the bettajive review magazine #43
Linette Morgan at the Rhythm Riot
Welcome to the 43rd Bettajive Review Magazine, featuring reviews of the Rhythm Riot festival at it's new Gt Yarmouth venue, plus Oakie Boogie and Chesterfield Rock n Roll Club. And the usual silliness that is the Bettajive Review itself. A small announcement written in big below
THE REVIEW OF HEMBSY 69 WILL BE IN THE NEXT ISSUE, #44
THE REVIEW OF HEMBSY 69 WILL BE IN THE NEXT ISSUE, #44
the bettajive review
Tireless on the wireless. The computer/mobile phone/tablet/smart speaker continues to play a larger and larger part in all our lives, even if we don’t want it to. Many videos of songs appear now, search engines help you find that elusive track, and with a few clicks, you can download it for a few pence, and share it with your other devices. Also in the last ten years, there’s an endless amount of radio channels you can listen to, tailored to your personal music tastes. Now all you have to do is ask the likes of Alexa (other brands of voice controlled personal smart speakers) to connect you. I’d like to in this piece, take you back just a dozen years, and experiences with internet radio, I had back then.
How radio has changed readers. A tranny in your bedroom, in my youth, meant a small black box with a dial on the side, that ran on batteries and hissed and crackled when you moved said dial, and zapped the juice from your battery in one evening. At that time, I couldn’t afford Ever Ready (other electric battery brands, are available) batteries that lasted a while, noooo, I got the cheapo ones with a bolt of lightning on the side. Radio stations would come in and out of hearing, co-channel interference, and a myriad of languages filled the gaps between the tunes. The wireless, yeah! One square battery in the back and a clip-on housing lid, with two rotating knobs on the top, and a red line up & down the frequencies. Incidentally, Short Wave, I have to ask. Why? What was ever on it other than white noise, and high pitched ‘wees’?
Then, it was DAB radio and fledgling internet radio, and loads of Rock n Roll stations available. I dipped in and out of these stations and even many now are readily available on a replay system. Its soooo simple readers, isn’t it? Yeah right. Here we go, lets run through the process of tuning in to them back in the early 2010’s, and of course, any similarity to any particular show or station form back then, is purely co-incidental.
So, if there’s a link to a show, maybe on Facebook or anywhere else, the logical thing to do would be to follow it. Aha, here we are at the page, and oh look, there’s a menu on the top of the page. ‘On Air Now’, that’s the show I want, click on that. Hold the phone, why have I got a spinning hourglass, we’re stuck on the home page and apparently Crazy Cavan’s ‘Teddy Boy Boogie’ is currently being played. Click it again, now the bloody cursor won’t move. I’ll go and make a cup of tea, and let it sort itself out, plus keep looking around the corner at the computer to see if it’s changed. No, we have a spinning hourglass that has been frozen in time, and no sound.
Press ‘ctrl-alt-del’….why? Cos that’s what you were told to do when first you got windows 95, in 1997 when it was already “pants”, apparently. That didn’t work, so switch the computer off and on again. Done that, but have to reload again as the computer didn’t shut down properly! Back on the radio page, ‘Presenters’ let’s try that. Oh look, there’s the presenter I have been after, I’ll click on them then. What a lovely toothy smile they have, and stack me missus, they are on air right now. Click on them and away we go, oh, what’s this, ‘Your browser is out of date’ the computer displays so sarcastically I don’t know why they don’t just put two fingers up at me at the same time. Oh cosmic, let’s see, I’ll download this one then. Ten minutes and fourteen stages later, we have the right browser.
Back on the radio page, and pick a player to hear the show through. Recognising the icon of one of them, I’ll pick that. The program opens, and what do you know……I need an upgrade. Now I’m headbutting the computer keyboard with QWERTYUIOP imprinted into my forehead. More downloading and agreeing to licenses later, we finally have the correct browser, player and are on the right page. The show is playing, it must be, there’s some coloured bars bouncing up and down , but I can’t hear anything. Wait a minute, the speakers have been disconnected. Plug them in and finally we have sound measuring off the decibel scale where I’d cranked the volume up!
The panel on the side says that the track currently being played is Crazy Cavan ‘Teddy Boy Boogie’, which unless they are on helium, it sounds more like Brenda Lee’s ‘Bigelow 6200’. ‘Send a request or a dedication and we’ll/I’ll play it or you’ suggests the DJ. Alright then, I will, here’s a link to ‘send a request’, click it aaaaaaaaaaand, the sound’s gone again.
Silly me, it’s taken me to another page. I fill in the request, click ‘send’ which brings up another spinning wheel thing, while the ‘sending’ percentage goes slower than pouring treacle into a tart. Finally, success, my request has been sent, back to the show page and we have sound again, and currently playing according to the panel, is Crazy Cavan ‘Teddy Boy Boogie, sounding suspiciously like the Five Keys’ ‘My Pigeon’s Gone’.
Now the DJ is going to play three in a row, three strollers at that, would one be ‘Teddy Boy Boogie’ by any chance? Dedications to people all over the country, clearly with better computers than ours, abound, where’s mine? I’ll resend it, b*gger, there goes the sound again, no wait, I’ll email the DJ on Facebook. Here we are, I have sound, and I can email the presenter, just as they say their ‘thank yous’ for everyone who has tuned in this evening, and sent in requests for next time. Whaaaaaaaaat?? The program has ended??? An hour and a half I have spent trying to get involved in this program and it’s finished (*teeth gnashing*).
I tell you what though, they won’t get me next time, I’ll set my computer up with a bookmark, see if I don’t. Next time rolls around, and oh look, ‘Teddy Boy Boogie is playing……
That was what it was like those few years ago, how it’s changed eh. How long before you only have to think a title, and your smart speaker will play it. Yikes, what a scary thought
How radio has changed readers. A tranny in your bedroom, in my youth, meant a small black box with a dial on the side, that ran on batteries and hissed and crackled when you moved said dial, and zapped the juice from your battery in one evening. At that time, I couldn’t afford Ever Ready (other electric battery brands, are available) batteries that lasted a while, noooo, I got the cheapo ones with a bolt of lightning on the side. Radio stations would come in and out of hearing, co-channel interference, and a myriad of languages filled the gaps between the tunes. The wireless, yeah! One square battery in the back and a clip-on housing lid, with two rotating knobs on the top, and a red line up & down the frequencies. Incidentally, Short Wave, I have to ask. Why? What was ever on it other than white noise, and high pitched ‘wees’?
Then, it was DAB radio and fledgling internet radio, and loads of Rock n Roll stations available. I dipped in and out of these stations and even many now are readily available on a replay system. Its soooo simple readers, isn’t it? Yeah right. Here we go, lets run through the process of tuning in to them back in the early 2010’s, and of course, any similarity to any particular show or station form back then, is purely co-incidental.
So, if there’s a link to a show, maybe on Facebook or anywhere else, the logical thing to do would be to follow it. Aha, here we are at the page, and oh look, there’s a menu on the top of the page. ‘On Air Now’, that’s the show I want, click on that. Hold the phone, why have I got a spinning hourglass, we’re stuck on the home page and apparently Crazy Cavan’s ‘Teddy Boy Boogie’ is currently being played. Click it again, now the bloody cursor won’t move. I’ll go and make a cup of tea, and let it sort itself out, plus keep looking around the corner at the computer to see if it’s changed. No, we have a spinning hourglass that has been frozen in time, and no sound.
Press ‘ctrl-alt-del’….why? Cos that’s what you were told to do when first you got windows 95, in 1997 when it was already “pants”, apparently. That didn’t work, so switch the computer off and on again. Done that, but have to reload again as the computer didn’t shut down properly! Back on the radio page, ‘Presenters’ let’s try that. Oh look, there’s the presenter I have been after, I’ll click on them then. What a lovely toothy smile they have, and stack me missus, they are on air right now. Click on them and away we go, oh, what’s this, ‘Your browser is out of date’ the computer displays so sarcastically I don’t know why they don’t just put two fingers up at me at the same time. Oh cosmic, let’s see, I’ll download this one then. Ten minutes and fourteen stages later, we have the right browser.
Back on the radio page, and pick a player to hear the show through. Recognising the icon of one of them, I’ll pick that. The program opens, and what do you know……I need an upgrade. Now I’m headbutting the computer keyboard with QWERTYUIOP imprinted into my forehead. More downloading and agreeing to licenses later, we finally have the correct browser, player and are on the right page. The show is playing, it must be, there’s some coloured bars bouncing up and down , but I can’t hear anything. Wait a minute, the speakers have been disconnected. Plug them in and finally we have sound measuring off the decibel scale where I’d cranked the volume up!
The panel on the side says that the track currently being played is Crazy Cavan ‘Teddy Boy Boogie’, which unless they are on helium, it sounds more like Brenda Lee’s ‘Bigelow 6200’. ‘Send a request or a dedication and we’ll/I’ll play it or you’ suggests the DJ. Alright then, I will, here’s a link to ‘send a request’, click it aaaaaaaaaaand, the sound’s gone again.
Silly me, it’s taken me to another page. I fill in the request, click ‘send’ which brings up another spinning wheel thing, while the ‘sending’ percentage goes slower than pouring treacle into a tart. Finally, success, my request has been sent, back to the show page and we have sound again, and currently playing according to the panel, is Crazy Cavan ‘Teddy Boy Boogie, sounding suspiciously like the Five Keys’ ‘My Pigeon’s Gone’.
Now the DJ is going to play three in a row, three strollers at that, would one be ‘Teddy Boy Boogie’ by any chance? Dedications to people all over the country, clearly with better computers than ours, abound, where’s mine? I’ll resend it, b*gger, there goes the sound again, no wait, I’ll email the DJ on Facebook. Here we are, I have sound, and I can email the presenter, just as they say their ‘thank yous’ for everyone who has tuned in this evening, and sent in requests for next time. Whaaaaaaaaat?? The program has ended??? An hour and a half I have spent trying to get involved in this program and it’s finished (*teeth gnashing*).
I tell you what though, they won’t get me next time, I’ll set my computer up with a bookmark, see if I don’t. Next time rolls around, and oh look, ‘Teddy Boy Boogie is playing……
That was what it was like those few years ago, how it’s changed eh. How long before you only have to think a title, and your smart speaker will play it. Yikes, what a scary thought
Have you booked the Rockabilly Rave at it's new venue yet? Don't leave it too long, click on the flyer or Mimi Roman's photograph for details
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We’re incredibly pleased to announce that MIMI ROMAN (USA) has very kindly agreed to play for all her European fans at the Rockabilly Rave!
We know her for her early rockin’ recordings; I’m Ready, If You’re Willing, Little Lovin’ and Wrap It Up And Save It, but her story is incredible too; dubbed The Brooklyn Cowgirl, she could ride and shoot and was Rodeo Queen to Gene Autry at Madison Square Garden in ’53. She dated a young Elvis, recorded in Nashville, hung out with the Everlys and toured on shows with Johnny Cash, Faron Young, Carl Smith, Ronnie Self and Ernest Tubb.
Come and meet Mimi, a true pioneer, and hear the hits live at the Rockabilly Rave!
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Wrecking ball. In the past week or so, I’ve seen yet another music magazine/publication asking for contributors to work for them on a voluntary basis. What is it with music magazines? Covering an event, involves travel, entrance fees, providing copy that would often need research and accuracy, sometimes by a deadline. That as well as usable photographs to illustrate the article. And you don’t expect to have to pay for that?
You will (have) notice that all of what you read here is our own work, we use our own photographs too. Even reviewing records or CDs. It’s not a matter of listening and writing a few bits down. To do it well, can take hours (plural). We have had people ask if we would like to include their work in our magazine as well, but we politely decline because we can’t pay for it.
The carrot-and-stick approach that some publications adopt (we’ll share profits when we make some) is something I’ve fallen for in the past. Surprise surprise, they apparently never make a profit. So, you never get paid, and you never will
There’s a point beyond working for nothing, it’s called working for **** all. Prestige, exposure, kudos and plaudits are all fine, but try filling your trolley up at the supermarket and paying with those.
To sum it up PAY THE CONTRIBUTOR
You will (have) notice that all of what you read here is our own work, we use our own photographs too. Even reviewing records or CDs. It’s not a matter of listening and writing a few bits down. To do it well, can take hours (plural). We have had people ask if we would like to include their work in our magazine as well, but we politely decline because we can’t pay for it.
The carrot-and-stick approach that some publications adopt (we’ll share profits when we make some) is something I’ve fallen for in the past. Surprise surprise, they apparently never make a profit. So, you never get paid, and you never will
There’s a point beyond working for nothing, it’s called working for **** all. Prestige, exposure, kudos and plaudits are all fine, but try filling your trolley up at the supermarket and paying with those.
To sum it up PAY THE CONTRIBUTOR
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Dot…dot. Best tracks in the world ever ever to crimp you pastry for this month are ‘Gotta Keep Swingin’ by Eddie Skelton, ‘Bop Bobby Sox Bop’ by Alton Guyan, and Link Wray’s ‘Hang On’….. Remember a feature a few issues ago? ‘First lines of Blues songs yet to be written? Well in recognition of the find in an Essex attic, of an ancient Egyptian sarcophagus lid, here is ‘Hieroglyphics Blues’. ‘I woke up this owl-lasso-mouth-water-reed-water-jar’ (couldn’t fit ‘man with spear’ in anywhere)……I’m going to out there and expect to field the brickbats soon, What if we didn't hear ‘Move It Baby’ or ‘Midnite Blues’ again at a gig, what would you think? So would I……..Thesaurus, the writer’s friend, Tyrannosaurus, not so much…..
Gone, Gone, Gone. Much will be made of the transition of weekenders away from the Pontins sites to new venues. Yes they were ****holes, but they were our ****holes, but time, tide and requisitioning for other purposes, wait for no one. What will we miss? Will you miss your own penicillin farm under the bed, your own mushroom culture in the top corner of the bedroom? Will you miss you’re a*se being nipped by the sliding toilet seat?
Will June miss being consumed by the sofa monster in the front room, such was the gap between the seat and the back rest. Will you miss the gurgling fridge sounding like a bog snorkelling contest? Will you miss three saucepans and three lids that don’t match? Will you miss paying a small fortune in leccy tokens, to have the lights on in the chalet? How about the entrance door with ½” gap around it that you still had to shoulder charge open?
The beds, and the mattress that had less boing than a playing card, the pillows that flattened thinner than a Rizla+ (other rolling paper brands are available), and the ‘linen’ that had the comfort of a crisp packet. Will you miss the curtains like gossamer? The upstairs neighbour deciding to drag furniture across the floor at 4am, the disorientated inebriate knocking on the wrong door, the broom with the head on the wrong end (ok that’s a bit silly).
Will you really miss arriving at a minute past 2pm on the Thursday afternoon, and literally no car parking space left on the camp? Your vehicle covered in gull guano on the Monday? The gulls plotting your downfall as soon as you arrive and to the time you leave? The slugs, the ants, the rabbits, the badgers. And the inevitable force eight gale and slanting rain stinging your face on the Monday morning? I’m going to go out there and suggest ‘no’, however, I’m sure in the past quarter of a century plus, you’ve made some great memories.
But that was that pile of bricks and timber, and it’s now consigned to the past, we move onward to a new pile of bricks and timber, ready to make even more. Riot review below
Oh and is ‘Pascal’ still looking for his chalet (for regular readers)
Gone, Gone, Gone. Much will be made of the transition of weekenders away from the Pontins sites to new venues. Yes they were ****holes, but they were our ****holes, but time, tide and requisitioning for other purposes, wait for no one. What will we miss? Will you miss your own penicillin farm under the bed, your own mushroom culture in the top corner of the bedroom? Will you miss you’re a*se being nipped by the sliding toilet seat?
Will June miss being consumed by the sofa monster in the front room, such was the gap between the seat and the back rest. Will you miss the gurgling fridge sounding like a bog snorkelling contest? Will you miss three saucepans and three lids that don’t match? Will you miss paying a small fortune in leccy tokens, to have the lights on in the chalet? How about the entrance door with ½” gap around it that you still had to shoulder charge open?
The beds, and the mattress that had less boing than a playing card, the pillows that flattened thinner than a Rizla+ (other rolling paper brands are available), and the ‘linen’ that had the comfort of a crisp packet. Will you miss the curtains like gossamer? The upstairs neighbour deciding to drag furniture across the floor at 4am, the disorientated inebriate knocking on the wrong door, the broom with the head on the wrong end (ok that’s a bit silly).
Will you really miss arriving at a minute past 2pm on the Thursday afternoon, and literally no car parking space left on the camp? Your vehicle covered in gull guano on the Monday? The gulls plotting your downfall as soon as you arrive and to the time you leave? The slugs, the ants, the rabbits, the badgers. And the inevitable force eight gale and slanting rain stinging your face on the Monday morning? I’m going to go out there and suggest ‘no’, however, I’m sure in the past quarter of a century plus, you’ve made some great memories.
But that was that pile of bricks and timber, and it’s now consigned to the past, we move onward to a new pile of bricks and timber, ready to make even more. Riot review below
Oh and is ‘Pascal’ still looking for his chalet (for regular readers)
Tex Speed Combo
A Sink-ing feeling. For those who love purely performed Rockabilly with a barrel load of nuttiness, the Tex Speed Combo fit that description perfectly. Here they were at the Oakie Boogie #8 in the massive conurbation that is Gedney Dyke in Lincolnshire. The four piece is headed by the inscrutable Mark ‘Ellie’ Ellington, on vocals, rhythm guitar, and percussive things that go ‘ding’ ‘tock’ & ‘prrrr’. He’s backed by the meticulousness of Paul Murphy’s lead guitar skills, Andy Zikez on upright and occasionally (fanfare: dun dun daaaaaa) electric bass guitar, with ‘G P O’Donnell behind the cans. But who was going to play the sink? Mic’d up and ready to go, and tuned to ‘E’……..
DJs for the night were the resident Cortney Oakes and stepping in at the last minute, Glenn Morgan. Both playing off vinyl there were some serious chunks of goodness coming from the turntables throughout the evening. Numbers were a little down on previous events, but a decent headcount showed up, generating a cool atmosphere for the band to engage with.
On came the Combo, playing two kicking sets of Rockabilly delivered in a kind of controlled mania, interspersed with witty repartee from the stage. Across the two sets, the crowd hugely appreciated the likes of Johnny Horton’s ‘Honky Tonk Mind’ and John T Talley’s ‘I’ve Changed My Wild Mind’ early doors.
Most people associate Link Wray with the instrumental sound, however, the Combo deviated slightly with ‘Hey Mary Ann’, which was a 1960 recording of a Ray Charles number, set to a stroll beat. Bobby Nelson’s ‘Ain’t Nothing True About You’ has a suitably maniacal undertone well suited to the band’s style, while Jack Southern’s ‘Darlene’ was a top sound. ‘Crazy Baby’, ‘Lights Out Baby’ and ‘Brown Eyed Handsome Man’ vied for attention too.
I guess there are two tracks the Combo are best known for, and Gene’s ’66 London release, ‘Bird Doggin’ once again hit the high and goldens, with some smashing wailing harmonica. Despite several denials that they would do their cover of Round Robin’s ’65 ‘I’m The Wolf Man’, they did reprise it for the encore, with suitable growls in just the right places, along with audience participation.
A most excellent evening in the ‘tonks of Lincolnshire, enhanced by the additional resonance from the sink. Only problem was it was an 80’s repro……………!!
DJs for the night were the resident Cortney Oakes and stepping in at the last minute, Glenn Morgan. Both playing off vinyl there were some serious chunks of goodness coming from the turntables throughout the evening. Numbers were a little down on previous events, but a decent headcount showed up, generating a cool atmosphere for the band to engage with.
On came the Combo, playing two kicking sets of Rockabilly delivered in a kind of controlled mania, interspersed with witty repartee from the stage. Across the two sets, the crowd hugely appreciated the likes of Johnny Horton’s ‘Honky Tonk Mind’ and John T Talley’s ‘I’ve Changed My Wild Mind’ early doors.
Most people associate Link Wray with the instrumental sound, however, the Combo deviated slightly with ‘Hey Mary Ann’, which was a 1960 recording of a Ray Charles number, set to a stroll beat. Bobby Nelson’s ‘Ain’t Nothing True About You’ has a suitably maniacal undertone well suited to the band’s style, while Jack Southern’s ‘Darlene’ was a top sound. ‘Crazy Baby’, ‘Lights Out Baby’ and ‘Brown Eyed Handsome Man’ vied for attention too.
I guess there are two tracks the Combo are best known for, and Gene’s ’66 London release, ‘Bird Doggin’ once again hit the high and goldens, with some smashing wailing harmonica. Despite several denials that they would do their cover of Round Robin’s ’65 ‘I’m The Wolf Man’, they did reprise it for the encore, with suitable growls in just the right places, along with audience participation.
A most excellent evening in the ‘tonks of Lincolnshire, enhanced by the additional resonance from the sink. Only problem was it was an 80’s repro……………!!
Rusti Steel and the Star Tones
Sheffield Steel. OK OK, so Chesterfield Rock n Roll Club isn’t actually called Sheffield, and although the Dronfield venue has a Sheffield postcode it’s more Chesterfield-shire. Let’s get that out the way for a start. For their second gig at the venue, Andy Barker and the Chezzy team had brought back Rusti Steel and the Star Tones for another welcome visit to the club.
There was a slightly different look to the Star Tones for this evening, with Paul Sauders on drums (familiar to those who recall Rusti Steel and the Tin Tax) and Landon Filer on bass. So was it the Hicksville Bombers with a stand in vocalist, or Rusti with deputising Star Tones. No one really cared I’m sure, especially when they started playing.
Another well populated gig was swelled by a coach-load of peeps up from the Black Country, with regular in-house DJs Andy B and Steve O delving into their vinyl vaults, and some top tunes.
There’s pretty much a guarantee with a Rusti Steel show, that the classics are in very capable hands, demonstrated immediately the first notes of Carl Perkins’ ‘Matchbox’ opened the show. There was some variants in there from all areas of Rock ‘n’ Roll, for example, Johnny Restivo’s ‘The Shape I’m In’ through the western swing sound of Carl Smith’s ‘Go Boy Go’. In between, a treasure chest of delights, with the stroll beats of ‘One Woman Man’ and ‘Your Cheatin’ Heart’, mixing with the jive tempo of ‘When I Found You’ and a belting version of Charlie Rich’s ‘Rebound’. The first set, as always, concluded with the lead guitar giving way to steel sliding, and a rip-roaring take of Bill Haley’s ‘Real Rock Drive’ and Pee Wee King’s ‘Ballroom Baby’.
The second set was as expertly delivered as the first, with Thumper Jones’ ‘How Come It?’ reannouncing the lads on stage. There’s a new CD out, and from it we had ‘Move Me’, an original tune, and later, one of Rusti’s best, ‘Prisoner of Your Charms’, which set up some more stroll with Dale Hawkins’ ‘Suzie Q’ and Jerry Lee Lewis’ Sun debut of Ray Price’s ‘Crazy Arms’. To top it all off, some more steel of course, ‘Mobile Alabama’ and ‘Catty Town’ Bringing them back with loud appreciation, the crowd were treated to ‘Big Sandy’ and Elvis’ ‘Mystery Train’. Another top night out at the Chesterfield Club.
There was a slightly different look to the Star Tones for this evening, with Paul Sauders on drums (familiar to those who recall Rusti Steel and the Tin Tax) and Landon Filer on bass. So was it the Hicksville Bombers with a stand in vocalist, or Rusti with deputising Star Tones. No one really cared I’m sure, especially when they started playing.
Another well populated gig was swelled by a coach-load of peeps up from the Black Country, with regular in-house DJs Andy B and Steve O delving into their vinyl vaults, and some top tunes.
There’s pretty much a guarantee with a Rusti Steel show, that the classics are in very capable hands, demonstrated immediately the first notes of Carl Perkins’ ‘Matchbox’ opened the show. There was some variants in there from all areas of Rock ‘n’ Roll, for example, Johnny Restivo’s ‘The Shape I’m In’ through the western swing sound of Carl Smith’s ‘Go Boy Go’. In between, a treasure chest of delights, with the stroll beats of ‘One Woman Man’ and ‘Your Cheatin’ Heart’, mixing with the jive tempo of ‘When I Found You’ and a belting version of Charlie Rich’s ‘Rebound’. The first set, as always, concluded with the lead guitar giving way to steel sliding, and a rip-roaring take of Bill Haley’s ‘Real Rock Drive’ and Pee Wee King’s ‘Ballroom Baby’.
The second set was as expertly delivered as the first, with Thumper Jones’ ‘How Come It?’ reannouncing the lads on stage. There’s a new CD out, and from it we had ‘Move Me’, an original tune, and later, one of Rusti’s best, ‘Prisoner of Your Charms’, which set up some more stroll with Dale Hawkins’ ‘Suzie Q’ and Jerry Lee Lewis’ Sun debut of Ray Price’s ‘Crazy Arms’. To top it all off, some more steel of course, ‘Mobile Alabama’ and ‘Catty Town’ Bringing them back with loud appreciation, the crowd were treated to ‘Big Sandy’ and Elvis’ ‘Mystery Train’. Another top night out at the Chesterfield Club.
My goodness this is booking up fast. Don't delay, get your foot in the door by clicking the flyer for further details
rhythm riot #26 - new beginnings
The Velvet Candles
There was a time when many of (the collective) us wondered if this Rhythm Riot would ever happen. With Pontins suddenly pulling the plug on it’s Camber Sands venue, dropping poor staff like hot potatoes, and scuppering the plans of so many people who relied on them for their events, what would become of the Rhythm Riot?
If you have ever moved house, or business, I guess you would have to imagine that process, on steroids. Think about shifting everything to somewhere else, and make it suitable for your audience. A Herculean (other divine heroes are available) effort, with brass knobs on, saw the entire weekender’s considerable roots pulled up and replanted in Norfolk. The new home was Vauxhall Holiday Park run by Parkdean Resorts, hosts of many a themed weekender and festival already, from Ska, Northern Soul, Elvis, Shake Rattle and Roll and Darts events. June recalled the mid 1990’s and the Swing Jive weekenders being noteworthy
It had been around five years since we were last at an event there (afore mentioned SR&R), and it’s clear that with good investment, the site had improved further since then. Check in was seamless, and our pack had the route to our accommodation mapped out in pen. You can park outside your accommodation, just a couple of steps up to the caravan and opening the door, it’s warm, clean, tidy and well appointed. I’m sure some of us were like newly released battery chickens to start with, where do we go, what do we do?
If you have ever moved house, or business, I guess you would have to imagine that process, on steroids. Think about shifting everything to somewhere else, and make it suitable for your audience. A Herculean (other divine heroes are available) effort, with brass knobs on, saw the entire weekender’s considerable roots pulled up and replanted in Norfolk. The new home was Vauxhall Holiday Park run by Parkdean Resorts, hosts of many a themed weekender and festival already, from Ska, Northern Soul, Elvis, Shake Rattle and Roll and Darts events. June recalled the mid 1990’s and the Swing Jive weekenders being noteworthy
It had been around five years since we were last at an event there (afore mentioned SR&R), and it’s clear that with good investment, the site had improved further since then. Check in was seamless, and our pack had the route to our accommodation mapped out in pen. You can park outside your accommodation, just a couple of steps up to the caravan and opening the door, it’s warm, clean, tidy and well appointed. I’m sure some of us were like newly released battery chickens to start with, where do we go, what do we do?
Jackson Sloan
We, along with many others, ensured we were in place for the first turn on Thursday afternoon, the towering presence of Jackson Sloan with backing from the Houserockers. They consist of Rob Glazebrook on lead guitar, Nick Hoadley on bass, Nick Simonon on drums and Lee Badu on sax. This was a set for R&B purists, and jump jivers in equal parts, with some absolute classics recounted by the band.
Take the joyous lilt of Little Johnny Jones’ ‘Hoy Hoy’ for an early example, just a first-class rendition closely followed by the jaunts ‘Move Baby Move’ and ‘It Ain’t Right’. Howlin’ Wolf’s ‘Down To The Bottom’ was a lively addition as was Magic Sam’s ’21 Days in Jail’. The Roy Gains styled ‘Worried ‘bout You Baby’ was a thump ticking bass driven delight, and probably the best-known tune at the start of Rock n Roll, Jackie Brenston’s 1951 smash ‘Rocket 88’. Rounding off with the call-and-answer version of Smiley Lewis’ ‘Big Mamou’, it was obvious the crowd weren’t going to leave it there. Back they came for a well-deserved encore, mashing up ‘Shake Rattle and Roll’, with ‘Flip Flop and Fly’
Just an excellent start to the weekend, hearing one of the circuit’s best voices backed by a band of musicians on top form.
Take the joyous lilt of Little Johnny Jones’ ‘Hoy Hoy’ for an early example, just a first-class rendition closely followed by the jaunts ‘Move Baby Move’ and ‘It Ain’t Right’. Howlin’ Wolf’s ‘Down To The Bottom’ was a lively addition as was Magic Sam’s ’21 Days in Jail’. The Roy Gains styled ‘Worried ‘bout You Baby’ was a thump ticking bass driven delight, and probably the best-known tune at the start of Rock n Roll, Jackie Brenston’s 1951 smash ‘Rocket 88’. Rounding off with the call-and-answer version of Smiley Lewis’ ‘Big Mamou’, it was obvious the crowd weren’t going to leave it there. Back they came for a well-deserved encore, mashing up ‘Shake Rattle and Roll’, with ‘Flip Flop and Fly’
Just an excellent start to the weekend, hearing one of the circuit’s best voices backed by a band of musicians on top form.
Jason Starday
MC Ian Gillon Jr, in his own style, brought the first band of the evening on in the main hall. Jason Starday, from Germany, was new to us. An energetic young man with some supercool musicians in tow. Anyone down at the front would have probably been up close and personal with Doc Puky’s saxophone at some stage during the show, which kicked off in fine style with the likes of Glenn Barber’s ‘Go Home Letter’. ‘The Life I Live’ was a bright and breezy rocker, which was immediately tempered with Sam Cooke’s ‘Only Sixteen’, and it’s run-on ending (think Rock a-Hula Baby for an example).
Bullmoose Jackson’s ‘Nosey Joe’ got a welcome outing, and there was a surprise in the form of the O’Kasiyons’ ‘Girl Watcher’. Originally from the summer of 1968, a song very much post-summer-of-love in it’s content, with a 50’s slew to the delivery, it sounded superb. Ricky Nelson’s ‘Hey There, Little Miss Tease’ was a delight, along with well-knowns like ‘Sweet Sue’ and Plas Johnson’s ‘Dungaree Hop’ (ace sax work throughout).
Smashing introduction to the Riot crowd on what was Jason’s first visit to this country and hopefully it won’t be the last!
Bullmoose Jackson’s ‘Nosey Joe’ got a welcome outing, and there was a surprise in the form of the O’Kasiyons’ ‘Girl Watcher’. Originally from the summer of 1968, a song very much post-summer-of-love in it’s content, with a 50’s slew to the delivery, it sounded superb. Ricky Nelson’s ‘Hey There, Little Miss Tease’ was a delight, along with well-knowns like ‘Sweet Sue’ and Plas Johnson’s ‘Dungaree Hop’ (ace sax work throughout).
Smashing introduction to the Riot crowd on what was Jason’s first visit to this country and hopefully it won’t be the last!
Jive Romeros
Next up, the ever-popular Jive Romeros, all decked out in their white tuxedo jackets. Now just two of the original line-up remain, Zac Zdravkovic on lead guitar and Martyn Clarke on vocals, not that detracted from the sound that the guys produced. Sure, they have a reputation for the British sound but it’s by no means limited to that, or for that matter dominated by it. Indeed, the opener was a tone setter, the Jodmiars’ ‘Dance The Bop’, with the closely ‘related’ Bill Haley oddity ‘The Dipsy Doodle’ following on.
To the British sound, and a tear-up of Tommy Steele’s ‘Rock Around the Town’ tickling the tastebuds, setting up the likes of the King Brothers’ (fellow Essex geezers incidentally) ‘Si Si Si’, Terry Dene’s ‘London Rock’ and Tony Crombie’s ‘Red for Danger’.
The Bill Haley/Jodimars sound transfers so well to this group, with romps like ‘Sweet Sue’, ‘Hey Then There Now’, ‘Birth of a Boogie’ and ‘Tonight’s the Night’ slotting in with ‘Well Now Dig This’, featuring Martyn’s only instrumental contribution, sounding the Boatswain’s whistle at the start and finish of the song. The band-leader, vocalist and presenter, Snooky Lanson, recorded a ton of material, and one of his most lively tunes, ‘Stop (Let me off this Bus’ has become a standard in the Romeros set.
Add to those, ‘Bim Bam’, ‘Barracuda’ and ‘Buona Sera’, interspersed with nudge-nudge-ooer-missus humour from the stage, topped off with a rock-a-long conclusion of Freddie Bell’s ‘Giddy up a Ding Dong’, and you have a truly crowd pleasing set.
To the British sound, and a tear-up of Tommy Steele’s ‘Rock Around the Town’ tickling the tastebuds, setting up the likes of the King Brothers’ (fellow Essex geezers incidentally) ‘Si Si Si’, Terry Dene’s ‘London Rock’ and Tony Crombie’s ‘Red for Danger’.
The Bill Haley/Jodimars sound transfers so well to this group, with romps like ‘Sweet Sue’, ‘Hey Then There Now’, ‘Birth of a Boogie’ and ‘Tonight’s the Night’ slotting in with ‘Well Now Dig This’, featuring Martyn’s only instrumental contribution, sounding the Boatswain’s whistle at the start and finish of the song. The band-leader, vocalist and presenter, Snooky Lanson, recorded a ton of material, and one of his most lively tunes, ‘Stop (Let me off this Bus’ has become a standard in the Romeros set.
Add to those, ‘Bim Bam’, ‘Barracuda’ and ‘Buona Sera’, interspersed with nudge-nudge-ooer-missus humour from the stage, topped off with a rock-a-long conclusion of Freddie Bell’s ‘Giddy up a Ding Dong’, and you have a truly crowd pleasing set.
Spunyboys
Anyone who thought Thursday night would fizzle apologetically into nothingness, well guess what, here come the Spunyboys. The French trio consisting of Remi on upright bass (quite literally some of the time) Guillame on drums and lead guitarist Eddie. As an audience member, you never really know what’s going to happen, or for that matter, where to look. One minute it’s happening stage left, then stage right, and then there’s a double bass hovering precariously over your head.
Of course it’s not all on stage antics and buffoonery, there’s style and substance to the performance, and musically they are first class. The set may well have a list, by name, which seems to get lost among the commotion on the stage, which often involved members of the crowd, especially to ‘Chaingang Boogie’. Foot stomping throughout ‘How Low Do You Feel’, calling and answering to ‘Bop For Life’ and singalong to ‘King of the Road’. A kicking version of ‘Rockin’ Bones’ kept the pace up as well in a set that left even the most casual observer breathless. How to start a Rhythm Riot with a bang.
Of course it’s not all on stage antics and buffoonery, there’s style and substance to the performance, and musically they are first class. The set may well have a list, by name, which seems to get lost among the commotion on the stage, which often involved members of the crowd, especially to ‘Chaingang Boogie’. Foot stomping throughout ‘How Low Do You Feel’, calling and answering to ‘Bop For Life’ and singalong to ‘King of the Road’. A kicking version of ‘Rockin’ Bones’ kept the pace up as well in a set that left even the most casual observer breathless. How to start a Rhythm Riot with a bang.
Lynette Morgan and the Blackwater Valley Boys
Friday, the Riot welcomed the rest of the attendees. New for this venue, and this Riot, were afternoon bands and DJs in the smaller hall. First cab off the rank was a real treat, Lynette Morgan and the Blackwater Valley Boys. Do you like a bit of Western Swing (rhetorical question), well these guys served up a real celebration of the genre. Lynette takes the majority of the vocals and rhythm guitar, Willy Briggs slides the steel and picks lead guitar, with bassist Gary Boller and fiddle-ist Chris Haigh .
They hit the ground running with ‘The Band’s a’Rockin’ which is a jumping take on Johnnie Lee Wills’ original call-and-answer gem. From there it was a piece de resistance, with song after song rowdily acclaimed by the crowd. ‘Cow Cow Boogie’ (Ella Mae Morse or Dorothy Dandrige, you choose) set up an exquisite duet with Willy, taking on Rusty and Doug’s ‘Hey Sherriff’. Little Jimmy Dickens’ ‘Salty Boogie’ simply put was a triumph. And getting in on the act, showcasing some serious fiddling, was Chris, presenting (Harry Choates) ‘Draggin’ The Bow’.
Good to hear their own song, ‘Roadside Diner’ which was alongside one of Patsy Cline’s best ‘Let the Teardrops Fall’, which was recounted with such accuracy vocally. I’d suggest they could’ve carried on the set all through the afternoon, but they had to bring it to a halt with a real anthem in the encore, Webb Pierce’s ‘Teenage Boogie’. Top drawer.
They hit the ground running with ‘The Band’s a’Rockin’ which is a jumping take on Johnnie Lee Wills’ original call-and-answer gem. From there it was a piece de resistance, with song after song rowdily acclaimed by the crowd. ‘Cow Cow Boogie’ (Ella Mae Morse or Dorothy Dandrige, you choose) set up an exquisite duet with Willy, taking on Rusty and Doug’s ‘Hey Sherriff’. Little Jimmy Dickens’ ‘Salty Boogie’ simply put was a triumph. And getting in on the act, showcasing some serious fiddling, was Chris, presenting (Harry Choates) ‘Draggin’ The Bow’.
Good to hear their own song, ‘Roadside Diner’ which was alongside one of Patsy Cline’s best ‘Let the Teardrops Fall’, which was recounted with such accuracy vocally. I’d suggest they could’ve carried on the set all through the afternoon, but they had to bring it to a halt with a real anthem in the encore, Webb Pierce’s ‘Teenage Boogie’. Top drawer.
Howlin' Ric and the Rocketeers
Next up a gear switch, bringing Leeds based Rock ‘n’ Roll band, Howlin’ Ric and the Rocketeers to the stage. These lads have always brought a set of well-crafted songs, pretty much all of them originals. With Richard Colley on lead vocals and rhythm guitar, they have a vocalist that could be favourably compared with the likes of Joey Simeone and J D McPherson, with a familiarity to James Hunter
Rock ‘n’ Roll encompasses a massive number of styles, a melting pot of different genres. Howlin Ric has taken R&B and Rockabilly, and an early sixties slew, fused them together, and arrived at full sounding rock-out. The band, in addition to Ric are El Nico on lead guitar, Adam Richards upright bass, Ben Powling tenor sax, and Jack Amblin on drums, and together they produce a full and tight sound.
The set opened up with their 2019 single, ‘Your Loving Days Are Through’ which took the crowd ten seconds to realise it was a stick-on dancefloor winner. A standout jive track, perfect tempo, well-crafted lyrics expertly delivered, backed by some cool harmonies, along with accomplished guitar and sax breaks. That set the tone for some top tunage, the striding beat of ‘Cautionary Tale’ the stroll tempo of ‘I Just Can’t Sleep’, and the ‘shave and haircut’ riffs heralding ‘Stop Checking on Me’. Just a dip into their set list here folks, titles like ‘Dancing Fool’ and ‘One Little Step’ added to a captivating performance
Rock ‘n’ Roll encompasses a massive number of styles, a melting pot of different genres. Howlin Ric has taken R&B and Rockabilly, and an early sixties slew, fused them together, and arrived at full sounding rock-out. The band, in addition to Ric are El Nico on lead guitar, Adam Richards upright bass, Ben Powling tenor sax, and Jack Amblin on drums, and together they produce a full and tight sound.
The set opened up with their 2019 single, ‘Your Loving Days Are Through’ which took the crowd ten seconds to realise it was a stick-on dancefloor winner. A standout jive track, perfect tempo, well-crafted lyrics expertly delivered, backed by some cool harmonies, along with accomplished guitar and sax breaks. That set the tone for some top tunage, the striding beat of ‘Cautionary Tale’ the stroll tempo of ‘I Just Can’t Sleep’, and the ‘shave and haircut’ riffs heralding ‘Stop Checking on Me’. Just a dip into their set list here folks, titles like ‘Dancing Fool’ and ‘One Little Step’ added to a captivating performance
Ruby Ann
The evening began with a debut for Ruby Ann at the Rhythm Riot. We could barely believe it; she’d never played the Riot before. Well, it’s good that it was put right, with her band of Gautier Golab on lead guitar, Danny Brown on bass and drummer Tony Hillebrandt sounding tight as backing.
Ruby has a very distinctive voice, ideally suited to the opening cover of Elvis’ ‘Ain’t That Loving You Baby’. ‘Do Right Mama’ was a nippy Rockabilly number, followed by the slightly bitter undertone of ‘Baby I Don’t Care’. A nod to the country side, with an ace rework of Faron Young’s ‘I Hear You Talking’. This is a slower version that ticks all the boxes.
Loving the version of Gin Gilette’s 1961 oddity, ‘Train To Satanville’, a sinister sounding song, which has been a mainstay of a Ruby Ann set for some years now. Excellent how the band created the right ambience for the vocals on this one, readers. Brightening the mood, Jackie Johnson’s ‘Star Light, Star Bright’, and a belting take of ‘Hoy Hoy Hoy’. A hugely appreciative crowd wanted something more, and got it with Barbara Pittman’s ‘I Need a Man’ to top of an impressive Riot debut (still can’t believe I’m writing ‘debut’!)
Ruby has a very distinctive voice, ideally suited to the opening cover of Elvis’ ‘Ain’t That Loving You Baby’. ‘Do Right Mama’ was a nippy Rockabilly number, followed by the slightly bitter undertone of ‘Baby I Don’t Care’. A nod to the country side, with an ace rework of Faron Young’s ‘I Hear You Talking’. This is a slower version that ticks all the boxes.
Loving the version of Gin Gilette’s 1961 oddity, ‘Train To Satanville’, a sinister sounding song, which has been a mainstay of a Ruby Ann set for some years now. Excellent how the band created the right ambience for the vocals on this one, readers. Brightening the mood, Jackie Johnson’s ‘Star Light, Star Bright’, and a belting take of ‘Hoy Hoy Hoy’. A hugely appreciative crowd wanted something more, and got it with Barbara Pittman’s ‘I Need a Man’ to top of an impressive Riot debut (still can’t believe I’m writing ‘debut’!)
Hi Ballin' Daddies
From one impressive debut to another, and not only the band, but the country they represented as well. The Hi Ballin Daddies are from Mexico City, and certainly are the first Mexican (R&B RnR) band to appear at the Riot and many were wondering if they were the first Mexican band to ever appear in the UK. If anyone knows differently, I’m sure you’ll tell us.
Lead singer and guitarist, Rockie Edwards, heads up the party, with the lively jiver ‘I Got a Crush on You’, and ratcheted the pace upward with ‘Jive to be Alive’. ‘Soy un pecador tambien’ (I’m a sinner too), and the jumping sound of ‘Nightlifer’ kept it going for the crowd who bounced rhythmically along to these feel-good sounds.
From their 2020 ‘Nightlifer’ album, the Spanish lyrics of ‘Hechizo’, which has a ‘Voodoo Working’ feel to it, and there was a great deal of love for the Spanish rendition of the Bellfuries’ ‘Your Love is all that I’m Missing’, and an up tempo take of ‘Sinner Not a Saint’. Top it off with a rollocking tear-up of the Champs’ ‘Tequila’. What a great introduction to the Mexican lads (yes we noticed Cody Lee on keyboards thank you!).
Lead singer and guitarist, Rockie Edwards, heads up the party, with the lively jiver ‘I Got a Crush on You’, and ratcheted the pace upward with ‘Jive to be Alive’. ‘Soy un pecador tambien’ (I’m a sinner too), and the jumping sound of ‘Nightlifer’ kept it going for the crowd who bounced rhythmically along to these feel-good sounds.
From their 2020 ‘Nightlifer’ album, the Spanish lyrics of ‘Hechizo’, which has a ‘Voodoo Working’ feel to it, and there was a great deal of love for the Spanish rendition of the Bellfuries’ ‘Your Love is all that I’m Missing’, and an up tempo take of ‘Sinner Not a Saint’. Top it off with a rollocking tear-up of the Champs’ ‘Tequila’. What a great introduction to the Mexican lads (yes we noticed Cody Lee on keyboards thank you!).
Les Greene
Following that, another debut at the Riot, and a high octane and flamboyant one it was too. Les Greene (originally from Baltimore), had more energy than you could shake a red chiffon scarf at. With a bi-coloured hat, offsetting his bi-coloured hair, he came with a reputation for charismatic and boundless enthusiasm, immediately borne out by his entrance. Holding the first vocal note, he hit the crowd with ‘I Got a Woman’ to set out the stall.
An extended version of Ben E King’s ‘Stand By Me’ also included the crowd taking the chorus, with an immensely popular Sam Cooke medley following on. Some frantic Little Richard in another medley, the likes of classics ‘Tutti Frutti’, ‘Rip It Up’ and amongst the handspringing, jazz splits and spins, ‘Long Tall Sally’.
A very immersive performance for those in close proximity to the stage, and memorable for the vibrant and buoyant delivery. A real showman who got the job done in a very popular show.
An extended version of Ben E King’s ‘Stand By Me’ also included the crowd taking the chorus, with an immensely popular Sam Cooke medley following on. Some frantic Little Richard in another medley, the likes of classics ‘Tutti Frutti’, ‘Rip It Up’ and amongst the handspringing, jazz splits and spins, ‘Long Tall Sally’.
A very immersive performance for those in close proximity to the stage, and memorable for the vibrant and buoyant delivery. A real showman who got the job done in a very popular show.
Cherry Casino and the Gamblers
Rounding off the evening, the ever-popular German combo of Cherry Casino and the Gamblers. These guys always provide a musically consummate show, with cool original tracks, well chosen cover songs and an almost light hearted delivery. You kind of get the impression watching the lads, and their cheeky interaction with the audience, that they’ve hidden a whoopee cushion somewhere. An immediate example would be the opening track ‘You’re Too High For Me’ with Humpty and Ike’s shout-back vocals supporting Axel Praefke’s lead.
‘Huh Baby’ and ‘Rockin and a Rollin’, two of their own tunes, mixed it up with covers of ‘Call Me Shorty’, Big Joe’s ‘Love Rollercoaster’ and ‘Rebecca’ and the Jive Bombers’ classy Savoy cut ‘The Blue Don’t Mean a Thing’. All those rhythmic grooves slid in with the likes of the oddly titled ‘Loo-Le-Loo-Le-Loo-Le’, ‘Kiss Me’ (their own, not Marvin and Johnny’s song of the same name), and the stroll beat of ‘My Baby Calls me on the Phone’. Big John Greer’s ‘Bottle it up and Go’, ushered in the encores of ‘Let’s Have a Crazy Ball’ and the evergreen ‘Fat Mama’s Daughter’ ending a super night’s entertainment.
Rioting dot…dot. Best tracks in the world ever ever to bump your jump & jive for this Riot were ‘Shout Sister Shout’ by Arthur Crudup, ‘The Way You Carry On’ by the Roulettes and ‘Rock ‘n’ Roll Ruby’ by the Skyliners…….For the purposes of reference, we still called the large hall and smaller hall ‘upstairs’ and ‘downstairs’, the accommodation ‘chalets’, jam sessions are still ‘chalet parties’, and someone called the Reedcutter’s restaurant ‘The Queen Vic’. Do not expect that to stop anytime soon 😊 .….I’ll be honest readers, it was our intention to cover just a couple of acts each day. But who to leave out? Ultimately the answer was nobody, so here goes…… *A band of Mexican origin, this doesn’t include a band that played in their local Chiquito and puts ‘Los’ or ‘Las’ in front of their name!.......Natty Bo, a guest appearance as a vocalist taking on Charles Sheffield’s ‘Voodoo Working’, superb………Running through all the turns on at the Riot, and how many times I could have written ‘debut’……..The Devil’s Cut Combo, house band for the weekend, led by Rob Hillier, did a sterling job over the whole festival…….More best tracks in the world ever ever to to blow daddy your blow, with ‘I Done Done it’ by Amos Milburn, Clyde McPhatter’s ‘I Can’t Stand Up Alone’ and Rockin Tommy Sampson & his Strongmen’s ‘Rockin’………How many combinations of Lynette Morgan and the Blackwater Valley Boys have you heard announced? Think ‘Black Valley Water Boys’ was the oddest…...
‘Huh Baby’ and ‘Rockin and a Rollin’, two of their own tunes, mixed it up with covers of ‘Call Me Shorty’, Big Joe’s ‘Love Rollercoaster’ and ‘Rebecca’ and the Jive Bombers’ classy Savoy cut ‘The Blue Don’t Mean a Thing’. All those rhythmic grooves slid in with the likes of the oddly titled ‘Loo-Le-Loo-Le-Loo-Le’, ‘Kiss Me’ (their own, not Marvin and Johnny’s song of the same name), and the stroll beat of ‘My Baby Calls me on the Phone’. Big John Greer’s ‘Bottle it up and Go’, ushered in the encores of ‘Let’s Have a Crazy Ball’ and the evergreen ‘Fat Mama’s Daughter’ ending a super night’s entertainment.
Rioting dot…dot. Best tracks in the world ever ever to bump your jump & jive for this Riot were ‘Shout Sister Shout’ by Arthur Crudup, ‘The Way You Carry On’ by the Roulettes and ‘Rock ‘n’ Roll Ruby’ by the Skyliners…….For the purposes of reference, we still called the large hall and smaller hall ‘upstairs’ and ‘downstairs’, the accommodation ‘chalets’, jam sessions are still ‘chalet parties’, and someone called the Reedcutter’s restaurant ‘The Queen Vic’. Do not expect that to stop anytime soon 😊 .….I’ll be honest readers, it was our intention to cover just a couple of acts each day. But who to leave out? Ultimately the answer was nobody, so here goes…… *A band of Mexican origin, this doesn’t include a band that played in their local Chiquito and puts ‘Los’ or ‘Las’ in front of their name!.......Natty Bo, a guest appearance as a vocalist taking on Charles Sheffield’s ‘Voodoo Working’, superb………Running through all the turns on at the Riot, and how many times I could have written ‘debut’……..The Devil’s Cut Combo, house band for the weekend, led by Rob Hillier, did a sterling job over the whole festival…….More best tracks in the world ever ever to to blow daddy your blow, with ‘I Done Done it’ by Amos Milburn, Clyde McPhatter’s ‘I Can’t Stand Up Alone’ and Rockin Tommy Sampson & his Strongmen’s ‘Rockin’………How many combinations of Lynette Morgan and the Blackwater Valley Boys have you heard announced? Think ‘Black Valley Water Boys’ was the oddest…...
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Saturday afternoon in the smaller hall, much as the day before, began with some tip top western and Rockabilly sounds courtesy of the Hayride Wranglers, with Frankie Riedell on vocals and rhythm guitar, Big-T (Theo) on bass and lead guitarist/steel guitarist, Zack Godden and featuring Lydia Jane also on vocals throughout parts of the show. This was a set of top drawer sounds, initially the likes of the Honkabillies when they were still ‘Doggone’, Johnny Cash’s ‘Get Rhythm’ and Dwight Yoakham’s ‘Streets of Bakersfield’ an early reminder of such.
Lydia Jane made her entrance with a ‘country-fied’ take of ‘Fever’, with some classy guitar work from Zack to accompany her country cadence. Elvis’ ‘My Baby Left Me’ tore it up, and there was more ‘country-fication’ of a classic British rocker, Johnny Kidd’s ‘Shakin’ All Over’ . Lydia Jane made way for the lads to tear through the likes of ‘Milk Cow Blues’ before a smashing duet with Frankie, taking on the Everly Brothers’ ‘Long Time Gone’. And I guess it’s rare for a duetting couple not to take on Johnny and June Cash’s (or Nancy Sinatra & Lee Hazelwood if you wish, same year, 1967, different peeps) ‘Jackson’ with it’s failing relationship theme. Ace take on the classic, an impressive debut by Lydia Jane and a really good set, which set the day up perfectly.
Lydia Jane made her entrance with a ‘country-fied’ take of ‘Fever’, with some classy guitar work from Zack to accompany her country cadence. Elvis’ ‘My Baby Left Me’ tore it up, and there was more ‘country-fication’ of a classic British rocker, Johnny Kidd’s ‘Shakin’ All Over’ . Lydia Jane made way for the lads to tear through the likes of ‘Milk Cow Blues’ before a smashing duet with Frankie, taking on the Everly Brothers’ ‘Long Time Gone’. And I guess it’s rare for a duetting couple not to take on Johnny and June Cash’s (or Nancy Sinatra & Lee Hazelwood if you wish, same year, 1967, different peeps) ‘Jackson’ with it’s failing relationship theme. Ace take on the classic, an impressive debut by Lydia Jane and a really good set, which set the day up perfectly.
Mary Lee and Caesar's Cowboys
If you want to take the Country and Western Swing back that little bit further, then Mary Lee and Caesar’s Cowboys are the perfect fit. An instrumental announced them, Spade Cooley’s toe tapper ‘Oklahoma Stomp’ showcasing each musician in turn, before the vocals took over on the foot stomping ‘Now or Never’. I have to flag up a particular favourite of mine here. ‘There’ll be Some Changes Made’ is a tune that has been recorded and rerecorded umpteen times, particularly jazz versions since it was written in 1921. Here, the band replicated it in the W. Lee O’Daniel and his Hill Billy Boys style from 1938, and it has to be said, this version was outstanding.
Jimmy Bryant’s ‘Boogie Barn Dance’ had a more chunk-a chunk-a rhythm to a stroll tempo, while we were back on the stompin’ through Bob Wills’ ‘Take Me Back To Tulsa’. Easing off again was ‘Cow Cow Boogie’, before a thigh slapping take of Bob Wills & Tommy Duncan’s ‘Stay a Little Longer’ which would have sent a shiver up a statue. In that vein also, we had some sumptuous slide on the Modern Mountaineers’ 1937 joy ‘Everybody’s Truckin’. Mary Lee, not only looks the part, but saws a fine fiddle as well as fine vocals. For sixty short minutes it seemed that we were all in western swing nirvana.
Jimmy Bryant’s ‘Boogie Barn Dance’ had a more chunk-a chunk-a rhythm to a stroll tempo, while we were back on the stompin’ through Bob Wills’ ‘Take Me Back To Tulsa’. Easing off again was ‘Cow Cow Boogie’, before a thigh slapping take of Bob Wills & Tommy Duncan’s ‘Stay a Little Longer’ which would have sent a shiver up a statue. In that vein also, we had some sumptuous slide on the Modern Mountaineers’ 1937 joy ‘Everybody’s Truckin’. Mary Lee, not only looks the part, but saws a fine fiddle as well as fine vocals. For sixty short minutes it seemed that we were all in western swing nirvana.
Peter and the Wolves
The evening kicked off with a return of Peter and the Wolves from Canada. Singer Peter Cormier, plays piano and lead guitar depending on the style of their song. Initially he’s tickling the ivories to ‘Wolfman Rock’, ably supported by Meg Thompson (also known quirkily as Megs Benedict in their other incarnation, L’omlette). Together this outfit play what they describe as ‘old fashioned’ Rock ‘n’ Roll, and no one should argue with that! And they do it very well.
Another band that mixes up their own material with some well-known covers, paying due reverence to the originals. Taking Little Richard’s ‘I Got It’ for an example, Frankie Lymon’s ‘Goody Goody’ and a barnstorming take of Mel Dorsey’s ‘Little Lil’ as other notables. There’s some serious bass slapping to open one of their own tunes, ‘Jailbird Josephine’ which has fair dose of Setzer-styled guitar work. ‘Fool For Her Eyes’ had a super rolling beat and ‘Avalanche’ just kicked the proverbial butt. Smashing stuff from Calgary.
Another band that mixes up their own material with some well-known covers, paying due reverence to the originals. Taking Little Richard’s ‘I Got It’ for an example, Frankie Lymon’s ‘Goody Goody’ and a barnstorming take of Mel Dorsey’s ‘Little Lil’ as other notables. There’s some serious bass slapping to open one of their own tunes, ‘Jailbird Josephine’ which has fair dose of Setzer-styled guitar work. ‘Fool For Her Eyes’ had a super rolling beat and ‘Avalanche’ just kicked the proverbial butt. Smashing stuff from Calgary.
Ruby Ann
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Shy
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Kim
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We then had two sessions of the Women of Wild, (pictured above and below) backed by the Devil’s Cut Combo, six ladies from the California based, Wild Records label taking the stage individually, for a couple of numbers in each set. The stars were Ruby Ann, Shy (Shy But Flyy), Kim Steer-van Pinxteren (Tornado Beat), Shanda Ratto (Shanda and the Howlers), Gizzelle, and from the Rhythm Shakers, Marlene Perez.
We aren’t going to list every song in the show, it would look more like a shopping list to be honest, so here’s some picks (compilers perks if you will). Ruby Ann reprised a couple of numbers from the previous night, there’s never a bad time to hear ‘Train From Satanville’. Shy, we’d not seen live before this show, rocked out Irma Thomas’ ‘Please Don’t Mess With My Man’ and the blues beauty ‘Spoonful’.
Kim, from Dutch band Tornado Beat, brought some of their rockers to the crowd’s attention. The howling refrains of ‘He’s a Wolf’ and the ballsy sound of ‘Long Lean Legs’. Shanda’s touching ballad ‘Born With a Broken Heart’ was offset by the bouncy beat of ‘Hurt’. Any show with Gizzelle in, is a stick on winner, she surely has the vocal Midas touch. Especially with her belting out Varetta Dillard’s ‘Scorched’, Lazy Lester’s ‘Sugar Coated Love’ and the show-stopping take on the Falcons’ ‘I Founda Love’ which would have brought a tear to a glass eye. Finally, Marlene Perez took on the likes of ‘Every Dog Has It’s Day’ and ‘Bang Bang’ (Cher 1967). To top off the first set, the whole company came on to the stage for a Gospel beauty, Liz Vice/Shirley Ann Lee’s (you choose) ‘There’s a Light in my Life’.
A really wide-ranging set of songs and styles across the two sets, performed by six ladies on top form
We aren’t going to list every song in the show, it would look more like a shopping list to be honest, so here’s some picks (compilers perks if you will). Ruby Ann reprised a couple of numbers from the previous night, there’s never a bad time to hear ‘Train From Satanville’. Shy, we’d not seen live before this show, rocked out Irma Thomas’ ‘Please Don’t Mess With My Man’ and the blues beauty ‘Spoonful’.
Kim, from Dutch band Tornado Beat, brought some of their rockers to the crowd’s attention. The howling refrains of ‘He’s a Wolf’ and the ballsy sound of ‘Long Lean Legs’. Shanda’s touching ballad ‘Born With a Broken Heart’ was offset by the bouncy beat of ‘Hurt’. Any show with Gizzelle in, is a stick on winner, she surely has the vocal Midas touch. Especially with her belting out Varetta Dillard’s ‘Scorched’, Lazy Lester’s ‘Sugar Coated Love’ and the show-stopping take on the Falcons’ ‘I Founda Love’ which would have brought a tear to a glass eye. Finally, Marlene Perez took on the likes of ‘Every Dog Has It’s Day’ and ‘Bang Bang’ (Cher 1967). To top off the first set, the whole company came on to the stage for a Gospel beauty, Liz Vice/Shirley Ann Lee’s (you choose) ‘There’s a Light in my Life’.
A really wide-ranging set of songs and styles across the two sets, performed by six ladies on top form
Shanda
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Gizzelle
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Marlene Perez
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The Oh! Sharels
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Finally for Saturday, another treat, with the Oh! Sharels from Japan. Three lady vocalists taking on some of the best doo wop and vocal harmonies on the planet, backed by a band with a pristine sound, and more than the occasional visual oddities, ‘My Flaming Heart’ was a great pace setter, early doors, the Danleers’ 1958 Mercury recording sounding superb.
Keeping up the quality was a true gem, in the form of the Drifters’ ‘Honey Love’ and The Crew Cuts’ vocal wonderment, ‘Sh-Boom’. Slowing down a bit for the Rays’ ‘Silhouettes’ from 1957, before injecting some zip for ‘Little Bitty Pretty One’. The choreography matched each song, as they hit up the jiving romp ‘Boogie Woogie Teenage’ originally by Don Julian and the Meadowlarks. ‘Stormy Weather’ initially comes from 1933, and the Oh! Sharels did a great job of masking the disappointment within the lyrics with a perfect vocal delivery. Similarly, the melancholy nature of ‘Crying in the Chapel’ sounded en-pointe with the Turbans’ ‘BINGO’ rounding off a sublime show.
Oi DJ. Play us some music to dance to. And they surely did by the barrowload. Now we didn’t get to see/experience every DJ, so initial apologies to Phil Sounds and Pressure, Eddie Be-Bop, Craig Simpson, Augie Burr and Jezebel, and we just didn’t get chance to go to the Reedcutters Killer Diller Club.
We did, however, get some serious tunage from the ‘Have-a-Go’ DJs in the small hall, and across the weekend from Lucky LaRocka, David Woodfield, Slimboy, Moon, Blip Blop, Vanessa, Zac Vargas, Topper, La Lunatica, Idaho Redd, and Mark Armstrong.
While we have a break in the live act reviews, a chance to big up the MCs for the weekend, Mark Armstrong, Ian Gillon Jr, Frankie Riedel and Danny Brown. Also, the sound from Rory Alderson and his team at Audio Light Design, and Nikki Price backstage
Keeping up the quality was a true gem, in the form of the Drifters’ ‘Honey Love’ and The Crew Cuts’ vocal wonderment, ‘Sh-Boom’. Slowing down a bit for the Rays’ ‘Silhouettes’ from 1957, before injecting some zip for ‘Little Bitty Pretty One’. The choreography matched each song, as they hit up the jiving romp ‘Boogie Woogie Teenage’ originally by Don Julian and the Meadowlarks. ‘Stormy Weather’ initially comes from 1933, and the Oh! Sharels did a great job of masking the disappointment within the lyrics with a perfect vocal delivery. Similarly, the melancholy nature of ‘Crying in the Chapel’ sounded en-pointe with the Turbans’ ‘BINGO’ rounding off a sublime show.
Oi DJ. Play us some music to dance to. And they surely did by the barrowload. Now we didn’t get to see/experience every DJ, so initial apologies to Phil Sounds and Pressure, Eddie Be-Bop, Craig Simpson, Augie Burr and Jezebel, and we just didn’t get chance to go to the Reedcutters Killer Diller Club.
We did, however, get some serious tunage from the ‘Have-a-Go’ DJs in the small hall, and across the weekend from Lucky LaRocka, David Woodfield, Slimboy, Moon, Blip Blop, Vanessa, Zac Vargas, Topper, La Lunatica, Idaho Redd, and Mark Armstrong.
While we have a break in the live act reviews, a chance to big up the MCs for the weekend, Mark Armstrong, Ian Gillon Jr, Frankie Riedel and Danny Brown. Also, the sound from Rory Alderson and his team at Audio Light Design, and Nikki Price backstage
Too Bad Jims
Sunday began once again in the smaller hall, with a classy session of proper blues music from the Too Bad Jims. This trio consists of Little Victor on lead guitar and vocals, Son Jack Jr also on guitar and Nick Simmonon. Their name comes from the R L Burnside album ‘Too Bad Jim’ from 1994, and indeed there are influences among the song choices, none more so than the opener, ‘Peaches’ by the man himself.
‘Black Mattie’ featured both guitarists taking the vocals as well, on Sleepy John Estes ‘Black Mattie’. Super smooth takes of Burnside beauties ’44 Pistol’ ‘Long Haired Doney’ (Doney is a sweetheart or young lady) and ‘Alice Mae’. With a lot of the electric blues in this style, the songs are foot stomping in rhythm and the riffs repetitive and catchy. Some of the tunes can last into five or six minutes, if you’re counting, with spellbinding beats and cool solos. Great way to start a Sunday.
‘Black Mattie’ featured both guitarists taking the vocals as well, on Sleepy John Estes ‘Black Mattie’. Super smooth takes of Burnside beauties ’44 Pistol’ ‘Long Haired Doney’ (Doney is a sweetheart or young lady) and ‘Alice Mae’. With a lot of the electric blues in this style, the songs are foot stomping in rhythm and the riffs repetitive and catchy. Some of the tunes can last into five or six minutes, if you’re counting, with spellbinding beats and cool solos. Great way to start a Sunday.
Mount Pleasant Pep Steppers
Next up, the musical style goes back even further, with a local band, the Mount Pleasant Pep Steppers, three guys utilising resonator and acoustic guitar, banjo, fiddle, mandolin and washboard. The style was a ramble through the early 20th century musical styles, starting with Bo Carter’s ‘Corrine Corrina’ from 1928 and the cakewalk through ‘Coloured Aristocracy’. Going back even further, to the 1850’s, ‘Angeline the Baker’, a regretful song about a slave girl having been sent away and now is missed. Blind Willie McTell’s (probably) best known tune ‘Statesboro Blues’ from 1928, was recounted in the finest Piedmont blues style. A really well presented set of tunes from so long ago.
Toto and the Raw Deals
Here we are at the final evening, and a lively start was promised with the hottest ticket, Toto and the Raw Deals. With Salvatore ‘Toto’ Marziano on lead vocals and rhythm guitar, were Sam French on lead guitar, bassist Danny Brown and drummer Tony Hillebrandt. These four guys have hit a rich seam of Rockabilly, both original and covers, with a splash of Country from time to time.
Right from ‘Reelin Rockin’ that opened the show, through a tip-top version of Sonny Boy Williamson’s ‘Polly Put The Kettle On’, Brenda Lee’s ‘Here Comes That Feeling’, and Charlie Feathers’ ‘Stutterin’ Cindy’, the covers were quality, and then some. And Dick Dale’s surf instrumental ‘Miserlou’, was a triumph. ‘Tired of Travelling’ was a punchy and pacy country rocker that suits the band’s raison d’etre, and ‘Green River’ had a ballsy tempo with corking guitar riffs.
Jimmy Wages’ ‘Miss Pearl’ rattled the set to an initial conclusion, with the encore of Ronnie Dawson’s ‘Up Jumped the Devil’ a fitting end to yet another grade A Toto show.
Right from ‘Reelin Rockin’ that opened the show, through a tip-top version of Sonny Boy Williamson’s ‘Polly Put The Kettle On’, Brenda Lee’s ‘Here Comes That Feeling’, and Charlie Feathers’ ‘Stutterin’ Cindy’, the covers were quality, and then some. And Dick Dale’s surf instrumental ‘Miserlou’, was a triumph. ‘Tired of Travelling’ was a punchy and pacy country rocker that suits the band’s raison d’etre, and ‘Green River’ had a ballsy tempo with corking guitar riffs.
Jimmy Wages’ ‘Miss Pearl’ rattled the set to an initial conclusion, with the encore of Ronnie Dawson’s ‘Up Jumped the Devil’ a fitting end to yet another grade A Toto show.
Revolutionaires
From a*se kicking Rockabilly, to a*se kicking and house rocking blues, with canny, mint marras from the North East, the Revolutionaires. Ed Stephenson slings a Gretsch White Falcon, takes the vocals and wails the odd harmonica from time to time, as well as the physical gyrations. His brother Rich, takes on the bass (upright and guitar) with drummer John Lambert and Steve Croft on keyboards.
The energetic opening blues bop instrumental rocker, is now a mainstay of the Revs set, giving way to the classic ‘Roll Over Beethoven’, and their now, must-do hopped up blues version of ‘Riot in Cell Block Number Nine’. Off came the jacket and shirt, ready for Ed’s harmonica soaked ‘Eddie Boys Jump’, a wailing and foot stamping, virtuosic performance. Moon Mullican’s ‘Seven Nights to Rock’, Slim Harpo’s ‘Shake Your Hips’ and signing off with ‘Jump For Joy’, this was vintage Revs at the Riot.
The energetic opening blues bop instrumental rocker, is now a mainstay of the Revs set, giving way to the classic ‘Roll Over Beethoven’, and their now, must-do hopped up blues version of ‘Riot in Cell Block Number Nine’. Off came the jacket and shirt, ready for Ed’s harmonica soaked ‘Eddie Boys Jump’, a wailing and foot stamping, virtuosic performance. Moon Mullican’s ‘Seven Nights to Rock’, Slim Harpo’s ‘Shake Your Hips’ and signing off with ‘Jump For Joy’, this was vintage Revs at the Riot.
The Velvet Candles
Something less hard hitting next, but brilliant nonetheless, with the Velvet Candles taking the stage. Five ace vocalists Augustí Burriel, Miguel Ángel García, Juan Ibáñez, Eddie Peregrín and Mamen Salvador, once again backed by the Devil’s Cut Combo, opened the show with the Five Keys’ ‘It’s a Crying Shame’.
Jackson Sloan’s composition, ‘Hello Stranger’ sounded first class, which set up, probably my favourite track that they perform. Roy Tyson was just a teenager when he recorded ‘Oh What a Night for Love’, in ’62, backed by the Imperials. The brilliance of this live version by the Velvet Candles cannot be understated, with Mamen’s lead vocal complimented so well by the lads backing. Not to take anything away from the remainder of the set. Song after song vied for attention with the Drifters’ ‘Fools Fall in Love’, Frankie Lymon’s (answer?) ‘Why Do Fools Fall in Love’ and their own ‘Your Eyes’
There was some more classy vocal reproduction of the Cadets’ ‘I Want You’ the epic sound of Donnie Elbert’s ‘Believe it or Not’, and the Silhouettes’ ‘Get a Job’ worked really well. A showstopping set initially concluded with a mash up of Jackie Wilson’s ‘Lonely Teardrops’ and the Isley Brothers’ ‘Shout’. Naturally the crowd wanted more, which the ‘Candles obliged with the Sharps’ ‘Lock my Heart’. Vocal harmony and doo wop at it’s absolute best.
Jackson Sloan’s composition, ‘Hello Stranger’ sounded first class, which set up, probably my favourite track that they perform. Roy Tyson was just a teenager when he recorded ‘Oh What a Night for Love’, in ’62, backed by the Imperials. The brilliance of this live version by the Velvet Candles cannot be understated, with Mamen’s lead vocal complimented so well by the lads backing. Not to take anything away from the remainder of the set. Song after song vied for attention with the Drifters’ ‘Fools Fall in Love’, Frankie Lymon’s (answer?) ‘Why Do Fools Fall in Love’ and their own ‘Your Eyes’
There was some more classy vocal reproduction of the Cadets’ ‘I Want You’ the epic sound of Donnie Elbert’s ‘Believe it or Not’, and the Silhouettes’ ‘Get a Job’ worked really well. A showstopping set initially concluded with a mash up of Jackie Wilson’s ‘Lonely Teardrops’ and the Isley Brothers’ ‘Shout’. Naturally the crowd wanted more, which the ‘Candles obliged with the Sharps’ ‘Lock my Heart’. Vocal harmony and doo wop at it’s absolute best.
Marcel embraces his crowd
Final live act of the Riot this time, the Sounds of Sun Stage Show. Representing the seminal record label on the stage initially was Toto, who energetically took on Carl Perkins ‘Everybody’s Trying to be my Baby’ and ‘Baby You can do no Wrong’. Regular visitor from the USA Marcel Riesco, is the obvious choice for Roy Orbison numbers with ‘Rock House’ and ‘Move on Down the Line’ particular standouts.
Lobo Jones hit the high spots, with his renditions of Warren Smith’s hot tunes, among which were the powerful ‘Got Love if you Want It’ and the supersmooth ‘Sweet Sweet Girl’. Ben Welburn, from ‘Cash’ well, guess who he took on? Just excellent versions of three classics ‘Folsom Prison Blues’, ‘Get Rhythm’ and ‘Cry Cry Cry’. Some pumping piano rockin’, who would you choose? Dylan Kirk rocked out ‘Killer’ tracks like ‘Great Balls of Fire’ and Whole Lotta Shakin’ Going on’.
So that just left Alan Power, singing Elvis masterworks, ‘That’s Alright Mama’, ‘Trying to Get to You’ and ‘I Got a Woman’. The whole ensemble returned to the stage for a million dollar version of ‘Down by the Riverside’, before they were cajoled into a further encore of ‘Blue Suede Shoes’. A terrific end to the live acts of this Riot
There ended the beginning, so to speak. A new era, at a new, and quite frankly as far as the accommodation goes, head and shoulders above the previous venue. New environment that will create new memories for the faithful who supported in their droves. Anyone wondering whether it will continue, 2025 is definitely on. Go for it
Gallery images below, and our donate button if you'd like to help us keep this magazine free to read. Many thanks
Lobo Jones hit the high spots, with his renditions of Warren Smith’s hot tunes, among which were the powerful ‘Got Love if you Want It’ and the supersmooth ‘Sweet Sweet Girl’. Ben Welburn, from ‘Cash’ well, guess who he took on? Just excellent versions of three classics ‘Folsom Prison Blues’, ‘Get Rhythm’ and ‘Cry Cry Cry’. Some pumping piano rockin’, who would you choose? Dylan Kirk rocked out ‘Killer’ tracks like ‘Great Balls of Fire’ and Whole Lotta Shakin’ Going on’.
So that just left Alan Power, singing Elvis masterworks, ‘That’s Alright Mama’, ‘Trying to Get to You’ and ‘I Got a Woman’. The whole ensemble returned to the stage for a million dollar version of ‘Down by the Riverside’, before they were cajoled into a further encore of ‘Blue Suede Shoes’. A terrific end to the live acts of this Riot
There ended the beginning, so to speak. A new era, at a new, and quite frankly as far as the accommodation goes, head and shoulders above the previous venue. New environment that will create new memories for the faithful who supported in their droves. Anyone wondering whether it will continue, 2025 is definitely on. Go for it
Gallery images below, and our donate button if you'd like to help us keep this magazine free to read. Many thanks
Final gig of 2024 at Chesterfield Rock n Roll Club. Gonna be a good one folks. Click flyer for details
Hot Rock n Boogie
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Click flyers for details
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Great line up for 2025
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Click flyers for details
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You will have recently noticed a shift in the types of weekender venue locations, now that Pontins has effectively closed. Many sites can now accommodate motorhomes. Check out our friends at Vista Motorhomes, and their fleet to suit your needs. Motorhome hire from compact 2-berth to large 6-berth motorhomes. Modern and well-equipped with kitchens and bathrooms www.vistamotorhomes.co.uk tel 07376 659005 email [email protected] or click on the link on the photograph below
Razzle Dazzle Vintage, not only have their shop, but will also be attending Kelham Hall Vintage Festival 29th November through 1st December
Your Razzle Dazzle hosts, April and Andy Birdseye
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Racketeer Radio brings you the New Golden Age of Radio with over 20 scheduled radio programs from around the world, airing each week. Racketeer Radio features the longest running radio program on air, favorite radio programs from 1930s - 1950s as well as the latest programs in the vintage revival.Hear your favorite classics, along with the newest released tunes from Big Band, Swing, Jump Rhythm and Blues to Lounge, Rockabilly and More. In the Racketeer Radio App find News, Updates, Events and More, go to linktr.ee/RacketeerRadio.
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 5, Hoddins Way, Long Sutton, Lincs. PE12 9JB
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
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
