the bettajive review magazine #46
The Bettajive Review Magazine #46 is available to view. We have a review of the Rockabilly Rave #26 event at their new venue in Norfolk, featuring Marlene Perez of the Rhythm Shakers, (pictured above). We also have Shaun Horton at Chesterfield, record releases, an interview with Razzle Dazzle Vintage, giving and insight to what it's like to trade on the vintage scene, and the jolliness of the Bettajive Review itself. Keep checking back in the next few days folks
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Advertisers, there's still time to reach our many thousand users each month by placing an advert with us for just thirty of your English pounds, per issue. Or if you feel like donating to us, there's a link below. Many thanks
the bettajive review is 21 years old
Welcome everyone, to the 21st birthday of the Bettajive Review. Yes, dear and loyal readers, twenty-one years, as a ‘thing’. Many is the time that I’ve explained how it all got started, indeed it’s almost primitive by today’s standards. I was posting reviews in Sugardoll’s Diner, on the old MSN groups, where uploading a picture using dial-up could take quite some time and frustrate anyone trying to get hold of you on the phone. So, the blame for all this twaddle over the last 21 years, lays firmly with Emma ‘Sugardoll’😆
Then came the name in 2004, and contrary to some beliefs, it’s not based on ‘better jiver’. Nope, it’s from two parallel interests, a genus of fish called ‘betta’ that I kept and bred, and naturally, jive. So, there you are. Fifteen years of contributing to a printed magazine followed. We started this online magazine in 2019, six years online thus far, all through Covid, and back out there once it was all over. Years of us being down the front near the stage to get a photograph, getting jostled, goosed, bumped, barged, giving way to someone 6’6” in a Stetson who thinks they are liquid and can fit in a 12” square gap in front of me, next to another 6’6” in a Stetson, gobbed-on, deafened by screams, puked-on, crushed, squashed, compressed, crumpled, spilled-on, drunkenly been hugged, pushed, shoved and generally shat-upon.
For those who think it’s ‘just taking a few photos and then chatting to our mates and dancing’. Well, the photos are just the start. When the weekender or gig is over, the work starts for us, sometimes a write up about a weekender can take weeks to compile, research, reference, read and upload after we’ve trawled through hundreds of photos. That’s a hoot as well, a money shot of a particular artist, only see over their left shoulder, a ‘Mind the Step’ sign, or three backstage faces peeping through the curtain, in shot. Or the band that ad-libs, or the full-time pros that have no set list and sing their own stuff we’ve not heard before.
Anyhoo, here’s some randomness from the last twenty-one years, in dot…dot stylie (for you regulars)
Then came the name in 2004, and contrary to some beliefs, it’s not based on ‘better jiver’. Nope, it’s from two parallel interests, a genus of fish called ‘betta’ that I kept and bred, and naturally, jive. So, there you are. Fifteen years of contributing to a printed magazine followed. We started this online magazine in 2019, six years online thus far, all through Covid, and back out there once it was all over. Years of us being down the front near the stage to get a photograph, getting jostled, goosed, bumped, barged, giving way to someone 6’6” in a Stetson who thinks they are liquid and can fit in a 12” square gap in front of me, next to another 6’6” in a Stetson, gobbed-on, deafened by screams, puked-on, crushed, squashed, compressed, crumpled, spilled-on, drunkenly been hugged, pushed, shoved and generally shat-upon.
For those who think it’s ‘just taking a few photos and then chatting to our mates and dancing’. Well, the photos are just the start. When the weekender or gig is over, the work starts for us, sometimes a write up about a weekender can take weeks to compile, research, reference, read and upload after we’ve trawled through hundreds of photos. That’s a hoot as well, a money shot of a particular artist, only see over their left shoulder, a ‘Mind the Step’ sign, or three backstage faces peeping through the curtain, in shot. Or the band that ad-libs, or the full-time pros that have no set list and sing their own stuff we’ve not heard before.
Anyhoo, here’s some randomness from the last twenty-one years, in dot…dot stylie (for you regulars)
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We’d better start where we usually do. Best tracks in the world ever ever ensure your dick is well and truly spotted for this month are Johnny Otis ‘All Night Long’, ‘My Heart Gets Lonely’ by Eddie Skelton and ‘Patches on my Heart’ by Sonny Burns………There’s an anthem at some clubs and weekenders, ‘Pink and Black Cadillac’. The shouty chorus ‘Whooaa Oooaah’ bit, tempts the ladies onto their chairs, swishing skirts, and raising arms. But did no one, with the lady we once saw, who was oblivious to what was going on, with her Oh-Too-Short sweater, not think to tell her about the six inches of spare stomach that poked out every ‘Whooaa Oooaah’. What was holding the rest in? The collective will of everyone else in the hall, that’s what………
Collective nouns for aspects of the scene, let’s give that a go. Given their cooperative movements in unison, a Murmuration of Strollers perhaps? Let’s take it further, possibly a Drapery of Teds, a Plonk of Bass Players, a Twang of Guitarists. I would have said a Crash of Drummers, however that has already been allocated to a collection of Rhinoceri, and there’s no similarity between drummers and, erm, OK, a Crash of Drummers.
To continue, a Squeeeeeeze of Accordion players, a Tickle of Pianists, a Honk of Saxophonists, a Slide of Trombonists, a Parp of Trumpet Players, a Pick-up of Pedal Steel Guitarists, a Glissando of Piano players. How about a Filibuster of MCs, a Wax of DJs, a Jitterbop of Rockabillies, a Twerp of Modern Jivers, a Ninny of Charleston Strollers, a Click of Photographers, a Scrote of Rock n Roll Writers (when there is more than one in a room). An Aural of Sound Guys, and Illumination of Lighting Techs. Then perhaps, a Shuttlecock of people who wear Big Skirts, a Stress of Organisers, a Petroleum of Hot Rodders a Terpsichorey of Dancers. If any of these already have an allocated collective noun that you know of….good for you……...I was going to write an article on exaggeration on the Rock ‘n’ Roll scene, but that’s been done a million times already.
“Maybe Baby”, a great Buddy Holly song, but I think it could also be a brand name for a retro pregnancy test…….Once saw an ad for a ‘Rockin Restaurant’ at a weekender, advertising a big Rockin’ breakfast. What qualifies it to be ‘Rockin’? Tattooed Toast? Old Black Pudding, ‘billy bacon, eggs done Sun side up? And tea cups with key chains on them……..I was going to present an article on apathy on the Rock n Roll scene, but, couldn’t be a*sed……’You’re always on your phone at a weekender when the band is on’ someone said to me. ‘Yes, I’m taking notes to refer to later. Do you know if “annoying tw*t” has one “t” or two?’……Word is that Jerry Chatabox has returned to DJing. Going deep into the vaults at Chatabox Towers, he retrieved his records. Dusty, occasionally warped and in need of a good clean, Jerry Chatabox also DJ’d Hepcat Hop in Scotland…….
Collective nouns for aspects of the scene, let’s give that a go. Given their cooperative movements in unison, a Murmuration of Strollers perhaps? Let’s take it further, possibly a Drapery of Teds, a Plonk of Bass Players, a Twang of Guitarists. I would have said a Crash of Drummers, however that has already been allocated to a collection of Rhinoceri, and there’s no similarity between drummers and, erm, OK, a Crash of Drummers.
To continue, a Squeeeeeeze of Accordion players, a Tickle of Pianists, a Honk of Saxophonists, a Slide of Trombonists, a Parp of Trumpet Players, a Pick-up of Pedal Steel Guitarists, a Glissando of Piano players. How about a Filibuster of MCs, a Wax of DJs, a Jitterbop of Rockabillies, a Twerp of Modern Jivers, a Ninny of Charleston Strollers, a Click of Photographers, a Scrote of Rock n Roll Writers (when there is more than one in a room). An Aural of Sound Guys, and Illumination of Lighting Techs. Then perhaps, a Shuttlecock of people who wear Big Skirts, a Stress of Organisers, a Petroleum of Hot Rodders a Terpsichorey of Dancers. If any of these already have an allocated collective noun that you know of….good for you……...I was going to write an article on exaggeration on the Rock ‘n’ Roll scene, but that’s been done a million times already.
“Maybe Baby”, a great Buddy Holly song, but I think it could also be a brand name for a retro pregnancy test…….Once saw an ad for a ‘Rockin Restaurant’ at a weekender, advertising a big Rockin’ breakfast. What qualifies it to be ‘Rockin’? Tattooed Toast? Old Black Pudding, ‘billy bacon, eggs done Sun side up? And tea cups with key chains on them……..I was going to present an article on apathy on the Rock n Roll scene, but, couldn’t be a*sed……’You’re always on your phone at a weekender when the band is on’ someone said to me. ‘Yes, I’m taking notes to refer to later. Do you know if “annoying tw*t” has one “t” or two?’……Word is that Jerry Chatabox has returned to DJing. Going deep into the vaults at Chatabox Towers, he retrieved his records. Dusty, occasionally warped and in need of a good clean, Jerry Chatabox also DJ’d Hepcat Hop in Scotland…….
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More best tracks in the world ever ever to hash your browns, are ‘Rabbit Eye Pink, Charcoal Black’ by Boyd Bennett, Moon Mullican’s ‘Rock n Roll Mr Bullfrog’ and Betty McQuaide’s ‘Tongue Tied’. Education is important, and we should all strive to get a good one, so we don’t look stupid. But Rock n Roll is more importenter…….It always happens doesn’t it readers, you happen across a cracking track, and then find out you are the last person on the planet to discover it……Doo Wop especially, nearly every band is a definite article, i.e. ‘The’ and then their collective name. Makes you wonder, when you hear the few sides they cut in the 50’s, what happened to them, as some have every bit of vocal and musical talent that we associate with The Spaniels, The Cleftones, The Five Keys and so on……..
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Big up bonio bonus best tracks in the world ever ever to bring the beat to your feet are ‘Jelly Bean’ by Eddie Cochran, The Planet Rockers ‘Snakebit’, and The Platters ‘Darktown Strutters Ball’…….Gig nights readers, depending on distance, ready to leave at 6.30pm, drive to the gig, dance, watch the band, dance, watch the band, dance, complain that it’s finished, blether with people there after the lights come on at midnight until they kick us out, drive home, stop at a services for some scran and a coffee, get home, chill, shower and get to bed around 3.30 am, still buzzing. Normal week or school night, asleep in the chair by 8.30pm next to a cup of cold tea and the TV playing to itself!......I was going to present an article on procrastination in the Rock n Roll scene, but, well, *sigh*, I’ll do it, whenever…..
Ever have this conversation with your other half folks? Her:- ‘The Candy Fandies are on in Essex this weekend’ Him:- The whats?’ Her:- The Candy Fandies, Him:- Never heard of them’ Her:- ‘Yes you have, we saw them at the weekender last year, bloke with big hair is the lead singer. Him:- ‘Dunno ‘em’, Her:- ‘Yes you do, you said the bloke on the guitar looked around like him on the piano out of Sparks, staring around the room’ Him:- ‘Nope’, Her:- Yeah right, they did a version of ‘Matchbox’ that you said was great and they gave you a CD that you had them all sign’ Him:- ‘Still can’t place them’……..Her:- ‘Yes you can, they have that young woman who always wears tiny shorts and cropped tops, you and the lads’ eyes were out on stalks watching’ Him:- Ohhhh thaaat band, yeah I know who you mean’. Her:- Do you want to go and see them?’ Him:- ‘Nah, they’re sh*t’……..
Ever have this conversation with your other half folks? Her:- ‘The Candy Fandies are on in Essex this weekend’ Him:- The whats?’ Her:- The Candy Fandies, Him:- Never heard of them’ Her:- ‘Yes you have, we saw them at the weekender last year, bloke with big hair is the lead singer. Him:- ‘Dunno ‘em’, Her:- ‘Yes you do, you said the bloke on the guitar looked around like him on the piano out of Sparks, staring around the room’ Him:- ‘Nope’, Her:- Yeah right, they did a version of ‘Matchbox’ that you said was great and they gave you a CD that you had them all sign’ Him:- ‘Still can’t place them’……..Her:- ‘Yes you can, they have that young woman who always wears tiny shorts and cropped tops, you and the lads’ eyes were out on stalks watching’ Him:- Ohhhh thaaat band, yeah I know who you mean’. Her:- Do you want to go and see them?’ Him:- ‘Nah, they’re sh*t’……..
DON'T WAIT!
This year’s Rhythm Riot is super busy and all set to sell-out well in advance, so please book real soon if you want to join us.
These are your options right now...
1. Get together with your mates and grab one of the last available caravans - Blackbird, Gadwall or Swan (for 4-7 people) or Mandarin (for 6-8 people).
2. Add into your friends' booking - contact us any time to get your wristbands.
3. Bring your own Motorhome, Caravan or Campervan - book a pitch with electrical hook-up.
4. Go on the waiting list for 2-person or 3-person accommodation - drop us a message now.
RHYTHM RIOT!
9th-13th October 2025
Vauxhall Holiday Park, Great Yarmouth NR30 1TB, UK
The Rockabilly Rave #26
With the sun generously shining on North Norfolk at the end of March, all roads led to Great Yarmouth for the first Rockabilly Rave event to take place at the new venue. With the original venue at Pontins in Camber Sands literally dropping everyone like hot potatoes, the search was on for a new suitable place to hold the Rockabilly Rave. That came in the shape of the Vauxhall Holiday Park, owned by Parkdean Resorts. The site has the ‘runs on the board’ already, hosting many weekenders over the years, and indeed the Rhythm Riot a few months before. Sweeping in off the Acle Straight Road and parking up, the ambient sound was the multi-digit decibel sounds from the Rockin 247 Radio stand.
The maze-like layout of the camp site was the first hurdle, locating your accommodation though was fairly straightforward given that your signing in pack had a handy map within. Drawn in ink on it was the route to your digs. Gone is the hernia inducing heave up iron stairs for many. Gone is the lost soul taking three paces and looking plaintively left to right among identical chalets trying to find theirs. Gone is the accommodation that even Covid 19 couldn’t survive in. Gone are the days when my heart was young and gay, oh, hang on, I digress.
The caravan itself, is spacious, clean and on opening the door, bloomin’ warm. No problems with a penicillin growth at ceiling level, or an a*se-nipping toilet seat. No dear readers, this is the life, I wondered if some randomly bumped into things repeating ‘Does not compute’ given the previous quarter of a century and it’s annual challenges on the south coast. Anyway, enough of the comparisons, this is a new era for the Rockabilly Rave, for Jerry Chatabox and everyone attending.
It’s slightly different for the Bettajive Review this year as well. We have chosen who to review this year, not blanket coverage of every band in detail. We hope that this will give you a flavour of the live turns, some were random selections, some essential and others, well, just the law.
The maze-like layout of the camp site was the first hurdle, locating your accommodation though was fairly straightforward given that your signing in pack had a handy map within. Drawn in ink on it was the route to your digs. Gone is the hernia inducing heave up iron stairs for many. Gone is the lost soul taking three paces and looking plaintively left to right among identical chalets trying to find theirs. Gone is the accommodation that even Covid 19 couldn’t survive in. Gone are the days when my heart was young and gay, oh, hang on, I digress.
The caravan itself, is spacious, clean and on opening the door, bloomin’ warm. No problems with a penicillin growth at ceiling level, or an a*se-nipping toilet seat. No dear readers, this is the life, I wondered if some randomly bumped into things repeating ‘Does not compute’ given the previous quarter of a century and it’s annual challenges on the south coast. Anyway, enough of the comparisons, this is a new era for the Rockabilly Rave, for Jerry Chatabox and everyone attending.
It’s slightly different for the Bettajive Review this year as well. We have chosen who to review this year, not blanket coverage of every band in detail. We hope that this will give you a flavour of the live turns, some were random selections, some essential and others, well, just the law.
Dani West
We had opted for a Thursday arrival, especially as Dani West and the Southernaires and Marcel Riesco were on stage. The last time we saw Dani West, was in a club setting, and a rather under-populated one at that. This show had a larger head-count assembling stage front, for the opening few numbers from Rusti Steel, on rhythm guitar and steel guitar, Ian Speller on lead guitar, bassist Tony Biggs and drummer Paul Saunders.
With Rusti setting the pace with the likes of ‘All Night Rock’, ‘Sweethearts or Strangers’ and ‘How Come It’, the early arrivals congregated, with growing expectation for Dani’s arrival. Decked out in the coolest red western shirt with white flowers, Dani announced herself with ‘Why Don’t You Do Right’. Combining the almost scolding delivery of LaVern Baker’s ‘Whipper Snapper’, with the smooth Patsy Cline sound of ‘Let the Teardrops Fall’, there was a clear indication of the ease with which she could switch styles.
Adding some zing with another couple of Patsy sounds, ‘Got a Lot of Rhythm in My Soul’ was a delight, and even the quality of that was surpassed by a sublime take of ‘Turn the Cards Slowly’. Some mid-sixties country with Loretta Lynn’s ‘You Ain’t Woman Enough (to Take my Man), and winding back to ’62, Wanda Jackson’s ‘Whirlpool’. A duet? Why not then, Rusti and Dani take on Johnny and June (or Nancy and Lee if you prefer) on the failing marital theme within the lyrics of ‘Jackson’. And for sheer joy, Brenda Lee’s ‘If I’m Dreaming Let Me Dream’ complete with accompanying ‘Shabydabydoos’. Just an excellent start to the evening.
With Rusti setting the pace with the likes of ‘All Night Rock’, ‘Sweethearts or Strangers’ and ‘How Come It’, the early arrivals congregated, with growing expectation for Dani’s arrival. Decked out in the coolest red western shirt with white flowers, Dani announced herself with ‘Why Don’t You Do Right’. Combining the almost scolding delivery of LaVern Baker’s ‘Whipper Snapper’, with the smooth Patsy Cline sound of ‘Let the Teardrops Fall’, there was a clear indication of the ease with which she could switch styles.
Adding some zing with another couple of Patsy sounds, ‘Got a Lot of Rhythm in My Soul’ was a delight, and even the quality of that was surpassed by a sublime take of ‘Turn the Cards Slowly’. Some mid-sixties country with Loretta Lynn’s ‘You Ain’t Woman Enough (to Take my Man), and winding back to ’62, Wanda Jackson’s ‘Whirlpool’. A duet? Why not then, Rusti and Dani take on Johnny and June (or Nancy and Lee if you prefer) on the failing marital theme within the lyrics of ‘Jackson’. And for sheer joy, Brenda Lee’s ‘If I’m Dreaming Let Me Dream’ complete with accompanying ‘Shabydabydoos’. Just an excellent start to the evening.
Marcel Riesco
Marcel Riesco, now there’s a regular visitor to these shores. Rock n Roller, Roy Orbison historian, as well as sounding not unlike the Big O, and now add ‘dad’ to that list, Marcel set the pace launching into ‘This is the Night’. His voice is perfectly suited to the likes of Redd Stewart’s ‘Yes I’ve Come Back To You’ which is now a mainstay of his shows, and his deft vocal touch is apparent with Ronny Smith’s ‘Long Time, No Love’. Backing through the set was provided by Michael ‘Humpty’ Kirscht on bass and drummer Tony Hillebrandt.
Marcel’s own writing skills and musical composition are impressive, and so well demonstrated on the mellow sound of ‘Paper Heart’ which could have been an undiscovered Big O track. That led us in to a trio of corking covers, Huelyn Duvall’s ‘Pucker Paint’, Al Terry’s ‘Watchdog’ and from 1961, the ever-popular blues bopper, ‘You Don’t Love Me’ (Jay Swann). ‘Oh Yeah’ has a bright and breezy tempo, and a short but sweet duration, which gave way to Lee Dresser’s ‘El Camino Real’.
Bringing ace saxophonist, Kenny Tomlinson onto the stage for the finale, was a shrewd move given that the choice of song was Peanuts Wilson’s ‘Cast Iron Arm’. Just the right amount of rasping sax under the threatening tone of the song, ‘C’mon Boy’. Top drawer set from Marcel, varied and highly entertaining.
Marcel’s own writing skills and musical composition are impressive, and so well demonstrated on the mellow sound of ‘Paper Heart’ which could have been an undiscovered Big O track. That led us in to a trio of corking covers, Huelyn Duvall’s ‘Pucker Paint’, Al Terry’s ‘Watchdog’ and from 1961, the ever-popular blues bopper, ‘You Don’t Love Me’ (Jay Swann). ‘Oh Yeah’ has a bright and breezy tempo, and a short but sweet duration, which gave way to Lee Dresser’s ‘El Camino Real’.
Bringing ace saxophonist, Kenny Tomlinson onto the stage for the finale, was a shrewd move given that the choice of song was Peanuts Wilson’s ‘Cast Iron Arm’. Just the right amount of rasping sax under the threatening tone of the song, ‘C’mon Boy’. Top drawer set from Marcel, varied and highly entertaining.
The Boot Heel Playboys
Friday afternoon, at the Lounge Sessions, brought some canny Western Swing to the stage. The Boot Heel Playboys, were made up of seasoned musicians, which I’m going to tentatively suggest were fronted by Phil Morgan on steel guitar (if this isn’t the case I’m sure the circling Facebook vultures will swoop down on us and correct it). Well, he did most of the introductions anyway, and guitarist Dave Madgwick performed a chunk of the vocals.
This was a Stetson-tastic romp through some thigh slapping and bouncing swing stuff, notably opening with Bob Wills’ ‘Boot Heel Drag’ which was anything but. Hitch up your critters for a thumping version of ‘Ida Red’, again made famous in the up-tempo style by Bob Wills as early as 1939, drawing the odd do-si-do from the crowd. ‘My Window Faces the South’ drew from the vast Mr Wills back catalogue, or if you want another example, Willie Nelson.
‘River Stay Away From My Door’, some might know as the Frank Sinatra / Nelson Riddle song, although I’d tentatively suggest it has more of the Tex Williams feel to it when these lads take it on. ‘Fire in/on the Mountain’ is a barn burner of an instrumental tune, played in the Bill Monroe style. ‘Sugar Moon’ from ’47, had the Bob Wills warblers and ‘ahas’ going in the crowd. ‘Be Honest With Me’ took the collective foot of the gas for a bit with the Gene Autry cadence, while the outro for the band, reprising ‘Boot Heel Drag’ elevated the show to the highest level.
This was a Stetson-tastic romp through some thigh slapping and bouncing swing stuff, notably opening with Bob Wills’ ‘Boot Heel Drag’ which was anything but. Hitch up your critters for a thumping version of ‘Ida Red’, again made famous in the up-tempo style by Bob Wills as early as 1939, drawing the odd do-si-do from the crowd. ‘My Window Faces the South’ drew from the vast Mr Wills back catalogue, or if you want another example, Willie Nelson.
‘River Stay Away From My Door’, some might know as the Frank Sinatra / Nelson Riddle song, although I’d tentatively suggest it has more of the Tex Williams feel to it when these lads take it on. ‘Fire in/on the Mountain’ is a barn burner of an instrumental tune, played in the Bill Monroe style. ‘Sugar Moon’ from ’47, had the Bob Wills warblers and ‘ahas’ going in the crowd. ‘Be Honest With Me’ took the collective foot of the gas for a bit with the Gene Autry cadence, while the outro for the band, reprising ‘Boot Heel Drag’ elevated the show to the highest level.
Trouble In Mind
Germany’s Trouble in Mind’ were up next, this was a UK debut for the trio, that consists of Tasso on bass, George on guitar and vocals and Chris playing rhythm guitar. That’s it, no drums, and a stripped back form of Rockabilly that the opening track ‘Rambling Man’ ideally demonstrated. Loads of string bending on the lead guitar, set to a toe tapping rhythm.
Anyone who thought the set would be a relentless and frantic thump-tick fest, was mistaken. ‘Give It Up’ for example, demonstrated some serious six-string dexterity, with the lead guitar sounding like a steel, giving a country feel to the experience.
Some rattling good rockin was had during the bass driven ‘Red River’, and ‘Foolish Heart’ had a searing guitar solo that left many a jaw slack in the crowd. ‘Crawling Back To You’ a similar rhythm to the two afore mentioned, with mid-song key changes adding light and shade. ‘Like a Dog’, with the capo a long way up the fret board on the guitar, had an uber-cool tempo to it. Rounding everything off in the finest style was ‘Oriental Rock’ (not the Bill Haley tune of that ilk). An excellent introduction to Trouble in Mind, and let’s hope they’ll grace these shores again very soon.
Anyone who thought the set would be a relentless and frantic thump-tick fest, was mistaken. ‘Give It Up’ for example, demonstrated some serious six-string dexterity, with the lead guitar sounding like a steel, giving a country feel to the experience.
Some rattling good rockin was had during the bass driven ‘Red River’, and ‘Foolish Heart’ had a searing guitar solo that left many a jaw slack in the crowd. ‘Crawling Back To You’ a similar rhythm to the two afore mentioned, with mid-song key changes adding light and shade. ‘Like a Dog’, with the capo a long way up the fret board on the guitar, had an uber-cool tempo to it. Rounding everything off in the finest style was ‘Oriental Rock’ (not the Bill Haley tune of that ilk). An excellent introduction to Trouble in Mind, and let’s hope they’ll grace these shores again very soon.
The Tri-Tones
Early evening in the main hall, a band that had played a couple of Raves in the past but never as ‘themselves’. The Tri-Tones backed Dutch singer RJ some years ago, and Mariann from Tallin, Estonia, with whom they cut a couple of cracking CDs. So here they are, with main vocalist and upright bass player Mari Vendla, guitarist and cool cat in a hat, Artur Skrõpnik and drummer Vilu Viirsalu.
This trio put together a gem of a set list mixing their own music with some carefully chosen cover tunes. Bearing in mind that the Estonian language bears no resemblance to English, that’s a pretty mean feat. Take ‘I Want Some Coffee’ for example. Here’s a track, nay, and anthem for many people we know. The lyrics start with an idyllic setting of a couple rising in the morning, but nothing can start until Mari has had her coffee. And this set to a smooth jive beat too.
The first of the covers was of a Charlie Gracie number, that strangely wasn’t a hit for him, but we recall it always being a part of his shows. ‘Heart Like a Rock’ came across really well. ‘Leave Me Be’ is another original from the band, set to an ace stroll beat with Artur’s fingers flying up and down the frets of his Telecaster. Similarly, it must be pointed out, as they did on ‘A Little Mixed Up’ a tip top take on the Betty James 1961 delight.
Mari explained that they had a kind of answer song to Billy Harlan’s ‘I Wanna Bop’, called ‘Billy’s Gotta Bop’, a similar tempo and one that has garnered interest from the man himself, now that would be a fine collaboration. A smashing take of Jimmy Lee and Wayne Walker’s ‘Love Me’. ‘Wham Bam Bam-A-Lam’ despite its novelty title, is a song that I could imagine the likes of Janis Martin recording back in the day, pacy and rocking it is. Add to that ‘You Gotta Stop’ which closed the show, and in a respectful nod to the star on Sunday’s show, they encored with ‘Little Lovin’. What a total treat that set was readers
This trio put together a gem of a set list mixing their own music with some carefully chosen cover tunes. Bearing in mind that the Estonian language bears no resemblance to English, that’s a pretty mean feat. Take ‘I Want Some Coffee’ for example. Here’s a track, nay, and anthem for many people we know. The lyrics start with an idyllic setting of a couple rising in the morning, but nothing can start until Mari has had her coffee. And this set to a smooth jive beat too.
The first of the covers was of a Charlie Gracie number, that strangely wasn’t a hit for him, but we recall it always being a part of his shows. ‘Heart Like a Rock’ came across really well. ‘Leave Me Be’ is another original from the band, set to an ace stroll beat with Artur’s fingers flying up and down the frets of his Telecaster. Similarly, it must be pointed out, as they did on ‘A Little Mixed Up’ a tip top take on the Betty James 1961 delight.
Mari explained that they had a kind of answer song to Billy Harlan’s ‘I Wanna Bop’, called ‘Billy’s Gotta Bop’, a similar tempo and one that has garnered interest from the man himself, now that would be a fine collaboration. A smashing take of Jimmy Lee and Wayne Walker’s ‘Love Me’. ‘Wham Bam Bam-A-Lam’ despite its novelty title, is a song that I could imagine the likes of Janis Martin recording back in the day, pacy and rocking it is. Add to that ‘You Gotta Stop’ which closed the show, and in a respectful nod to the star on Sunday’s show, they encored with ‘Little Lovin’. What a total treat that set was readers
Charlie Thompson
Charlie Thompson backed by Glenn Doran and the Prairie Echoes, from Hertfordshire, Lincolnshire, and Australia!! (rehearsals must have been a logistical hoot to arrange), filled his set with some typical Country/Hillbilly/Rockabilly sounds. Charlie Walker’s ‘Pick Me Up On Your Way Down’ from 1958, was a beauty, with guitarist Dan Morley duetting in the chorus, and Johnny Horton’s ‘Let’s Take the Long Way Home’ rocked.
Then how about the Lonesome Drifter (Thomas Johnson) and ‘Teardrop Valley’, a nippy rocker in the country style, and the flip to ‘Eager Boy’ which vinyl collectors will tell you is a mighty monetary investment if you want to own it. This take was top drawer, as was Billy Walker’s ‘Changed My Mind’. Charlie’s wife Raina joined him for a cool duet, ‘Tryin’ to Forget You’, which got double thumbs up from the crowd as did rockers ‘Ballin Baby’ and ‘Crazy Arms’.
Then how about the Lonesome Drifter (Thomas Johnson) and ‘Teardrop Valley’, a nippy rocker in the country style, and the flip to ‘Eager Boy’ which vinyl collectors will tell you is a mighty monetary investment if you want to own it. This take was top drawer, as was Billy Walker’s ‘Changed My Mind’. Charlie’s wife Raina joined him for a cool duet, ‘Tryin’ to Forget You’, which got double thumbs up from the crowd as did rockers ‘Ballin Baby’ and ‘Crazy Arms’.
Jack Baymore
Jack Baymore and the Bandits, how often have they visited British festivals and clubs? Nearly as many times as JCB has taken a nudge-nudge angle at them in his program notes. Here they were again, every bit as energetic as when they first crossed the border, powering through Marlon Grisham’s ‘Ain’t That a Dilly’, to set the pace. One of their own classics, ‘Move On’ rocked along as did another Rockabilly jewel, ‘Chattanooga Gal’. ‘Miss Popcorn Machine’ with its shout-back vocals, excellent, as was the zippy sound of ‘Jo-Anne’, and the ballsy guitar breaks in ‘Fireball Roberts’.
As with many acts that have dedicated their style to particular genres and write their own material, certain songs become synonymous with their name. Such is the case with ‘AV8 Boogie’ a classy bopper and latter-day classic from their earliest releases, in 1997. They obliged with the customary gusto to complete the original set, with Johnny Knight’s ‘Rock ‘n’ Roll Guitar’
Sadly within a few days of the Rockabilly Rave, the Bandits’ long standing bass player, Jan Larsson, passed away. To think a few days earlier he was in the engine room on stage, keeping it real on bass, understated, but the consummate professional backing his friend Kent Vikmo (Jack). This section of the review is dedicated to the memory of Jan Larsson.
As with many acts that have dedicated their style to particular genres and write their own material, certain songs become synonymous with their name. Such is the case with ‘AV8 Boogie’ a classy bopper and latter-day classic from their earliest releases, in 1997. They obliged with the customary gusto to complete the original set, with Johnny Knight’s ‘Rock ‘n’ Roll Guitar’
Sadly within a few days of the Rockabilly Rave, the Bandits’ long standing bass player, Jan Larsson, passed away. To think a few days earlier he was in the engine room on stage, keeping it real on bass, understated, but the consummate professional backing his friend Kent Vikmo (Jack). This section of the review is dedicated to the memory of Jan Larsson.
Toto and the Raw Deals
Carrying the quality onward were Toto and the Raw Deals, led by Salvatore ‘Toto’ Marziano on vocals and rhythm guitar, Sam French on lead guitar, Danny Brown on bass and drummer Tony Hillebrandt. Recent signees to Wild Records, the lads performed a set of varied rockin’ sounds to the huge appreciation of the crowd jumping down at stage front.
These guys don’t rely on thundering Rockabilly all the time. ‘Polly Put Your Kettle On’ the Sonny Boy Williamson blues bopper from 1947, was rowdily welcomed and the warm lyrics and rhythm of ‘Family’ were the perfect foils for each other. Brenda Lee’s ‘Here Cone’s that Feeling’ had smooth vocals.
Mid set, they invited Eddie Lopez up on stage, for a guest song. Folks, he took on Ritchie Valens’ ‘Ooh My Head’ with such accuracy, vocally, it was head-turning. I’m taking nothing away from the ‘Deals, but that was something else.
Back with Toto and the quality just kept on coming, with a raucous version of Charlie Feathers’ ‘Stutterin’ Cindy’, ‘Don’t Mess Around With Jim’ (Jim Croce I think) and the brilliant Marty Stuart penned ‘Touch Me, Turn Me On, Burn Me Down’. With the stage filling up with boppers ‘Train Kept a’Rollin’ rounded off another fine Toto set.
These guys don’t rely on thundering Rockabilly all the time. ‘Polly Put Your Kettle On’ the Sonny Boy Williamson blues bopper from 1947, was rowdily welcomed and the warm lyrics and rhythm of ‘Family’ were the perfect foils for each other. Brenda Lee’s ‘Here Cone’s that Feeling’ had smooth vocals.
Mid set, they invited Eddie Lopez up on stage, for a guest song. Folks, he took on Ritchie Valens’ ‘Ooh My Head’ with such accuracy, vocally, it was head-turning. I’m taking nothing away from the ‘Deals, but that was something else.
Back with Toto and the quality just kept on coming, with a raucous version of Charlie Feathers’ ‘Stutterin’ Cindy’, ‘Don’t Mess Around With Jim’ (Jim Croce I think) and the brilliant Marty Stuart penned ‘Touch Me, Turn Me On, Burn Me Down’. With the stage filling up with boppers ‘Train Kept a’Rollin’ rounded off another fine Toto set.
Glenn Doran
Saturday afternoon began with Glenn Doran and the Prairie Echoes, a long-awaited reforming of a band that began around ten years or so ago. Glenn is the primary vocalist, with Dan Morley on lead guitar, Lola Gaskin Briggs on rhythm guitar, Mitch Humphreys on bass and sliding the steel, Chris Cummings. A tip top show of the finest Hillbilly and some Rockabilly followed here, like the choral vocals of Jimmy and Russ Williams’ ‘High on the Hog’ that opened the show.
Tibby Edward’s ‘Shift Gears’ from 1955 was perfectly suited to Glenn’s vocal style, and the duet with Dan Morley on Buddy Holly’s (and Bob Montgomery) ‘Down The Line’ was to die for (well to be impressed with, passing away might be a bit dramatic) and ‘You and I are Through’. Taking that theme on as well, they also put in a good shift with the Cochran Brothers’ ‘Guilty Conscience’ .
Bring in the likes of ‘Sugar Baby, ‘Wait a Minute’ and ‘Walking After Midnight’, and that should give you an idea of the variety and the versatility of this group. Absolutely smashing show, top drawer material and a treat to witness.
Tibby Edward’s ‘Shift Gears’ from 1955 was perfectly suited to Glenn’s vocal style, and the duet with Dan Morley on Buddy Holly’s (and Bob Montgomery) ‘Down The Line’ was to die for (well to be impressed with, passing away might be a bit dramatic) and ‘You and I are Through’. Taking that theme on as well, they also put in a good shift with the Cochran Brothers’ ‘Guilty Conscience’ .
Bring in the likes of ‘Sugar Baby, ‘Wait a Minute’ and ‘Walking After Midnight’, and that should give you an idea of the variety and the versatility of this group. Absolutely smashing show, top drawer material and a treat to witness.
Lovesick
Italy has produced more than it’s fair share of talented Rock n Roll artists and acts. A truly enigmatic trio took to the Rave stage on the Saturday afternoon. Originally billed, and quite well known as, the Lovesick Duo, consisting of Paolo Roberto Pianezza and Francesca Alinovi, they enlisted the fiddling talents of Alessandro Cosentino. Paolo plays a variety of guitars, acoustic and electric, while Francesca plays upright bass with an adaptation, allowing for a percussive brush to keep the beat.
The show began with a super country rambling jaunt through ‘Until I’m Done’, and the haunting back beat of ‘Rain’ was something else. Alessandro took to the drums as Paolo and Francesca duetted on Chuck’s ‘Memphis Tennessee’, extending it to over six minutes duration with some excellent guitar work and a kicking bass solo. Super sliding was to be had on the sublime instrumental ‘Lovesick Boogie’, a nippy tune, interspersed with calls of the title, throughout.
Some super-smooth acca pella vocals, opened up the almost country-gospel beauty ‘Remember My Name’, splendid harmonies and hand-clapping excellence. I think probably the standout among standouts was ‘Going Down’, a bluesy number, with harmony vocals and a guitar solo that reminded me of the likes of Albert Collins. Just awesome. Massively popular with the crowd was ‘Don’t Be Sacred of the Dark’, a delightful country lilt of a song, with ironic lyrics. ‘All Over Again’ topped it all off, with all three on stage vocalising a rock-out tune, rounding off an exceptional show.
The show began with a super country rambling jaunt through ‘Until I’m Done’, and the haunting back beat of ‘Rain’ was something else. Alessandro took to the drums as Paolo and Francesca duetted on Chuck’s ‘Memphis Tennessee’, extending it to over six minutes duration with some excellent guitar work and a kicking bass solo. Super sliding was to be had on the sublime instrumental ‘Lovesick Boogie’, a nippy tune, interspersed with calls of the title, throughout.
Some super-smooth acca pella vocals, opened up the almost country-gospel beauty ‘Remember My Name’, splendid harmonies and hand-clapping excellence. I think probably the standout among standouts was ‘Going Down’, a bluesy number, with harmony vocals and a guitar solo that reminded me of the likes of Albert Collins. Just awesome. Massively popular with the crowd was ‘Don’t Be Sacred of the Dark’, a delightful country lilt of a song, with ironic lyrics. ‘All Over Again’ topped it all off, with all three on stage vocalising a rock-out tune, rounding off an exceptional show.
Dr Bontempi's Snake Oil Company
From Italy, to Germany, and Marcel Bontempi and Ira Lee as Dr. Bontempi’s Snake Oil Company. This band take some songs from the fifties and add their own twist. Marcel Bontempi takes the lead vocals and lead & steel guitar, with Ira Lee on rhythm guitar and vocals, Bjorn Kunze on bass and Franny Lee on fiddle. A rollocking show opened with Link Davis’ ‘Slippin and Slidin, and a top wezzie version of Young Jessie’s ‘My Country Cousin’.
Some harmony on the haunting steel soaked ‘Bonfire’. Originally by Jimmie Piper in 1959, the Snake Oil Company added their own zhuzh and enhancements, which sounded great. I’m flagging up ‘Diesel Smoke, Dangerous Curves’, from 1952 by the Sons of the Pioneers, or in this case, the Billy Strange version also from ’52. The way they replicated this tune was jaw dropping, right down to the steel sound and skidding resonance of the fiddle.
‘Crazy Coffee Blues’ set up Lucky Millinder’s ‘Who Said Shorty was Coming Back’ and another burn-up instrumental. That was ‘Franny Lee Stomp’, an uplifting original Hillbilly foot-stomper featuring Franny sawing on the fiddle. Chuck in Dick Stratton’s floor filling ‘Pistol Boogie’ and hot diggety dang, you had an extremely happy crowd
Some harmony on the haunting steel soaked ‘Bonfire’. Originally by Jimmie Piper in 1959, the Snake Oil Company added their own zhuzh and enhancements, which sounded great. I’m flagging up ‘Diesel Smoke, Dangerous Curves’, from 1952 by the Sons of the Pioneers, or in this case, the Billy Strange version also from ’52. The way they replicated this tune was jaw dropping, right down to the steel sound and skidding resonance of the fiddle.
‘Crazy Coffee Blues’ set up Lucky Millinder’s ‘Who Said Shorty was Coming Back’ and another burn-up instrumental. That was ‘Franny Lee Stomp’, an uplifting original Hillbilly foot-stomper featuring Franny sawing on the fiddle. Chuck in Dick Stratton’s floor filling ‘Pistol Boogie’ and hot diggety dang, you had an extremely happy crowd
Ravin’ dot…dot. Best tracks at the Rave ever ever to yoink you in Yarmouth for this Rave were Lattie Moore’s ‘Drunk Again’, Billy Brown’s ‘Look Out Heart (Here Comes Love) and Hawkshaw Hawkins’ ‘Waitin’ For My Baby’………People reading this, Al as in Al Michaels, is not ‘AI’. This review is produced by AI, which equals ‘Andrew’s Intelligence’, I thank you…….On form again, Jerry Chatabox in the program notes. I wonder who sends in those questions……Best DJ of the weekend? Anyone who played ‘Jitterbop Baby’…….We saw a lot of the DJs, in both rooms. The two venues have a different vibe, depending on when you’re in them. With that in mind, all hail the wax spinning talents of Steve Stack o’ Wax, Little Carl, Deano from England, the Hillbilly sounds from Germany’s Blip Blop, and Double Trouble. From Scotland, top tunes from Jezebel and Tojo and the Netherlands pitched in with the 45rpm Girls and Peggy Lee. Add in the collections of Boppin Bud from the USA and Sweden’s Jungle Jim and thinking about it, that’s everyone……Rory Alderson and his team did it again, super sound and lighting throughout the event……While on the subject, since when did we become old enough to be the sound guys’ parents?..... Something many might not be aware of, the stage had been raised by nearly a foot (300mm in new money). When you’re our small-but-perfectly-formed size, that’s important stuff folks…..More best tracks in the world ever ever to rock your billy at this Rave were, ‘TT Boogie’ by Charlie Adams, Sally Starr’s ‘Rockin’ in the Nursery’ and ‘Knocking on the Backside’ by Teddy Redell……
Dylan Kirk
In the main ballroom, piano wizard Dylan Kirk was joined by Harry Chappel on lead guitar, Curtis Doel on drums and bassist Luke Nicolls, for a masterclass in animated pumping energy on the eighty-eight keys. UK Rocker, Vern Brandon’s ‘Gotta Know the Reason’ opened the show, a really good version (of a song by an original artist, you would wonder why they didn’t have more recorded output) which set up a regular in a DK set, Little Victor’s ‘Papa Lou and Gran’ from 1961.
The Clovers’ ‘I Got my Eyes on You’ from Atlantic in 1954 rocked out, and soon Dylan left the piano to blast out the heavy guitar driven ‘Listen Buddy’. Johnny Kidd’s ‘So What’ fitted the bill perfectly, and ‘Rollerland’ was inspired. Originally recorded by the garage band, the Twiliters from New York in 1964, the shout-back chorus with the audience at the Rave was hugely enjoyable. That track closed the show initially which had also included the likes of Charlie Rich’s ‘Mohair Sam’ from 1965, and some top original material, like ‘Why do you Treat Me So Cruel’, ‘King of the Hop’ and ‘High Voltage’ written by Eliot ‘Lobo’ Jones, Axel (Cherry Casino) Praefke and Dylan himself, respectively.
Many have a high expectation when Dylan Kirk is on the bill. Every time, those expectations are exceeded as soon as the fingers start flying across the keys. The covers are well chosen and mix in with the quality of the original material, in a piano paradise.
The Clovers’ ‘I Got my Eyes on You’ from Atlantic in 1954 rocked out, and soon Dylan left the piano to blast out the heavy guitar driven ‘Listen Buddy’. Johnny Kidd’s ‘So What’ fitted the bill perfectly, and ‘Rollerland’ was inspired. Originally recorded by the garage band, the Twiliters from New York in 1964, the shout-back chorus with the audience at the Rave was hugely enjoyable. That track closed the show initially which had also included the likes of Charlie Rich’s ‘Mohair Sam’ from 1965, and some top original material, like ‘Why do you Treat Me So Cruel’, ‘King of the Hop’ and ‘High Voltage’ written by Eliot ‘Lobo’ Jones, Axel (Cherry Casino) Praefke and Dylan himself, respectively.
Many have a high expectation when Dylan Kirk is on the bill. Every time, those expectations are exceeded as soon as the fingers start flying across the keys. The covers are well chosen and mix in with the quality of the original material, in a piano paradise.
The Rhythm Shakers
Topping the bill (as the kids say, IMHO) were the Rhythm Shakers, making a welcome return to the Rockabilly Rave. This Wild Records act from Los Angeles California, puts out a sound that is a terrific representation of the label’s raison d’etre. The lads opened the show with a powerful instrumental ‘Stomp’, that set the tone. They are bassist Victor Mendez, drummer Ben Marazzi and on lead guitar, Kevin O’Leary. Lead singer Marlene Perez, bright red, tumbling locks of red hair and all, bounded onto the stage, announcing herself with the embittered lyrics of ‘Rather Be Alone’. That’s one of her many compositions, often containing the resentful lyrical equivalent, of a raised middle finger, belted out vocally.
From the seminal classic debut album ‘Flipsville’, came ‘But You Still Left Me’, and the ‘A’ side of their debut Wild single, ‘Hit the Road’ with it’s growling guitar and thumping back-beat. ‘Corazon’ (Spanish for ‘heart’) is a powerhouse track from last year’s 45rpm release. ‘That’s Alright’ has a familiar hook to the opening guitar riffs, sounding a fair bit like ‘Brand New Cadillac’, however that’s where the similarity pretty much ends. What a diamond that one is.
Back 2009, and another tale of the aggrieved ‘My Sweet Revenge’, a musical punch in the face, if ever there was one. ‘All Women are Bad’, is that riotous rocker, a warning, or a statement of fact? Listen and make up your own mind. There are tracks that the Rhythm Shakers cover that they’ve almost made their own. One such song, Slim Harpo’s ‘Shake Your Hips’, the killer bop track from the mid-sixties, and it was this that closed the set. A real show stopper of a performance.
From the seminal classic debut album ‘Flipsville’, came ‘But You Still Left Me’, and the ‘A’ side of their debut Wild single, ‘Hit the Road’ with it’s growling guitar and thumping back-beat. ‘Corazon’ (Spanish for ‘heart’) is a powerhouse track from last year’s 45rpm release. ‘That’s Alright’ has a familiar hook to the opening guitar riffs, sounding a fair bit like ‘Brand New Cadillac’, however that’s where the similarity pretty much ends. What a diamond that one is.
Back 2009, and another tale of the aggrieved ‘My Sweet Revenge’, a musical punch in the face, if ever there was one. ‘All Women are Bad’, is that riotous rocker, a warning, or a statement of fact? Listen and make up your own mind. There are tracks that the Rhythm Shakers cover that they’ve almost made their own. One such song, Slim Harpo’s ‘Shake Your Hips’, the killer bop track from the mid-sixties, and it was this that closed the set. A real show stopper of a performance.
Al Michaels
Sunday in the ‘downstairs’ hall, hang on, we know that Al Michaels fella, on bass and vocals, and his band with Mick Colley on drums, Tony Diavolo on lead guitar and Zac Zdravkovic (unusually) on rhythm guitar. What to expect? Well, the stall was set out with Warren Smith’s ‘Dear John’. The one of Al’s own songs, ‘Mr Lonely’, which is a mid-tempo jaunt, with very well-crafted lyrics. Then back on the rockers with Carl Perkins’ ‘You Can Do No Wrong’.
Another original hit the spot, this time it was ‘This Boy Ain’t So Bad’ and during the set, the other two from the recently released EP, ‘Fine Time to Come’ and ‘Spirit of You’ both drew some serious and justified appreciation from the crowd. Check that EP out readers. In line with his style, the cover of Elvis’ title track of the 1960 film ‘Flamin’ Star’, was very well suited to Al’s vocal tone. Another corker from the Carl Perkins back catalogue, made the cut, the early 60’s peach ‘Say When’.
With ‘You Don’t Love Me’ ending the set, the audience clearly wanted more from the lads, and they duly obliged with a raucous rocker ‘Gold Digger’. The personnel were well known from other bands, so the gelling was instantaneous on the stage, and throughout the show. A mighty fine set.
Another original hit the spot, this time it was ‘This Boy Ain’t So Bad’ and during the set, the other two from the recently released EP, ‘Fine Time to Come’ and ‘Spirit of You’ both drew some serious and justified appreciation from the crowd. Check that EP out readers. In line with his style, the cover of Elvis’ title track of the 1960 film ‘Flamin’ Star’, was very well suited to Al’s vocal tone. Another corker from the Carl Perkins back catalogue, made the cut, the early 60’s peach ‘Say When’.
With ‘You Don’t Love Me’ ending the set, the audience clearly wanted more from the lads, and they duly obliged with a raucous rocker ‘Gold Digger’. The personnel were well known from other bands, so the gelling was instantaneous on the stage, and throughout the show. A mighty fine set.
Lonestar Boys
Into the main hall, and a kind of return and a kind of debut. The Lonestar Boys, looked familiar in parts. Steve Stick is the main vocalist and rhythm guitarist, with Fabi Reder on bass and lead guitarist Pascal Ammann. No drums, the trio relies on the bass for percussion, and they get that authentic Rockabilly sound off to a tee, with Steve’s baritone vocals carrying over the backing.
A prime example would’ve been the first rocker, ‘Honey Talk’ an oddity from 1958 by Ralph Hodges/ the Hodges Brothers Band. With just the right amount of reverb to the vocals, their rendition of Billy Fury’s ‘It’s You I Need’ was first rate. Shame that song is only just over one- and three-quarter minutes duration. Later in the set, another rarity got an outing. Jim Oertling’s (although it’s billed as ‘Ertling’ on the record label) ‘Louisiana Gambler’ is a strum-tastic, rhythm driven country-rocker, straight out of the treasure chest, although quite surprisingly from 1969 originally.
A true classic perhaps? Eddie’s ‘Teenage Cutie’ rocked, and the plaintive sound of ‘Don’t Shoot Me Baby’ took the foot of the gas for a bit. They also took on Rabon Sanders’ ‘You Tore Your Playhouse Down’, another well-chosen obscurity that suits the band down to the ground. And a dispatch style mention to their version of the country bopper from ’68, Pete Peters ‘I’ve Got That Blue and Rainy-Day Feeling’. Blinding set from the German lads, a display of rockabilly in it’s most stripped down and purest & rousing form.
A prime example would’ve been the first rocker, ‘Honey Talk’ an oddity from 1958 by Ralph Hodges/ the Hodges Brothers Band. With just the right amount of reverb to the vocals, their rendition of Billy Fury’s ‘It’s You I Need’ was first rate. Shame that song is only just over one- and three-quarter minutes duration. Later in the set, another rarity got an outing. Jim Oertling’s (although it’s billed as ‘Ertling’ on the record label) ‘Louisiana Gambler’ is a strum-tastic, rhythm driven country-rocker, straight out of the treasure chest, although quite surprisingly from 1969 originally.
A true classic perhaps? Eddie’s ‘Teenage Cutie’ rocked, and the plaintive sound of ‘Don’t Shoot Me Baby’ took the foot of the gas for a bit. They also took on Rabon Sanders’ ‘You Tore Your Playhouse Down’, another well-chosen obscurity that suits the band down to the ground. And a dispatch style mention to their version of the country bopper from ’68, Pete Peters ‘I’ve Got That Blue and Rainy-Day Feeling’. Blinding set from the German lads, a display of rockabilly in it’s most stripped down and purest & rousing form.
Mimi Roman
The final act we are reviewing here, was the headliner for Sunday, Mimi Roman. Rosalyn Miriam Lapolito grew up in the Bronx, and then Brooklyn, where she became Mimi Rothman. Her and her friends love of horses, gave rise to her nickname, the First of the Brooklyn Cowgirls. The people she has been associated with, sang along and performed with, is a veritable who’s who of 50’s country music, as are the venues like the Louisiana Hayride and Grand Ol Opry. Mimi is probably one of the few living links to the young Elvis Presley and the Everly Brothers (who she wanted to make a trio with, she said from the stage).
Now in her later years, the boots are back on, and here she was on the stage at the Rockabilly Rave, backed by Dani West, with whom she shared the set, and the Southernaires. Dani was instrumental in getting Mimi over to the Rave, having been in touch with her regularly. With Dani twisting Mr Chatabox’s arm, it was arranged that Mimi would realise her ambition to play in the UK. The actual show, took months in the planning with Dani, the band and Mimi rehearsing over video call, with everything coming together on the (Sunday) night.
Dani set the stage up with ‘Oh I Like it’ before the lady herself graced the stage to huge applause during ‘Wrap it up and Save it’, which effectively was a duet. On her own, she delighted the crowd with ‘I’m Ready, if You’re Willing’ and Floyd Tillman’s eloquent plea ‘I Gotta Have My Baby Back’. Injecting a little pace next, ‘I Need a Little Lovin’, the track that has adorned many-a Rockabilly compilation, massively popular with the crowd, and the melancholy ‘Weary Blues From Waiting’ was very special.
Another couple of duets, this time with Rusti Steel, on Hank Williams’ ‘I Can’t Help It’, and a super interpretation of the Everly Brothers ‘Bye Bye Love’ with Dani. With the lads hitting the high and goldens with Bob Wills’ ‘Jumpin’ at the Woodside’, before ‘Remember Me’ closed the show. Everyone knew they’d seen something that little bit special.
The Stars of Rockabilly show concluded the live acts on the Rave stage, but the party went on until the wee small hours of Monday morning in both halls.
I suppose you could say that, the Rave was back. Truth be told, it never actually went away, just hit another bump in the road, not of it’s own doing. Number 27, is already in the calendar, as they say, check local listings for details (ie, the Bettajive Review!).
It’s the law . Gallery images below, click on them for full sized pic
Like what you have read so far? How about popping us a donation over to help keep this magazine free to read. Many thanks
Now in her later years, the boots are back on, and here she was on the stage at the Rockabilly Rave, backed by Dani West, with whom she shared the set, and the Southernaires. Dani was instrumental in getting Mimi over to the Rave, having been in touch with her regularly. With Dani twisting Mr Chatabox’s arm, it was arranged that Mimi would realise her ambition to play in the UK. The actual show, took months in the planning with Dani, the band and Mimi rehearsing over video call, with everything coming together on the (Sunday) night.
Dani set the stage up with ‘Oh I Like it’ before the lady herself graced the stage to huge applause during ‘Wrap it up and Save it’, which effectively was a duet. On her own, she delighted the crowd with ‘I’m Ready, if You’re Willing’ and Floyd Tillman’s eloquent plea ‘I Gotta Have My Baby Back’. Injecting a little pace next, ‘I Need a Little Lovin’, the track that has adorned many-a Rockabilly compilation, massively popular with the crowd, and the melancholy ‘Weary Blues From Waiting’ was very special.
Another couple of duets, this time with Rusti Steel, on Hank Williams’ ‘I Can’t Help It’, and a super interpretation of the Everly Brothers ‘Bye Bye Love’ with Dani. With the lads hitting the high and goldens with Bob Wills’ ‘Jumpin’ at the Woodside’, before ‘Remember Me’ closed the show. Everyone knew they’d seen something that little bit special.
The Stars of Rockabilly show concluded the live acts on the Rave stage, but the party went on until the wee small hours of Monday morning in both halls.
I suppose you could say that, the Rave was back. Truth be told, it never actually went away, just hit another bump in the road, not of it’s own doing. Number 27, is already in the calendar, as they say, check local listings for details (ie, the Bettajive Review!).
It’s the law . Gallery images below, click on them for full sized pic
Like what you have read so far? How about popping us a donation over to help keep this magazine free to read. Many thanks
THURSDAY 16th – MONDAY 20th APRIL 2026
VAUXHALL HOLIDAY PARK, ACLE NEW ROAD, GREAT YARMOUTH NR30 1TB Click flyer for details as they are published
Shaun Horton @ Chesterfield Rock 'n' Roll Club
Hort Stuff. Another barn-burner of a gig took place at Chesterfield Rock n Roll Club, this occasion, featuring Shaun Horton and the Tennessee Trio. Continuing to bring the variety and quality to the club, Andy & Helen Barker leaned over toward the Rockabilly side for this event. Andy took DJ duties with the ever-present and dependable Steve-O. Smashing sounds from the decks again, opening up the jolliness at the Dronfield Club.
Shaun (a native of Sheffield) takes vocals and acoustic rhythm guitar, with Shaun Hoolan on lead guitar, Andy Sykes on bass and drummer Paul O’Donnell. It was Dwain Bell’s ‘Rock n Roll on a Saturday Night’ that announced them to the stage, with some top Mac Curtis from ’56 in the shape of ‘That Ain’t Nothin’ but Right’. Shaun’s vocal delivery is perfect for this type of music, and Bill Bowen’s ‘Don’t Shoot Me Baby’ is a perfect example. A bit of country-Honky Tonk, from the back catalogue of Johnny Horton, and the mid-tempo sound of ‘Tell My Baby I Love Her’ from 1957 (and at the request of the band, we highlight that the false starts weren’t planned) Big mentions also for Bob Doss’ ‘Don’t Be Gone Long’ and the finest version from the lads, of this ’56 Starday wonder. The Sun sound of Warren Smith’s ‘Dear John’ topped the first set off perfectly.
The second set picked up with another mixed bag of Rockabilly and Country Bop. Firing the starting pistol was Sonny West’s ‘RockOla Ruby’, rattling along with Lloyd McCullough’s vocal treasure ‘Gonna Love My Baby’ and Hoyt Johnson’s ‘Eenie Meenie Minie Mo’. There was a real obscurity in the form of ‘Since Baby Put Me Down’, one of two 45rpm releases by Sharlet Sexton and the Tennessee Valley Boys, and that’s as much as I can tell you about it other than it was a top track.
Killer Rockabilly with Donnie White’s King cut, ‘Your Kind of Lovin’ and Ray Smith’s ‘How Do You Think I Feel’, and Little Jimmy Dickens’ romantic fairground lament ‘I Got a Hole in My Pocket. A tear-up of Benny Joy’s ‘Jello Sal’ rounded it all off, with a standout take of Lou Millet’s ‘Shorty the Barber’ encoring a truly memorable set. It’s been a while since we have seen Shaun outside of a ‘special event’ setting, and in a club environment playing two sets. So worth it readers!
Shaun (a native of Sheffield) takes vocals and acoustic rhythm guitar, with Shaun Hoolan on lead guitar, Andy Sykes on bass and drummer Paul O’Donnell. It was Dwain Bell’s ‘Rock n Roll on a Saturday Night’ that announced them to the stage, with some top Mac Curtis from ’56 in the shape of ‘That Ain’t Nothin’ but Right’. Shaun’s vocal delivery is perfect for this type of music, and Bill Bowen’s ‘Don’t Shoot Me Baby’ is a perfect example. A bit of country-Honky Tonk, from the back catalogue of Johnny Horton, and the mid-tempo sound of ‘Tell My Baby I Love Her’ from 1957 (and at the request of the band, we highlight that the false starts weren’t planned) Big mentions also for Bob Doss’ ‘Don’t Be Gone Long’ and the finest version from the lads, of this ’56 Starday wonder. The Sun sound of Warren Smith’s ‘Dear John’ topped the first set off perfectly.
The second set picked up with another mixed bag of Rockabilly and Country Bop. Firing the starting pistol was Sonny West’s ‘RockOla Ruby’, rattling along with Lloyd McCullough’s vocal treasure ‘Gonna Love My Baby’ and Hoyt Johnson’s ‘Eenie Meenie Minie Mo’. There was a real obscurity in the form of ‘Since Baby Put Me Down’, one of two 45rpm releases by Sharlet Sexton and the Tennessee Valley Boys, and that’s as much as I can tell you about it other than it was a top track.
Killer Rockabilly with Donnie White’s King cut, ‘Your Kind of Lovin’ and Ray Smith’s ‘How Do You Think I Feel’, and Little Jimmy Dickens’ romantic fairground lament ‘I Got a Hole in My Pocket. A tear-up of Benny Joy’s ‘Jello Sal’ rounded it all off, with a standout take of Lou Millet’s ‘Shorty the Barber’ encoring a truly memorable set. It’s been a while since we have seen Shaun outside of a ‘special event’ setting, and in a club environment playing two sets. So worth it readers!
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What a cracking line-up for the 71st Hemsby weekender. Click on the flyer for details
vinyl records reviews
Marcel Riesco – Wild Kisses
LP review
It’s now several years since Marcel Riesco introduced himself to the British audience on the Hemsby stage. Dressed in all black and slinging an onyx black guitar, his vocal delivery immediately put the listener in mind of Roy Orbison. As you also may know, he has studied the Big O for many years and contributed to many projects on the subject. As a musician, Marcel has carved out a good career as a recording artist, songwriter and live performer. Here is his latest LP on Sleazy Records.
‘Wild Kisses’ was recorded in Nashville at the back end of 2024, with the exception ‘Daydream’, which was from 2017 in Germany. Joining Marcel, who takes vocals and lead guitar, are Jared Manzo on bass, drummer Walter Hartman, Sascha Kommer on piano and Spencer Evoy on saxophone. There are four cover tracks and the remaining six are Marcel originals and it’s one such composition that starts us off.
‘You Gotta Love Me Too’, is a sax driven gem, that comes in at just under two minutes duration. It certainly has the hallmarks of a dancefloor track. The title track, ‘Wild Kisses’, is another bright sound, Marcel’s vocals perfectly pitched, on a song that has the young Orbison sound all over it. The first of the covers, is a mainstay in his live shows. Danny Wolfe’s ‘Pucker Paint’, from 1958 on Dot Records (released just before Heulyn Duvall’s version). Here, Marcel does the track justice with his take, and in doing so also pays suitable reverence to the original.
The epic collaboration of songwriters, Roy Orbison and Joe Melson, provided some of Roy’s biggest and best-known recordings. Here is a slightly less familiar song by the duo, ‘Daydream’. What a peach of a song this one is folks, benefitting from the musical talents of Axel Praefke on guitar, Michael Kirscht on bass, drummer Boris Israel, rhythm guitarist JP Wieben and on piano, Ike Goodtime. This was the recording from Lightning Studio in Germany, with Ike Stoye’s production skills.
Some haunting reverb on the electric guitar, accompanies an exquisite vocal delivery on ‘(With You) I Had It All’. Is it a celebration, or is it lamenting a loss? You decide while listening to a real diamond of a tune. The pace is revved up again as the jangling sound of the lead guitar announces ‘Send Your Love to Me in a Letter’, as Marcel effortlessly slips from ballad to up-tempo rocker, with an enviable vocal dexterity.
I must admit, I thought ‘Waitin’ was another unearthed splendour from the Monument Records vault, however it’s a Riesco original. Cool guitar and sax on this one. Another well-chosen cover next with Al Terry’s 1960 Hickory cut ‘Watchdog’, is followed by a stunning vocal on ‘Why Can’t We Just Make Up’, a slow and lingering love song. Finally, another cover of an Orbison & Melson song. ‘She’s OK’, which, it sounds like Marcel’s version has slightly more pace to it than the original.
Every recording Marcel makes, be it with the Truly Lover Trio, the Shook Ups or with his many collaborations, has a certain quality about it that makes his sound so familiar. And it’s not just the unavoidable comparisons to Roy. The first strike of the guitar strings you hear, and you know who it is. Another ‘monumental’ release.
LP review
It’s now several years since Marcel Riesco introduced himself to the British audience on the Hemsby stage. Dressed in all black and slinging an onyx black guitar, his vocal delivery immediately put the listener in mind of Roy Orbison. As you also may know, he has studied the Big O for many years and contributed to many projects on the subject. As a musician, Marcel has carved out a good career as a recording artist, songwriter and live performer. Here is his latest LP on Sleazy Records.
‘Wild Kisses’ was recorded in Nashville at the back end of 2024, with the exception ‘Daydream’, which was from 2017 in Germany. Joining Marcel, who takes vocals and lead guitar, are Jared Manzo on bass, drummer Walter Hartman, Sascha Kommer on piano and Spencer Evoy on saxophone. There are four cover tracks and the remaining six are Marcel originals and it’s one such composition that starts us off.
‘You Gotta Love Me Too’, is a sax driven gem, that comes in at just under two minutes duration. It certainly has the hallmarks of a dancefloor track. The title track, ‘Wild Kisses’, is another bright sound, Marcel’s vocals perfectly pitched, on a song that has the young Orbison sound all over it. The first of the covers, is a mainstay in his live shows. Danny Wolfe’s ‘Pucker Paint’, from 1958 on Dot Records (released just before Heulyn Duvall’s version). Here, Marcel does the track justice with his take, and in doing so also pays suitable reverence to the original.
The epic collaboration of songwriters, Roy Orbison and Joe Melson, provided some of Roy’s biggest and best-known recordings. Here is a slightly less familiar song by the duo, ‘Daydream’. What a peach of a song this one is folks, benefitting from the musical talents of Axel Praefke on guitar, Michael Kirscht on bass, drummer Boris Israel, rhythm guitarist JP Wieben and on piano, Ike Goodtime. This was the recording from Lightning Studio in Germany, with Ike Stoye’s production skills.
Some haunting reverb on the electric guitar, accompanies an exquisite vocal delivery on ‘(With You) I Had It All’. Is it a celebration, or is it lamenting a loss? You decide while listening to a real diamond of a tune. The pace is revved up again as the jangling sound of the lead guitar announces ‘Send Your Love to Me in a Letter’, as Marcel effortlessly slips from ballad to up-tempo rocker, with an enviable vocal dexterity.
I must admit, I thought ‘Waitin’ was another unearthed splendour from the Monument Records vault, however it’s a Riesco original. Cool guitar and sax on this one. Another well-chosen cover next with Al Terry’s 1960 Hickory cut ‘Watchdog’, is followed by a stunning vocal on ‘Why Can’t We Just Make Up’, a slow and lingering love song. Finally, another cover of an Orbison & Melson song. ‘She’s OK’, which, it sounds like Marcel’s version has slightly more pace to it than the original.
Every recording Marcel makes, be it with the Truly Lover Trio, the Shook Ups or with his many collaborations, has a certain quality about it that makes his sound so familiar. And it’s not just the unavoidable comparisons to Roy. The first strike of the guitar strings you hear, and you know who it is. Another ‘monumental’ release.
FTM Presents - Thee Flattop Brothers
In the ever-increasing catalogue of quality spins, FTM Records presents a double hitter in the DJ Club Series.
The ‘A’ side, is a very familiar tune, maybe by an unfamiliar act. The Sims Twins, were actual twins, Bobby (1937- 2006) and Kenneth (1937-2007), from Elba, Louisiana. They were discovered by Sam Cooke in 1961, who recorded them on his SAR record label. Their debut single was ‘Soothe Me’, which in one version, on the flip, was a cover of Cooke’s own composition of ‘Feel it (Don’t Fight it)’. The Twins take is piano based and relies on their excellent vocal harmony delivery. Already this has proved to be a popular dance floor winner.
James Jay Barnes (JJ), (1943-2022) was an R&B & Soul singer songwriter from Detroit, Michigan. ‘Won’t You Let Me Know’ makes up the ‘B’ side of this 45rpm. Recorded in 1960, it has that foot-in-each-camp sounds that can delight both lovers of R&B and Soul
In the ever-increasing catalogue of quality spins, FTM Records presents a double hitter in the DJ Club Series.
The ‘A’ side, is a very familiar tune, maybe by an unfamiliar act. The Sims Twins, were actual twins, Bobby (1937- 2006) and Kenneth (1937-2007), from Elba, Louisiana. They were discovered by Sam Cooke in 1961, who recorded them on his SAR record label. Their debut single was ‘Soothe Me’, which in one version, on the flip, was a cover of Cooke’s own composition of ‘Feel it (Don’t Fight it)’. The Twins take is piano based and relies on their excellent vocal harmony delivery. Already this has proved to be a popular dance floor winner.
James Jay Barnes (JJ), (1943-2022) was an R&B & Soul singer songwriter from Detroit, Michigan. ‘Won’t You Let Me Know’ makes up the ‘B’ side of this 45rpm. Recorded in 1960, it has that foot-in-each-camp sounds that can delight both lovers of R&B and Soul
FTM v Nobster – Round 2
The second in the series of Flattop Mark Phillips’ FTM v Nobster is a limited edition (280) on yellow and black vinyl.
The ‘A’ side, ‘Fever’ is by Kramo Pottalf, about whom I must admit I literally know nothing. Then I had a light bulb moment, more in a bit. The song you will most likely know from the get go. Written by Eddie Cooley and Otis Blackwell (he used the pseudonym John Davenport for some reason), it was originally released by Little Willie John in 1956. This version has a latino stroll feel to it, and a slightly novel delivery. So, who’s the artist? Read it backwards…..
Nobster’s choice is the Classmates’ ‘Pay Day’, originally recorded on Decca Records, released in 1964. The group were all from the same school in Strood and released four singles between ’63 & ’64, ‘Pay Day’ being the ‘B’ side of the final one. Another stroll beat tempo, in a mid -sixties beat style.
Listen out for these two folks
The second in the series of Flattop Mark Phillips’ FTM v Nobster is a limited edition (280) on yellow and black vinyl.
The ‘A’ side, ‘Fever’ is by Kramo Pottalf, about whom I must admit I literally know nothing. Then I had a light bulb moment, more in a bit. The song you will most likely know from the get go. Written by Eddie Cooley and Otis Blackwell (he used the pseudonym John Davenport for some reason), it was originally released by Little Willie John in 1956. This version has a latino stroll feel to it, and a slightly novel delivery. So, who’s the artist? Read it backwards…..
Nobster’s choice is the Classmates’ ‘Pay Day’, originally recorded on Decca Records, released in 1964. The group were all from the same school in Strood and released four singles between ’63 & ’64, ‘Pay Day’ being the ‘B’ side of the final one. Another stroll beat tempo, in a mid -sixties beat style.
Listen out for these two folks
INterview with Razzle Dazzle Vintage
Razzle Dazzle Vintage Interview
In Long Sutton, Lincolnshire, nestles a real gem of a store. Among the seven circular built units, sits Razzle Dazzle Vintage, a shop owned and ran by Andy and April Birdseye. We visited in mid-May just as they were celebrating the shop’s first birthday at the site. Many of you will be familiar with the couple, trading as they do at various Rock n Roll weekenders and vintage festivals around the country.
What makes a vintage store you might wonder, what’s involved, and how about the trials and obstacles you might encounter. We thought it would be cool to get an interview amongst the celebratory drinks and confectionary.
BJR First things first, when was Razzle Dazzle Vintage founded?
RDV. January 2012. The original catalyst was that I (April) had 300 pairs of earrings, and Andy reminded me that I only had one pair of ears. We’d also grown in stature, so rather than discard our original vintage clothes we decided to sell them at a table top at one of the dances in Great Baddow.
BJR. We have to ask, who’s idea was it?
RDV. Actually, both of ours, we were selling our own clothing initially, at boot sales and fairs. Then we went to America on a buying trip when we decided to start buying and selling vintage as a proper business.
BJR. When was the very first stall you did?
RDV. At Vintage Vogue in Essex. (a one day vintage fair).
BJR. Was the experience an eye opener?
RDV. Yes! It was hard work and quite daunting. However, it was worth it in the end as we had a good day selling.
BJR. And the first weekender?
RDV. Americana, (Europe’s largest festival of it’s type at the time) in Nottinghamshire, in 2012.
The following year, we traded at Twinwood, where we got chatting to Robin and Colette Weathersbee, who we had met years previous at Jiving Jamboree and before we knew it we were invited to stall at the Rhythm Riot. It was a real learning curve as we had to prepare for one of the biggest Rock n Roll weekenders in quite a short space of time. Lots of checking garments for missing buttons etc, to make sure they were ready for the weekender
In Long Sutton, Lincolnshire, nestles a real gem of a store. Among the seven circular built units, sits Razzle Dazzle Vintage, a shop owned and ran by Andy and April Birdseye. We visited in mid-May just as they were celebrating the shop’s first birthday at the site. Many of you will be familiar with the couple, trading as they do at various Rock n Roll weekenders and vintage festivals around the country.
What makes a vintage store you might wonder, what’s involved, and how about the trials and obstacles you might encounter. We thought it would be cool to get an interview amongst the celebratory drinks and confectionary.
BJR First things first, when was Razzle Dazzle Vintage founded?
RDV. January 2012. The original catalyst was that I (April) had 300 pairs of earrings, and Andy reminded me that I only had one pair of ears. We’d also grown in stature, so rather than discard our original vintage clothes we decided to sell them at a table top at one of the dances in Great Baddow.
BJR. We have to ask, who’s idea was it?
RDV. Actually, both of ours, we were selling our own clothing initially, at boot sales and fairs. Then we went to America on a buying trip when we decided to start buying and selling vintage as a proper business.
BJR. When was the very first stall you did?
RDV. At Vintage Vogue in Essex. (a one day vintage fair).
BJR. Was the experience an eye opener?
RDV. Yes! It was hard work and quite daunting. However, it was worth it in the end as we had a good day selling.
BJR. And the first weekender?
RDV. Americana, (Europe’s largest festival of it’s type at the time) in Nottinghamshire, in 2012.
The following year, we traded at Twinwood, where we got chatting to Robin and Colette Weathersbee, who we had met years previous at Jiving Jamboree and before we knew it we were invited to stall at the Rhythm Riot. It was a real learning curve as we had to prepare for one of the biggest Rock n Roll weekenders in quite a short space of time. Lots of checking garments for missing buttons etc, to make sure they were ready for the weekender
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BJR. How did you do there?
RDV. We did well, and that was probably the event that influenced us to carry on with the stall.
BJR. Originally, you’re like us, from God’s own county of Essex. You relocated to Lincolnshire, and now an adopted ‘yellow belly’. Tell us how the concept of the shop come about.
RDV. After we moved to Lincolnshire we were selling from our dining table, using photography to upload items online. But our cats kept coming into the room, getting in the way and spreading fur around. Andy just happened to be looking on the internet, primarily for storage within the area, but found Hoddins Way in Long Sutton had some small retail units. We went to view one that used to be a café and decided this would be our new HQ. It took some time to get the place round, but we now have a nicely decorated retail shop.
BJR. For readers who are not familiar with your business, what do you sell at your shop?
RDV. Predominantly vintage and retro accessories, clothing, and now most recently vintage haberdashery, buttons and knitting patterns.
BJR. What are the positives and negatives of running your business specialising in this particular era?
RDV. The negatives would be trying to source quality vintage (40’s & 50’s), which are becoming more and more scarce as the years go by. Positives would be that we are both still so passionate about the Rock n Roll music and the Vintage scenes.
BJR. Is Razzle Dazzle Vintage a work in progress or are you where you want to be now?
RDV. It’s always going to be a work in progress, we are always looking for new and exciting things to include at our brand.
BJR. How can people find your shop and business?
RDV. Our store is just off the A17, Gedney Road B1359 at Long Sutton.
Online at https://razzledazzlevintage.org.uk/
The Etsy store https://www.etsy.com/uk/shop/RazzleDazzleVintage8?msockid=041ff616069a686706b0e47707a2699b
Thank you BJR for visiting our shop and for interviewing us.
RDV. We did well, and that was probably the event that influenced us to carry on with the stall.
BJR. Originally, you’re like us, from God’s own county of Essex. You relocated to Lincolnshire, and now an adopted ‘yellow belly’. Tell us how the concept of the shop come about.
RDV. After we moved to Lincolnshire we were selling from our dining table, using photography to upload items online. But our cats kept coming into the room, getting in the way and spreading fur around. Andy just happened to be looking on the internet, primarily for storage within the area, but found Hoddins Way in Long Sutton had some small retail units. We went to view one that used to be a café and decided this would be our new HQ. It took some time to get the place round, but we now have a nicely decorated retail shop.
BJR. For readers who are not familiar with your business, what do you sell at your shop?
RDV. Predominantly vintage and retro accessories, clothing, and now most recently vintage haberdashery, buttons and knitting patterns.
BJR. What are the positives and negatives of running your business specialising in this particular era?
RDV. The negatives would be trying to source quality vintage (40’s & 50’s), which are becoming more and more scarce as the years go by. Positives would be that we are both still so passionate about the Rock n Roll music and the Vintage scenes.
BJR. Is Razzle Dazzle Vintage a work in progress or are you where you want to be now?
RDV. It’s always going to be a work in progress, we are always looking for new and exciting things to include at our brand.
BJR. How can people find your shop and business?
RDV. Our store is just off the A17, Gedney Road B1359 at Long Sutton.
Online at https://razzledazzlevintage.org.uk/
The Etsy store https://www.etsy.com/uk/shop/RazzleDazzleVintage8?msockid=041ff616069a686706b0e47707a2699b
Thank you BJR for visiting our shop and for interviewing us.
Hot Rock n Boogie #6 review will appear soon, in the meantime check out the 2026 event by clicking the flyer
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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.
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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 above
Top jive events from the Want2Jive organisation. Click on the flyer for details
Check our Razzle Dazzle at their store and at various events around the country. Website https://razzledazzlevintage.org.uk/
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Coming soon in future issues. Hot Rock n Boogie #6, Rockin' at Bomber Command, Dani West, Al Michaels, John Lewis, Marcel Bontempi, and much more
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 £30.00 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:-
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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
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
