the bettajive review magazine #44
Scotty Baker at Hemsby #69
The Bettajive Review issue #44 is here folks. We have a definitive review of Hemsby #69, featuring the likes of Scotty Baker (pictured above), and Gene Gambler and the Shufflers at Chesterfield Rock n Roll Club. And all the jolliness that is the Bettajive Review of course. So let's get going baby
the bettajive review
Are you as Rockin as you think? Regular readers, you know loads about me from our musings, so let’s hear about you. Take our quiz, let’s see how Rock n Roll you are. Are you one of the beautiful people, or are you a schlemiel? Have a go, and remember, like many things Bettajive Review, it’s not too serious.
Q1/ The promoter at a weekender/festival offers to buy you a drink. Do you:-
a/ Neck it before they change their mind, cos you’re clearly dead popular
b/ Feign fainting and offer to frame it
c/ Pinch yourself, you’ve arrived, you’re almost one of the beautiful people
d/ Pinch them, they must be unwell.
e/ Make sure it’s ‘Newky Braaaan’
Q2/ Which artist performs your favourite version of ‘Honey Hush’
a/ Johnny Burnette
b/ Joe Turner
c/ Paul McCartney
d/ Ray Moore with Inst. Acc. by Chas Carmichael and the Texas Pioneers
e/ Screaming Lord Sutch
Q3/ What happens when you try on a pair of vintage trousers from a stall selling original clothing?
a/ Buy them. They fit you as well as a bum fits in a bucket
b/ Buy them. They fit you, apart from being six inches too long in the leg
c/ Buy them, just because in the changing room, you heard a tearing sound as you fell out the a*se of them, and you can’t just put them back
d/ They fit, but you decided they don’t suit you as well as dungarees with a beer towel hanging out the back pocket.
e/ Buy them, providing they’re grey or black
Q1/ The promoter at a weekender/festival offers to buy you a drink. Do you:-
a/ Neck it before they change their mind, cos you’re clearly dead popular
b/ Feign fainting and offer to frame it
c/ Pinch yourself, you’ve arrived, you’re almost one of the beautiful people
d/ Pinch them, they must be unwell.
e/ Make sure it’s ‘Newky Braaaan’
Q2/ Which artist performs your favourite version of ‘Honey Hush’
a/ Johnny Burnette
b/ Joe Turner
c/ Paul McCartney
d/ Ray Moore with Inst. Acc. by Chas Carmichael and the Texas Pioneers
e/ Screaming Lord Sutch
Q3/ What happens when you try on a pair of vintage trousers from a stall selling original clothing?
a/ Buy them. They fit you as well as a bum fits in a bucket
b/ Buy them. They fit you, apart from being six inches too long in the leg
c/ Buy them, just because in the changing room, you heard a tearing sound as you fell out the a*se of them, and you can’t just put them back
d/ They fit, but you decided they don’t suit you as well as dungarees with a beer towel hanging out the back pocket.
e/ Buy them, providing they’re grey or black
Q4/ If you could have an anthem, would it be
a/ Rampage by the Planet Rockers
b/ Ella Mae by Louis Jordan
c/ Seven Little Girls Sitting in the Back Seat by Paul Evans and the Curls
d/ Waitin’ in Line by Bobby Rutledge
e/ Teddy Boy Boogie by Crazy Cavan
Q5/ What do have in your back pocket
a/ Hip flask containing spiced rum
b/ Your wallet with a chain that would tether a cruise ship
c/ A monogrammed handkerchief
d/ Another red and white bandana style hanky, jauntily hanging out of it
e/ A flick-comb
Q6/ What’s your tipple?
a/ Bitter/Lager
b/ Pint of Mild
c/ Cinzano and Lemonade
d/ Moonshine, with toadstools growing out of it
e/ Newky Braaan
a/ Rampage by the Planet Rockers
b/ Ella Mae by Louis Jordan
c/ Seven Little Girls Sitting in the Back Seat by Paul Evans and the Curls
d/ Waitin’ in Line by Bobby Rutledge
e/ Teddy Boy Boogie by Crazy Cavan
Q5/ What do have in your back pocket
a/ Hip flask containing spiced rum
b/ Your wallet with a chain that would tether a cruise ship
c/ A monogrammed handkerchief
d/ Another red and white bandana style hanky, jauntily hanging out of it
e/ A flick-comb
Q6/ What’s your tipple?
a/ Bitter/Lager
b/ Pint of Mild
c/ Cinzano and Lemonade
d/ Moonshine, with toadstools growing out of it
e/ Newky Braaan
Q7/ Favourite activity at weekenders
a/ Bop and jive frantically to Gene Vincent and Bob Luman, imbibe copious amounts of aki-hol, leave the hall when the sun comes up, wake under a hedge with a road cone between your legs, and a chicken wing in your ear, with a burger bap as your pillow.
b/ Bop and jive to Elmore James and Roy Brown, drink equal amounts of alcoholic libation and carbonated spring water, leave the hall in disgust when the surf stuff comes on, wake up at a regional party based chalet, wearing a gorilla suit.
c/ Catch up on your favourite soap on the TV, send someone ahead to bagsy a table, sit through the event with a face like an African fright mask, leave the hall in time to catch the shipping forecast, wake up in your own bed, earlier than you’d want, by those revelling rapscallions swerving and swaying by the window, tsk tsk tsk.
d/ Bop occasionally, to obscure crackly Hillbilly tunes, played in the pub, drink acidic stuff from stone jars with ‘X’s on them, never leave the pub, go to sleep in the pub, wake up in the pub, get chucked out of the pub on the Monday.
e/ Stand in the shadows, feet 14” apart, angled slightly outward, thumb in waistcoat pocket, purse your lips, blink often, look left & right without moving your head. Insist on Johnny Kidd and the Pirates or Tony Crombie songs be played. Leave the hall at closing time, view chalet parties with disdain
Q8/ Man, dig them squeaky shoes, but what’s your favourite footwear?
a/ White nubucks
b/ Two tone shoes
c/ Crocs
d/ Anything, provided they’re scuffed
e/ Brogues/Chukkas
Q9/ You’re offered the classic car of your dreams. Would it be
a/ ’57 Chevvy
b/ ’49 Plymouth
c/ Yellow Fiat Deville
d/ Hot rod with all the suspension taken out, and unbaffled exhaust pipes
e/ ’56 Wolseley 15/50 (in black)
Q10/ Bit chilly isn’t it, so what’s your favoured overcoat or jacket
a/ None. You’re hard, you used to have a pack of Regal up your T-shirt sleeve
b/ One with references to a particular air-force or a cartoon of a scantily clad lady on it
c/ Cagoule
d/ Plaid lumber jacket
e/ Drape
a/ Bop and jive frantically to Gene Vincent and Bob Luman, imbibe copious amounts of aki-hol, leave the hall when the sun comes up, wake under a hedge with a road cone between your legs, and a chicken wing in your ear, with a burger bap as your pillow.
b/ Bop and jive to Elmore James and Roy Brown, drink equal amounts of alcoholic libation and carbonated spring water, leave the hall in disgust when the surf stuff comes on, wake up at a regional party based chalet, wearing a gorilla suit.
c/ Catch up on your favourite soap on the TV, send someone ahead to bagsy a table, sit through the event with a face like an African fright mask, leave the hall in time to catch the shipping forecast, wake up in your own bed, earlier than you’d want, by those revelling rapscallions swerving and swaying by the window, tsk tsk tsk.
d/ Bop occasionally, to obscure crackly Hillbilly tunes, played in the pub, drink acidic stuff from stone jars with ‘X’s on them, never leave the pub, go to sleep in the pub, wake up in the pub, get chucked out of the pub on the Monday.
e/ Stand in the shadows, feet 14” apart, angled slightly outward, thumb in waistcoat pocket, purse your lips, blink often, look left & right without moving your head. Insist on Johnny Kidd and the Pirates or Tony Crombie songs be played. Leave the hall at closing time, view chalet parties with disdain
Q8/ Man, dig them squeaky shoes, but what’s your favourite footwear?
a/ White nubucks
b/ Two tone shoes
c/ Crocs
d/ Anything, provided they’re scuffed
e/ Brogues/Chukkas
Q9/ You’re offered the classic car of your dreams. Would it be
a/ ’57 Chevvy
b/ ’49 Plymouth
c/ Yellow Fiat Deville
d/ Hot rod with all the suspension taken out, and unbaffled exhaust pipes
e/ ’56 Wolseley 15/50 (in black)
Q10/ Bit chilly isn’t it, so what’s your favoured overcoat or jacket
a/ None. You’re hard, you used to have a pack of Regal up your T-shirt sleeve
b/ One with references to a particular air-force or a cartoon of a scantily clad lady on it
c/ Cagoule
d/ Plaid lumber jacket
e/ Drape
Q11/ Record label that needs to be visible at all times about your person
a/ Sun
b/ Atlantic
c/ K-Tel
d/ Hickory
e/ His Master’s Voice
Q12/ You’re in a music shop and you can choose one instrument that sums you and Rock n Roll up. What do you pick?
a/ Gretsch 6120 or Fender Telecaster
b/ Sax alto or baritone
c/ Basoon
d/ Anything that goes ‘yung dunga-dung dunga-dung’
e/ Watkins Rapier
Q13/ What’s your favourite medium to listen to your music
a/ Original 7” 45rpm single, with the unblemished run-off, labels perfectly back to back, centre ready dinked
b/ Original brittle 78rpm Shellac 10” with label handily explaining that the track has a ‘vocal with instrumental accompaniment’
c/ Sixty track, various artists CD from the local petrol station, free with a meal deal (sandwich, drink and packet of cheese and onion)
d/ Anything with crackles on it
e/ Anything provided it’s played on a Dansette Major
Q14/ Guys. How do you hold your hair in place?
a/ Sweet Georgia Brown/Nu Niles/Dax
b/ Murrays Pomade/ Tru Gel
c/ Harmony
d/ Hold hair in place? I’ve got a straw hat
e/ Black and White
Q15/ Ladies. How do you hold your hair in place
a/ Hairspray, scrunchie, barrettes, hair flowers
b/ Hairspray, pins, bobby clips, rolling, back combing, headscarf
c/ My guy’s Harmony
d/ Hold hair in place? I’ve got a straw hat (and a dotty ribbon)
e/ Hairspray, bows & ribbons
a/ Sun
b/ Atlantic
c/ K-Tel
d/ Hickory
e/ His Master’s Voice
Q12/ You’re in a music shop and you can choose one instrument that sums you and Rock n Roll up. What do you pick?
a/ Gretsch 6120 or Fender Telecaster
b/ Sax alto or baritone
c/ Basoon
d/ Anything that goes ‘yung dunga-dung dunga-dung’
e/ Watkins Rapier
Q13/ What’s your favourite medium to listen to your music
a/ Original 7” 45rpm single, with the unblemished run-off, labels perfectly back to back, centre ready dinked
b/ Original brittle 78rpm Shellac 10” with label handily explaining that the track has a ‘vocal with instrumental accompaniment’
c/ Sixty track, various artists CD from the local petrol station, free with a meal deal (sandwich, drink and packet of cheese and onion)
d/ Anything with crackles on it
e/ Anything provided it’s played on a Dansette Major
Q14/ Guys. How do you hold your hair in place?
a/ Sweet Georgia Brown/Nu Niles/Dax
b/ Murrays Pomade/ Tru Gel
c/ Harmony
d/ Hold hair in place? I’ve got a straw hat
e/ Black and White
Q15/ Ladies. How do you hold your hair in place
a/ Hairspray, scrunchie, barrettes, hair flowers
b/ Hairspray, pins, bobby clips, rolling, back combing, headscarf
c/ My guy’s Harmony
d/ Hold hair in place? I’ve got a straw hat (and a dotty ribbon)
e/ Hairspray, bows & ribbons
How did you do? Check out the results. Mostly ‘a’s. You got the vibe, get you on the dancefloor after a few schooners, you’re known at the hip clubs and by the top DJs. And people like you on Facebook. You still have hair, no common or garden supermarket gel holding it in place either, it’s the like of Sweet Georgia Brown for you. Your Nubucks are white, your boots are black. Doggone it your cool, you’re one of the beautiful ones.
Mostly ‘b’s. You got hep in your step, you squeal on your heel, hats suit you, especially those that dip below your eye, and you have a sparkle on your teeth when you smile. You’re on flyers for events, with your partner, in a dip down pose with a set of 3D stars shooting out from behind you. The crease in your trousers is sharp, or the seam in your stockings is straight as an arrow. You’re two-tone-toe-tapping-tastic man
Mostly ‘c’s. Hey man you ROCK. You are the cutting edge of the Rock n Roll scene, if you were filmed for a contemporary documentary, they’d be showing you walking in slow motion. People want your threads, your car and your company and your att-it-tu-de and the resin Elvis model in your garden. Your knowledge of the music is as big as your bargain bucket vinyl collection. Can I have your crocs?
Mostly ‘d’s. Slap your own a*se brother, blow over that stone jar and knock your own front teeth out with the headstock of a banjo and stick a bit of grass in the gap. Y’all got style y’all in a moonshine still. Zing goes the strings of your steel geeeeetar brother, hold them dungarees up with one strap, cos your intestines are made of lead to take all that shine.
Mostly ‘e’s. You got the Brylcreem bounce, your trouser creases are sharp, your suit is tailor made, and there’s a shine on your shoes so bright you can see someone else’s face in them. You have the Fabulous Cure and you can Growl when needed. They don’t mess with you cos you’re looking good you slaaaaaaaaaag.
Mostly ‘b’s. You got hep in your step, you squeal on your heel, hats suit you, especially those that dip below your eye, and you have a sparkle on your teeth when you smile. You’re on flyers for events, with your partner, in a dip down pose with a set of 3D stars shooting out from behind you. The crease in your trousers is sharp, or the seam in your stockings is straight as an arrow. You’re two-tone-toe-tapping-tastic man
Mostly ‘c’s. Hey man you ROCK. You are the cutting edge of the Rock n Roll scene, if you were filmed for a contemporary documentary, they’d be showing you walking in slow motion. People want your threads, your car and your company and your att-it-tu-de and the resin Elvis model in your garden. Your knowledge of the music is as big as your bargain bucket vinyl collection. Can I have your crocs?
Mostly ‘d’s. Slap your own a*se brother, blow over that stone jar and knock your own front teeth out with the headstock of a banjo and stick a bit of grass in the gap. Y’all got style y’all in a moonshine still. Zing goes the strings of your steel geeeeetar brother, hold them dungarees up with one strap, cos your intestines are made of lead to take all that shine.
Mostly ‘e’s. You got the Brylcreem bounce, your trouser creases are sharp, your suit is tailor made, and there’s a shine on your shoes so bright you can see someone else’s face in them. You have the Fabulous Cure and you can Growl when needed. They don’t mess with you cos you’re looking good you slaaaaaaaaaag.
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Dot…dot. Best tracks in the world ever ever to put the sausage in your roll for this issue are ‘She’s So Fine’ by the Cleftones, ‘My Babe’ Dakota Staton and The Fontaine Sisters ‘Take a Step’……..As we enter a new year peeps, remember, a Rock ‘n’ Roll Club is not just for Christmas…..At this point I would like to point out that other record labels, hair care products, pomades, beverages and motor vehicles, are available (although if the makers of Dax Wave and Groom are looking in)……Vic Vickers’ 1964 ‘Action Speaks Louder Than Words’, check it out. It sounds like the band had all gone and left him singing by himself at the end……..With Superman it was Kryptonite, Martian Manhunt it was fire, The Fonz it was liver. Me? The horrid ear splitting, teeth grinding, migraine inducing sound of the Hammond organ. Make----it----stop...........
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The next Bim Bam Boogie. Click flyer for details
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Hop to it. Record hops are usually where we take a break, and just go along to appreciate the music, natter and have a few dances. (Yes those with minds in the gutter, The Bettajive Review has it off at record hops………) Since the last issue, we have been to two such events. Diamond D’s club in Garforth, Yorks, had three DJs all stamping their own Rock n Roll authority on the night. ‘Sideburns’ Steve Mellor from the North West, joined Debbie Jo ‘Diamond D’ Wright and Phil ‘Rhythm Rooster’ Cork, filled several hours with some top tunage. D’s Record Hops are very occasional at the Garforth Social Club, the next being in March ’25.
At the end of December 2024, the Want2Jive organisation put on Bim Bam Boogie at Upton, near Pontefract. DJs Dancin’ Dave Baxter and guest Mark Thorpe, spun shiny circles and chunks of vinyl to a tidy headcount on a Sunday afternoon. Check out both organisations’ events readers, upcoming in March 2025
Readers, we are donor financed, which is how many of you are reading this magazine for free. If you would like to be pone of those donors, please use the button below
At the end of December 2024, the Want2Jive organisation put on Bim Bam Boogie at Upton, near Pontefract. DJs Dancin’ Dave Baxter and guest Mark Thorpe, spun shiny circles and chunks of vinyl to a tidy headcount on a Sunday afternoon. Check out both organisations’ events readers, upcoming in March 2025
Readers, we are donor financed, which is how many of you are reading this magazine for free. If you would like to be pone of those donors, please use the button below
Read about Hemsby #69 below and then check out this line up for Hemsby #70. Accommodation is sold out on site, but contact the Hemsby office to see how you can attend. Click flyer for details
hemsby #69
“It’s a sellout”. Three words that appeared many times across social media in the weeks leading up to the 69th Hemsby Rock n Roll Weekender up on the north Norfolk coast. Indeed, it looked every bit as much as we joined the end of a very long queue to check in on the Friday afternoon. The check in process, works like a well-oiled machine, and the whole procedure went very smoothly. So much so, that some people had to take a few bevvies to recover it seemed…
The site itself, belonging to the Richardsons group, continues to adjust and upgrade, with the accommodation really well appointed and spacious. Like many in latter days, thought has been given to the proximity of domicile and vehicular access, which in simple terms, means, you can park next to it. Ignition off, and that’s where you motor can stay for the duration.
New for this Hemsby, was an additional area, within the café, just for records. That ran in tandem with the live shows, and neither interfered with the other. We gather that this may well become a permanent feature in subsequent events. Anyway, enough of this frip-frap and him-ham, let’s get into the music.
The site itself, belonging to the Richardsons group, continues to adjust and upgrade, with the accommodation really well appointed and spacious. Like many in latter days, thought has been given to the proximity of domicile and vehicular access, which in simple terms, means, you can park next to it. Ignition off, and that’s where you motor can stay for the duration.
New for this Hemsby, was an additional area, within the café, just for records. That ran in tandem with the live shows, and neither interfered with the other. We gather that this may well become a permanent feature in subsequent events. Anyway, enough of this frip-frap and him-ham, let’s get into the music.
James Oliver
A debut to open the Friday evening, with Welsh guitar wizard James Oliver, backed by Mark Kemlo on drums and Tony Biggs on bass. Brandishing his Fender Telecaster, he took to the stage, clearly ready to rock. Would we be eased into the set, with some genteel picking? Would we Cymru! Straight into Johnny Burnette’s ‘Tear It Up’, which rattled along into ‘America Cars’. Even ‘Walk Don’t Run’ got given the Oliver treatment with extra mph. Already the jacket had gone, the glasses were constantly gravitating down his nose on a sweat slide, and quality just kept on coming
‘Real Gone Lover’ and ‘Voodoo Mumbo Jumbo’ followed along seamlessly before a bit more Rockabilly in the form of ‘Mean Little Mama’. Nothing should be taken away from the quality of the guitar work here, even the microphone stand was used as a slide to get that blues sound, and at times it sounded like there were two guitars on stage. A bundle of nervous energy is transferred into the stage show, which put us in mind of a combination of Wilko Johnson, the Ventures on steroids, with segues from Rhod Gilbert. So, you can imagine the Surfaris ‘Wipeout’ almost disappearing off the scale in intensity.
‘Sleepwalk’ along with ‘Miserlou’ and ‘Rumble’ added to the variety, with rockin’ classics ‘Honey Hush’ and ‘My Baby Left Me’ closing a smashing introduction of James Oliver’s music. He plays three hundred dates a year, so glad we got to see one of them.
‘Real Gone Lover’ and ‘Voodoo Mumbo Jumbo’ followed along seamlessly before a bit more Rockabilly in the form of ‘Mean Little Mama’. Nothing should be taken away from the quality of the guitar work here, even the microphone stand was used as a slide to get that blues sound, and at times it sounded like there were two guitars on stage. A bundle of nervous energy is transferred into the stage show, which put us in mind of a combination of Wilko Johnson, the Ventures on steroids, with segues from Rhod Gilbert. So, you can imagine the Surfaris ‘Wipeout’ almost disappearing off the scale in intensity.
‘Sleepwalk’ along with ‘Miserlou’ and ‘Rumble’ added to the variety, with rockin’ classics ‘Honey Hush’ and ‘My Baby Left Me’ closing a smashing introduction of James Oliver’s music. He plays three hundred dates a year, so glad we got to see one of them.
The Doel Brothers
Regaining our equilibrium after being metaphorically being shook by the ears, it was time for a gear switch, to the Hillbilly and Honky Tonk sounds of the Doel Brothers. Gordon (vocals and rhythm guitar) Tom (drums) and David (lead guitar and vocals) make up the brothers part, and they are joined by bassist Gary Boller and sliding the steel, Phil Morgan.
There’s a mix of classy covers and well-crafted original tracks, many sounding like they could have been discovered in a recording studio’s cellar in Tennessee, unexplored for six decades. One of their regular openers (at least the shows we’ve seen) originates from 1968, Johnny Champion’s ‘Beer Drinking Daddy’ which is a mood setting and bouncy duet. Pickin’ into the first of the originals, we had ‘Huntin’Honey’, and the title of their 2019 album, ‘Bottle on the Table’. There are few bands that recreate the Tennessee Ernie Ford sound better than this combo, and they’ve all but made ‘Kissin’ Bug Boogie’, their own. While we are flagging up the cover tunes, how about Faron Young’s ‘I Hear you Talking’ and Red Sovine/Lattie Moore’s top bop sound of ‘Juke Joint Johnny’.
The rest of the set was a veritable cherry pick from their impressive catalogue of originality ‘You Ain’t a Woman’ and ‘What’s the Matter Baby’ nudging for recognition. The sound was tight, the duetting vocals solid, in a well-received show.
There’s a mix of classy covers and well-crafted original tracks, many sounding like they could have been discovered in a recording studio’s cellar in Tennessee, unexplored for six decades. One of their regular openers (at least the shows we’ve seen) originates from 1968, Johnny Champion’s ‘Beer Drinking Daddy’ which is a mood setting and bouncy duet. Pickin’ into the first of the originals, we had ‘Huntin’Honey’, and the title of their 2019 album, ‘Bottle on the Table’. There are few bands that recreate the Tennessee Ernie Ford sound better than this combo, and they’ve all but made ‘Kissin’ Bug Boogie’, their own. While we are flagging up the cover tunes, how about Faron Young’s ‘I Hear you Talking’ and Red Sovine/Lattie Moore’s top bop sound of ‘Juke Joint Johnny’.
The rest of the set was a veritable cherry pick from their impressive catalogue of originality ‘You Ain’t a Woman’ and ‘What’s the Matter Baby’ nudging for recognition. The sound was tight, the duetting vocals solid, in a well-received show.
$lim $lip and the $liders
Friday night ended with a bang, and the return of $lim $lip and the $liders. The enigmatic Greg Escrader fronts the band, vocalist and rhythm guitarist, along with ace lead guitarist Andy Wren, Gary Griffin on drums and slapping the bass, Darren Richards. They announced themselves with an energetic take of Bobby Lollar’s 1958 rocker ‘Bad, Bad, Boy’ and Larry Dowd’s ‘Blue Swingin’ Mama’ was perfect for Greg’s vocal delivery.
With the crowd whipped up, song after song upped the ante. ‘Good Show But No Go’ and Charlie Feathers’ ‘One Hand Loose’ made way for a barn-burner instrumental, with Andy Wren featuring on Link Wray’s ‘Run Chicken Run’. It can sound a little disingenuous to big-up an instro track as one of the best in the show, but this kicked some serious keester. And if you wanted a bit more pace with your punch, Greg’s take of Ronnie Self’s ‘Bop A Lena’ would’ve fulfilled your frantic desire.
Andy took vocals on ‘Baby Oh Baby’ , the back to Greg with Troyce Key’s ‘Watch Your Mouth’ and the Jades’ ’64 cut ‘Blue Black Hair’. The haunting ‘Broken Heart’, as in the Moonlighters from ’58 sounded ace, as did ‘Slippin’ In’ which ended the show. Back they came for a crack at The Phantom’s spikey rocker ‘Love Me’. Welcome back to Hemsby, $$$
With the crowd whipped up, song after song upped the ante. ‘Good Show But No Go’ and Charlie Feathers’ ‘One Hand Loose’ made way for a barn-burner instrumental, with Andy Wren featuring on Link Wray’s ‘Run Chicken Run’. It can sound a little disingenuous to big-up an instro track as one of the best in the show, but this kicked some serious keester. And if you wanted a bit more pace with your punch, Greg’s take of Ronnie Self’s ‘Bop A Lena’ would’ve fulfilled your frantic desire.
Andy took vocals on ‘Baby Oh Baby’ , the back to Greg with Troyce Key’s ‘Watch Your Mouth’ and the Jades’ ’64 cut ‘Blue Black Hair’. The haunting ‘Broken Heart’, as in the Moonlighters from ’58 sounded ace, as did ‘Slippin’ In’ which ended the show. Back they came for a crack at The Phantom’s spikey rocker ‘Love Me’. Welcome back to Hemsby, $$$
LP and his Dirty White Bucks
I’m going to put this out there, Saturday’s line up, was probably the best and most complete in recent years. Every single act was on the toppermost form. We started in the afternoon with LP and his Dirty White Bucks.
You’ll be hard pushed to find bands that play this type of Rockabilly with such authenticity. Les Prendergast takes the vocals and rhythm guitar, with Dave Flynn on lead, Jim O’Neil on bass and drummer Trevor Collins. Not only does the musicality get the juices flowing, when the vocals start, it all comes together. The zippy tempo of Kenny Smith’s ‘I’m So Lonesome Baby’, opened the show, the perfect testament to the band’s style.
In a set that was like opening a treasure chest containing seminal Rockabilly classics, if we were to pick a couple standouts among equals, it would be Charlie Feathers’ ‘Rain’ and Clyde Arnold’s ‘Black Smoke, Blue Tears’. ‘Rain’ was a soul-stirring take on the original, heavy on the rhythm, while ‘Black Smoke, Blue Tears’ retained the desperate theme of the lyrics and the fiery tempo.
Something from 1970?? There were gasps and sharp intakes of breath at the very thought, even though Floyd Fletcher’s ‘Move on Down the Track’ has that early 50’s resonance. Their own ‘Man From Laramie’ along with Andy Anderson’s ‘Johnny Valentine’, Benny Cliff’s ‘Shake ‘em Up Rock’ and the somewhat obscure, but equally pleasing ‘Look Who’s Lonely’ (Carl Junior) made up an excellent set
You’ll be hard pushed to find bands that play this type of Rockabilly with such authenticity. Les Prendergast takes the vocals and rhythm guitar, with Dave Flynn on lead, Jim O’Neil on bass and drummer Trevor Collins. Not only does the musicality get the juices flowing, when the vocals start, it all comes together. The zippy tempo of Kenny Smith’s ‘I’m So Lonesome Baby’, opened the show, the perfect testament to the band’s style.
In a set that was like opening a treasure chest containing seminal Rockabilly classics, if we were to pick a couple standouts among equals, it would be Charlie Feathers’ ‘Rain’ and Clyde Arnold’s ‘Black Smoke, Blue Tears’. ‘Rain’ was a soul-stirring take on the original, heavy on the rhythm, while ‘Black Smoke, Blue Tears’ retained the desperate theme of the lyrics and the fiery tempo.
Something from 1970?? There were gasps and sharp intakes of breath at the very thought, even though Floyd Fletcher’s ‘Move on Down the Track’ has that early 50’s resonance. Their own ‘Man From Laramie’ along with Andy Anderson’s ‘Johnny Valentine’, Benny Cliff’s ‘Shake ‘em Up Rock’ and the somewhat obscure, but equally pleasing ‘Look Who’s Lonely’ (Carl Junior) made up an excellent set
MFC Chicken
MFC Chicken, is it an anagram, a brand or an enigma? Who knows, as these four chaps all but exploded on to the Hemsby stage. It would be easy to dismiss them as a novelty act singing ditties about chickens. Not ‘quite’ so, although if you’d have heard the frantic vibe of ‘KFC Called the Cops on Me’, you could be persuaded otherwise. The pace of that tune was relentless. Similarly, ‘Voodoo Chicken’ with it’s blistering guitar solos complemented by a howling sax break. Slightly slower was ‘Spy Wail’, at just under two minutes, a fine piece of instrumental dexterity, which had Duane Eddy feel about it (for me anyway).
‘Bear Sized Skeeters’ a curious thread for a song I think you’ll agree, however, jolly enough for a shoutback chorus, popular with the crowd. And ‘Lake Bears’? Again prompting lip pursing and chin scratching at the motivation behind the subject matter, but as the chorus went, ‘OO Wee’. Interestingly ‘F**k U Me’ had a rather bitter tone to the lyrics and an angry delivery, I suppose befitting the title. Any band that can make an overture to a pair of ‘New Socks’ deserves all the plaudits that come their way.
‘Chicken Stack’, ‘Colonel Sanders’, ‘Chicken Crazy’ and ‘Chicken Baby’ kept up the poultry theme, in a set that was waaaay out there. Which all said and done wasn’t a bad place to be for forty five minutes or so.
‘Bear Sized Skeeters’ a curious thread for a song I think you’ll agree, however, jolly enough for a shoutback chorus, popular with the crowd. And ‘Lake Bears’? Again prompting lip pursing and chin scratching at the motivation behind the subject matter, but as the chorus went, ‘OO Wee’. Interestingly ‘F**k U Me’ had a rather bitter tone to the lyrics and an angry delivery, I suppose befitting the title. Any band that can make an overture to a pair of ‘New Socks’ deserves all the plaudits that come their way.
‘Chicken Stack’, ‘Colonel Sanders’, ‘Chicken Crazy’ and ‘Chicken Baby’ kept up the poultry theme, in a set that was waaaay out there. Which all said and done wasn’t a bad place to be for forty five minutes or so.
Jack and the Real Deals
Playing before the break between afternoon and evening sessions perennial favourites, Jack and the Real Deals. Jon-Jack Boxwell takes the vocals and rhythm guitar strumming, with Dave Kopke on bass, Simon ‘Sid’ Farley on lead guitar and drummer Andy Turner. This line up has been consistent for several years now and it shows in the performance.
A typically energetic set opened with the Collins Kid’s ‘Whistle Bait’, just one of the covers expertly delivered, that sit well alongside their own back catalogue. ‘Moth to a Flame’ is one such fine example, which appeared early doors, and ‘Chain Gang Blues’, the title track of their CD from 2015. Plenty of hip action in the demonstrative presentation of Johnny Burnette’s ‘Lonesome Tears in my Eyes’, and slowing it down a bit with a more genteel delivery of the Davis Twins ‘My Blackbirds are Bluebirds Now’.
Sid’s, audience shout-back tune ‘Everybody Move Around’ was successfully executed by the crowd, eventually, and a fine rocker it is too. The Crickets’ ‘Love Made a Fool of You’ sounded ace, as did Gene Simmons’ ‘Chains of Love’ and ‘Sweet Sweet Girl’. It’s almost a gimmie that they’d play an encore and the Phantom’s ‘Love Me’ fair rattled the rafters, ending a smashing show.
A typically energetic set opened with the Collins Kid’s ‘Whistle Bait’, just one of the covers expertly delivered, that sit well alongside their own back catalogue. ‘Moth to a Flame’ is one such fine example, which appeared early doors, and ‘Chain Gang Blues’, the title track of their CD from 2015. Plenty of hip action in the demonstrative presentation of Johnny Burnette’s ‘Lonesome Tears in my Eyes’, and slowing it down a bit with a more genteel delivery of the Davis Twins ‘My Blackbirds are Bluebirds Now’.
Sid’s, audience shout-back tune ‘Everybody Move Around’ was successfully executed by the crowd, eventually, and a fine rocker it is too. The Crickets’ ‘Love Made a Fool of You’ sounded ace, as did Gene Simmons’ ‘Chains of Love’ and ‘Sweet Sweet Girl’. It’s almost a gimmie that they’d play an encore and the Phantom’s ‘Love Me’ fair rattled the rafters, ending a smashing show.
Scotty Baker
The evening line up was just a dream, starting with another returning artist. Scotty Baker, from Victoria, Australia, has been a regular to these shores for over a decade now. His style involves a significant back catalogue of original material, taking influences from Rockabilly and a bit of good ol’ country music. Backed as always by the Doel Brothers, the go-to guys for Britain based shows, he hit the ground running with the embittered lyrics of ‘Wasted my Name’, a punchy rocker about a bad marriage.
Enthusiastically strumming the Martin acoustic, Scotty tore through his material, delighting the crowd with stuff from his debut album, like ’50 Buick’ and fresh songs which will make up a new release soon like ‘Big Black Chrysler’, ‘Evil Ava’ and ‘Silver Fox’. On the strength of hearing those three numbers, it’s gonna be another good one. ‘Move to the City’ with it’s aspirational lyrics, the supersmooth automotive ‘Bump Stops’ and retrospective ‘Hanks Cadillac’ all hit the spot.
I got the impression from some of the crowd, that they were waiting for something in particular, from Scotty. Tantalising as it was, eventually he recounted ‘Pop the Question’ with added sax from the youngest Doel on stage, Faron. That tune is a monster hit throughout clubland in the UK, and so it was at Hemsby. I’d also like to flag up ‘Ladykiller’, which was a real butt-kicker of a track, and ‘Let Yourself Go’ could’ve been from an Elvis film in the early 60’s. It’s always a treat to see a Scotty Baker show, at times during the pandemic while doing his online Elvis shows, many wondered if we’d get to witness shows like the live one at Hemsby. Thank your lucky bump stops.
Enthusiastically strumming the Martin acoustic, Scotty tore through his material, delighting the crowd with stuff from his debut album, like ’50 Buick’ and fresh songs which will make up a new release soon like ‘Big Black Chrysler’, ‘Evil Ava’ and ‘Silver Fox’. On the strength of hearing those three numbers, it’s gonna be another good one. ‘Move to the City’ with it’s aspirational lyrics, the supersmooth automotive ‘Bump Stops’ and retrospective ‘Hanks Cadillac’ all hit the spot.
I got the impression from some of the crowd, that they were waiting for something in particular, from Scotty. Tantalising as it was, eventually he recounted ‘Pop the Question’ with added sax from the youngest Doel on stage, Faron. That tune is a monster hit throughout clubland in the UK, and so it was at Hemsby. I’d also like to flag up ‘Ladykiller’, which was a real butt-kicker of a track, and ‘Let Yourself Go’ could’ve been from an Elvis film in the early 60’s. It’s always a treat to see a Scotty Baker show, at times during the pandemic while doing his online Elvis shows, many wondered if we’d get to witness shows like the live one at Hemsby. Thank your lucky bump stops.
Ray Collins Hot Club
The stage then filled up, as did stage front, for Ray Collins Hot Club. Think there’s nine players in the band, you have brass, strings, eighty-eight keys and percussion, making the phattest sound. A blasting instrumental track opened the show, with ‘Give It Up’ and it’s duelling trumpet and saxophone sound. The jazzy lilt of ‘1 to 5 Jive’ had the whole house jumping especially for those close to the stage, who became acquainted with Doc Puky’s sax up-close-and-personal.
From the same 2017 album came ‘Gina’, a nippy toe-tapper, which set up an off-the-scale, hand clapper of an instrumental. ‘Get a Move on it’ was full of energy, wailing sax and trumpet for over three breathless minutes. ‘Hi-Fi Phono’ had a raw edged Rock ‘n’ Roll sound to it. Foot off the gas for a bit with ‘There Goes My Pride’.
A bit like the previous show, there was an anticipation among the crowd for certain songs, and they duly obliged. ‘Barefoot’ almost took the roof off the Hemsby ballroom, the crowd swaying in time. Then up popped the ever-popular ‘Seven Years in a Coffin’, followed expertly by ‘Is This Love’. Could the set reach any more of a crescendo? Well, how about ‘Knockout Boogie’? That’ll end the show with a bang for sure, that is, apart from the encore, which was a new song, from an upcoming album ‘Half Drunk’. Cracking show once again from the German combo.
From the same 2017 album came ‘Gina’, a nippy toe-tapper, which set up an off-the-scale, hand clapper of an instrumental. ‘Get a Move on it’ was full of energy, wailing sax and trumpet for over three breathless minutes. ‘Hi-Fi Phono’ had a raw edged Rock ‘n’ Roll sound to it. Foot off the gas for a bit with ‘There Goes My Pride’.
A bit like the previous show, there was an anticipation among the crowd for certain songs, and they duly obliged. ‘Barefoot’ almost took the roof off the Hemsby ballroom, the crowd swaying in time. Then up popped the ever-popular ‘Seven Years in a Coffin’, followed expertly by ‘Is This Love’. Could the set reach any more of a crescendo? Well, how about ‘Knockout Boogie’? That’ll end the show with a bang for sure, that is, apart from the encore, which was a new song, from an upcoming album ‘Half Drunk’. Cracking show once again from the German combo.
Big Sandy and the Flyrite Boys
Where do we go from there? Big Sandy and the Flyrite Boys, brought their unique brand of Anaheim CA Rockabilly back to the Hemsby stage. The charismatic Big Sandy himself, a little hoarse in voice, takes the vocals, with Wally Hersom on bass, Ashley Kingman on lead guitar and drummer Ricky McCann.
There are never two Big Sandy sets the same, they have a wealth of their own material, and many are latter day classics. Taking ‘Hold Me’ in isolation, a peach of a tune scarily from over thirty years ago. One that became a floor filler almost instantly, when ‘new stuff’ didn’t always make such an impact, against 50’s songs. We had that later in the set, and the go-to for many DJs, ‘Chalk it up to the Blues’, from ‘It’s Time’, again, equally eyebrow-raisingly from twenty one years ago.
‘Blackberry Wine’ with it’s catchy guitar ‘hook’, and the stroll sound of ‘Sweet Kinda’, set the scene for the likes of ‘If You Should Come Back to me Today’, and the touching ‘Spanish Dagger’. Another super-smooth song vie-ing for attention was the cover of Freddie Fender’s exceptional Country cross-over ballad, ‘Before the Next Teardrop Falls’ (he made it a #1 in 1975, although the song was written in ’67).
Add to that, one side of the Ruby Records release ‘Fine Fine Superfine’, from the Flyrite Trio days, ‘Miss Tracy’ and for the encore, the sublime ‘Love That Man’. Smashing set to end Saturday.
There are never two Big Sandy sets the same, they have a wealth of their own material, and many are latter day classics. Taking ‘Hold Me’ in isolation, a peach of a tune scarily from over thirty years ago. One that became a floor filler almost instantly, when ‘new stuff’ didn’t always make such an impact, against 50’s songs. We had that later in the set, and the go-to for many DJs, ‘Chalk it up to the Blues’, from ‘It’s Time’, again, equally eyebrow-raisingly from twenty one years ago.
‘Blackberry Wine’ with it’s catchy guitar ‘hook’, and the stroll sound of ‘Sweet Kinda’, set the scene for the likes of ‘If You Should Come Back to me Today’, and the touching ‘Spanish Dagger’. Another super-smooth song vie-ing for attention was the cover of Freddie Fender’s exceptional Country cross-over ballad, ‘Before the Next Teardrop Falls’ (he made it a #1 in 1975, although the song was written in ’67).
Add to that, one side of the Ruby Records release ‘Fine Fine Superfine’, from the Flyrite Trio days, ‘Miss Tracy’ and for the encore, the sublime ‘Love That Man’. Smashing set to end Saturday.
Your host, Bill Guntrip
Dot…..dot. Best tracks at Hemsby in the world ever ever to honk your horn for this event ‘Trollin’ by Boots Brown and the Blockbusters, The Robins’ ‘That Old Black Magic’ and ‘You’re Gone’ by Rudy Grayzell ……Sunday morning, as usual at November’s Hemsby, a Sunday service of Remembrance took place, a solemn and impeccably observed tribute by veterans and general people alike……Big up to MC Spencer Evoy, an articulate and animated bundle of enthusiasm, who left many a grin on peoples faces……Have you noticed at a weekender, a lot of people's voices, by Sunday morning, sound like they have gargled glass and nails?......
At this point we should pay tribute to the DJs at Hemby 69. From the ‘Meet and Greet’ sessions with Richie Guest throughout, the tunes were top drawer. Quick run-down of the disc spinners for you, deep breath, and dispatch style mentions for Steve ‘Stack o Wax’ , Vanessa, George and Jimmy Guntrip, Mark & Dave ‘Flattop Brothers’ Phillips, Trev & Dave Collins Kids and Tojo. Splendid stuff.
At this point we should pay tribute to the DJs at Hemby 69. From the ‘Meet and Greet’ sessions with Richie Guest throughout, the tunes were top drawer. Quick run-down of the disc spinners for you, deep breath, and dispatch style mentions for Steve ‘Stack o Wax’ , Vanessa, George and Jimmy Guntrip, Mark & Dave ‘Flattop Brothers’ Phillips, Trev & Dave Collins Kids and Tojo. Splendid stuff.
The Honkabillies
The final day’s live entertainment, started with a highly entertaining jam session. People randomly jumping up on stage from the audience and belting out some fine tunes. They were followed by the ever-dependable Honkabillies. Frankie Riedel takes lead vocals and rhythm guitar, with Frankie Junior on lead guitar, Claire Riedel on drums and bassist Sam French. They usually start off with some kind of set list, however the show is usually quite immersive and interactive, so requests are almost encouraged.
The down and gritty sound of ‘Bye Bye Baby’ (no, not the Bay City Rollers!), and the brighter admiration theme of the BR549’s ‘Bettie Bettie’ were at either end of the variety spectrum in an expertly crafted set. The barn-burner ‘Drinkin’, Hidin, Runnin’ injected pace and punch, tempered by Johnny Horton’s ‘One Woman Man’. Another mainstay of a Honkabillies’ set, right from the ‘Doggone’ days, Joe Turner’s ‘Chicken and the Hawk’, also nudged for attention. And there’s always room for Johnny Cash’s ‘Big River’, and a belting version of Wayne Hancock’s ‘A Town Blues’.
A massively well received set, was rewarded with another of their regular covers, a kicking take on the Delmore Brothers’ ‘Freight Train Boogie’. Top entertainment, covering many types of rocking sounds.
The down and gritty sound of ‘Bye Bye Baby’ (no, not the Bay City Rollers!), and the brighter admiration theme of the BR549’s ‘Bettie Bettie’ were at either end of the variety spectrum in an expertly crafted set. The barn-burner ‘Drinkin’, Hidin, Runnin’ injected pace and punch, tempered by Johnny Horton’s ‘One Woman Man’. Another mainstay of a Honkabillies’ set, right from the ‘Doggone’ days, Joe Turner’s ‘Chicken and the Hawk’, also nudged for attention. And there’s always room for Johnny Cash’s ‘Big River’, and a belting version of Wayne Hancock’s ‘A Town Blues’.
A massively well received set, was rewarded with another of their regular covers, a kicking take on the Delmore Brothers’ ‘Freight Train Boogie’. Top entertainment, covering many types of rocking sounds.
Barrence Whitfield
The MFC Chicken lads took to the stage for the second time this Hemsby. This time it was as a backing band for Barrence Whitfield, who was bringing his unique style back to the UK. He made an immediate impact, with a take-no-prisoners vocal approach to the ball-busting sound of ‘Bloody Mary’. This was from the mid-80’s, as in Barrence Whitfield and the Savages, and sounded every bit as fresh close to forty years later.
Many of the dancefloor favourites featured, many a stroll has been strolled to ‘Big Mamou’ for one example. The tempo was dialled up for Big T Tyler’s ’57 Alladin cut ‘King Kong’ and Ba Ba Thomas’ ‘Miss Shake It’. From the verbal segues from Barrence, we noted his appreciable grasp of English ‘colloquialisms’ shall we say. Young Jessie’s ‘I Smell a Rat’ was next, which was accompanied by a gem of a moment in time. As soon as he opened with ‘I Smell a Rat’, the whole room replied with an impromptu ‘I Smell a Rat Baby’. That went on for a couple of times before the band launched into the song proper.
The crowd were bouncing throughout as song after song drew loud cheers. ‘Bip, Bop, Bip’ tore it up, ‘Hi Fi Baby’ and the rather un-PC ‘Big Fat Mamma’ set up a crescendo of the screamfest ‘Stop Twistin’ My Arm’ and a top drawer take of ‘Georgia Slop’. Outstanding show.
Many of the dancefloor favourites featured, many a stroll has been strolled to ‘Big Mamou’ for one example. The tempo was dialled up for Big T Tyler’s ’57 Alladin cut ‘King Kong’ and Ba Ba Thomas’ ‘Miss Shake It’. From the verbal segues from Barrence, we noted his appreciable grasp of English ‘colloquialisms’ shall we say. Young Jessie’s ‘I Smell a Rat’ was next, which was accompanied by a gem of a moment in time. As soon as he opened with ‘I Smell a Rat’, the whole room replied with an impromptu ‘I Smell a Rat Baby’. That went on for a couple of times before the band launched into the song proper.
The crowd were bouncing throughout as song after song drew loud cheers. ‘Bip, Bop, Bip’ tore it up, ‘Hi Fi Baby’ and the rather un-PC ‘Big Fat Mamma’ set up a crescendo of the screamfest ‘Stop Twistin’ My Arm’ and a top drawer take of ‘Georgia Slop’. Outstanding show.
The Revolutionaires
The Revolutionaires stepped up to take the place of the Extraordinaires, who were unable to perform. Well, some were not, more later. The Revolutionaires had their larger line up, which incorporated extra brass and piano into the house rocking blues sound. The set commenced with a standout instro track that has graced many-a Revolutionaires set recently. The Mar-Keys ‘Last Night’ stroll sound clearly still evokes the images of the closing credits to ‘Bottom’ among some of the crowd of a certain age.
The vocal material is the staple of a Revs gig, with lead singer and lead guitarist Ed Stephenson taking on Moon Mullican’s ‘Seven Nights to Rock’, the evergreen ‘Kansas City’ and their blues bop take of the Robins’ ‘Riot in Cell Block #9’. The first guest appearance brought Gee, to the stage, who looked suspiciously like Gabriel from the afore-mentioned Extraordinaires. Smashing version of the Five Keys ‘It’s a Groove’ from him, before giving way to Fifi, who took on LaVern’s ‘Tweedle Dee’. Joining forces as a duet, named the Treats, they took on ‘Let the Good Times Roll’ in the Shirley and Lee style. A considerably accomplished version it was too, the Treats lived up to their name for sure.
The Revs retook the reins, busting some fine resonance, with ‘Eddie’s Jump’. This is an instrumental tune, soaked in harmonica against a thumping backbeat, the latter part of which is a real foot stomper. Steve Croft on the eighty-eight keys, tore into some serious boogie-woogie with a ‘Shakin Mother For Ya’ sound, before some serious surf guitar, heralded the arrival of Dick Dale’s ‘Miserlou’.
With ‘Shake Your Hips’ closing the set and ‘Jump For Joy’ a well earned encore, the live acts concluded for Hemsby 69. The quality of the music at this Hemsby would ring in the ears from that point, right up to my writing this review. Bill Guntrip and his team assembled some of the finest acts on the music circuit, and put them all on in one festival, the results of which were outstanding. Hemsby 70 is already selling well, and promises to be another banger. So don’t delay!
Help us keep our magazine free to read by dropping us a donation by using the button below. Many thanks
The vocal material is the staple of a Revs gig, with lead singer and lead guitarist Ed Stephenson taking on Moon Mullican’s ‘Seven Nights to Rock’, the evergreen ‘Kansas City’ and their blues bop take of the Robins’ ‘Riot in Cell Block #9’. The first guest appearance brought Gee, to the stage, who looked suspiciously like Gabriel from the afore-mentioned Extraordinaires. Smashing version of the Five Keys ‘It’s a Groove’ from him, before giving way to Fifi, who took on LaVern’s ‘Tweedle Dee’. Joining forces as a duet, named the Treats, they took on ‘Let the Good Times Roll’ in the Shirley and Lee style. A considerably accomplished version it was too, the Treats lived up to their name for sure.
The Revs retook the reins, busting some fine resonance, with ‘Eddie’s Jump’. This is an instrumental tune, soaked in harmonica against a thumping backbeat, the latter part of which is a real foot stomper. Steve Croft on the eighty-eight keys, tore into some serious boogie-woogie with a ‘Shakin Mother For Ya’ sound, before some serious surf guitar, heralded the arrival of Dick Dale’s ‘Miserlou’.
With ‘Shake Your Hips’ closing the set and ‘Jump For Joy’ a well earned encore, the live acts concluded for Hemsby 69. The quality of the music at this Hemsby would ring in the ears from that point, right up to my writing this review. Bill Guntrip and his team assembled some of the finest acts on the music circuit, and put them all on in one festival, the results of which were outstanding. Hemsby 70 is already selling well, and promises to be another banger. So don’t delay!
Help us keep our magazine free to read by dropping us a donation by using the button below. Many thanks
Hot Rock n Boogie #6, great line up
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Click flyers for details
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Gene Gambler and the Shufflers
Chezzy Shuffle.
Chesterfield Rock n Roll Club concluded their live gigs for 2024 with a classic, at the Dronfield Contact Club (close enough to Chesterfield, but near Sheffield). Up from Wales, came Gene Gambler and the Shufflers, fronted by David ‘Gene’ Williams on vocals and rhythm guitar. He was joined by Rob Nedin on lead guitar, Tony Biggs on bass, drummer Mark Kemlo and occasionally on piano, Billy Williams.
As usual, Andy B and Steve O kept the floor moving, with just a sprinkling of festive rockers, and a whole host of top drawer danceable ditties.
Pick your favourite Sun, Starday, Capitol et al, tracks and artists and these lads do as good a job as anyone replicating them. And all in a professional and light-heartedly engaging way. David is always the animated frontman, back and forth across the stage, with just the right lilt to his voice, for the likes of Carl Perkins’ ‘Sweethearts a Stranger’ for example. They can rock it up with the best of them, taking a truly definitive Rockabilly classic, Charlie Feathers’ ‘Stutterin’ Cindy’, and asking no quarter in delivery.
Jack Huddle’s ‘Starlight, Starbright’ sounded superb, Groovy Joe’s ‘Careful Baby’ filled the floor, and their cover of Sonny Burgess’ ‘Find My Baby for Me’ remains pretty much unsurpassed. They write a decent tune themselves as well, and no finer example there’d be than ‘Crazy Over You’.
Ben Hewitt’s ‘For Quite a While’ was a classy jaunt, and slowing it down a bit, the afore mentioned Charlie Feathers’ ’57 King cut ‘Too Much Alike’. From the powerful rockers like ‘We Wanna Boogie’ to the heartfelt ‘I Was a Fool’ and most points in between, this was a vintage Gene Gambler show, full of musical delights and interactive banter.
Another smashing night at Chezzy, concluding a fine year (which saw them have to switch venues), with the gigs shaping up for another in 2025. Check future listings on our site.
Chesterfield Rock n Roll Club concluded their live gigs for 2024 with a classic, at the Dronfield Contact Club (close enough to Chesterfield, but near Sheffield). Up from Wales, came Gene Gambler and the Shufflers, fronted by David ‘Gene’ Williams on vocals and rhythm guitar. He was joined by Rob Nedin on lead guitar, Tony Biggs on bass, drummer Mark Kemlo and occasionally on piano, Billy Williams.
As usual, Andy B and Steve O kept the floor moving, with just a sprinkling of festive rockers, and a whole host of top drawer danceable ditties.
Pick your favourite Sun, Starday, Capitol et al, tracks and artists and these lads do as good a job as anyone replicating them. And all in a professional and light-heartedly engaging way. David is always the animated frontman, back and forth across the stage, with just the right lilt to his voice, for the likes of Carl Perkins’ ‘Sweethearts a Stranger’ for example. They can rock it up with the best of them, taking a truly definitive Rockabilly classic, Charlie Feathers’ ‘Stutterin’ Cindy’, and asking no quarter in delivery.
Jack Huddle’s ‘Starlight, Starbright’ sounded superb, Groovy Joe’s ‘Careful Baby’ filled the floor, and their cover of Sonny Burgess’ ‘Find My Baby for Me’ remains pretty much unsurpassed. They write a decent tune themselves as well, and no finer example there’d be than ‘Crazy Over You’.
Ben Hewitt’s ‘For Quite a While’ was a classy jaunt, and slowing it down a bit, the afore mentioned Charlie Feathers’ ’57 King cut ‘Too Much Alike’. From the powerful rockers like ‘We Wanna Boogie’ to the heartfelt ‘I Was a Fool’ and most points in between, this was a vintage Gene Gambler show, full of musical delights and interactive banter.
Another smashing night at Chezzy, concluding a fine year (which saw them have to switch venues), with the gigs shaping up for another in 2025. Check future listings on our site.
Check out this line up for the first Rave at the new venue. Places are going fast peeps. Click flyer for details
interview with mary lee and caesar's cowboys
Rhythm Riot 2024, in the afternoon, the crowd in the Lounge Bar were treated to some truly fine Westen Swing from the 1930’s & 1940’s. The band were Mary Lee and & Caesar’s Cowboys from Italy. So, we seized the opportunity to set up an interview with them. (pictures supplied by the band taken by Marco della Pasqua, with the exception of Rhythm Riot, which is from our own library)
BJR. Rhythm Riot 2024, was our introduction to your band. Tell us how long you have been together
MLCC. With the current band members we have been together since fall 2022. However, Luciano Micheli (the guitarist) and Mary Lee (vocals, fiddle) have been performing together since 2018 with their former country music projects.
BJR. Who had the original idea of the band and the style of music you were going to be playing?
MLCC. Luciano and Mary Lee discovered the genre together. They fell in love with western swing for its cheerful sound as well as the artistic creativity it offers with its blend of traditional jazz, blues and folk.
BJR. And let’s give a shout-out to the other personnel in the band
MLCC.
Marjolein Mutsaerts (Mary Lee) started playing classical violin at the age of 4 with the “Suzuki” method, which allowed her to develop a good ear for intonation and sound. She started jazz improvising and singing in her twenties with a Dutch band (Matou), playing gypsy jazz, swing and old-time blues. When she met Luciano Micheli in 2018, she dove into country music.
Luciano Micheli is the guitar player and co-founder of the band, he loves playing jazz, blues, soul and country music; in these last years he also became a good drummer and continues studying jazz, his biggest passion.
Federico Ullo was the first musician to join us, an excellent and powerful bass player, with a deep knowledge of american roots music and rockabilly.
Flavio Pasquetto is one of the best steel guitar players in Europe and toured the US with Asleep At The Wheel. His style is a mix of country music and jazz (he plays jazz guitar as well), which fits perfectly to our sound. The music of “Westlake Bay” is his work.
Simone Scifoni is a stunning ragtime and blues piano player. He produced our album under his label “Bloos Records”. He wrote the music of “My Boogie Man”.
Our drummer Alessandro “Alex” Cipollari has great swing and old school sound, while he is also a phenomenal jump and boogie guitar player. This means that we can do a magic trick: Alex exchanges instruments with Luciano and starts singing and playing, it’s a lot of fun!
BJR. Which artists would you say were the most influential over the years (modern as well as original artists)
MLCC. One of the most influential original western swing artists were Bob Wills and the Texas Playboys, Milton Brown and his Musical Brownies, Light Crust Doughboys, Spade Cooley & His Orchestra with Tex Williams, Cindy Walker, Hank Thompson, Merle Travis and many others. As from the 1970s, Merle Haggard, Asleep At The Wheel and Commander Cody, among others brought an important revival of the musical genre, that we still enjoy today.
BJR. Rhythm Riot 2024, was our introduction to your band. Tell us how long you have been together
MLCC. With the current band members we have been together since fall 2022. However, Luciano Micheli (the guitarist) and Mary Lee (vocals, fiddle) have been performing together since 2018 with their former country music projects.
BJR. Who had the original idea of the band and the style of music you were going to be playing?
MLCC. Luciano and Mary Lee discovered the genre together. They fell in love with western swing for its cheerful sound as well as the artistic creativity it offers with its blend of traditional jazz, blues and folk.
BJR. And let’s give a shout-out to the other personnel in the band
MLCC.
Marjolein Mutsaerts (Mary Lee) started playing classical violin at the age of 4 with the “Suzuki” method, which allowed her to develop a good ear for intonation and sound. She started jazz improvising and singing in her twenties with a Dutch band (Matou), playing gypsy jazz, swing and old-time blues. When she met Luciano Micheli in 2018, she dove into country music.
Luciano Micheli is the guitar player and co-founder of the band, he loves playing jazz, blues, soul and country music; in these last years he also became a good drummer and continues studying jazz, his biggest passion.
Federico Ullo was the first musician to join us, an excellent and powerful bass player, with a deep knowledge of american roots music and rockabilly.
Flavio Pasquetto is one of the best steel guitar players in Europe and toured the US with Asleep At The Wheel. His style is a mix of country music and jazz (he plays jazz guitar as well), which fits perfectly to our sound. The music of “Westlake Bay” is his work.
Simone Scifoni is a stunning ragtime and blues piano player. He produced our album under his label “Bloos Records”. He wrote the music of “My Boogie Man”.
Our drummer Alessandro “Alex” Cipollari has great swing and old school sound, while he is also a phenomenal jump and boogie guitar player. This means that we can do a magic trick: Alex exchanges instruments with Luciano and starts singing and playing, it’s a lot of fun!
BJR. Which artists would you say were the most influential over the years (modern as well as original artists)
MLCC. One of the most influential original western swing artists were Bob Wills and the Texas Playboys, Milton Brown and his Musical Brownies, Light Crust Doughboys, Spade Cooley & His Orchestra with Tex Williams, Cindy Walker, Hank Thompson, Merle Travis and many others. As from the 1970s, Merle Haggard, Asleep At The Wheel and Commander Cody, among others brought an important revival of the musical genre, that we still enjoy today.
On stage at the Rhythm Riot in 2024
BJR. Do you recall your first performance as a band?
MLCC. Our first public performance with the full band was in the summer of 2023, in the heart of the city of Rome, Italy. However, we had already recorded videos together in December 2022.
BJR. In September ’24, you released the brilliantly titled debut album ‘See Ya Later, Gladiator!’. A collection of cover tunes along with the super-smooth ‘Westlake Bay’ and the toe-tapping beat of ‘My Boogie Man’. How do you approach a new song, does the medley or the lyrics come first.
MLCC. For both of our debut album’s original songs the melody was created first. We usually first think of the sound and style we’d like the song to have and then write lyrics that fit to the songs’ mood.
BJR. In October this year, you played the Riot and then in November the band toured in Texas. Tell us about your experiences with international festivals and audiences.
MLCC. Our shows abroad were fantastic experiences and great fun, mainly because of the lovely audiences! It is such a treat to be able to play your music in front of people who share the same passion and have special conversations after the shows, it feels like family. We especially enjoyed the response of the audience to our shows at these international festivals: people singing the lyrics with you as well as a lot of great dancing!
Apart from Rhythm Riot in the UK, our visit to Texas was of course a big 2024 highlight, to be able to perform in Fort Worth, the very town where western swing is born almost a century ago. There at the Cowtown Birthplace of Western Swing festival, we had the honour to have the legendary boogie-woogie pianist Floyd Domino on stage with us for the whole length of our two shows at the festival and to invite fantastic guest musicians on stage: Ginny Mac (on accordion, Paul Anastasio (fiddle) and Devon Dawson (yodel-singer and guitarist). Another special Texas memory is that a part of our Fort Worth audience followed us to our shows in Austin, Texas. On top, Mary Lee got invited by the talented band “The Honkytonk Wranglers” to join them on stage in the “Broken Spoke”, a famous historical honkytonk in Austin where the most legendary western swing and country music artists have performed.
BJR. Such a busy year, with so much happening within it. Have you had time to consider what’s next for the band? New recordings or tours?
MLCC. We just finished a new video for an inquiry from American television and we’re excited to share it public as soon as ABC TV has published it on their show. We also have plans to record some more original songs. Furthermore, this year we will perform in Mary Lee’s homeland: at the Feel the Fifties festival in The Netherlands. And what’s more, we’re excited to share that we’ve been invited back to Texas next fall (2025)!
BJR. Where can people contact you for further information?
MLCC. @maryleecaesarscowboys is our account name on Facebook, Instagram and YouTube. There we share our upcoming events as well as videos, and people can contact us via direct message there or send us an e-mail to [email protected].
BJR. Thank you for taking part in this interview and good luck for the future
Thank you very much for the invitation, much appreciated!
Best wishes from Mary Lee and Caesar’s Cowboys.
MLCC. Our first public performance with the full band was in the summer of 2023, in the heart of the city of Rome, Italy. However, we had already recorded videos together in December 2022.
BJR. In September ’24, you released the brilliantly titled debut album ‘See Ya Later, Gladiator!’. A collection of cover tunes along with the super-smooth ‘Westlake Bay’ and the toe-tapping beat of ‘My Boogie Man’. How do you approach a new song, does the medley or the lyrics come first.
MLCC. For both of our debut album’s original songs the melody was created first. We usually first think of the sound and style we’d like the song to have and then write lyrics that fit to the songs’ mood.
BJR. In October this year, you played the Riot and then in November the band toured in Texas. Tell us about your experiences with international festivals and audiences.
MLCC. Our shows abroad were fantastic experiences and great fun, mainly because of the lovely audiences! It is such a treat to be able to play your music in front of people who share the same passion and have special conversations after the shows, it feels like family. We especially enjoyed the response of the audience to our shows at these international festivals: people singing the lyrics with you as well as a lot of great dancing!
Apart from Rhythm Riot in the UK, our visit to Texas was of course a big 2024 highlight, to be able to perform in Fort Worth, the very town where western swing is born almost a century ago. There at the Cowtown Birthplace of Western Swing festival, we had the honour to have the legendary boogie-woogie pianist Floyd Domino on stage with us for the whole length of our two shows at the festival and to invite fantastic guest musicians on stage: Ginny Mac (on accordion, Paul Anastasio (fiddle) and Devon Dawson (yodel-singer and guitarist). Another special Texas memory is that a part of our Fort Worth audience followed us to our shows in Austin, Texas. On top, Mary Lee got invited by the talented band “The Honkytonk Wranglers” to join them on stage in the “Broken Spoke”, a famous historical honkytonk in Austin where the most legendary western swing and country music artists have performed.
BJR. Such a busy year, with so much happening within it. Have you had time to consider what’s next for the band? New recordings or tours?
MLCC. We just finished a new video for an inquiry from American television and we’re excited to share it public as soon as ABC TV has published it on their show. We also have plans to record some more original songs. Furthermore, this year we will perform in Mary Lee’s homeland: at the Feel the Fifties festival in The Netherlands. And what’s more, we’re excited to share that we’ve been invited back to Texas next fall (2025)!
BJR. Where can people contact you for further information?
MLCC. @maryleecaesarscowboys is our account name on Facebook, Instagram and YouTube. There we share our upcoming events as well as videos, and people can contact us via direct message there or send us an e-mail to [email protected].
BJR. Thank you for taking part in this interview and good luck for the future
Thank you very much for the invitation, much appreciated!
Best wishes from Mary Lee and Caesar’s Cowboys.
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Excellent line up for the 3rd Bomber Command event
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Click either flyer 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
Check out Razzle Dazzle Vintage at their shop in Lincolnshire and at the prominent events in the calendar this year
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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
Well I did say I was going to write 'Something controversial' didn't I?
