual position, dangling from the back of his trousers, suggesting that he’d taken quite literally, what he’d been told he could do with it! After all, Pecilli insisted that he was the star of their class, it’s girlie’s loss he’s going back to the digs early.
This may seem a little obtuse, although there is a point to it. Rock ‘n’ Roll music is fun! Sure it was rebellious and some Rockabilly seems aggressive, R&B can be saucy and sassy, Western Swing super-slidey and 40’s Swing a bit….well swingy I suppose. We’ve lost count of the number of times we’ve missed hands, gone out of beat or slipped on fluid on the floor. Laugh, and start again, it’s not an exact science, so just get out there and get yourself some excitement of the Terpsichore type!
Pre-Modernism. So much has happened since I first got into the scene we call ‘rockin’. There, as far as I know, rarely used to be jiving with multiple partners at gigs, at least back then in the 70’s and early 80’s. Girls used to dance with each other, usually mates that had practised in their bedrooms in between ‘washing their hair’ and singing into brushes. If a romantically involved couple jived, they did with each other and usually no one else. After all, there was a time you shouldn’t look at someone’s pint, let alone dance with their partner!
I missed the formation of many of the jive classes, and now there are lots, catering for the rock ‘n’ rollers and 40’s dancers alike. Some years ago, the edges became somewhat blurred and the terms ‘Modern Jive’, ‘LeRoc’ and ‘Ceroc’ crept into the vocabulary. (I would include ‘shag’ but some of our readers have adolescent minds in the gutter) Practitioners of such arts slipped into rockin’ gigs, accompanied by furrowed brows and pursed lips from some of the rock n roll crowd. But why, I wonder?
As ‘Rock n Roll’ as we know it encompasses so many different genres, Rockabilly, Western Swing, Hillbilly, Doo Wop, Jump Jive and R & B for example, clearly some groups of dancers will find their chosen musical preference, overlapping into another. We go to gigs with Rockabilly bands and DJs, and are just as happy going to a gig with more of a 40’s feel. The Modern Jivers seem to be able to jive to virtually anything though.
Many tend to look at our (gig) tunes as jivers, strollers or boppers (I’m leaving out slow-ies for now), and it’s with a certain degree of puzzlement we note couples try and jive where all the ladies are strolling in lines. Simply because of the K-tel Battling tops potential. Incidentally you don’t need to go to a class to learn how to stroll, all the women I know, learnt in the ladies toilets…..I’m told.
People ask sometimes, how you can tell what’s a bopper or a jiver. Well simply put, it’s the beat, and maybe all the people doing the same dance might be a hint! Seriously though, some tunes lend themselves to one dance style and are etched in rockin’ folk lore, as one or t’other.
The classes or tutors that teach rock n roll jiving, tend to be more informal and teach the basics, so anyone can master the simple stuff and build their own style. Or if you’ve been out of it for a while and sound as rusty as Talos* when you move, they can provide the ‘oil’ to get you back into it. Thank heavens it’s not as rigid and stilted as some of the other classes that teach ‘The Jive’. I’m sure you’ve seen those displays by ‘Jivers’ on the telly, and indeed part of that ‘strict’ dancing show, if it’s not been cancelled by the time you read this. Don’t they look strange? Oooer missus. And in reality, some of those moves, if you tried them at a club gig, you’d wipe out half the other dancers like a human strimmer, or put the lights out with some of the acrobatics.
Teaching couples of this type of 1-2-3 1-2-3 dance, have you noticed, tend to have one standard and one odd name like Fubelik and Sharon or Kelvin and Pecilli. You’ve seen them on posters, in the dip-down pose, inordinately white teeth & cheesy grins, he’s wearing a ludicrously large hat and trousers like he’s stood in two barrage balloons, she’s wearing swing trousers with massive bell-bottoms, and there are 3D cartoon stars flying over their shoulders. I’m sure many of you readers couldn’t be bothered whether you’re kicking or flicking, or whether your hand placement is supposed to be open or closed. The bottom line is you want to be enjoying yourself.
To illustrate with a fictional scenario. It’s probable that you’ve seen 1-2-3 1-2-3 schooled couples at gigs or weekenders who have just got their rolled-up certificates with a ribbon round them from the end-of-course jamboree, taking to the floor. New dance shoes, sometimes those awful trainer looking ones, that spoil just about every outfit they’ve been combined with, or two-tones, that look great but are hopeless if they get wet!
Needing an area the size of Central Park to dance in, forsaking the health of all others, they prance heel-to-toe about with precise placement. Uh-oh, he’s out of step, which is met by a withering Medusa-like stare from the her. Fubelik (who she clearly fancied) never did that, his bum cheeks were like a pair of golf balls in a stocking, and her partner is reminded of that! He gestures that she should have been going clock instead of anti-clock, she storms off, gets drunk on pints of Blue WKD (other brands of alcopop, are available) and they don’t speak for the rest of the weekender. Next thing, she’s out dancing with a cool dude, with all the grace of a fairy elephant, before collapsing in a tearful heap of inebriation, crinoline and petticoats.
Disgusted by now, her partner has picked up his pink shoe bag and towel and has cleared off back to the chalet. To this point, the towel had occupied an unusual position, dangling from the back of his trousers, suggesting that he’d taken quite literally, what he’d been told he could do with it! After all, Pecilli insisted that he was the star of their class, it’s girlie’s loss he’s going back to the digs early.
This may seem a little obtuse, although there is a point to it. Rock ‘n’ Roll music is fun! Sure it was rebellious and some Rockabilly seems aggressive, R&B can be saucy and sassy, Western Swing super-slidey and 40’s Swing a bit….well swingy I suppose. We’ve lost count of the number of times we’ve missed hands, gone out of beat or slipped on fluid on the floor. Laugh, and start again, it’s not an exact science, so just get out there and get yourself some excitement of the Terpsichore type!
|
|
|
Dot…dot. Best tracks in the world ever ever to jiggle your panna cotta for this month are ‘Road Runner’ by Bo Diddley, Don Head’s ‘Goin’ Strong’ and Johnny Otis’ ‘All Night Long’…..We pride ourselves on accuracy and positivity in this magazine. Occasionally there’s an error which, thanks to loyal readers, is pointed out and immediately corrected. I did however, read a review of a release recently that was littered with errors. Not just spelling, factual inaccuracies, absolutely shocking. Read us, we get it right(ish) 😉 …..And if you want us to review your release, then send it to us 😊……*To that end, those readers who would point out that Talos was in fact made of bronze, and as that is a non-ferrous metal, incapable of rust, we thank you (he also wasn’t real!)……Oi, bands, what would be your reaction if the DJ cued a record over your last two songs? You wouldn’t appreciate it eh? So how about, if you need to get your levels right, ask for a sound check?.......Best cover tracks in the world ever ever by today's bands 'The Slide' by the Rhythm Shakers, 'When Will I be Loved' by the Sweet Georgia Boys and 'Revenoor Man' by the Scorchers...... Had another trip up to just outside of Leeds to Garforth, and Diamond D’s latest evening of record hoppery, with the Rooster guesting. Top tunage among the vinyl there folks, get yourselves along there sometime, there’s a decent sized dancefloor and a good welcome waiting for ya…..
You never? Recently at Diamond D’s club, Stephen Mellor tipped us off about a smashing jive track called ‘One More Once’ by Tony and the Velvets from 1963. It almost sounds like a jive tune with a Jamaican beat. Never heard it before.
That reminds me of many times in the past and indeed the present, when I ‘discover’ a song. On ethat I might not have heard before. I might announce it on social media, only to face a tsunami of ‘You’ve seriously never heard that song?? You need to educate yourself mate, I can barely breathe I’m so shocked’. Guaranteed someone recalls DJ Rockinus Maximus playing it as Aulus Plautius landed in what is now modern-day Kent. Then there’s a debate on who has the oldest copy. “I’ve got the while label issue of that” says one
“That white label issue isn’t worth the papyrus it was written on” counters another. “I’ve got it on the Londinium label” boasts a third. “Yeah mate, that’s and Anglo-Saxon repro.”
“No it ain’t, it was found at a chariot boot sale apparently”.
The debate continues over 126 comments, the original post has lots of laughy emojis and some angry ones. Someone inexplicably puts ‘F’ in a comment, there’s a gif of a guy eating popcorn (only here for the comments), there's always someone that says ‘That’s why I don’t go to the Rave/Riot/Hemsby/other anymore’, whilst another comments ‘Pontins should have been closed years ago’, the ever present 'What's up hun,' or 'PM me babe' the inevitable ‘It was so much better in the 80’s before the fluffies took over’, and finally ‘Some *characterisation deleted* has put it up on Discogs for a grand’.
At this point, or indeed any other point, NEVER, EVER, say you’ve got it on CD!!!!
You never? Recently at Diamond D’s club, Stephen Mellor tipped us off about a smashing jive track called ‘One More Once’ by Tony and the Velvets from 1963. It almost sounds like a jive tune with a Jamaican beat. Never heard it before.
That reminds me of many times in the past and indeed the present, when I ‘discover’ a song. On ethat I might not have heard before. I might announce it on social media, only to face a tsunami of ‘You’ve seriously never heard that song?? You need to educate yourself mate, I can barely breathe I’m so shocked’. Guaranteed someone recalls DJ Rockinus Maximus playing it as Aulus Plautius landed in what is now modern-day Kent. Then there’s a debate on who has the oldest copy. “I’ve got the while label issue of that” says one
“That white label issue isn’t worth the papyrus it was written on” counters another. “I’ve got it on the Londinium label” boasts a third. “Yeah mate, that’s and Anglo-Saxon repro.”
“No it ain’t, it was found at a chariot boot sale apparently”.
The debate continues over 126 comments, the original post has lots of laughy emojis and some angry ones. Someone inexplicably puts ‘F’ in a comment, there’s a gif of a guy eating popcorn (only here for the comments), there's always someone that says ‘That’s why I don’t go to the Rave/Riot/Hemsby/other anymore’, whilst another comments ‘Pontins should have been closed years ago’, the ever present 'What's up hun,' or 'PM me babe' the inevitable ‘It was so much better in the 80’s before the fluffies took over’, and finally ‘Some *characterisation deleted* has put it up on Discogs for a grand’.
At this point, or indeed any other point, NEVER, EVER, say you’ve got it on CD!!!!
|
|
A few words from the Rhythm Riot team. The popularity of this event almost goes without saying, but we are heading for a new era at the Yarmouth venue. Here's what they've recently had to say:-
If you want to join us at the Rhythm Riot, you'd better be quick.
Get together with some mates and book online NOW for groups of 4 or more.
Or message us to go on the waiting list for groups of 2 or 3. Some people are adding friends and upgrading their bookings, so a few smaller caravans will be available soon.
It's gonna be an awesome end-of-weekend party, celebrating the best classic rockabilly with an exclusive, never-to-be-repeated, all-star 'Sounds of Sun' show.
Six of the hottest vocalists will be performing the very best 1950s Sun recordings by Elvis Presley, Jerry Lee Lewis, Johnny Cash, Carl Perkins, Roy Orbison and Warren Smith.
It doesn't get much better than that!
If you want to join us at the Rhythm Riot, you'd better be quick.
Get together with some mates and book online NOW for groups of 4 or more.
Or message us to go on the waiting list for groups of 2 or 3. Some people are adding friends and upgrading their bookings, so a few smaller caravans will be available soon.
It's gonna be an awesome end-of-weekend party, celebrating the best classic rockabilly with an exclusive, never-to-be-repeated, all-star 'Sounds of Sun' show.
Six of the hottest vocalists will be performing the very best 1950s Sun recordings by Elvis Presley, Jerry Lee Lewis, Johnny Cash, Carl Perkins, Roy Orbison and Warren Smith.
It doesn't get much better than that!
rockin' at the Bomber command
Country Cattin'
International Bomber Command Centre located in Lincoln, is a fantastic memorial facility that commemorates the efforts of Bomber Command in WWII. Once a year now, it also hosts the Juniper Fayre event, aptly titled ‘Rockin’ at the Bomber Command’. Now in it’s second year at the venue, the line up promised a bar-raising rock-out.
The weekender itself, starts on the Friday afternoon, and indeed the whole line up was made up of Lincoln local bands. First up, Dave Brown, Scott Brown and Landon Filer in the guise of Country Cattin’. Although the line-up has changed since the 2000 release ‘It’s Saturday Night’, the quality of song choice and delivery remains. The style? Well, you could take the band’s name, and the Jimmy Swan ’56 MGM cut and link the two together, and there are your basic ingredients.
Elvis’ ‘I’m Left, You’re Right’, and ‘I Forgot to Remember to Forget’ featured early doors, along with two of Dave’s own compositions. Based on his angling passion, we had ‘Fishing at the Fishing Lake’, and ‘There’s a Tree in the Park’, the influence and origin of which may be unsure, but a fine track it is. The covers were a delight, encompassing Rockabilly, Hillbilly and Western Swing. They rocked out to Buddy’s ‘Blue Days, Black Nights’ & ‘Changing All Those Changes’, Charlie Feathers’ ‘One Hand Loose’, before bringing it back country style with Jimmie Rodgers’ ‘In the Jailhouse Now’.
Really enjoyed Johnny Horton’s ‘Honky Tonk Man’ and the ‘shine-soaked take of George Jones’ ‘White Lightning’. ‘Tennessee Border’ and Ray Price’s career defining (and for that matter a young Jerry Lee Lewis) ‘Crazy Arms’ also impressed in a set that was summed up by the finale of ‘Rock Pretty Mama’. Sound, foot-stomping start to the festival
International Bomber Command Centre located in Lincoln, is a fantastic memorial facility that commemorates the efforts of Bomber Command in WWII. Once a year now, it also hosts the Juniper Fayre event, aptly titled ‘Rockin’ at the Bomber Command’. Now in it’s second year at the venue, the line up promised a bar-raising rock-out.
The weekender itself, starts on the Friday afternoon, and indeed the whole line up was made up of Lincoln local bands. First up, Dave Brown, Scott Brown and Landon Filer in the guise of Country Cattin’. Although the line-up has changed since the 2000 release ‘It’s Saturday Night’, the quality of song choice and delivery remains. The style? Well, you could take the band’s name, and the Jimmy Swan ’56 MGM cut and link the two together, and there are your basic ingredients.
Elvis’ ‘I’m Left, You’re Right’, and ‘I Forgot to Remember to Forget’ featured early doors, along with two of Dave’s own compositions. Based on his angling passion, we had ‘Fishing at the Fishing Lake’, and ‘There’s a Tree in the Park’, the influence and origin of which may be unsure, but a fine track it is. The covers were a delight, encompassing Rockabilly, Hillbilly and Western Swing. They rocked out to Buddy’s ‘Blue Days, Black Nights’ & ‘Changing All Those Changes’, Charlie Feathers’ ‘One Hand Loose’, before bringing it back country style with Jimmie Rodgers’ ‘In the Jailhouse Now’.
Really enjoyed Johnny Horton’s ‘Honky Tonk Man’ and the ‘shine-soaked take of George Jones’ ‘White Lightning’. ‘Tennessee Border’ and Ray Price’s career defining (and for that matter a young Jerry Lee Lewis) ‘Crazy Arms’ also impressed in a set that was summed up by the finale of ‘Rock Pretty Mama’. Sound, foot-stomping start to the festival
Relentless
Next up a truly take-no-prisoners set from Relentless. Led by main vocalist Anthony Smith slinging his Gretsch While Falcon guitar, backed up by Darren Richards on bass and drummer Luke Fletcher, this Lincoln trio announced themselves with Link Wray’s ’58 smash instrumental, ‘Rumble’. The vocal material started with a Sun classic, Roy Orbison’s ‘Mean Little Mama’, which set up their own track, ‘Hotwired’, and Carl Perkins’ ‘Your True Love’.
Foot slightly off the gas for the melodic Buddy track ‘Maybe Baby’, before the pace was picked up again as they rattled through ‘No Heart to Spare’ and ‘Slow Down’. Some stroll stuff featured too with a powerhouse take in the Sonics’ style of ‘Have Love Will Travel’ and Tommy Sands ‘Worrying Kind’. A couple from the 60’s? Why not, and from slightly left-field, the 1964 Billboard 100 #5 hit, ‘California Sun’ and a classic brit hit, with Cliff’s ‘Dancing Shoes’ from ‘Summer Holiday’. And a little further into left field with a hopped-up version of Prince/Sinead O’Connor’s ‘Nothing Compares 2 U’.
You never really know quite where Relentless will go within a set, and that’s part of their appeal, if you check out their full gig list. So, it was no surprise when Cavan’s ‘Old Black Joe’ rubbed shoulders with Elvis’ ‘Little Sister’ and Billy Ocean’s ‘Red Light’. Splendid guitar driven stuff.
Foot slightly off the gas for the melodic Buddy track ‘Maybe Baby’, before the pace was picked up again as they rattled through ‘No Heart to Spare’ and ‘Slow Down’. Some stroll stuff featured too with a powerhouse take in the Sonics’ style of ‘Have Love Will Travel’ and Tommy Sands ‘Worrying Kind’. A couple from the 60’s? Why not, and from slightly left-field, the 1964 Billboard 100 #5 hit, ‘California Sun’ and a classic brit hit, with Cliff’s ‘Dancing Shoes’ from ‘Summer Holiday’. And a little further into left field with a hopped-up version of Prince/Sinead O’Connor’s ‘Nothing Compares 2 U’.
You never really know quite where Relentless will go within a set, and that’s part of their appeal, if you check out their full gig list. So, it was no surprise when Cavan’s ‘Old Black Joe’ rubbed shoulders with Elvis’ ‘Little Sister’ and Billy Ocean’s ‘Red Light’. Splendid guitar driven stuff.
Hicksville Bombers
Hang on, we know him, and him. Dave Brown and Landon Filer re-took the stage with drummer Paul Saunders in their flight suits as the Hicksville Bombers. Wind up that air raid siren and let’s go, as the marquee rocked with the blistering ‘Bombs Away’ instrumental (save for shouting ‘Bombs Away’ during it), which eventually morphed into ‘Bull by the Horns’.
With a Bombers’ set, you always get a chunk of their own material from quite a large back catalogue, and they kicked some booty with ‘Danger Road’ and the nippy ‘Prettiest Girl in Town’.
Slowing it down next with the melodic ‘I’ve Changed My Mind’, before we’re off again tearing up ‘Devil’s Fight’ and another burn-up instro ‘Grease Monkey’. The pounding rhythms and beats, complemented Dave’s searing guitar riffs as the songs all vied for attention and notice. ‘Face The Rain’, ‘Stand Up and Fight’ (written by Landon), their now famous take of AC/DC’s ‘Whole Lotta Rosie’. Add to that Howlin’ Wolf’s ‘Howlin’ For My Baby’ and Steppenwolf’s ‘Born To Be Wild’, and you probably have the flavour of the show. No holds barred, no quarter given, nor asked for.
With a Bombers’ set, you always get a chunk of their own material from quite a large back catalogue, and they kicked some booty with ‘Danger Road’ and the nippy ‘Prettiest Girl in Town’.
Slowing it down next with the melodic ‘I’ve Changed My Mind’, before we’re off again tearing up ‘Devil’s Fight’ and another burn-up instro ‘Grease Monkey’. The pounding rhythms and beats, complemented Dave’s searing guitar riffs as the songs all vied for attention and notice. ‘Face The Rain’, ‘Stand Up and Fight’ (written by Landon), their now famous take of AC/DC’s ‘Whole Lotta Rosie’. Add to that Howlin’ Wolf’s ‘Howlin’ For My Baby’ and Steppenwolf’s ‘Born To Be Wild’, and you probably have the flavour of the show. No holds barred, no quarter given, nor asked for.
Razor Holler
Saturday, the first full day of the event, began midday with DJs, whilst North West trio, Razor Holler set up. Three piece? Yes, since the departure of the drummer, they now rely on a small foot operated percussion instrument, that I’m sure percussion instrument players will be able to name(!). So, now we have Rusty Williams on rhythm guitar, vocals and afore mentioned percussive thingy, Helen Blank on bass & backing vocals and lead guitarist & vocalist Danny Ibison.
With a Razor Holler show, there’s a guarantee of classy covers, and a smattering of their own stuff, delivered in their own style. Mixing the up-tempo ‘I Got a Woman’ with a sublime version of Carl Perkins’ ‘Lend Me Your Comb’, and Mickey Hawkes’ frantic rocker ‘Bip Bop Boom’, gave the crowd an idea of their versatility. The country sound suits Razor Holler’s style very well, and takes on Webb Pierce’s ‘I Ain’t Never’ & ‘I’m Walking the Dog’, Jimmie Rodgers ‘T For Texas’, Geroge Jones’ ‘Tall Tall Trees’ and Ray Price’s ‘Crazy Arms’ were very well received.
Rocking it up a bit with the highly reverbed rocker by the Jiants, ‘Tornado, and slotted in amongst the set, one of their own and best compositions. It has that ‘think-I’ve-heard-somewhere-before’ sound. ‘Don’t Be So Picky’. The lyrics are well crafted and the acoustic guitar solo is a delight, set to a bouncy, almost jazz sound. Ace harmonies on Alton and Jimmy’s ‘No More Crying the Blues’ too.
The Stanley Brothers (Carter and Ralph) were a bluegrass act, whose activity spanned some twenty years from the 40’s to the 60’s. Here the band take on one of their pacey tunes ‘If I Lose’, originally a guitar and banjo picker. They’ve given it a more Rockabilly feel while retaining the foot stomping, beat and shout-back chorus. It’s a breathless minute and three quarters. The well-deserved encore of ‘Shortnin’ Bread’ topped off another super set from the Hollers.
With a Razor Holler show, there’s a guarantee of classy covers, and a smattering of their own stuff, delivered in their own style. Mixing the up-tempo ‘I Got a Woman’ with a sublime version of Carl Perkins’ ‘Lend Me Your Comb’, and Mickey Hawkes’ frantic rocker ‘Bip Bop Boom’, gave the crowd an idea of their versatility. The country sound suits Razor Holler’s style very well, and takes on Webb Pierce’s ‘I Ain’t Never’ & ‘I’m Walking the Dog’, Jimmie Rodgers ‘T For Texas’, Geroge Jones’ ‘Tall Tall Trees’ and Ray Price’s ‘Crazy Arms’ were very well received.
Rocking it up a bit with the highly reverbed rocker by the Jiants, ‘Tornado, and slotted in amongst the set, one of their own and best compositions. It has that ‘think-I’ve-heard-somewhere-before’ sound. ‘Don’t Be So Picky’. The lyrics are well crafted and the acoustic guitar solo is a delight, set to a bouncy, almost jazz sound. Ace harmonies on Alton and Jimmy’s ‘No More Crying the Blues’ too.
The Stanley Brothers (Carter and Ralph) were a bluegrass act, whose activity spanned some twenty years from the 40’s to the 60’s. Here the band take on one of their pacey tunes ‘If I Lose’, originally a guitar and banjo picker. They’ve given it a more Rockabilly feel while retaining the foot stomping, beat and shout-back chorus. It’s a breathless minute and three quarters. The well-deserved encore of ‘Shortnin’ Bread’ topped off another super set from the Hollers.
Big Trouble
Next cab off the rank, Big Trouble, another incarnation for the venerable, David ‘Porky’ Coates. Different to see him without at least an acoustic guitar, he fronts this band vocally and occasionally blasts out the harmonica. This band’s output visits all areas of Rock n Roll, from the 50’s to latter day faves, such as their opener of ‘Sure Like the Look in Your Eyes’.
From the Blues side, came a couple of smashing Howlin’ Wolf tracks, perfectly suited to Dave’s vocal delivery. ‘You’ll be Mine’ from the Chess label in 1962, and the timeless representation of formative blues, ‘Smokestack Lightning’. Add to that, one of the most influential Blues tracks, Robert Johnson’s precedential 1936 recording ‘Sweet Home Chicago’.
Switching gears to Rockabilly with the pacy ‘School of Rock n Roll’ , ‘Everybody’s Trying to be my Baby’ and ‘Fairlane Rock’ before slowing altogether for Elvis ‘Angel’ from ‘Follow That Dream’. Classic Rock n Roll was given the Big Trouble treatment, with some serious guitar work from Harry Chappell, during their rendition of Eddie’s ‘Summertime Blues’, and equalled in Stevie Ray Vaughan’s ‘The House is a-Rockin’.
A really cool vibe from a band showcasing versatility and variety.
From the Blues side, came a couple of smashing Howlin’ Wolf tracks, perfectly suited to Dave’s vocal delivery. ‘You’ll be Mine’ from the Chess label in 1962, and the timeless representation of formative blues, ‘Smokestack Lightning’. Add to that, one of the most influential Blues tracks, Robert Johnson’s precedential 1936 recording ‘Sweet Home Chicago’.
Switching gears to Rockabilly with the pacy ‘School of Rock n Roll’ , ‘Everybody’s Trying to be my Baby’ and ‘Fairlane Rock’ before slowing altogether for Elvis ‘Angel’ from ‘Follow That Dream’. Classic Rock n Roll was given the Big Trouble treatment, with some serious guitar work from Harry Chappell, during their rendition of Eddie’s ‘Summertime Blues’, and equalled in Stevie Ray Vaughan’s ‘The House is a-Rockin’.
A really cool vibe from a band showcasing versatility and variety.
Danny Fisher
Danny Fisher and the Crawfish Combo rocked up next. Quite the combo here, with Danny Fisher taking vocals, backed by Zac Zdravkovic on lead guitar, Johnny Wood on bass, keyboardist Richard Blanchard and drummer Rob Tyler. This set was a voyage through the tracks of our years (with a couple of originals written by Danny), with Jimmy Edwards’ ‘Love Bug Crawl’. That energetic start led smartly into the likes of ‘Rockabilly Boogie’, ‘Rock Around With Ollie Vee’, ‘Tornado’ and ‘That Ain’t Nothin’ But Right’.
A well-crafted set, was equally well presented, Danny’s enthusiastic on-stage, and at times, off stage zeal, matched by the consummate musicianship of the band. ‘Mona Lisa’ took the foot of the gas slightly, with well controlled vocals, and the Warren Smith Sun cut, ‘Red Cadillac and a Black Moustache’ was a stroll delight. Have to flag up ‘The Struggle’ which is a Danny Fisher/Wayne Hopkins original, a somewhat dark theme, presented suitably atmospherically. Another original ‘Say You’ll Be Mine’, is a rolling romp driven by the keyboards. Quite surprising that it’s from 2009! And ‘Doggin’ Around’ was a shout-back gem of a tune.
Hugely enjoyable gambol through a top drawer set.
A well-crafted set, was equally well presented, Danny’s enthusiastic on-stage, and at times, off stage zeal, matched by the consummate musicianship of the band. ‘Mona Lisa’ took the foot of the gas slightly, with well controlled vocals, and the Warren Smith Sun cut, ‘Red Cadillac and a Black Moustache’ was a stroll delight. Have to flag up ‘The Struggle’ which is a Danny Fisher/Wayne Hopkins original, a somewhat dark theme, presented suitably atmospherically. Another original ‘Say You’ll Be Mine’, is a rolling romp driven by the keyboards. Quite surprising that it’s from 2009! And ‘Doggin’ Around’ was a shout-back gem of a tune.
Hugely enjoyable gambol through a top drawer set.
Jake Allen
Into the evening sets, and the Bad Habits fronted by Jake Allen on vocals and lead guitar. He was joined by the dependable Darren Richards on bass, Damian Hand on sax, drummer Evan Jenkins and powerpack Tidy Burney on harmonica. Together they produce an earthy and gritty, dynamic rocking rhythm and blues set. The style did at time put me in mind of L.A Blues and Rock band from the mid-60’s Canned Heat, which is by no means a bad thing.
They took a blues standard, early doors, Catfish Blues, first ‘recorded’ by Robert Petway in 1941. This is a song that had been sped up, slowed down and many points in between by a myriad of bands over the decades. Each band seems to be able to give it their own variation and certainly the Bad Habits put across their own particular desire, to be a catfish. ‘Hoochie Cooch’, is a pacy and punchy blues rocker, cajoled along by wailing harmonica alongside a thundering beat.
‘Mean Old Train’ and ‘Down By The Riverside’ got the Bad Habit rework, as did Leadbelly’s/Ram Jam’s ‘Black Betty’. This was a set that featured some stuff that we were not familiar with, which really rocked out.
They took a blues standard, early doors, Catfish Blues, first ‘recorded’ by Robert Petway in 1941. This is a song that had been sped up, slowed down and many points in between by a myriad of bands over the decades. Each band seems to be able to give it their own variation and certainly the Bad Habits put across their own particular desire, to be a catfish. ‘Hoochie Cooch’, is a pacy and punchy blues rocker, cajoled along by wailing harmonica alongside a thundering beat.
‘Mean Old Train’ and ‘Down By The Riverside’ got the Bad Habit rework, as did Leadbelly’s/Ram Jam’s ‘Black Betty’. This was a set that featured some stuff that we were not familiar with, which really rocked out.
Jack and the Real Deals
Final act of for Saturday, Jack and the Real Deals, another band local to the area. Jon-Jack Boxwell takes the lead vocals and rhythm guitar, with Simon ‘Sid’ Farley on lead guitar, Dave Kopke on bass and drummer Andy Turner. This was a jubilant romp through the playlist of many of our youths (if you are of a certain vintage shall we say). The Collins Kids ‘Whistle Bait’ fired the starting pistol and Buddy Holly’s ‘Down the Line’ following on. Audience participation time next with a Real Deals original, ‘Everybody Move Around’, the crowd doing the ‘Everybody Rock’ shout-backs.
Hoyt Johnson’s ‘Little Boy Blue’ was a peach, the hip shaking ‘Lonesome Tear in my Eyes’ and the Surf Riders’ ‘I’m Out’ were both cool beans. The 2015 long-player, ‘Chain Gang Blues’, yielded a number of original tracks that the lads showcased here. The title track, plus ‘Moth to a Flame’, Jokers Wild’ and ‘All I Want is You’ all rocked the marquee. And we must flag up their versions of the Crickets’ ‘Love Made a Fool of You’ and Gene Simmons’ ‘Chains of Love’, which has been a constant in the Real Deals shows.
The show reached a climax, signing off with the Phantom’s tear-up ‘Love Me’. Never a dull moment with the ‘Deals, and a fitting end to Saturday’s shenanigans.
Commanding dot….dot. Best tracks in the world ever ever to prime your explosives for this event were the Everly Brothers ‘I’m Not Angry’, Tony Douglas’ ‘Thunder and Lightning’ and ‘Lost John Boogie’ by Wayne Raney…..We had some top DJs over the weekend, peeps. Quick role call. Andy Barker, Macs Wax, Annaleigh, Fatkat, Brummie Si and Danny Brown. All played top drawer sounds throughout the weekend……Separated at birth perhaps, Steve Fatkat and Sherman Dakota……….
Hoyt Johnson’s ‘Little Boy Blue’ was a peach, the hip shaking ‘Lonesome Tear in my Eyes’ and the Surf Riders’ ‘I’m Out’ were both cool beans. The 2015 long-player, ‘Chain Gang Blues’, yielded a number of original tracks that the lads showcased here. The title track, plus ‘Moth to a Flame’, Jokers Wild’ and ‘All I Want is You’ all rocked the marquee. And we must flag up their versions of the Crickets’ ‘Love Made a Fool of You’ and Gene Simmons’ ‘Chains of Love’, which has been a constant in the Real Deals shows.
The show reached a climax, signing off with the Phantom’s tear-up ‘Love Me’. Never a dull moment with the ‘Deals, and a fitting end to Saturday’s shenanigans.
Commanding dot….dot. Best tracks in the world ever ever to prime your explosives for this event were the Everly Brothers ‘I’m Not Angry’, Tony Douglas’ ‘Thunder and Lightning’ and ‘Lost John Boogie’ by Wayne Raney…..We had some top DJs over the weekend, peeps. Quick role call. Andy Barker, Macs Wax, Annaleigh, Fatkat, Brummie Si and Danny Brown. All played top drawer sounds throughout the weekend……Separated at birth perhaps, Steve Fatkat and Sherman Dakota……….
Sundown Boys
Do you want to ease into Sunday or jump in with both feet into an hour of sublime Hillbilly, Country Bop and Rockabilly. We like many, opted for the latter, courtesy of the Sundown Boys. This trio, consisting of Dan Morley on lead vocals and rhythm guitar, Scott Brown on lead guitar and occasional vocals and bassist Danny Brown. This stuff is class people, make no mistake, like the nippy version of the Van Brothers ‘Servant of Love’ that opened the show, a guitar pickin’ delight for sure.
Jimmy Grubb’s ‘Let’s Rock Tonight’, and Glenn Glenn’s ‘One Cup of Coffee and a Cigarette’ were a couple of standouts that set up a superb rendition of Johnny Horton’s (and Johnny Mathis) ‘I’ll do it Every Time’ with Dan and Scott on harmony vocals and Danny doing the bizzo as Tillman Franks on bass. Smashin’ some ‘billy as well with ‘Granddaddy’s Rockin’ , Jeff Daniels’ ‘Daddy-O Rock’ and a real ‘peach’ in the shape of John Worthan’s ‘The Cats were Jumping’.
Super-cool sounds from their own 45rpm, Dan’s ‘I’m Getting Wise’ which has the ‘Darlene’ (Jack Southern) feel to it, and Scott’s Rockabilly picker, ‘Fugitive’. Mix that in with the oddity ‘Pink Elephants’ originally by Wally Willette, and a couple of belters, Tommy Lam’s ‘Speed Limit’ and Carl Perkins’ ‘Right String Wrong Yo Yo’. As the strains of ‘Just Because’ ended the set, the appreciative noises from the crowd, confirmed what a great set it was to start Sunday’s live acts.
Jimmy Grubb’s ‘Let’s Rock Tonight’, and Glenn Glenn’s ‘One Cup of Coffee and a Cigarette’ were a couple of standouts that set up a superb rendition of Johnny Horton’s (and Johnny Mathis) ‘I’ll do it Every Time’ with Dan and Scott on harmony vocals and Danny doing the bizzo as Tillman Franks on bass. Smashin’ some ‘billy as well with ‘Granddaddy’s Rockin’ , Jeff Daniels’ ‘Daddy-O Rock’ and a real ‘peach’ in the shape of John Worthan’s ‘The Cats were Jumping’.
Super-cool sounds from their own 45rpm, Dan’s ‘I’m Getting Wise’ which has the ‘Darlene’ (Jack Southern) feel to it, and Scott’s Rockabilly picker, ‘Fugitive’. Mix that in with the oddity ‘Pink Elephants’ originally by Wally Willette, and a couple of belters, Tommy Lam’s ‘Speed Limit’ and Carl Perkins’ ‘Right String Wrong Yo Yo’. As the strains of ‘Just Because’ ended the set, the appreciative noises from the crowd, confirmed what a great set it was to start Sunday’s live acts.
Honkabillies
Next up, the Honkabillies, well established four-piece, featuring Frankie Riedel on lead vocals and rhythm guitar, Frankie Riedel Jr on lead guitar, Claire Riedel on drums and the ubiquitous Danny Brown taking the bass duties.
They’ve been consistently putting out top shows since the ‘Dogonne’ days, and this was no exception. Sure, they have added a new dimension to the Honky Tonk and Rockabilly sound since signing with Wild Records. They announced themselves with the embittered title ‘I Hope Your Heaven Turns Out to be Hell’, and the heavy sound of ‘Bye Bye Baby’ (no, Rollers fans, not that one!!).
The lively jaunt of ‘Hog Wild’, Wayne Hancock’s narrative ‘Miller Jack & Mad Dog’ and their excellent version of the BR549’s ‘Bettie Bettie’, the biographical tale of a young man’s ‘admiration’ of the 50’s pin-up model, made welcome appearances. Luckily, we had Frankie Snr to explain what Hustler magazine was, and we bow to his clearly superior knowledge on the subject.
It wouldn’t be a Honkabillies show without some Johnny Cash, ‘Big River’ making the playlist this time, and the evergreen take of Joe Turner’s ‘Chicken and the Hawk’. Their own ‘Our Love was on Fire’ and ‘Lockdown Lonely’ kicked keester, amongst a truly vintage performance from the Honkabillies, that ended with their go-to rocker, the Delmore Brothers’ ‘Freight Train Boogie’.
They’ve been consistently putting out top shows since the ‘Dogonne’ days, and this was no exception. Sure, they have added a new dimension to the Honky Tonk and Rockabilly sound since signing with Wild Records. They announced themselves with the embittered title ‘I Hope Your Heaven Turns Out to be Hell’, and the heavy sound of ‘Bye Bye Baby’ (no, Rollers fans, not that one!!).
The lively jaunt of ‘Hog Wild’, Wayne Hancock’s narrative ‘Miller Jack & Mad Dog’ and their excellent version of the BR549’s ‘Bettie Bettie’, the biographical tale of a young man’s ‘admiration’ of the 50’s pin-up model, made welcome appearances. Luckily, we had Frankie Snr to explain what Hustler magazine was, and we bow to his clearly superior knowledge on the subject.
It wouldn’t be a Honkabillies show without some Johnny Cash, ‘Big River’ making the playlist this time, and the evergreen take of Joe Turner’s ‘Chicken and the Hawk’. Their own ‘Our Love was on Fire’ and ‘Lockdown Lonely’ kicked keester, amongst a truly vintage performance from the Honkabillies, that ended with their go-to rocker, the Delmore Brothers’ ‘Freight Train Boogie’.
Too Hot To Handle
A band that hasn’t been going that long, but has a considerable pedigree among the participants, took the stage next. Too Hot To Handle, feature Lewis Jordan Brown on piano, with John O’Malley on lead guitar, Dave Diamond on drums and, the legendary ‘Choppy’ on bass. On first view, some may have thought of a Jerry Lee Lewis kind of set, however it took a different and welcome direction.
They mixed up Western Swing corkers like Merrill E Moore’s ‘Buttermilk Baby’ Carl Smith’s ‘Go Boy Go’ and Pee Wee King’s ‘Catty Town’ with the almost garage sound of ‘Have Love Will Travel. Plenty of energy from all participants on the stage, Lewis’ hair flying all over, as he fizzed up and down the eighty-eight keys. The Jiants’ ‘Tornado’ and Sonny Burgess’ ‘Find My Baby For Me’ set a up a stroll set, with ‘Please Give Me Something’, ‘Bertha Lou’ and ‘Lover’s Curse’.
Some classic Rockabilly, yes indeedy, with Carl Perkins’ ‘Cat Clothes’, the rip-roaring Gene Summers ‘School of Rock n Roll’ and Roc La Rue’s top bopper ‘Baby Take Me Back’. All dancefloor winners, joining faves such as ‘Senior Class’ and ‘Up Jumped the Devil’. A refreshingly varied and versatile piano driven show, and a fitting introduction to the band.
They mixed up Western Swing corkers like Merrill E Moore’s ‘Buttermilk Baby’ Carl Smith’s ‘Go Boy Go’ and Pee Wee King’s ‘Catty Town’ with the almost garage sound of ‘Have Love Will Travel. Plenty of energy from all participants on the stage, Lewis’ hair flying all over, as he fizzed up and down the eighty-eight keys. The Jiants’ ‘Tornado’ and Sonny Burgess’ ‘Find My Baby For Me’ set a up a stroll set, with ‘Please Give Me Something’, ‘Bertha Lou’ and ‘Lover’s Curse’.
Some classic Rockabilly, yes indeedy, with Carl Perkins’ ‘Cat Clothes’, the rip-roaring Gene Summers ‘School of Rock n Roll’ and Roc La Rue’s top bopper ‘Baby Take Me Back’. All dancefloor winners, joining faves such as ‘Senior Class’ and ‘Up Jumped the Devil’. A refreshingly varied and versatile piano driven show, and a fitting introduction to the band.
The Rockets
Some straight-ahead Rock n Roll next with the Rockets, looking suitably sharp in their black tuxedos. John O’Malley was on double duty, having just finished with the previous turn, here he was back on stage and leading the musical charge on lead guitar. The primary vocalist is Hayden Regan, who possesses an authoritative set of pipes to deliver lyrics. Kurt Simms keeps is real on bass with Krzysztof Strzelczyk on keyboards and sitting in on drums Todd Knapp.
This set was massively leaning towards the dancefloor, with a veritable treasure chest of top tunes for the dancers. Taking the Gaylords ‘Ma Ma Ma Marie’ from 1958 as a benchmark and the opener. Ace version, with a super smooth ‘I Could Have Danced All Night’ from the musical ‘My Fair Lady’ (though not quite a like-for-like copy), and back to 1931 for Gracie Fields’ ‘Sally’ (see previous comment). Liked the way this band mixed up older material with some latter-day favourites. For example, Frankie Lymon’s ‘Goody Goody’ and JD McPherson’s ‘Scratchin’ Circles’, or perhaps the perfectly pitched ‘Tonight I Fell in Love’ by the Tokens (‘Dum do be dum whoa oh’, that one) and Ray Collins Hot Club’s ‘Bye Bye Paris. That kind of blend.
Indeed, you can add variety to the choices, as they weren’t reliant on doo wop or R&B. ‘Rockabilly Boogie’ and ‘Just a Rockin’ and a Rollin’ sprang a surprise, as they were sandwiched between classic jivers the Five Keys’ ‘She’s the Most’ and Louis Prima’s ‘Buona Sera’. There was even a slot for some Hank Williams with ‘Cold Cold Heart’, and some smoochy stuff in Paul Anka’s ‘Put Your Head on my Shoulder’. ‘Rockabilly Man’ tore up the encore and left everyone massively impressed with the Rockets’ show.
This set was massively leaning towards the dancefloor, with a veritable treasure chest of top tunes for the dancers. Taking the Gaylords ‘Ma Ma Ma Marie’ from 1958 as a benchmark and the opener. Ace version, with a super smooth ‘I Could Have Danced All Night’ from the musical ‘My Fair Lady’ (though not quite a like-for-like copy), and back to 1931 for Gracie Fields’ ‘Sally’ (see previous comment). Liked the way this band mixed up older material with some latter-day favourites. For example, Frankie Lymon’s ‘Goody Goody’ and JD McPherson’s ‘Scratchin’ Circles’, or perhaps the perfectly pitched ‘Tonight I Fell in Love’ by the Tokens (‘Dum do be dum whoa oh’, that one) and Ray Collins Hot Club’s ‘Bye Bye Paris. That kind of blend.
Indeed, you can add variety to the choices, as they weren’t reliant on doo wop or R&B. ‘Rockabilly Boogie’ and ‘Just a Rockin’ and a Rollin’ sprang a surprise, as they were sandwiched between classic jivers the Five Keys’ ‘She’s the Most’ and Louis Prima’s ‘Buona Sera’. There was even a slot for some Hank Williams with ‘Cold Cold Heart’, and some smoochy stuff in Paul Anka’s ‘Put Your Head on my Shoulder’. ‘Rockabilly Man’ tore up the encore and left everyone massively impressed with the Rockets’ show.
The Wolfnotes
How to end the weekend with a blast, I’ll tell you, the Wolfnotes (the artists formerly known as the Wolftones). Jay Bircumshaw leads the charge with vocals and rhythm guitar, Shaun Sullivan on lead guitar, drummer Sherman Dakota, bassist Graham ‘Grez’ Sanders and wailing on the harmonica, Tex Warner. This was a no-holds barred show that kicked into life with ‘3 O’clock Baby’ and ‘Lil Red Rooster’.
A fine blend of original and cover material had a couple of early standouts, the Sonics ‘Shot Down’, amazingly a ‘B’ side from 1965, and Link Wray’s powerful instrumental ‘Ace of Spades’, showcasing Shaun Sullivan’s immense attention to six string detail. ‘Big Train Rolling’, the hard-hitting blues bopper, ‘Lovestruck Baby’ offered a slightly slower stroll beat, and ‘Hot Rod Car’ with it’s catchy guitar hook, all made welcome appearances. Audience favourites for sure.
Topping it all off, ‘Dead Man Walking’, which also heralded a rowdily cheered conclusion of the live acts and pretty much the whole event.
Yet another tip top event from the team at Juniper Fayre promotions. Well run, varied acts and styles, bands on A grade form, DJs providing super sounds and a smashing vibe. 2025 anyone?
A fine blend of original and cover material had a couple of early standouts, the Sonics ‘Shot Down’, amazingly a ‘B’ side from 1965, and Link Wray’s powerful instrumental ‘Ace of Spades’, showcasing Shaun Sullivan’s immense attention to six string detail. ‘Big Train Rolling’, the hard-hitting blues bopper, ‘Lovestruck Baby’ offered a slightly slower stroll beat, and ‘Hot Rod Car’ with it’s catchy guitar hook, all made welcome appearances. Audience favourites for sure.
Topping it all off, ‘Dead Man Walking’, which also heralded a rowdily cheered conclusion of the live acts and pretty much the whole event.
Yet another tip top event from the team at Juniper Fayre promotions. Well run, varied acts and styles, bands on A grade form, DJs providing super sounds and a smashing vibe. 2025 anyone?
|
|
Well peeps, we've gone double bubble on the flyers for the Rockabilly Rave. Big up nuff respect to Jerry Chatabox for persevering with the event and finding another venue after having the rug pulled out from underneath the 2024 Rave event by Pontins. At the time of writing, booking hasn't opened yet. But you can click on the flyers for details of the bands, DJs et al
rock 'n' roll rampage #7
The Revolutionaires
The village of Gartcosh, in Lanarkshire, Scotland, sits close to Airdrie and Glasgow. For over a hundred years, there’s been a sports club in the village. The current club has around a thousand members and has been in it’s current form and appearance since 1973. The draw for us, and many more alike, was the sold-out event Rampage #7 at the beginning of July.
Taking place over a Friday evening and all-day Saturday, the line up was indeed impressive. On entry, Friday evening, you got a really well compiled booklet celebrating 70 years of the recording of ‘That’s All Right’. That was accompanied by some cool sounds from the decks as the hall filled up. Live band for the evening, up from the North East of England, The Revolutionaires.
There are occasions when the Revolutionaires have a sax player, others when it’s keyboards. This evening saw two lead guitarists, Ed Stephenson as usual, who is also responsible for the majority of the vocals, and harmonica, and Eb Slim on second lead. The rhythm section consisted of Rich Stephenson on bass (upright and electric) and drummer John Lambert. They played two sets across the evening, the only band to do so at Rampage.
Hugely popular as always, all of the Rev’s favourites were on show. ‘Roll Over Beethoven’ opened the show, and set up the likes of the Mar-Keys 1961 Stax release ‘Last Night’. Smashing instro that one folks, betcha think of ‘Bottom’ as well readers. The Champs ‘Tequila’ and Dick Dale’s ‘Miserlou’ are usually reliant on the addition of some kind of brass, however the reworking to make them guitar tunes worked decidedly well.
It’s not a true Revs set without their blues bop cover of the Robins’ ‘Riot in Cell Block Number Nine’, and indeed the epic ‘Eddie’s Blues’, a protracted harmonica instrumental, with a foot stomping conclusion. ‘Keep a’ Knockin’, ‘Seven Nights to Rock’, ‘Shake Rattle and Roll’ all kicked. The super-fine rendition of Slim Harpo’s ‘Shake Your Hips’ which drew the show to a crescendo, filling the floor with delighted boppers.
A typically energetic and visual show from the Revs, musically en-pointe and dynamic. With DJs Harry, Tojo and Jungle Rocker providing top tunage, it made for a smashing evening.
Taking place over a Friday evening and all-day Saturday, the line up was indeed impressive. On entry, Friday evening, you got a really well compiled booklet celebrating 70 years of the recording of ‘That’s All Right’. That was accompanied by some cool sounds from the decks as the hall filled up. Live band for the evening, up from the North East of England, The Revolutionaires.
There are occasions when the Revolutionaires have a sax player, others when it’s keyboards. This evening saw two lead guitarists, Ed Stephenson as usual, who is also responsible for the majority of the vocals, and harmonica, and Eb Slim on second lead. The rhythm section consisted of Rich Stephenson on bass (upright and electric) and drummer John Lambert. They played two sets across the evening, the only band to do so at Rampage.
Hugely popular as always, all of the Rev’s favourites were on show. ‘Roll Over Beethoven’ opened the show, and set up the likes of the Mar-Keys 1961 Stax release ‘Last Night’. Smashing instro that one folks, betcha think of ‘Bottom’ as well readers. The Champs ‘Tequila’ and Dick Dale’s ‘Miserlou’ are usually reliant on the addition of some kind of brass, however the reworking to make them guitar tunes worked decidedly well.
It’s not a true Revs set without their blues bop cover of the Robins’ ‘Riot in Cell Block Number Nine’, and indeed the epic ‘Eddie’s Blues’, a protracted harmonica instrumental, with a foot stomping conclusion. ‘Keep a’ Knockin’, ‘Seven Nights to Rock’, ‘Shake Rattle and Roll’ all kicked. The super-fine rendition of Slim Harpo’s ‘Shake Your Hips’ which drew the show to a crescendo, filling the floor with delighted boppers.
A typically energetic and visual show from the Revs, musically en-pointe and dynamic. With DJs Harry, Tojo and Jungle Rocker providing top tunage, it made for a smashing evening.
Saturday began reasonably early doors with the Rumble Cats car show, which was very well attended. Ahead were eleven hours of enticingly good acts and DJs, and the hall was soon populated with those lucky ticket holders. Again, those arriving were given another full colour and well-conceived program of events booklet, detailing the attractions on offer for the day. Gallery below, click on photos for full sized images
Tennessee Hotshots
I don’t think we’ve ever been able to refer to the Tennessee Hotshots as ‘local’ before, but here they were, ready to open the show. They were on double duty, appearing as themselves and backing Marcel Bontempi and Ira Lee later in the day. Sy McBass takes the bulk of the vocals along with slapping the upright bass, drummer Paddy Dolan, who also supplied the drums for the whole day and Martin Barrett on lead guitar make up the ‘Hotshots.
The set jumped into life with ‘Breaking My Heart’, a lively, up-tempo rocker that announced the band perfectly. The call-to-arms ‘Tally Ho’ followed which drew the crowd in for Jerry Reed’s ‘When I Found You’ and ‘Mister Whiz’ and Dale Hawkins’ styled ‘Wild Cat Tamer’. The catchy guitar riffs in ‘Rock ‘n’ Roll Rampage’ was a treat, a Sy original too. Another original, ‘Ain’t Misbehavin’, by Martin Barrett, has a super stroll beat, and (I personally think) their standout original, ‘I Don’t Think So’ is Rockabilly dynamite (to coin a phrase).
Johnny Horton’s ‘Lovers Rock’, Moon’s ‘Seven Nights to Rock’ and the ’58 Dell Vikings ‘Flat Tire’ hit the spot, and they topped off a rousing show with Billy Lee Riley’s ‘Flying Saucers Rock ‘n’ Roll’. Great start.
The set jumped into life with ‘Breaking My Heart’, a lively, up-tempo rocker that announced the band perfectly. The call-to-arms ‘Tally Ho’ followed which drew the crowd in for Jerry Reed’s ‘When I Found You’ and ‘Mister Whiz’ and Dale Hawkins’ styled ‘Wild Cat Tamer’. The catchy guitar riffs in ‘Rock ‘n’ Roll Rampage’ was a treat, a Sy original too. Another original, ‘Ain’t Misbehavin’, by Martin Barrett, has a super stroll beat, and (I personally think) their standout original, ‘I Don’t Think So’ is Rockabilly dynamite (to coin a phrase).
Johnny Horton’s ‘Lovers Rock’, Moon’s ‘Seven Nights to Rock’ and the ’58 Dell Vikings ‘Flat Tire’ hit the spot, and they topped off a rousing show with Billy Lee Riley’s ‘Flying Saucers Rock ‘n’ Roll’. Great start.
Cow Cow Boogie
Next up, Cow Cow Boogie. It has literally been, years, since we last saw this band, so we went into the show, with few ideas of the potential set, the band’s name kind of giving a clue. Mind you, for those expecting a sliding Western Swing show, the set was hugely diverse in it’s choice. Take Carl Perkins ‘Cat Clothes’ and Janis Martin’s ‘Bang Bang’ which opened the show, and then pitch in a couple of lady blues shouters. Those were Varetta Dillard’s ‘Scorched’ and the vocal belter that is Tiny Topsy’s ‘Aw Shucks’.
The vocals for these were courtesy of Ruth Harris, who was backed by the appropriately named Stevie Slide on steel guitar, Steve Milne on guitar, bassist Scott Mather and George Logan on drums. Country singer June Webb’s debut 1957 single on RCA (before she signed with Hickory), gave rise to the band’s next gear switch, with the ‘B’ side of said single, the bright and breezy ‘Crew Cut Romeo’.
Have we got the modus operandi of the band yet? Another swerve, this time to a soulful sound of ‘Somewhere Down the Line’ and Canned Heat’s rural blues hippie styled anthem ‘Going Up the Country’. Then right up to date with a cover of Si Cranstoun’s ‘Ella Hula’. Truly diverse set that concluded with Patsy Cline classic ‘Gotta Lot of Rhythm in my Soul.
Rampaging dot…dot. Best tracks in the world ever ever to shoogle your bahookie at the Rampage were Skeets Mc Donald’s ‘Cheek to Cheek with the Blues’ , ‘No Time’ by the Titans and Dorothy Collins’ ‘That’s All I Need’……Big up dispatch style mention to Ian Morris, MC for the day, erudite and engaging with the crowd, bringing the acts on and off…..The raffle prize of a fantastic Gretsch guitar, was donated by John Donoghue, and won by Graham Pallister, who it was said, spent a fortune on tickets both past and present, then donated it to a special needs school…… Super stuff from Saturday’s DJs Tojo, Strop, Jungle Rocker and Harry……Quote from the stage “We have lots of Scottish friends, we have lots of Welsh friends, and we know a lot of English people” To that I counter, don’t forget, the reviewer is English (sweeps black cloak across face and laughs sinisterly)……Another announcement from the stage, ‘Marcel (Bontempi) has been learning Scottish, haven’t you Marcel?’ “Aye” says Marcel…..Journey up the A1, roadworks misery, A66, roadworks misery, M6 chocca with Friday traffic, over the border into Scotland on the M74, not a single cone, pothole, queue or traffic light……Crossing into Scotland, “yay we’re here”. Sat nav “106 miles to go!”……….
The vocals for these were courtesy of Ruth Harris, who was backed by the appropriately named Stevie Slide on steel guitar, Steve Milne on guitar, bassist Scott Mather and George Logan on drums. Country singer June Webb’s debut 1957 single on RCA (before she signed with Hickory), gave rise to the band’s next gear switch, with the ‘B’ side of said single, the bright and breezy ‘Crew Cut Romeo’.
Have we got the modus operandi of the band yet? Another swerve, this time to a soulful sound of ‘Somewhere Down the Line’ and Canned Heat’s rural blues hippie styled anthem ‘Going Up the Country’. Then right up to date with a cover of Si Cranstoun’s ‘Ella Hula’. Truly diverse set that concluded with Patsy Cline classic ‘Gotta Lot of Rhythm in my Soul.
Rampaging dot…dot. Best tracks in the world ever ever to shoogle your bahookie at the Rampage were Skeets Mc Donald’s ‘Cheek to Cheek with the Blues’ , ‘No Time’ by the Titans and Dorothy Collins’ ‘That’s All I Need’……Big up dispatch style mention to Ian Morris, MC for the day, erudite and engaging with the crowd, bringing the acts on and off…..The raffle prize of a fantastic Gretsch guitar, was donated by John Donoghue, and won by Graham Pallister, who it was said, spent a fortune on tickets both past and present, then donated it to a special needs school…… Super stuff from Saturday’s DJs Tojo, Strop, Jungle Rocker and Harry……Quote from the stage “We have lots of Scottish friends, we have lots of Welsh friends, and we know a lot of English people” To that I counter, don’t forget, the reviewer is English (sweeps black cloak across face and laughs sinisterly)……Another announcement from the stage, ‘Marcel (Bontempi) has been learning Scottish, haven’t you Marcel?’ “Aye” says Marcel…..Journey up the A1, roadworks misery, A66, roadworks misery, M6 chocca with Friday traffic, over the border into Scotland on the M74, not a single cone, pothole, queue or traffic light……Crossing into Scotland, “yay we’re here”. Sat nav “106 miles to go!”……….
Jack and the Real Deals
Jack and the Real Deals were on stage next, up from Lincolnshire. The settled line up consists of Jon Jack Boxwell on vocals and rhythm guitar, Simon ‘Sid’ Farley on lead guitar, Dave Kopke on bass and drummer Andy Turner. Another jaunt through some classic Rockabilly by the ‘Deals, and far be it from us to merely copy the previously detailed review from Lincoln. ‘Whistle Bait’ opened up the show with fifties Rockabilly gems like Hoyt Johnson’s ‘Little Boy Blue’ and Benny Barnes’ ‘You’re Gonna Pay’ keeping the anti, up.
They write a decent song as well, and a number of those were thankfully in the show. ‘Moth to a Flame’, the title track of their CD ‘Chain Gang Blues’ and ‘All I Want is You’ for example, all sound like they could have come out of a Starday or Mercury vault.
Classic sounds that are mainstays in a Real Deals set, included Warren Smith’s super Don Gibson penned track ‘Sweet Sweet Girl’ and Gene Simmons ‘Chains of Love’. And lest we forget the cool vibe of the Crickets ‘Love’s Made a Fool of You’. Johnny Knight’s pacy rocker ‘Rock n Roll Guitar’ and the Phantom’s almost uncontrolled ‘Love Me’ topped a great set again by the ‘Deals.
They write a decent song as well, and a number of those were thankfully in the show. ‘Moth to a Flame’, the title track of their CD ‘Chain Gang Blues’ and ‘All I Want is You’ for example, all sound like they could have come out of a Starday or Mercury vault.
Classic sounds that are mainstays in a Real Deals set, included Warren Smith’s super Don Gibson penned track ‘Sweet Sweet Girl’ and Gene Simmons ‘Chains of Love’. And lest we forget the cool vibe of the Crickets ‘Love’s Made a Fool of You’. Johnny Knight’s pacy rocker ‘Rock n Roll Guitar’ and the Phantom’s almost uncontrolled ‘Love Me’ topped a great set again by the ‘Deals.
Marcel Bontempi
|
Ira Lee
|
The main event, Marcel Bontempi with Ira Lee were up next, with the Tennessee Hotshots backing. Having seen this combination at Hemsby a while ago, we knew that this was going to be a grade A show. There are many guises and personas that Marcel performs under, taking sometimes well-known tracks and giving them a twist. The repetitive, and somewhat sinister lyrics of ‘Train of Sin’ opened the set with a catchy rhythm that captivated the increasing numbers at stage front.
The thumping foot stomper, ‘Old Mad Witch’ followed, a cover of Dave Gardner’s horror rocker from 1957. ‘Shag Rag’ with it’s rapid vocal ‘papa oo mau mau’ delivery is slightly left field, as is the rendition of the theme to ‘Spiderman’. Ira came to the fore as they took on Elvis and Kitty White’s King Creole duet ‘Crawfish’ to great effect. Another well known song from the ‘50’s got the Bontempi rework. You may not think Gene’s ‘Race With the Devil’ warrants such a revision , but hey, this works so well, not quite with the frantic tempo of the original, and different enough to make it noteworthy.
Notably, the cover of Gin Gillette’s 1961 odd-ballery ‘Train to Satanville’ sounds, in my humble opinion, better than the original, and perfectly suited to Marcel and Ira. Massive thumbs up to the Tennessee Hotshots as well as they were right there throughout the set musically. I guess Marcel has become synonymous with ‘Dig a Hole’, both a stroll and bop versions. Well, we got both, in the same rendition. They weren’t getting off stage that easily and the string bending of ‘Headless Horseman’ and the weirdness of ‘Haunted House’. What and excellent set.
The thumping foot stomper, ‘Old Mad Witch’ followed, a cover of Dave Gardner’s horror rocker from 1957. ‘Shag Rag’ with it’s rapid vocal ‘papa oo mau mau’ delivery is slightly left field, as is the rendition of the theme to ‘Spiderman’. Ira came to the fore as they took on Elvis and Kitty White’s King Creole duet ‘Crawfish’ to great effect. Another well known song from the ‘50’s got the Bontempi rework. You may not think Gene’s ‘Race With the Devil’ warrants such a revision , but hey, this works so well, not quite with the frantic tempo of the original, and different enough to make it noteworthy.
Notably, the cover of Gin Gillette’s 1961 odd-ballery ‘Train to Satanville’ sounds, in my humble opinion, better than the original, and perfectly suited to Marcel and Ira. Massive thumbs up to the Tennessee Hotshots as well as they were right there throughout the set musically. I guess Marcel has become synonymous with ‘Dig a Hole’, both a stroll and bop versions. Well, we got both, in the same rendition. They weren’t getting off stage that easily and the string bending of ‘Headless Horseman’ and the weirdness of ‘Haunted House’. What and excellent set.
Sharna Mae and the Mayhems
.The final act on, from the Midlands, Sharna Mae and the Mayhems. Now then readers, much is made of the young blood on the Rock n Roll music circuit, and Sharna Mae has been performing for over a decade (sic). ‘I Wear the Trousers’ was 2013 for heaven’s sake. The band’s first CD was the 2016 release ‘Love Drunk’, where has that time gone (worldwide pandemics notwithstanding)?
Sharna Mae Brown takes the lead vocals, with supreme guitarist Scott Brown on lead, Danny Brown on bass and the powerpack stand-up drummer Jack Smith, keeping it lively on rhythm, visually and musically. They opened with a real winner, the ballsy ‘Tell Me What I Really Wanna Know’, which easily set the tone and engaged the crowd. Barely had the final note vibrated, and we were off again, immersed in the stroll beat of ‘Devil’s Poison’.
Occasionally they dip into the covers, first up being Pat Cupp’s ‘Do Me No Wrong’, with the likes of ‘Money’, ‘Roll n Tumble’ and ‘Tainted Love’ featuring later on. The rest of it centred around classy original compositions, ‘Hot Rod Girl’, ‘Suicide Girl’ and ‘Crazy Ex-Girlfriend’ and the vengeful sound of ‘Sugar in the Tank’. Loads of enthusiasm and stage presence in a set that climaxed with the call and answer with the audience in ‘Train Kept a’Rollin’. A diamond of a set and a rock-out end to the live acts.
It was our first foray into Scotland for a rockin’ gig, and hopefully it won’t be the last. Gartcosh rocks, rolls and jives and swings. Final shout out to ‘The Crew’ of Charles, Chelle, Harry, Ian, Margaret, Mary, Rhona and Tojo, for the finest event. Gallery images below, click on them for the full sized picture
Sharna Mae Brown takes the lead vocals, with supreme guitarist Scott Brown on lead, Danny Brown on bass and the powerpack stand-up drummer Jack Smith, keeping it lively on rhythm, visually and musically. They opened with a real winner, the ballsy ‘Tell Me What I Really Wanna Know’, which easily set the tone and engaged the crowd. Barely had the final note vibrated, and we were off again, immersed in the stroll beat of ‘Devil’s Poison’.
Occasionally they dip into the covers, first up being Pat Cupp’s ‘Do Me No Wrong’, with the likes of ‘Money’, ‘Roll n Tumble’ and ‘Tainted Love’ featuring later on. The rest of it centred around classy original compositions, ‘Hot Rod Girl’, ‘Suicide Girl’ and ‘Crazy Ex-Girlfriend’ and the vengeful sound of ‘Sugar in the Tank’. Loads of enthusiasm and stage presence in a set that climaxed with the call and answer with the audience in ‘Train Kept a’Rollin’. A diamond of a set and a rock-out end to the live acts.
It was our first foray into Scotland for a rockin’ gig, and hopefully it won’t be the last. Gartcosh rocks, rolls and jives and swings. Final shout out to ‘The Crew’ of Charles, Chelle, Harry, Ian, Margaret, Mary, Rhona and Tojo, for the finest event. Gallery images below, click on them for the full sized picture
Accommodation is sold out but contact the Hemsby people by clicking the flyer for details. Then you won't miss out on the ace line up
|
The first few acts of the 70th Hemsby weekender event. Click the flyer for details
|
club gigs this issue
Mystery Train Riders
Train arrive. Chesterfield Rock n Roll club introduced the Midlands to the Mystery Train Riders last year. Such was the band’s popularity that night, Andy Barker invited them back. It turned out to be a night tinged with sadness as the Birdholme Working Men’s Club closed it’s doors the following day, leaving the Rock n Roll Club homeless again. See the flyer below for their new home address for the Darrell Higham event. In the meantime, however, let’s recall a fine night at Birdholme.
It took a while for the crowd to arrive, but a decent number made the trip. Ever present and venerable DJs Steve O and Andy B, served up their usual variety of ditties from the decks. The Mystery Train Riders are based in the North East of England, consisting of Chris Blakey on vocals and rhythm guitar, Dan Garland on lead guitar, Terry Warnock on bass and sitting in on drums, Dougie Dunn, and together they have as diverse-a set list as you could shake a ‘broon ale’ at.
With their name, many wondered if there would be an Elvis, Sun Records feel to the set list. And what do you know, they opened up with ‘Baby Let’s Play House’ in the Presley style (as opposed to the Bluesy Harold Gunter original). But that was it, along with ‘What a Wonderful Life’ from ’62, as far as Elvis was concerned for the first set, as they followed up ably with Eddie Cochran’s ‘C’mon Everybody’ and ‘Jeanie Jeanie Jeanie’, which sandwiched a really good take of Cliff’s ‘We Say Yeah’.
They ripped through Chalie Gracie’s ‘Fabulous’ and rocked out some Rockabilly classics with ‘Everybody’s Movin’, ‘Bertha Lou’, and the slightly slower tempo of Glen Glenn’s ‘One Cup of Coffee and a Cigarette’. It might seem a little insincere to flag up an instrumental as one of the best tracks of the night, but we have to in this case, the awesome version of Duane Eddy’s ‘Rebel Rouser’ from 1958. Just the right amount of twang on Dan’s guitar, so much so, you wouldn’t miss the sax breaks of the original. Chris’ ‘Tumble Dryer Baby’ and a couple more classics ‘Long Blond Hair’ and ‘Twenty Flight Rock’ featured, and another instro, a real tear-up, with the Surfaris ‘Wipe Out’.
Naturally we got ‘Mystery Train’ along with ‘Paralysed’ as a further dose of Elvis, and the anthemic ‘Rockabilly Rebel’ which drew a stage invasion. Chris has gained a lot more confidence since the last time we saw this band, energetic stage manner and more pronounced vocal delivery. A fitting send off for the Birdholme Club.
It took a while for the crowd to arrive, but a decent number made the trip. Ever present and venerable DJs Steve O and Andy B, served up their usual variety of ditties from the decks. The Mystery Train Riders are based in the North East of England, consisting of Chris Blakey on vocals and rhythm guitar, Dan Garland on lead guitar, Terry Warnock on bass and sitting in on drums, Dougie Dunn, and together they have as diverse-a set list as you could shake a ‘broon ale’ at.
With their name, many wondered if there would be an Elvis, Sun Records feel to the set list. And what do you know, they opened up with ‘Baby Let’s Play House’ in the Presley style (as opposed to the Bluesy Harold Gunter original). But that was it, along with ‘What a Wonderful Life’ from ’62, as far as Elvis was concerned for the first set, as they followed up ably with Eddie Cochran’s ‘C’mon Everybody’ and ‘Jeanie Jeanie Jeanie’, which sandwiched a really good take of Cliff’s ‘We Say Yeah’.
They ripped through Chalie Gracie’s ‘Fabulous’ and rocked out some Rockabilly classics with ‘Everybody’s Movin’, ‘Bertha Lou’, and the slightly slower tempo of Glen Glenn’s ‘One Cup of Coffee and a Cigarette’. It might seem a little insincere to flag up an instrumental as one of the best tracks of the night, but we have to in this case, the awesome version of Duane Eddy’s ‘Rebel Rouser’ from 1958. Just the right amount of twang on Dan’s guitar, so much so, you wouldn’t miss the sax breaks of the original. Chris’ ‘Tumble Dryer Baby’ and a couple more classics ‘Long Blond Hair’ and ‘Twenty Flight Rock’ featured, and another instro, a real tear-up, with the Surfaris ‘Wipe Out’.
Naturally we got ‘Mystery Train’ along with ‘Paralysed’ as a further dose of Elvis, and the anthemic ‘Rockabilly Rebel’ which drew a stage invasion. Chris has gained a lot more confidence since the last time we saw this band, energetic stage manner and more pronounced vocal delivery. A fitting send off for the Birdholme Club.
Ok we have some big news for you all the good news is that we have found the perfect club for you all, great comfortable room , large car park for cars n campers ect , large wooden dance floor yeaaaa , long bar with great drinks prices no more queing folks, it's gonna be fantastic .....but we need your support for it to continue. Folks the club is only 10 mins max from Chesterfield Whitt Moor roundabout so not far realy. Here us some pics of the new place ...it'll be at The Dronfield Contact Club details on the flyer above ....
|
This event is selling well so don't miss out on seeing the Jets in Lincolnshire, at the Blues Club in Gainsborough. Click the flyer for details
|
Stevie Daniels and the Wranglers
Devil went down to Wisbech. Country music, a bit like Blues, can be a bit depressing. We took in an evening at a British Legion venue, featuring what is known as ‘Outlaw’ music. This is, very basically put, a subgenre of Country music, popular in the 70’s & 80’s particularly which also co-incided with it’s formative years. It was a sound that didn’t ally itself with the traditional Nashville sound at the time. Think Waylon Jennings, Willie Nelson, Johnny Cash, Merle Haggard, Emmy Lou Harris and George Jones for example.
We went to catch some of these sounds supplied by Stevie Daniels and the Wranglers, their tagline being that they are “rounding up the country folk with proper country music”. Hot diggety dang, we thought (actually we didn’t but for journalistic licence, we’ll go with it). The personnel are Stevie Daniels on vocals and lead guitar, Paul Ingrey on lead guitar, Dave Claassen on bass, drummer Dave Hughes and his son Hayden on additional rhythm guitar.
What to expect? The bassist is from Cornhusker territory originally, the drummer was wearing a New England Patriots shirt (shakes head slowly), and we must declare, lest we be accused of nepotism, the lead guitarist is married to June’s daughter. It’s been so long since we’ve been to a Country music event, we went in with ears wide open. Truth be told, there’s a lot of stuff that crosses over into ‘our’ music. A nostalgic start to the show, for anyone who used to watch the Dukes of Hazzard, Saturday tea times, with Waylon Jennings’ ‘Good Ol Boys’.
Naturally you’d expect some Johnny Cash, and we got it with the evergreen ‘Folsom Prison Blues’ and the narcotic ‘Cocaine Blues’. Willie and Waylon’s ‘Mama Don’t Let Your Children Grow Up To Be Cowboys’, a couple of Alan Jackson tracks ‘Chattahoochie’ (a popular jiver at one time we recall) and ‘It’s Five o’clock Somewhere’. Then something more unfamiliar in the shape of Billy Joe Shaver’s pacy ‘Georgia on a Fast Train’
Elvis’ ‘Heartbreak Hotel’ popped up, in two tempos, and Hank Cochran’s ‘Sally Was a Good Old Girl’ nudged us two rockers, and Merle Haggard’s incarcerated lament ‘Mama Tried’ was super cool. The ever-popular Kenny Rogers tune ‘The Gambler’ was probably the most engaging with the crowd. And we have to big-up a Daniels originals ‘I May Not Be From Nashville’ and especially ‘Down by the River’, which has both twang and slide, set to a rollickingly good beat. A tight band musically, solid vocal delivery and a popular playlist. What more could you want on a Saturday night, fully yeeehaw injected?
We went to catch some of these sounds supplied by Stevie Daniels and the Wranglers, their tagline being that they are “rounding up the country folk with proper country music”. Hot diggety dang, we thought (actually we didn’t but for journalistic licence, we’ll go with it). The personnel are Stevie Daniels on vocals and lead guitar, Paul Ingrey on lead guitar, Dave Claassen on bass, drummer Dave Hughes and his son Hayden on additional rhythm guitar.
What to expect? The bassist is from Cornhusker territory originally, the drummer was wearing a New England Patriots shirt (shakes head slowly), and we must declare, lest we be accused of nepotism, the lead guitarist is married to June’s daughter. It’s been so long since we’ve been to a Country music event, we went in with ears wide open. Truth be told, there’s a lot of stuff that crosses over into ‘our’ music. A nostalgic start to the show, for anyone who used to watch the Dukes of Hazzard, Saturday tea times, with Waylon Jennings’ ‘Good Ol Boys’.
Naturally you’d expect some Johnny Cash, and we got it with the evergreen ‘Folsom Prison Blues’ and the narcotic ‘Cocaine Blues’. Willie and Waylon’s ‘Mama Don’t Let Your Children Grow Up To Be Cowboys’, a couple of Alan Jackson tracks ‘Chattahoochie’ (a popular jiver at one time we recall) and ‘It’s Five o’clock Somewhere’. Then something more unfamiliar in the shape of Billy Joe Shaver’s pacy ‘Georgia on a Fast Train’
Elvis’ ‘Heartbreak Hotel’ popped up, in two tempos, and Hank Cochran’s ‘Sally Was a Good Old Girl’ nudged us two rockers, and Merle Haggard’s incarcerated lament ‘Mama Tried’ was super cool. The ever-popular Kenny Rogers tune ‘The Gambler’ was probably the most engaging with the crowd. And we have to big-up a Daniels originals ‘I May Not Be From Nashville’ and especially ‘Down by the River’, which has both twang and slide, set to a rollickingly good beat. A tight band musically, solid vocal delivery and a popular playlist. What more could you want on a Saturday night, fully yeeehaw injected?
Hot Rock n Boogie #6 Click the flyer for further details
|
Hot Rock n Boogie, new features. Click flyer for details
|
|
|
|
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
Interview with Roy Courtneydeal
The last weekend in April, brought a new vintage festival at Kelham Hall (a review of which you can read in this issue). Run by Paul Bull and Roy Courtney Deal, from the outside, it looked like a Herculean task, to organise. So, we thought we’d get the inside track with an interview with Roy.
BJR. First of all Roy, what is your favourite era, and the one that you ‘hang your hat on’?
RCD I lean towards the 1920s to the 1940s generally,
BJR. Who introduced you to that style and era?
RCD I have always had an interest in menswear having worked in the business in London when I was younger but my biggest influence was my Father, he was born in 1903, poor family but he always had a great sense of style, was a dance band leader in the 20s and had a varied life but always with a sense of style and elan.
BJR. Are your musical tastes related to that era, or are your preferences unlimited?
RCD My musical tastes range from early American field holler call and response music to modern day across all genres, I am of the opinion that unless you listen to all types and ages of music how do you know what you will like. I do have a fondness for Big Band music from the 20s to the 40s, no real surprise there as thats the musicI remember from when I was very young, in particular English bands.
BJR. On to the Vintage Festival now, is this your first foray into organising such an event?
RCD Myself and Paul have previously worked together on the Ironbridge WW2 weekend as part of the committee, Paul being chair and me taking care of the traders, sponsorship and general operational duties. We have known each other for over a Decade now, we met when Paul was starting out in the 1940s world, he used to buy a lot of his clothes from me, Chaps of Distinction, we work very well together, we trust each other and we have a clear vision of what we want an event to be, putting in all the elements that may be missing from some events and to be organised and professional.
BJR. When searching for a suitable venue, what drew you (both) to Kelham Hall?
RCD I had known about Kelham from attending a small Vintage event about 12 years ago, It was the first place to come to mind so got in touch with paul, described the venue and within a few days we were there having our first meeting with their events team. As you will have seen, it is the most glorious Arts and Crafts style building, the interior spaces and the Pavilion are absolutely perfect for the event we wanted to put on, we have booked Kelham for the next couple of years already.
BJR. How does the process of organising an event of this scale start. Is there a system that prioritises a particular feature over another. For example, does the invitation of the stalls take precedent over the music for example?
RCD Basically, we get together at the venue,put an initial plan in place and Paul then looks after entertainment, tickets and the websites and social media side of things while I take care of organising traders, event logistics, trade pitch layouts, any food traders if required and a lot of general issues that arise. We both have defined roles and tend not to cross over so each part of the event gets the same priority, we do communicate frequently to make all is well.
BJR. What would you say that the biggest surprise was connected to running a festival (nice surprise or worst shock)
RCD Difficult really, no major shocks at all, the traders are a great bunch of people, have known many of them for a very long time and I like to think that Paul and I are trusted to do the best we can for all involved, don’t think that there were any issues with the great entertainers and bands that Paul organised.
Biggest surprise was how very well received the event was, both when it was originally announced and at the event, great atmosphere and we could not have asked for more really, both pleased with the whole thing, almost no negative comments. We enjoy getting it right but neither of us are good at taking compliments, as long as everyone there has enjoyed themselves that’s enough for us.
BJR. Do you actually have time to enjoy the festival, or are basically ‘on call’ all the time
RCD For my part I am on call across the whole site although had no real issues to speak of, a lot of time checking in guests, Paul is tied up with entertainers and the daily programme of events, we only really had a few minutes during the day for a quick catch up, I would like to thank my better half for all the time she spent on the door while I was checking in on all the traders to make sure all was well. For us, looking after the people who have supported us by buying tickets and trading with us makes the difference.
BJR. And the temptation of so many fine stalls with equally fine goods on sale. Can you resist the lure of the merchandise?
RCD No time to shop, which is a good thing as I can get carried away. Having traded in Vintage style menswear myself for 15 years I tend to wear what I sell.
BJR. When it’s all over, the stalls have packed away and the attendees gone home. What is left for you and your team to do?
RCD We tidy up the site, clear all the rubbish if needed, have a chat and a debrief, which might involve some alcohol, no, let me think, make that definitely!!
At Kelham we had a de brief with their events team the next morning then a few days to recover. After that its straight on to the next events we are looking o plan in 2025/2026, lots of site visits and even more planning
BJR. You have two more events at Kelham Hall scheduled and one at Wicksteed Park in Northamptonshire. How do readers find out further information about the events, be they traders, bands, acts or the general population?
RCD There are FB pages, instagram Websites and other social media. First port of call should be FB, the page will give all links to websites. The two that are currently in process are;
Kelham Hall Vintage Christmas Festival
Wicksteed Park Vintage Festival
The web pages will have all the information, prices, entertainment etc.
Thanks for inviting me to talk about our shared passion.
Toodle pip, Paul and Roy
Thank you Roy
The last weekend in April, brought a new vintage festival at Kelham Hall (a review of which you can read in this issue). Run by Paul Bull and Roy Courtney Deal, from the outside, it looked like a Herculean task, to organise. So, we thought we’d get the inside track with an interview with Roy.
BJR. First of all Roy, what is your favourite era, and the one that you ‘hang your hat on’?
RCD I lean towards the 1920s to the 1940s generally,
BJR. Who introduced you to that style and era?
RCD I have always had an interest in menswear having worked in the business in London when I was younger but my biggest influence was my Father, he was born in 1903, poor family but he always had a great sense of style, was a dance band leader in the 20s and had a varied life but always with a sense of style and elan.
BJR. Are your musical tastes related to that era, or are your preferences unlimited?
RCD My musical tastes range from early American field holler call and response music to modern day across all genres, I am of the opinion that unless you listen to all types and ages of music how do you know what you will like. I do have a fondness for Big Band music from the 20s to the 40s, no real surprise there as thats the musicI remember from when I was very young, in particular English bands.
BJR. On to the Vintage Festival now, is this your first foray into organising such an event?
RCD Myself and Paul have previously worked together on the Ironbridge WW2 weekend as part of the committee, Paul being chair and me taking care of the traders, sponsorship and general operational duties. We have known each other for over a Decade now, we met when Paul was starting out in the 1940s world, he used to buy a lot of his clothes from me, Chaps of Distinction, we work very well together, we trust each other and we have a clear vision of what we want an event to be, putting in all the elements that may be missing from some events and to be organised and professional.
BJR. When searching for a suitable venue, what drew you (both) to Kelham Hall?
RCD I had known about Kelham from attending a small Vintage event about 12 years ago, It was the first place to come to mind so got in touch with paul, described the venue and within a few days we were there having our first meeting with their events team. As you will have seen, it is the most glorious Arts and Crafts style building, the interior spaces and the Pavilion are absolutely perfect for the event we wanted to put on, we have booked Kelham for the next couple of years already.
BJR. How does the process of organising an event of this scale start. Is there a system that prioritises a particular feature over another. For example, does the invitation of the stalls take precedent over the music for example?
RCD Basically, we get together at the venue,put an initial plan in place and Paul then looks after entertainment, tickets and the websites and social media side of things while I take care of organising traders, event logistics, trade pitch layouts, any food traders if required and a lot of general issues that arise. We both have defined roles and tend not to cross over so each part of the event gets the same priority, we do communicate frequently to make all is well.
BJR. What would you say that the biggest surprise was connected to running a festival (nice surprise or worst shock)
RCD Difficult really, no major shocks at all, the traders are a great bunch of people, have known many of them for a very long time and I like to think that Paul and I are trusted to do the best we can for all involved, don’t think that there were any issues with the great entertainers and bands that Paul organised.
Biggest surprise was how very well received the event was, both when it was originally announced and at the event, great atmosphere and we could not have asked for more really, both pleased with the whole thing, almost no negative comments. We enjoy getting it right but neither of us are good at taking compliments, as long as everyone there has enjoyed themselves that’s enough for us.
BJR. Do you actually have time to enjoy the festival, or are basically ‘on call’ all the time
RCD For my part I am on call across the whole site although had no real issues to speak of, a lot of time checking in guests, Paul is tied up with entertainers and the daily programme of events, we only really had a few minutes during the day for a quick catch up, I would like to thank my better half for all the time she spent on the door while I was checking in on all the traders to make sure all was well. For us, looking after the people who have supported us by buying tickets and trading with us makes the difference.
BJR. And the temptation of so many fine stalls with equally fine goods on sale. Can you resist the lure of the merchandise?
RCD No time to shop, which is a good thing as I can get carried away. Having traded in Vintage style menswear myself for 15 years I tend to wear what I sell.
BJR. When it’s all over, the stalls have packed away and the attendees gone home. What is left for you and your team to do?
RCD We tidy up the site, clear all the rubbish if needed, have a chat and a debrief, which might involve some alcohol, no, let me think, make that definitely!!
At Kelham we had a de brief with their events team the next morning then a few days to recover. After that its straight on to the next events we are looking o plan in 2025/2026, lots of site visits and even more planning
BJR. You have two more events at Kelham Hall scheduled and one at Wicksteed Park in Northamptonshire. How do readers find out further information about the events, be they traders, bands, acts or the general population?
RCD There are FB pages, instagram Websites and other social media. First port of call should be FB, the page will give all links to websites. The two that are currently in process are;
Kelham Hall Vintage Christmas Festival
Wicksteed Park Vintage Festival
The web pages will have all the information, prices, entertainment etc.
Thanks for inviting me to talk about our shared passion.
Toodle pip, Paul and Roy
Thank you Roy
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
