the bettajive review magazine #47
Alan Power is just one of the artists to appear in our 47th issue of the Bettajive Review. We review the Hot Rock n Boogie #6 event and Rockin' at Bomber Command. Also appearing will be Big Sandy and the Flyrite Boys, from their gig in Doncaster. Plus John Lewis and Al Michaels 45rpm releases
Notice to advertisers. Many of you will be aware that one of the Rock n Roll magazines has ceased publication. For those advertisers who used to advertise in that publication, why not try us? Our advertising rates are very reasonable at £30.00 per issue. For this you will have your advert visible to our readers, which number in the thousands (many more than the magazine that has just ended) Your ad will have a clickable link to take the visitors to your site for booking or for further details, or your clothing/merchandise/shop website. Please get in touch with us, and let us help you get in touch with those customers
Notice to advertisers. Many of you will be aware that one of the Rock n Roll magazines has ceased publication. For those advertisers who used to advertise in that publication, why not try us? Our advertising rates are very reasonable at £30.00 per issue. For this you will have your advert visible to our readers, which number in the thousands (many more than the magazine that has just ended) Your ad will have a clickable link to take the visitors to your site for booking or for further details, or your clothing/merchandise/shop website. Please get in touch with us, and let us help you get in touch with those customers
the bettajive review
Fairly do’s? I touched on this subject a few issues ago, that of the vintage fair. These events seem to be popping up all over the place now, and indeed there are some very good ones. Kelham Hall is one of the more recent ones on a large scale that attracts hundreds of vintage clothing and styled customers and vendors. But among the vendors of fine vintage clothing and accessories, I can’t help but notice the usual bandwagon jumping ne’er do wells.
You get the flyers around town and on the internet, advertising events, with village halls most popular venues. Those buildings that still stand proud after surviving a world war and a worldwide pandemic. Those with the décor consisting of artex like a ploughed field, painted with a dozen ‘end-of-line’ colours from the decorating centre’s bargain bin. Entrance fees, set at between two pounds and a heart stopping eight to ten! A tenner! I can go to Harvey Nicks (other luxury department store chains are available) for nothing! So, a couple of quid I suppose is OK, especially faced with someone looking like the Troll Foldy-Roll behind a desk and a rusty cash box in the foyer, before you get in.
The stalls in a generic fair like these, cover everything from the 1900’s through to the 1990’s, and there’s a scattergun approach to the layout, not in date order so to speak. Thinking about it, those Wham T-shirts and ‘Frankie Says’ garments are now vintage?? I was alive then for heavens sake.
To add to the ambience, there’s sometimes a CD player in one corner with ‘Twenty Hits from the 1960’s brought with ten tokens from the petrol station’ playing. I guess it should be an eight track or cassette tape, if only to see just once more, someone try and unravel a tangles tape from a player, where the machine has mercilessly chewed it up. Or to see someone try and rewind the tape with a pencil….. The guy in charge of the whole fair has dressed himself up like a penguin in a bowler hat, cracking jokes older than Methuselah, which are as funny as a dose of the squits.
As we advance in years, I’m sure we’re not alone noticing that the contents of some of the stalls actually contain things from our own childhoods. How can that be vintage as well? Games like ‘Mousetrap’, ‘Crossfire’ and ‘Battling Tops’ were the bizzo when we were kids (apart from Mousetrap took forever to set up), you young beggars don’t know you’re born today (waves gnarly finger), and now their known as ‘vintage’!! Similarly, there’s a Casio fx-100 calculator, which anyone who was at school in the late 70’s will identify with, if only for whiling away double maths by spelling ‘Shell Oil’ , ‘Esso Oil’, or ‘Boobs’ with the numbers. I bet someone in the Midlands has just done it to show their grand children!!! :)
There are, sometimes, hand tools on these stalls. Tools that granddad had in his shed and, you know what, they’re probably worth something. Hold on, some of the other stalls have those tools as well. That’s because no one uses them anymore!
It’s usually the clothing we’d go for. We stand in the entrance area and visually sweep the room radar stylie with the occasional high pitched ‘ping’ sound. Drawn as we are to forties and fifties clothing, it’s actually a pleasant experience to come across a genuine article in good nick amongst some of the decrepitude, that’s not some poorly conceived repro article slipped in an attempting to command top dollar.
Trying stuff on in these places is not always conducive. Some stall holders put a screened area up, but of course, with their space being a premium, that has to be limited to a free-standing flimsy wooden and cloth screen. You see someone rather broad in the beam take a garment toward it and think ‘You imagine you’ll get in that? You won’t even fit in the changing room my friend!’. Strange how I turn into Gok Wan at these things! The sides wobble and the structure teeters as elbows and other extremities bump it from the inside, before an ill-advised 360 degree turn lifts one of the curtains to reveal a breathtaking view, to the rhythmic sound of jaws hitting the floor, and jokes about where to park your bike. An embarrassed partner rearranges the curtains and eventually they exit, suggesting the garment ‘was a little too tight’….(!).
Attendees can get a vintage cuppa in a vintage tea room at some of these as well, where the tea is so vintage the sugar cube bounces out of it, or so weak you can see the bottom of the cup. Coffee should really be ‘Camp Coffee’ (other chicory and coffee essence syrups are available….I think) for those who recall seeing it in older relative’s pantries. Aaaaand, there’s cake, hurrah. Four pounds, sixty-five pence for a slither of Vicky sponge? Three and a half quid for some lemon drizzle cake, sadly lacking in any trace of lemon, and by default, drizzle. Well, the prices aren’t vintage for sure.
Then there it is, an oasis in a desert of mediocrity, the real fifties vendor with rails and shelves of beauty. There’s Gabardine, Rayon, a multitude of Pendleton, Arrow, Paddle & Saddle, H bar C, drop loop pegs, hand painted ties and Lucite jewellery and bags. We Jete and Glissade from one side of the stall to the other, stuff fits, it’s been looked after, it’s arranged properly and the people are knowledgeable. Someone has actually ironed the clothes, the clothes don’t smell of, erm, well they don’t smell of it, you work it out. And they take cards!!!!
On balance (though not bank balance), I reckon for the sheer gratification of finding something that someone must have had you in mind for in 1956, makes it thoroughly worthwhile. When’s the next one, I’ll organise the loan for the cake.
Dot….dot. Best tracks in the world ever ever to put the knicker in your bocker-glory for this issue are The Bop Chords with ‘When I Woke Up This Morning’, Dale Stinit’s ‘Don’t Knock What You Don’t Understand’ and The Cadets ‘I Want You’……Dear Bettajive Review, why oh why oh why oh why, do bands randomly tune up over the DJ? Rhetorical question. I can just imagine a band’s reaction if halfway through a song, the DJ chimed in with the opening bars of ‘Why’ by the Cues (see what we did there?). What’s wrong with asking the DJ for five minutes to tune up……. How rockin’ are you? I was at one of those fast-food outlets where you order using the automated system on the podiums. My order was several numbers from the top, so I joined the waiting multitude. Next number called? Mine. The others waiting remarked ‘Wow, he’s really rockin’……… Thanks to Andy Bradley, Trevor Magson and Dave Diamond for their assistance this month.
You get the flyers around town and on the internet, advertising events, with village halls most popular venues. Those buildings that still stand proud after surviving a world war and a worldwide pandemic. Those with the décor consisting of artex like a ploughed field, painted with a dozen ‘end-of-line’ colours from the decorating centre’s bargain bin. Entrance fees, set at between two pounds and a heart stopping eight to ten! A tenner! I can go to Harvey Nicks (other luxury department store chains are available) for nothing! So, a couple of quid I suppose is OK, especially faced with someone looking like the Troll Foldy-Roll behind a desk and a rusty cash box in the foyer, before you get in.
The stalls in a generic fair like these, cover everything from the 1900’s through to the 1990’s, and there’s a scattergun approach to the layout, not in date order so to speak. Thinking about it, those Wham T-shirts and ‘Frankie Says’ garments are now vintage?? I was alive then for heavens sake.
To add to the ambience, there’s sometimes a CD player in one corner with ‘Twenty Hits from the 1960’s brought with ten tokens from the petrol station’ playing. I guess it should be an eight track or cassette tape, if only to see just once more, someone try and unravel a tangles tape from a player, where the machine has mercilessly chewed it up. Or to see someone try and rewind the tape with a pencil….. The guy in charge of the whole fair has dressed himself up like a penguin in a bowler hat, cracking jokes older than Methuselah, which are as funny as a dose of the squits.
As we advance in years, I’m sure we’re not alone noticing that the contents of some of the stalls actually contain things from our own childhoods. How can that be vintage as well? Games like ‘Mousetrap’, ‘Crossfire’ and ‘Battling Tops’ were the bizzo when we were kids (apart from Mousetrap took forever to set up), you young beggars don’t know you’re born today (waves gnarly finger), and now their known as ‘vintage’!! Similarly, there’s a Casio fx-100 calculator, which anyone who was at school in the late 70’s will identify with, if only for whiling away double maths by spelling ‘Shell Oil’ , ‘Esso Oil’, or ‘Boobs’ with the numbers. I bet someone in the Midlands has just done it to show their grand children!!! :)
There are, sometimes, hand tools on these stalls. Tools that granddad had in his shed and, you know what, they’re probably worth something. Hold on, some of the other stalls have those tools as well. That’s because no one uses them anymore!
It’s usually the clothing we’d go for. We stand in the entrance area and visually sweep the room radar stylie with the occasional high pitched ‘ping’ sound. Drawn as we are to forties and fifties clothing, it’s actually a pleasant experience to come across a genuine article in good nick amongst some of the decrepitude, that’s not some poorly conceived repro article slipped in an attempting to command top dollar.
Trying stuff on in these places is not always conducive. Some stall holders put a screened area up, but of course, with their space being a premium, that has to be limited to a free-standing flimsy wooden and cloth screen. You see someone rather broad in the beam take a garment toward it and think ‘You imagine you’ll get in that? You won’t even fit in the changing room my friend!’. Strange how I turn into Gok Wan at these things! The sides wobble and the structure teeters as elbows and other extremities bump it from the inside, before an ill-advised 360 degree turn lifts one of the curtains to reveal a breathtaking view, to the rhythmic sound of jaws hitting the floor, and jokes about where to park your bike. An embarrassed partner rearranges the curtains and eventually they exit, suggesting the garment ‘was a little too tight’….(!).
Attendees can get a vintage cuppa in a vintage tea room at some of these as well, where the tea is so vintage the sugar cube bounces out of it, or so weak you can see the bottom of the cup. Coffee should really be ‘Camp Coffee’ (other chicory and coffee essence syrups are available….I think) for those who recall seeing it in older relative’s pantries. Aaaaand, there’s cake, hurrah. Four pounds, sixty-five pence for a slither of Vicky sponge? Three and a half quid for some lemon drizzle cake, sadly lacking in any trace of lemon, and by default, drizzle. Well, the prices aren’t vintage for sure.
Then there it is, an oasis in a desert of mediocrity, the real fifties vendor with rails and shelves of beauty. There’s Gabardine, Rayon, a multitude of Pendleton, Arrow, Paddle & Saddle, H bar C, drop loop pegs, hand painted ties and Lucite jewellery and bags. We Jete and Glissade from one side of the stall to the other, stuff fits, it’s been looked after, it’s arranged properly and the people are knowledgeable. Someone has actually ironed the clothes, the clothes don’t smell of, erm, well they don’t smell of it, you work it out. And they take cards!!!!
On balance (though not bank balance), I reckon for the sheer gratification of finding something that someone must have had you in mind for in 1956, makes it thoroughly worthwhile. When’s the next one, I’ll organise the loan for the cake.
Dot….dot. Best tracks in the world ever ever to put the knicker in your bocker-glory for this issue are The Bop Chords with ‘When I Woke Up This Morning’, Dale Stinit’s ‘Don’t Knock What You Don’t Understand’ and The Cadets ‘I Want You’……Dear Bettajive Review, why oh why oh why oh why, do bands randomly tune up over the DJ? Rhetorical question. I can just imagine a band’s reaction if halfway through a song, the DJ chimed in with the opening bars of ‘Why’ by the Cues (see what we did there?). What’s wrong with asking the DJ for five minutes to tune up……. How rockin’ are you? I was at one of those fast-food outlets where you order using the automated system on the podiums. My order was several numbers from the top, so I joined the waiting multitude. Next number called? Mine. The others waiting remarked ‘Wow, he’s really rockin’……… Thanks to Andy Bradley, Trevor Magson and Dave Diamond for their assistance this month.
|
|
|
The Rockabilly Rave for 2026. Check out this line up folks and click on the flyer to take you to the website for booking details
hot rock n boogie #6
One of your hosts, Claire
Early May announces the arrival of another annual Hot Rock n Boogie weekend. The brain child of Claire Hearn and Neil Seabrook, the event has gone from strength to strength, now boasting international acts and some fine British ones. Ensconced in it’s home at Springfield Centre in Spalding Lincolnshire, the sizeable venue has all the facility the ever-increasing event needs. There’s a main hall, which accommodates the considerable number of attendees for the weekend, and indeed some of the day pass visitors as well. The dancefloor, although temporary, is more than fit for purpose, and spacious too, allowing for close-up watchers of the bands to share it with the dancers.
For a more intimate feel, there’s the Boogie Lounge, a smaller hall, where a number of the traders set up and bands play in the afternoon in front of a smaller dancefloor. Add to that, solo or more laid back sets that take place in the café/restaurant, and there’s something for everyone.
For a more intimate feel, there’s the Boogie Lounge, a smaller hall, where a number of the traders set up and bands play in the afternoon in front of a smaller dancefloor. Add to that, solo or more laid back sets that take place in the café/restaurant, and there’s something for everyone.
Cody Lee
Such has been the popularity of Hot Rock n Boogie, a Friday night pre-party has now become the norm, and this is where we start, with the returning Cody Lee and the Boogie Boys. These lads rocked up a storm last year on the main stage with their brand of pumping piano rockers, and here they were again to do the same in ’25. The crowd, chunky in numbers for the first night, were populating the dancefloor almost as soon as the needle dropped on Little Demon’s first record.
Cody Lee blasted through two sets of pretty awesome tunes on the eighty eight keys, a standout being the recounting of Oscar Peterson’s ‘Oscar’s Boogie’, a 1947 jazzy instrumental, with a fiery tempo. There was some pumping classics vocally as well, the opener of Amos Milburn’s ‘Down the Road a-Piece’ for example, and the seemingly evergreen take of Champion Jack Dupree’s ‘Shakin Mother For Ya’.
Your piano idols were well represented as well, with Fats Domino’s ‘I’m Ready’ and his styled ‘Swanee River Boogie’, while Jerry Lee Lewis bangers such as ‘Whole Lotta Shakin Goin’ On’, ‘High School Confidential’ and ‘Lewis Boogie’ filled the floor. Some Ray Charles perhaps? Why not, from his earliest material like the rolling timbre of ‘Mess Around’ through ‘What’d I Say’ and ‘I Got a Woman’.
Another blistering instrumental, Meade Lux Lewis’ ‘Honky Tonk Train Blues’, from, get this, 1927, and the first track to include the term ‘Honky-Tonk’, delighted the audience, as did the whole show. A cracking start to the weekender.
Cody Lee blasted through two sets of pretty awesome tunes on the eighty eight keys, a standout being the recounting of Oscar Peterson’s ‘Oscar’s Boogie’, a 1947 jazzy instrumental, with a fiery tempo. There was some pumping classics vocally as well, the opener of Amos Milburn’s ‘Down the Road a-Piece’ for example, and the seemingly evergreen take of Champion Jack Dupree’s ‘Shakin Mother For Ya’.
Your piano idols were well represented as well, with Fats Domino’s ‘I’m Ready’ and his styled ‘Swanee River Boogie’, while Jerry Lee Lewis bangers such as ‘Whole Lotta Shakin Goin’ On’, ‘High School Confidential’ and ‘Lewis Boogie’ filled the floor. Some Ray Charles perhaps? Why not, from his earliest material like the rolling timbre of ‘Mess Around’ through ‘What’d I Say’ and ‘I Got a Woman’.
Another blistering instrumental, Meade Lux Lewis’ ‘Honky Tonk Train Blues’, from, get this, 1927, and the first track to include the term ‘Honky-Tonk’, delighted the audience, as did the whole show. A cracking start to the weekender.
Want2Jive class in full flow
Saturday was the first full day of the event, with Want2Jive taking the lead, quite literally in a well-attended jive class. Utilising the whole main hall dancefloor, Dave Baxter and Louise Davison, put on an hour-long class of immersive and interactive dance tuition. Some basic moves rolled into a whole routine by the end of the class, with a mash up of jivers increasing steadily in tempo.
Later on we had brother and sister Paul and Pauline of the Dukes of Boogie presenting their own take on dance. Slightly different moves, taught in a formal and cheerful way, and again very well attended.
Later on we had brother and sister Paul and Pauline of the Dukes of Boogie presenting their own take on dance. Slightly different moves, taught in a formal and cheerful way, and again very well attended.
Pagan Gould of the Three of Diamonds
In the Boogie Lounge, the first live turn of Saturday, set it all off with a rock-out blast. The Three of Diamonds were debuting at Hot Rock n Boogie. As it happens, this was the first time we had seen the band as well. Featuring the classic three piece line up of guitar, bass and drums, the trio is made up of Pagan Gould on bass and vocal, Peter Moss on guitar and vocals and drummer Andrew Tiernan.
From the strike of the first chord, of ‘My Baby Can’t Rock’ there was a feeling of a Rock n Roll party. That’s not to say that the lads don’t take their music seriously, they have a level of professionalism, that couples nicely with their on stage personalities. For some it was as interactive as it was visual, with ‘bants’ back and forth with the band. The set list zipped through the popular and well-known. Stuff like ‘Sweet Little Sixteen’, ‘Teenage Heaven’, ‘My Babe’ and ‘Little Sister’.
There’s something about the intimacy of a smaller venue at a weekender, that suits bands like this one. The close proximity of the dancers and crowd to the band, plus the raucous cheering, made the debut of the Three of Diamonds, a good one.
From the strike of the first chord, of ‘My Baby Can’t Rock’ there was a feeling of a Rock n Roll party. That’s not to say that the lads don’t take their music seriously, they have a level of professionalism, that couples nicely with their on stage personalities. For some it was as interactive as it was visual, with ‘bants’ back and forth with the band. The set list zipped through the popular and well-known. Stuff like ‘Sweet Little Sixteen’, ‘Teenage Heaven’, ‘My Babe’ and ‘Little Sister’.
There’s something about the intimacy of a smaller venue at a weekender, that suits bands like this one. The close proximity of the dancers and crowd to the band, plus the raucous cheering, made the debut of the Three of Diamonds, a good one.
The Doel Brothers
In the main hall, the first turn on were the Doel Brothers. This is their third visit to Hot Rock n Boogie, and this time, they were playing on the Saturday afternoon, setting the standard and the height of the bar. Many readers will be familiar with the Doel’s reviews within the issues of the Bettajive Review Magazine, however if you are here for the first time, let’s introduce the band.
Brothers they are indeed, well sixty percent of the band are. Gordon Doel takes vocals and rhythm guitar, with younger brother David on lead guitar and vocals. Tom Doel is the drummer, with Gary Boller on upright bass and Phil Morgan sliding the steel guitar. The sound? Well it’s a mixture of Hillbilly, Western Swing, Country Bop and Rockabilly, you get that?
I doubt there’s a group out there that replicate the sound of the likes of Tennessee Ernie Ford as effortlessly as these guys do. No, there’s no leaping and bounding around the stage, but what does take place, is a palpable attention to detail, whether in a cover song or with their own extensive back catalogue of original material. It could be in the harmony sound of ‘Beer Drinking Daddy’ or the bounce of Carl Smith’s relationship signal-watching ‘Go Boy Go’. I don’t think I’ve heard them cover Faron Young’s ‘I Hear You Talking’ before, but here it was expertly delivered.
Add ‘New England in the Fall’ and another original ‘What’s the Matter Baby’ which sounds like it came out of a vault somewhere in Texas rather than the ‘tonks of Hampshire in 2016, and you have a truly excellent show. The floor was full, and the appreciation, apparent. Great stuff
Brothers they are indeed, well sixty percent of the band are. Gordon Doel takes vocals and rhythm guitar, with younger brother David on lead guitar and vocals. Tom Doel is the drummer, with Gary Boller on upright bass and Phil Morgan sliding the steel guitar. The sound? Well it’s a mixture of Hillbilly, Western Swing, Country Bop and Rockabilly, you get that?
I doubt there’s a group out there that replicate the sound of the likes of Tennessee Ernie Ford as effortlessly as these guys do. No, there’s no leaping and bounding around the stage, but what does take place, is a palpable attention to detail, whether in a cover song or with their own extensive back catalogue of original material. It could be in the harmony sound of ‘Beer Drinking Daddy’ or the bounce of Carl Smith’s relationship signal-watching ‘Go Boy Go’. I don’t think I’ve heard them cover Faron Young’s ‘I Hear You Talking’ before, but here it was expertly delivered.
Add ‘New England in the Fall’ and another original ‘What’s the Matter Baby’ which sounds like it came out of a vault somewhere in Texas rather than the ‘tonks of Hampshire in 2016, and you have a truly excellent show. The floor was full, and the appreciation, apparent. Great stuff
The Casinos
Let’s have a gear switch, and the sharply attired four-piece, The Casinos taking the stage. White tuxedo jackets and black trousers, adorned lead guitarist and vocalist John O’Malley, along with Cody Lee, making his second appearance on the HR&B stage this weekend on piano. In the rhythm engine room, Jason (JJ) King on upright bass and Todd Knapp on drums. They were a real tonic for the dancers, of which there were plenty on the floor, with a set list of classic, up-tempo jive tunes, all performed with the expertise that you’d expect a band containing these musicians would.
Taking a track like the Cadets’ ‘I Want You’ for example. The 1956 ‘B’ side on Kent Records, features a whole range of vocal styles in it’s construction. The Casinos took the track and whilst paying due reverence to the original, kept it real to their own style. It turned out really well. They also have a new CD out, named after the Five Keys Track ‘It’s a Groove’, which was duly showcased live from the stage, and from that very recording you will be hearing a lot of ‘Bon Apetite”. The likes of ‘Deep Sea Ball’, Clyde McPhatter’s piscine celebration, has filled many-a floor, and this take was no exception, and the evergreen ‘At The Hop’.
Not only did they look cool, the sound was as sharp as the creases ironed in their trouser legs. An ideal band for Hot Rock n Boogie’s raison d’etre.
Taking a track like the Cadets’ ‘I Want You’ for example. The 1956 ‘B’ side on Kent Records, features a whole range of vocal styles in it’s construction. The Casinos took the track and whilst paying due reverence to the original, kept it real to their own style. It turned out really well. They also have a new CD out, named after the Five Keys Track ‘It’s a Groove’, which was duly showcased live from the stage, and from that very recording you will be hearing a lot of ‘Bon Apetite”. The likes of ‘Deep Sea Ball’, Clyde McPhatter’s piscine celebration, has filled many-a floor, and this take was no exception, and the evergreen ‘At The Hop’.
Not only did they look cool, the sound was as sharp as the creases ironed in their trouser legs. An ideal band for Hot Rock n Boogie’s raison d’etre.
Cat Lee King and His Cocks
The evening continued with a real one-two punch. The R&B sound of Cat Lee King and his Cocks and the kicking Rockabilly sound of Toto and the Raw Deals.
Cat Lee King and his Cocks are from Bonn, Germany, their name often evoking a titter-ye-not reaction from those with their minds in the gutter. They are led by Cat Lee King, a masterful blues singer and when necessary, blues shouter, clearly adept on the eighty eight keys as well. The interplay with guitarist Tommy J Croole during the instrumental breaks, is particularly engaging for the listener.
They mixed up the flavours throughout, combining material from their first CD (which teased out that there is a second on the way) and some covers. Setting that particular pace was the call-and-answer ‘What’s the Word, Thunderbird’, from 1957, originally by Hal Paige and the Whalers (latterly Wailers). Their own material blends nippy rockers and jivers, with more moody, bluesy sounds. Some of the titles of the new material, are thought provoking on their own, ‘Don’t Blame it on Elvis’ and ‘Shooting Crap’, which we presume is about the dice game of that ilk, rather than discharging dung from a firearm, it has a ‘Shortnin’ Bread’ rhythm to it, which is really catchy.
‘Far Too Far Away’ , ‘Aintcha’ and ‘You’re the Greatest’ from the debut CD release also featured in a show stopping set. This was an introduction to the band for many at the event, and they were not disappointed. Just sublime.
Cat Lee King and his Cocks are from Bonn, Germany, their name often evoking a titter-ye-not reaction from those with their minds in the gutter. They are led by Cat Lee King, a masterful blues singer and when necessary, blues shouter, clearly adept on the eighty eight keys as well. The interplay with guitarist Tommy J Croole during the instrumental breaks, is particularly engaging for the listener.
They mixed up the flavours throughout, combining material from their first CD (which teased out that there is a second on the way) and some covers. Setting that particular pace was the call-and-answer ‘What’s the Word, Thunderbird’, from 1957, originally by Hal Paige and the Whalers (latterly Wailers). Their own material blends nippy rockers and jivers, with more moody, bluesy sounds. Some of the titles of the new material, are thought provoking on their own, ‘Don’t Blame it on Elvis’ and ‘Shooting Crap’, which we presume is about the dice game of that ilk, rather than discharging dung from a firearm, it has a ‘Shortnin’ Bread’ rhythm to it, which is really catchy.
‘Far Too Far Away’ , ‘Aintcha’ and ‘You’re the Greatest’ from the debut CD release also featured in a show stopping set. This was an introduction to the band for many at the event, and they were not disappointed. Just sublime.
Toto and the Raw Deals
Tearing up the stage to end the live shows on Saturday, Toto and the Raw Deals, returning for another show at HR&B after a triumphant introduction to the event last year. The line up remains with Salvatore ‘Toto’ Marziano on rhythm guitar and vocals, lead guitarist Sam French, Danny Brown on upright bass and the ever-dependable drummer Tony Hillebrandt. The expectation was fully charged as the opening bars to ‘Reelin and Rockin’ whipped up the crowd stage front. This was a powerhouse start to the show.
These guys have a knack of taking tunes from slightly off the beaten Rock n Roll track, and adding their own pep to them. You could take Johnny Paycheck’s (1938 – 2003) ‘Shakin the Blues’, which he recorded under the name Donny Young in 1960 as an example. The George Jones penned song had a rambling, honky tonk sound to the original recording, which the ‘Deals added their own style to. Sliding over to the blues side would be their take on Sonny Boy Williamson’s ‘Polly Put Your Kettle On’ from 1947. Toto discards the guitar in favour of harmonica, which much like the original is driven by some serious wail.
Charlie Feathers’ ‘Stutterin’ Cindy’ involved the audience, with shout-back vocals, or dare I trivialise it as ‘sounds’ moreso. The touching lyrics of ‘Family’ an original Toto track, about becoming a father, offered a little breather from the rockers, before an extended version of Mickey Lee Lane’s ‘Senior Class’ made so by the lead to one of the guitars falling out. Another storming set by Toto, leaving the big crowd breathless and rewarded.
These guys have a knack of taking tunes from slightly off the beaten Rock n Roll track, and adding their own pep to them. You could take Johnny Paycheck’s (1938 – 2003) ‘Shakin the Blues’, which he recorded under the name Donny Young in 1960 as an example. The George Jones penned song had a rambling, honky tonk sound to the original recording, which the ‘Deals added their own style to. Sliding over to the blues side would be their take on Sonny Boy Williamson’s ‘Polly Put Your Kettle On’ from 1947. Toto discards the guitar in favour of harmonica, which much like the original is driven by some serious wail.
Charlie Feathers’ ‘Stutterin’ Cindy’ involved the audience, with shout-back vocals, or dare I trivialise it as ‘sounds’ moreso. The touching lyrics of ‘Family’ an original Toto track, about becoming a father, offered a little breather from the rockers, before an extended version of Mickey Lee Lane’s ‘Senior Class’ made so by the lead to one of the guitars falling out. Another storming set by Toto, leaving the big crowd breathless and rewarded.
The Devil's Cut Combo
For the first time at Hot Rock n Boogie, the Sunday morning hosted a well-attended table top sale, after which , the Devil’s Cut Combo played their second set of the weekend, this time in the café (the first being the previous day in the Boogie Lounge). There are bands that are laid back, but I wonder how many have a bass player quite as laid back as Paul ‘The Preacher’ Kish, who was all but horizontal throughout the set. The rest of the band are made up of Rob Hillier on lead guitar and vocals, with Bill Renwick on piano and drummer George Cheeseman.
This is another band that have been on the crest of a wave of popularity at HR&B, having played three consecutive years. Their style is an early 1950’s jumping Rhythm and Blues, with a boogie beat. The delivery is almost effortless, and equally professional, with in some cases, oddly named titles. Just the ticket to rhythmically munch on your yorkie pud to.
Dispatch style mentions also to Pagan Gould, not only supplying some kit for the Boogie lounge but putting on a hugely varied solo set in the café. He’s fairly local to the area and clearly has a hefty following, judging by the population in the house.
HR&B Dot….dot. Best tracks in the world ever ever to Hot your Rock for this Boogie were Joey Thomas’ ‘Cherokee Boogie’, Clyde McPhatter’s ‘I’ll Love You ‘til the Cows Come Home’ and ‘Sweet Shoppe Sweetheart’ by Molly Bee……Some fine tunes played over the weekend by the DJs. Longtime mainstay Mister Big Feet, was joined by the likes of Air Monkey from Switzerland, Mark’s Kicking the Boogie, Idaho Redd, Little Demon, Slimboy and Carrie Hope in the main hall, keeping the dancefloor moving, along with Pagan and Tone Deaf adding to the ambience in the Boogie lounge…..Quality dancefloor once again installed at the HR&B, so good to have the confidence to move around without the fear of the terrain parting underneath you and a void to the earth’s core opening up (complete with Doug McClure battling obviously plastic monsters)…..HR&B #7 was announced before the end of HR&B #6, testament to the continued rise in popularity of this event…..
This is another band that have been on the crest of a wave of popularity at HR&B, having played three consecutive years. Their style is an early 1950’s jumping Rhythm and Blues, with a boogie beat. The delivery is almost effortless, and equally professional, with in some cases, oddly named titles. Just the ticket to rhythmically munch on your yorkie pud to.
Dispatch style mentions also to Pagan Gould, not only supplying some kit for the Boogie lounge but putting on a hugely varied solo set in the café. He’s fairly local to the area and clearly has a hefty following, judging by the population in the house.
HR&B Dot….dot. Best tracks in the world ever ever to Hot your Rock for this Boogie were Joey Thomas’ ‘Cherokee Boogie’, Clyde McPhatter’s ‘I’ll Love You ‘til the Cows Come Home’ and ‘Sweet Shoppe Sweetheart’ by Molly Bee……Some fine tunes played over the weekend by the DJs. Longtime mainstay Mister Big Feet, was joined by the likes of Air Monkey from Switzerland, Mark’s Kicking the Boogie, Idaho Redd, Little Demon, Slimboy and Carrie Hope in the main hall, keeping the dancefloor moving, along with Pagan and Tone Deaf adding to the ambience in the Boogie lounge…..Quality dancefloor once again installed at the HR&B, so good to have the confidence to move around without the fear of the terrain parting underneath you and a void to the earth’s core opening up (complete with Doug McClure battling obviously plastic monsters)…..HR&B #7 was announced before the end of HR&B #6, testament to the continued rise in popularity of this event…..
Bobcat Billy's Moonshine Mission
In the main hall, Bobcat Billy’s Moonshine Mission. In addition to the classic, lead, bass and drums, you get a trombone, which ‘does’ a lot of the sax parts. The players are Nick Haggart on lead vocals, with Nick Down on guitar, Jon Rowland on drums, bassist Chris Renshaw and on the blue trombone Ferg Mulcahy. That sound gave a rather curious cadence to some of the instrumental breaks. I mean, ‘Sea Cruise’ it was an ideal accompaniment, however on ‘Big Hunk o’ Love’ it was more of an acquired taste.
These guys take popular songs and put on a set of danceable songs, which the crowd lapped up. The Mavericks’ ‘Dance The Night Away’ utilised the trombone for the instrumental break, and they even pitched in some Led Zepplin, with their take on the 1971 track ‘Rock ‘n’ Roll.
These guys take popular songs and put on a set of danceable songs, which the crowd lapped up. The Mavericks’ ‘Dance The Night Away’ utilised the trombone for the instrumental break, and they even pitched in some Led Zepplin, with their take on the 1971 track ‘Rock ‘n’ Roll.
The Mystery Train Riders
In the Boogie Lounge, a real treat. The Mystery Train Riders, from the North East took to the stage in front of a packed house. Word was that they were dropped in it, whatever ‘it’ may have been, and had to draw on a couple of lads to fill the rhythm section. In addition to lead singer Chris Blakely on rhythm guitar, and Dan Garland on lead guitar, they welcomed Michael McGill on upright bass (broken fingers and all) and from Alan Power and the Aftershocks, drummer Liam Ascott.
Having seen the band a while ago, pretty much after they started out, seeing them now is just excellent. The confidence has multiplied several times and consequently, so has the performance. Chris is totally at home and at ease fronting the band and has a decent set of pipes vocally, as well as a foot stomping style through the instrumental breaks. The dancefloor, naturally smaller than the main hall, was packed throughout as the band negotiated their way through some of the finest rockin’ tunes.
Of course we had ‘Mystery Train’, and the likes of Gene Summers’ ‘School of Rock n Roll’ tore the place up, and the stroll beat of ‘Personal Jesus’ (yes people of my age, Depeche Mode 1989) and ‘What Ya Gonna Do’ were stick on floor fillers. ‘Folsom Prison Blues’, the pacy boppers ‘Shake your Hips’ ‘Baby Let’s Play House’ and ‘Rip it Up’ rocked out in a memorable set from the lads.
Having seen the band a while ago, pretty much after they started out, seeing them now is just excellent. The confidence has multiplied several times and consequently, so has the performance. Chris is totally at home and at ease fronting the band and has a decent set of pipes vocally, as well as a foot stomping style through the instrumental breaks. The dancefloor, naturally smaller than the main hall, was packed throughout as the band negotiated their way through some of the finest rockin’ tunes.
Of course we had ‘Mystery Train’, and the likes of Gene Summers’ ‘School of Rock n Roll’ tore the place up, and the stroll beat of ‘Personal Jesus’ (yes people of my age, Depeche Mode 1989) and ‘What Ya Gonna Do’ were stick on floor fillers. ‘Folsom Prison Blues’, the pacy boppers ‘Shake your Hips’ ‘Baby Let’s Play House’ and ‘Rip it Up’ rocked out in a memorable set from the lads.
Rusti Steel
The other act on in the Boogie Lounge that afternoon was the venerable Rusti Steel and the Star Tones. Rusti has played a big part in previous Hot Rock n Boogies, as a main stage act, solo in the café, and now in the ‘Lounge, alongside Landon Filer on bass and Paul Saunders on drums. Some of the loudest applause for the Mystery Train Riders, came from Rusti, who was waiting in the wings for his show.
With Rusti slinging his trusty Squire Telecaster, the trio set about delighting the crowd with some of the finest rocking sounds. There’s a slightly frenetic cadence to his vocal delivery, which always adds to the show, whether he’s rocking out to the likes of ‘I’ve Had Enough’ or in a stroll beat with the likes of Chuck Berry’s ‘Almost Grown’ or Dale Hawkins’ ‘Suzie Q’.
Perfect for the band’s raison d’etre is Carl Perkins’ ‘Your True Love’ from 1957 on Sun Records (b/w the evergreen ‘Matchbox’), a first among equals in the quality stakes of a Star Tones show. There’s leg shiverin’ and a-shakin’ to be done on Thumper Jones’ ‘How Come It’, a song that has become a mainstay of a Steel show. It’s always a treat to see a Rusti Steel show and this one was delivered with the same enthusiasm as we’ve all grown used to, he doesn’t just play it, he feels it.
With Rusti slinging his trusty Squire Telecaster, the trio set about delighting the crowd with some of the finest rocking sounds. There’s a slightly frenetic cadence to his vocal delivery, which always adds to the show, whether he’s rocking out to the likes of ‘I’ve Had Enough’ or in a stroll beat with the likes of Chuck Berry’s ‘Almost Grown’ or Dale Hawkins’ ‘Suzie Q’.
Perfect for the band’s raison d’etre is Carl Perkins’ ‘Your True Love’ from 1957 on Sun Records (b/w the evergreen ‘Matchbox’), a first among equals in the quality stakes of a Star Tones show. There’s leg shiverin’ and a-shakin’ to be done on Thumper Jones’ ‘How Come It’, a song that has become a mainstay of a Steel show. It’s always a treat to see a Rusti Steel show and this one was delivered with the same enthusiasm as we’ve all grown used to, he doesn’t just play it, he feels it.
Jim Hammond
The two Boogie Lounge sets, sandwiched a rocking blues-based set by The Jim Hammond Quartet. Multi-instrumentalist, Jim, switched seamlessly between guitar and keyboards, backed by upright (albeit a seated Greggi G) bass, Pete G on harmonica and Jim Russell drums. There were popular dance tracks within the set, thinking mainly of Joe Turner’s ‘Boogie Woogie Country Girl’, but I’ll flag up one track in particular that hit the spot. I think it was originally recorded by Wayne Foret, a swamp rock artist (1948 – 2020) however this had a real blues twist with an increased tempo and some super harmonica with Jim and taking the vocals, a duet if you will with Pete G. Usually I’m 100% sure of titles, and I think this was ‘I Cried’
Another huge flag-up would be ‘I’m in Love With You Baby’. This is an original track, written by Jim himself, and has the resonance of Elmore James and Otis Spann to the structure and guitar riffs. The vocal delivery was forceful without being aggressive and the guitar was complemented by a smashing harmonica break. A virtuoso blues track among a masterclass of a set.
Another huge flag-up would be ‘I’m in Love With You Baby’. This is an original track, written by Jim himself, and has the resonance of Elmore James and Otis Spann to the structure and guitar riffs. The vocal delivery was forceful without being aggressive and the guitar was complemented by a smashing harmonica break. A virtuoso blues track among a masterclass of a set.
Sarah Mai
The evening session began with a true vocal talent. Sarah Mai, is a very versatile vocalist, be it the Rhythm and Blues sound or any of the female vocalists of the early Rock n Roll era. Add into that a jazzy lilt to her vocals or Swing and out and out Rockabilly whenever the fancy seems to take her. The band looked a fair bit different from the last time we saw Sarah play, the sax and keyboards were missing, replaced by a trumpet player.
Take your favourite Rhythm and Blues vocalists, who would be on that list? Ruth Brown, LaVern Baker, Mabel Scott or Wynona Carr maybe? Well that’s what made up the majority of the set, like Scott’s 1951 Coral gem, ‘Boogie Woogie Choo Choo Train’, Wynona Carr’s nippy ‘Ding Dong Daddy’ and the saucy sound of Irma Thomas’ 1959 corker ‘You Can Have My Husband, but Please Don’t Mess with my Man’. ‘Alright, OK, You Win’ in the Ella Johnson style hit the spot, and there’s always room for LaVern’s ‘Jim Dandy’, Ruth’s ‘As Long as I’m Moving’ . Right from Margi Day’s ‘Red Rooster’ from 1951 throughout the set, the crowd seriously dug the sounds.
Take your favourite Rhythm and Blues vocalists, who would be on that list? Ruth Brown, LaVern Baker, Mabel Scott or Wynona Carr maybe? Well that’s what made up the majority of the set, like Scott’s 1951 Coral gem, ‘Boogie Woogie Choo Choo Train’, Wynona Carr’s nippy ‘Ding Dong Daddy’ and the saucy sound of Irma Thomas’ 1959 corker ‘You Can Have My Husband, but Please Don’t Mess with my Man’. ‘Alright, OK, You Win’ in the Ella Johnson style hit the spot, and there’s always room for LaVern’s ‘Jim Dandy’, Ruth’s ‘As Long as I’m Moving’ . Right from Margi Day’s ‘Red Rooster’ from 1951 throughout the set, the crowd seriously dug the sounds.
Alan Power and the Aftershocks
A real blast from a band with a monster talent next. Alan Power and the Aftershocks, the last time they appeared at the ‘Boogie, arrived literally with seconds to go before their on-stage time. This time out, plenty of time to get set up. Alan takes lead vocals and rhythm guitar duties, with Jimmy Shields on lead guitar, Michael McGill on bass and Liam Ascott on drums. Their show nowadays is a much more immersive affair with audience participation wholeheartedly encouraged.
We can take ‘When the Saints go Marching in’ for a stand alone example, the audience cajoled into the classic ‘ecoute et repete’. It was prevalent again, this time with a track we can’t recall them playing live before. Cab Calloway’s ‘Minnie The Moocher’, from 1931, with it’s nonsensical lyrics (who cares) and scat sung chorus of Hidee Hidees, really got the crowd up. There was a classic lyrical blues number during the set, by that I mean opening up with ‘Woke up this morning, ain’t got no suit to wear’, which may well be the title, but it slips the mind for now (I await the response from Google searchers).
Many is the time people have suggested a comparison with Alan Power’s style and that of young Elvis. If you checked out his take on ‘Ready Teddy’ at the Boogie, for example, you can definitely see the influence, the frantic strumming of the rhythm guitar during the instrumental break and the frenzied vocals. Their version of ‘Dirty Old Town’, a song often synonymous with the Pogues, is a showstopper (despite it being about Salford!). This is another band of youngsters that have grown in confidence and stage presence, providing a top drawer show.
We can take ‘When the Saints go Marching in’ for a stand alone example, the audience cajoled into the classic ‘ecoute et repete’. It was prevalent again, this time with a track we can’t recall them playing live before. Cab Calloway’s ‘Minnie The Moocher’, from 1931, with it’s nonsensical lyrics (who cares) and scat sung chorus of Hidee Hidees, really got the crowd up. There was a classic lyrical blues number during the set, by that I mean opening up with ‘Woke up this morning, ain’t got no suit to wear’, which may well be the title, but it slips the mind for now (I await the response from Google searchers).
Many is the time people have suggested a comparison with Alan Power’s style and that of young Elvis. If you checked out his take on ‘Ready Teddy’ at the Boogie, for example, you can definitely see the influence, the frantic strumming of the rhythm guitar during the instrumental break and the frenzied vocals. Their version of ‘Dirty Old Town’, a song often synonymous with the Pogues, is a showstopper (despite it being about Salford!). This is another band of youngsters that have grown in confidence and stage presence, providing a top drawer show.
The Spunyboys
Finally, it was a ninety-minute blast to end the event from France’s The Spunyboys. This trio are an explosive trio, full of energy and literally let of steam, in the form of some kind of vape I’d suggest, from the moment they take the stage. Clear faves with the remaining punters, Remi, with a slightly more restrained quiff nowadays, sets about most of the vocals, to songs which appear to be adlibbed most of the time. He’s backed by Guillame on drums and lead guitarist Eddie.
Instrumental breaks consist of acrobatics, considerable strength to hold the bass overhead, balance and high kicks. And somehow, they manage to get a tune out of their instruments without missing a beat. Any organised set list is usually subject to alteration, and depends on the wants and wishes of the crowd, vocal and enthusiastic as they were. That said, ‘Natural Born Lover’ seems to be a consistent opener, immediately setting the pace for the show. Foot stomping throughout ‘How Low Do You Feel’, calling and answering to ‘Bop For Life’ and singalong to ‘King of the Road’. A kicking version of ‘Rockin’ Bones’ kept the pace up as well in a set that left even the most casual observer breathless. ‘One, two, three, four, five, Rock and Roll is still alive’ came the call from the stage.
And with an event like Hot Rock n Boogie, it certainly is.
Gallery images below, click on the for full sized pictures
Have you enjoyed what you have read so far? If so, please consider dropping us a donation by using the button below. Thank you
Instrumental breaks consist of acrobatics, considerable strength to hold the bass overhead, balance and high kicks. And somehow, they manage to get a tune out of their instruments without missing a beat. Any organised set list is usually subject to alteration, and depends on the wants and wishes of the crowd, vocal and enthusiastic as they were. That said, ‘Natural Born Lover’ seems to be a consistent opener, immediately setting the pace for the show. Foot stomping throughout ‘How Low Do You Feel’, calling and answering to ‘Bop For Life’ and singalong to ‘King of the Road’. A kicking version of ‘Rockin’ Bones’ kept the pace up as well in a set that left even the most casual observer breathless. ‘One, two, three, four, five, Rock and Roll is still alive’ came the call from the stage.
And with an event like Hot Rock n Boogie, it certainly is.
Gallery images below, click on the for full sized pictures
Have you enjoyed what you have read so far? If so, please consider dropping us a donation by using the button below. Thank you
The Rhythm Riot, a really hot line up for 2025 people. You need this in your lives. Click the flyer for details
Rockin at Bomber Command
The Hicksville Bombers
There are events now that have cemented themselves into the Rock n Roll calendar. This is the case with Lincolnshire’s Rockin at Bomber Command. Starting at Juniper Fayre, in Potterhanworth, it moved, lock stock and barrel, to Lincoln’s Bomber Command venue for two years, where it also adopted the current name. This year, the event returned to it’s original home at Hanworth Country Park.
This venue boasts a very large open area where the marquee is sited, and around which, a lot of the stalls pitch up. There’s the opportunity for camping, caravaning, motorhome-ing, glamping and yurts. So, something for just about everyone who wanted to join in with the event, and if the fancy takes you, there are some lakes to wander around or walk your dog.
It runs from Friday afternoon through to Sunday evening, with visitors for the whole weekend and day tickets available too. The marquee itself is spacious, with a slatted wooden floor throughout and heavy duty outdoor style combined table-benches for seating, or resting one’s bevvy.
With an afternoon start, it usually falls upon a local band to rev it all up. The Hicksville Bombers, are based in Lincoln, although bassist Landon Filer and drummer Paul Saunders do have a ways to travel, and Paul was also carrying an injury. Unperturbed they took to the stage with their customary gusto as the siren was wound, heralding the open bars of ‘Bombs Away’ a suitable anthemic sounding instrumental, which could theoretically become the theme tune for this festival.
A lot of the set came from the Bombers last couple of releases, although it’s always good to hear the likes of ‘Prettiest Girl in Town’ and the slightly restrained tempo of ‘I Changed My Mind’, among such thunderclaps as ‘Danger Road’, ‘Whole Lotta Rosie’ and the thumping instro, ‘Grease Monkey’. My goodness those aviator boiler suits with HBT Utility Caps, look like they’d keep you warm in winter, but this was May. Hot stuff to open the event.
This venue boasts a very large open area where the marquee is sited, and around which, a lot of the stalls pitch up. There’s the opportunity for camping, caravaning, motorhome-ing, glamping and yurts. So, something for just about everyone who wanted to join in with the event, and if the fancy takes you, there are some lakes to wander around or walk your dog.
It runs from Friday afternoon through to Sunday evening, with visitors for the whole weekend and day tickets available too. The marquee itself is spacious, with a slatted wooden floor throughout and heavy duty outdoor style combined table-benches for seating, or resting one’s bevvy.
With an afternoon start, it usually falls upon a local band to rev it all up. The Hicksville Bombers, are based in Lincoln, although bassist Landon Filer and drummer Paul Saunders do have a ways to travel, and Paul was also carrying an injury. Unperturbed they took to the stage with their customary gusto as the siren was wound, heralding the open bars of ‘Bombs Away’ a suitable anthemic sounding instrumental, which could theoretically become the theme tune for this festival.
A lot of the set came from the Bombers last couple of releases, although it’s always good to hear the likes of ‘Prettiest Girl in Town’ and the slightly restrained tempo of ‘I Changed My Mind’, among such thunderclaps as ‘Danger Road’, ‘Whole Lotta Rosie’ and the thumping instro, ‘Grease Monkey’. My goodness those aviator boiler suits with HBT Utility Caps, look like they’d keep you warm in winter, but this was May. Hot stuff to open the event.
The Rhythm Burners
In keeping with the high temp, the Rhythm Burners took their place on the stage (see what I did there, this isn’t just thrown together you know). This four piece from the North East, have been making waves on the Rock n Roll circuit for sometime now. The cat-in-the-hat, Andy Bradley, takes the lead vocals, with lead guitarist Trevor Magson, Dylan Kay on upright bass and drummer Aaron McDermid.
Anyone who was around a computer a couple of years ago, would probably recall the ‘Phone on the Shelf’ sessions, the band playing a set of tunes recorded by, guess what? It was always an impressive sound, and here they were replicating it on the ‘Command stage.
The set was varied as it was diverse, with the Big O’s ‘You’re My Baby’,a classic Sun rocker, mixing it up with the blues belter, Big T Tyler’s ‘King Kong’. Then you take a track like Hank Williams’ statuesque ‘Kaw Liga’ from 1953 vying for attention with some British sounds like ‘Brand New Cadillac’ from 1959.
Slowing down again for the Clovers/Searchers ‘Love Potion Number Nine’ and a true blast to end with, Johnny Burnette’s ‘Tear It Up. A hugely versatile set of fine examples of everything that’s good about the 1950’s sound, all delivered in expert style.
Anyone who was around a computer a couple of years ago, would probably recall the ‘Phone on the Shelf’ sessions, the band playing a set of tunes recorded by, guess what? It was always an impressive sound, and here they were replicating it on the ‘Command stage.
The set was varied as it was diverse, with the Big O’s ‘You’re My Baby’,a classic Sun rocker, mixing it up with the blues belter, Big T Tyler’s ‘King Kong’. Then you take a track like Hank Williams’ statuesque ‘Kaw Liga’ from 1953 vying for attention with some British sounds like ‘Brand New Cadillac’ from 1959.
Slowing down again for the Clovers/Searchers ‘Love Potion Number Nine’ and a true blast to end with, Johnny Burnette’s ‘Tear It Up. A hugely versatile set of fine examples of everything that’s good about the 1950’s sound, all delivered in expert style.
Tex Speed Combo
What we all needed was a little comedown and serenely poetic performances, Shakespearian stanzas maybe. Well if we did, tough tatties, here comes the Tex Speed Combo, and leading the charge, is Mark ‘Ellie’ Ellington on vocals, rhythm guitar and percussive things that go ‘ding’, ‘tock’ and ‘prrr’. He’s joined by Geordie Paul O’Donnell on drums, bassist Andy Sykes and ace guitarist Paul Murphy.
What do you expect musically from the Tex Speed Combo? Well, the unexpected. Sure there are regulars, ‘Bob Luman’s ‘This is the Night’ and Johnny Horton’s ‘Honky Tonk Mind’ along with ‘Lights Out Baby’, ‘Right Track’ and Maylon Humphries ‘Worried ‘bout you Baby’.
Growling vocals and physical buffoonery notwithstanding, there’s always a barrowload of enjoyment to be had at a Tex Speed show. Crowning glory, would probably be their version of Jack Southern’s ‘Darlene’, but the whole selection was top drawer. Ace backing musically, a tight sound and first class lead guitar breaks throughout, the perfect compliment.
What do you expect musically from the Tex Speed Combo? Well, the unexpected. Sure there are regulars, ‘Bob Luman’s ‘This is the Night’ and Johnny Horton’s ‘Honky Tonk Mind’ along with ‘Lights Out Baby’, ‘Right Track’ and Maylon Humphries ‘Worried ‘bout you Baby’.
Growling vocals and physical buffoonery notwithstanding, there’s always a barrowload of enjoyment to be had at a Tex Speed show. Crowning glory, would probably be their version of Jack Southern’s ‘Darlene’, but the whole selection was top drawer. Ace backing musically, a tight sound and first class lead guitar breaks throughout, the perfect compliment.
The Escobars
Saturday began with The Escobars who have a hard hitting & rocking blues sound, ballsy guitar and harmonica work throughout. They were playing Bomber Command after a gig the previous night with Roy Dee and the Spitfires, who were due up later in the day. They are led by James Steele, accomplished lead singer and rhythm guitarist, joined by Robert James Hines on lead guitar, and Trevor Coveney on upright bass and Crag Shape on drums.
We’d done a bit of research on the band ahead of time, they do a pretty mean take on Lee Dresser’s 1969 dance floor favourite, ‘El Camino Real’, Mickey Lee Lane’s ‘Senior Class’ and the up tempo take of ‘Dig a Hole’, plus ‘You Don’t Love Me’ as a classy blues bop. The highlight of the set for me was ‘On The Run’, the phattest sound rocking out to a reverberant beat and searing guitar runs and riffs. Not sure if it’s waxed yet, but it would be a cool ‘A’ side. An enjoyable rock-out set.
We’d done a bit of research on the band ahead of time, they do a pretty mean take on Lee Dresser’s 1969 dance floor favourite, ‘El Camino Real’, Mickey Lee Lane’s ‘Senior Class’ and the up tempo take of ‘Dig a Hole’, plus ‘You Don’t Love Me’ as a classy blues bop. The highlight of the set for me was ‘On The Run’, the phattest sound rocking out to a reverberant beat and searing guitar runs and riffs. Not sure if it’s waxed yet, but it would be a cool ‘A’ side. An enjoyable rock-out set.
The Viscounts
We didn’t think we had seen the Viscounts before, although the personnel in the band, had some considerable pedigree, with Lee Gocher on lead guitar and vocals, Dave Diamond on drums and upright bassist Tony Ace. With those three musicians in the house (okay, marquee!) you’re on a winner. Lee, a sinistral guitarist, is one of those musicians who makes it look easy. We used to cross paths with him playing in the Sundowners, quite often, but it has been a number of years since. There was a comforting familiarity to the opening number, Jerry Lee Lewis’ debut single, ‘The End of the Road’, which was always a regular Lee Gocher track.
Ersel Hickey’s ‘Going Down That Road’, and Gene’s ‘Crazy Legs’ were well received, and the strollers were out for a trio of lower tempo tunes, with ‘Modern Don Juan’ standing out. Loved the Eddie Cochran instrumental, ‘Scratchin’ which followed a super cool take of Jack Huddle’s 1958 corker ‘Starlight’, with it’s catchiest of guitar solos (which Buddy Holly played on the original). A couple of Buddy songs made the show as well, with ‘Ting-a-Ling’ and ‘Blue Days Black Nights’. Really solid set from the Viscounts, hope that they get to play around the circuit a bit now.
Ersel Hickey’s ‘Going Down That Road’, and Gene’s ‘Crazy Legs’ were well received, and the strollers were out for a trio of lower tempo tunes, with ‘Modern Don Juan’ standing out. Loved the Eddie Cochran instrumental, ‘Scratchin’ which followed a super cool take of Jack Huddle’s 1958 corker ‘Starlight’, with it’s catchiest of guitar solos (which Buddy Holly played on the original). A couple of Buddy songs made the show as well, with ‘Ting-a-Ling’ and ‘Blue Days Black Nights’. Really solid set from the Viscounts, hope that they get to play around the circuit a bit now.
John Lewis
With Shaun Horton and the Tennessee Trio unable to attend, up jumped the John Lewis Trio, two thirds of which from Wales. John Lewis takes the lead vocals and lead guitar, with Billy Roberts on drums and from Leicestershire on bass, Nick Whitfield. With a mix of covers, covers with a twist and original material, John had the crowd from the first chord. The set contained audience favourites like the Jiants’ ‘Tornado’, the first song John performed with the Rimshots (some time before Pontious was a Pilate!).
The instrumental oddity, ‘Where’s me ****ing Snouts’ rattled through the marquee, and the strollers were out to Ronnie Love’s ‘Chills and Fever’, which has a slightly maniacal but massively effective delivery. In tribute to fellow Welsh rockers, Crazy Cavan, John invited Dave Diamond up onto the stage to drum on ‘Both Wheels Left the Ground’. Cracking tribute version that was readers. ‘I Love You’ has a rolling drum beat and forceful delivery, further demonstrating John’s vocal versatility. The latest 45rpm was showcased and you can read about that, elsewhere in this issue. Welsh wizardry at it’s best as always
The instrumental oddity, ‘Where’s me ****ing Snouts’ rattled through the marquee, and the strollers were out to Ronnie Love’s ‘Chills and Fever’, which has a slightly maniacal but massively effective delivery. In tribute to fellow Welsh rockers, Crazy Cavan, John invited Dave Diamond up onto the stage to drum on ‘Both Wheels Left the Ground’. Cracking tribute version that was readers. ‘I Love You’ has a rolling drum beat and forceful delivery, further demonstrating John’s vocal versatility. The latest 45rpm was showcased and you can read about that, elsewhere in this issue. Welsh wizardry at it’s best as always
Pay Reyford
A switch in gears next, with one of the Rock n Roll circuit’s most dependable performers, Pat Reyford. This incarnation was billed as the Symphony 5, however the keyboards were unable to be included on this occasion. Still we had brass, trumpet and sax, along with drums, upright bass and Pat on lead guitar. Ever the cool cat in a hat, the set was very much rhythm and blues based, which I suggest you might have gathered by the band name.
Louis Jordan’s ‘Choo Choo Ch’Boogie’ further reinforced the style of the group. This 1946 song, pretty much epitomises the jump blues genre, and despite being a rather maudlin theme, narrating the frustration of returning to ‘normality’ after WWII. With such a tight sound, these lads presented the tune expertly. ‘Drinking Wine Spo Dee o Dee’ delighted, and ‘Slow Boat to China’ drifted through perfectly, and ‘Better Believe It’ hit the spot as did Wynonie Harris’ ‘Bloodshot Eyes’. A virtuosic performance of the finest R&B.
Louis Jordan’s ‘Choo Choo Ch’Boogie’ further reinforced the style of the group. This 1946 song, pretty much epitomises the jump blues genre, and despite being a rather maudlin theme, narrating the frustration of returning to ‘normality’ after WWII. With such a tight sound, these lads presented the tune expertly. ‘Drinking Wine Spo Dee o Dee’ delighted, and ‘Slow Boat to China’ drifted through perfectly, and ‘Better Believe It’ hit the spot as did Wynonie Harris’ ‘Bloodshot Eyes’. A virtuosic performance of the finest R&B.
Roy Dee and the Spitfires
Saturday night ended with a real blast with Roy Dee and the Spitfires bringing their brand of high-octane, Wild Records Rockabilly from Portugal to Lincolnshire. Roy cuts a cool figure on the stage, with his sizeable acoustic rhythm guitar, and customary baker boy hat. The Spitfires consist of drummer Danny Da Silva, with Oscar Gomes on lead guitar and on upright bass, Ruben El Pavoni.
A cover opened-up the set to set the pace, Narvel Felts’ ‘Did You Tell Me’ which set up ‘I Got a Woman’ (not the Ray Charles song). ‘A-B-C-Booze’ is a rollickingly good track, pretty much summing up the type of raw Rockabilly that these guys play. Taking the foot off the gas was another cover, this time it was Don Ellis’ ‘Blue Fire’ from 1960. Much of the original material came from their album ‘Desert Wind’, all original material and unmistakably, their own sound. Right up to the raucous ‘Shake Like a Rattle Snake’ which ended a breathless show. The encore of ‘Senior Class’ and the top drawer rock-out ‘I Got Demons’ ended a super set, and the live show for the Saturday.
Bomber Command dot….dot. Best tracks in the world ever ever to illuminate your portaloo for this year were ‘Big Noise from Winnetka Part 1’ by Cozy Cole, ‘Sweetie Pie’ by Tommy Blake and The Aquatones ‘She’s the One For Me’……Various goose species make the park their home, so much so as they probably outnumbered the humans several-to-one, and the bi-product of that is considerable, shall we say. Small wonder the grass is so green…..Big up to your DJs for the weekend, each with their own box of delights. When the crowd was a bit light in numbers, they didn’t let the standards slip at all, playing the best tunes. So gold stars to Andy Barker, Simon Tugwell, Steve Fatkat, Geordie Paul, Simon Flintstone, Craig Simpson, Annaleigh and Macs Wax……Sunday night was, Mexican night. DJs and dancers alike turning up in sombreros, bigger sombreros and ridiculously big sombreros. The colourful stripy ponchos and adhesive mustachios, were accompanied by some tastebud tingling/numbing/mind-bending chilli snacks. Such was the Mexican chilli influence, one guy actually dressed like one. All we needed was Clint Eastwood in a poncho and some Ennio Morricone music and we’d have been set for life. Arriba!!
A cover opened-up the set to set the pace, Narvel Felts’ ‘Did You Tell Me’ which set up ‘I Got a Woman’ (not the Ray Charles song). ‘A-B-C-Booze’ is a rollickingly good track, pretty much summing up the type of raw Rockabilly that these guys play. Taking the foot off the gas was another cover, this time it was Don Ellis’ ‘Blue Fire’ from 1960. Much of the original material came from their album ‘Desert Wind’, all original material and unmistakably, their own sound. Right up to the raucous ‘Shake Like a Rattle Snake’ which ended a breathless show. The encore of ‘Senior Class’ and the top drawer rock-out ‘I Got Demons’ ended a super set, and the live show for the Saturday.
Bomber Command dot….dot. Best tracks in the world ever ever to illuminate your portaloo for this year were ‘Big Noise from Winnetka Part 1’ by Cozy Cole, ‘Sweetie Pie’ by Tommy Blake and The Aquatones ‘She’s the One For Me’……Various goose species make the park their home, so much so as they probably outnumbered the humans several-to-one, and the bi-product of that is considerable, shall we say. Small wonder the grass is so green…..Big up to your DJs for the weekend, each with their own box of delights. When the crowd was a bit light in numbers, they didn’t let the standards slip at all, playing the best tunes. So gold stars to Andy Barker, Simon Tugwell, Steve Fatkat, Geordie Paul, Simon Flintstone, Craig Simpson, Annaleigh and Macs Wax……Sunday night was, Mexican night. DJs and dancers alike turning up in sombreros, bigger sombreros and ridiculously big sombreros. The colourful stripy ponchos and adhesive mustachios, were accompanied by some tastebud tingling/numbing/mind-bending chilli snacks. Such was the Mexican chilli influence, one guy actually dressed like one. All we needed was Clint Eastwood in a poncho and some Ennio Morricone music and we’d have been set for life. Arriba!!
The Three Amigos
|
Ahi esta!
|
Where's my Sombrero
The Hi Fis
Sunday, it was early afternoon as the Hi Fi’s took to the stage, up from London. They had played the event a couple of years ago, and here they were making a welcome return. There’s Nick Kennedy on lead guitar and vocals, Dave Diamond on drums and backing hootin’ and hollerin’ with bassist Keith Southwood. They hit the ground running with Lee Dresser’s huge floor filler, ‘El Camino Real’.
This was a set of corking rockers, mainly covers, but very well presented vocally and musically. As the hits kept coming, there was a definite lean toward Buddy Holly. And who’s going to say that’s anything but a good thing, with the likes of ‘Brown Eyed Handsome Man’ (OK OK Chuck Berry and all that thank you) ‘Don’t Come Back Knockin’, the excellent ‘Looking For Someone to Love’, Rave On’ and ‘Tell Me How’ all making the grade. The crowd were into it, so much so that the lads observed that ‘Keith almost smiled’, which the assumption was, it might not be a regular thing.
Some Elvis? Why not, with ‘Marie’s the Name’, ‘Little Sister’ and the early rockabilly sound of ‘Baby Let’s Play House’. Cool beans from the London lads.
This was a set of corking rockers, mainly covers, but very well presented vocally and musically. As the hits kept coming, there was a definite lean toward Buddy Holly. And who’s going to say that’s anything but a good thing, with the likes of ‘Brown Eyed Handsome Man’ (OK OK Chuck Berry and all that thank you) ‘Don’t Come Back Knockin’, the excellent ‘Looking For Someone to Love’, Rave On’ and ‘Tell Me How’ all making the grade. The crowd were into it, so much so that the lads observed that ‘Keith almost smiled’, which the assumption was, it might not be a regular thing.
Some Elvis? Why not, with ‘Marie’s the Name’, ‘Little Sister’ and the early rockabilly sound of ‘Baby Let’s Play House’. Cool beans from the London lads.
The Hayride Wranglers
The Hayride Wranglers were up next, a drumless trio from the wild and woolly part of God’s own county of Essex. Frankie Reidell, known as the lead singer of the Honkabillies, also takes lead with this three-piece, with Big T Theo on upright bass and Zack Godden on guitar. It was a bitter-sweet occasion as this proved to be the final gig that Zack would be playing with the band (although he did reappear later in the day, more on that later). With the finest Stetson hats on the stage, the lads set about their show.
With a percussive bass sound, the ‘tick’ provides a cool rhythm whilst retaining the deep bass sound. They blend the sounds of Country and Rockabilly effortlessly, and it’s a really cool vibe readers. They took Elvis’ version of ‘Milk Cow Blues’ and set it to the kind of licks you hear in ‘Mystery Train’, so not a direct cover, one with a twist. Similarly, ‘Shoppin’ Around’ had a bit more pace injection than many other versions. Johnny Cash’s ‘Get Rhythm had a welcome outing too and ‘Six Days on the Road’ was a kicker.
The origin of ‘This Broken Heart of Mine’ is unknown to us at the time of writing. I initially thought of Marty Robbins but I’m still unsure. What I can tell you is that it’s a superb country ramble, with a fairly obvious theme to the lyrics. Expertly delivered vocally by Frankie and backed tightly by the two lads. Not sure of the future of the band now, but this was a great show to sign off with, if indeed it’s their last for a while.
With a percussive bass sound, the ‘tick’ provides a cool rhythm whilst retaining the deep bass sound. They blend the sounds of Country and Rockabilly effortlessly, and it’s a really cool vibe readers. They took Elvis’ version of ‘Milk Cow Blues’ and set it to the kind of licks you hear in ‘Mystery Train’, so not a direct cover, one with a twist. Similarly, ‘Shoppin’ Around’ had a bit more pace injection than many other versions. Johnny Cash’s ‘Get Rhythm had a welcome outing too and ‘Six Days on the Road’ was a kicker.
The origin of ‘This Broken Heart of Mine’ is unknown to us at the time of writing. I initially thought of Marty Robbins but I’m still unsure. What I can tell you is that it’s a superb country ramble, with a fairly obvious theme to the lyrics. Expertly delivered vocally by Frankie and backed tightly by the two lads. Not sure of the future of the band now, but this was a great show to sign off with, if indeed it’s their last for a while.
Sweet Georgia Boys
From the Country Bop sound to some classy blues and R&B sounds of the Sweet Georgia Boys. The last time we saw this band, it was a duo, featuring Jim Hammond on keyboards, guitar and vocals, with Bill Crittenden on drums. This incarnation retained Jim Hammond, with Greggie G on bass and Jim Russell on drums.
They put on a really well thought out and conceived set of tunes, ranging from Louis Jordan’s ‘Caldonia’ from 1945 to Led Zeppelin’s ‘Rock ‘n’ Roll’ from 1971 and further on into the eighties with Albert Collins’ ‘I Ain’t Drunk’.
The set moved effortlessly between Junior Parker’s blues bop sound ‘Feel So Good’, to Buddy Holly’s ‘Modern Don Juan’ and Chuck Berry’s ‘Oh Carol’. Then a growling and heavy blues take of ‘Frankie and Johnny’, incredibly from 1904 originally, with searing guitar riffs and a truly phat sound. Add to that, the ever popular ‘Down the Road A Piece’ from 1940 and Carl Perkins’ ‘Gone Gone Gone’ and you have an idea of the versatility of this trio.
They put on a really well thought out and conceived set of tunes, ranging from Louis Jordan’s ‘Caldonia’ from 1945 to Led Zeppelin’s ‘Rock ‘n’ Roll’ from 1971 and further on into the eighties with Albert Collins’ ‘I Ain’t Drunk’.
The set moved effortlessly between Junior Parker’s blues bop sound ‘Feel So Good’, to Buddy Holly’s ‘Modern Don Juan’ and Chuck Berry’s ‘Oh Carol’. Then a growling and heavy blues take of ‘Frankie and Johnny’, incredibly from 1904 originally, with searing guitar riffs and a truly phat sound. Add to that, the ever popular ‘Down the Road A Piece’ from 1940 and Carl Perkins’ ‘Gone Gone Gone’ and you have an idea of the versatility of this trio.
Lobo Jones and the Rhythm Hounds
Back down the Rockabilly road with the next group, Lobo Jones and the Rhythm Hounds. Four lads that produce a really sharp sound, mixing their own material with the classic fifties Rockabilly sound, and the occasional cover tune. Leading the charge, Elliot ‘Lobo’ Jones on vocals and rhythm guitar, with lead guitar wizard, Morgan Willis, bassist Mark Howells and for his final gig with the band, the afore mentioned Zack Godden.
I tell you what readers, they cram a serious amount of music into their set. ‘Bad Bad Baby’ for example, written by Laurie Hilton-Ash, has a smashing beat, scolding lyrics and a first class guitar break. ‘Your Love’ written by Elliot Jones is another such composition, such is the authenticity of the production, you’d think it was straight out of a vault in Memphis.
The pacy ‘If You Ain’t Gonna Rock it’ rocked out, as did the title track of their first album ‘Howlin’. First album? Oh yes folks, there’s a second album now, and we got a few taster tracks from that, like ‘Monkey on my Back’. An ace show ended with their ‘signature tune’ if you will, Jackie Gotroe’s ‘Lobo Jones’. A treat as the sun started to go down in Potterhanworth.
I tell you what readers, they cram a serious amount of music into their set. ‘Bad Bad Baby’ for example, written by Laurie Hilton-Ash, has a smashing beat, scolding lyrics and a first class guitar break. ‘Your Love’ written by Elliot Jones is another such composition, such is the authenticity of the production, you’d think it was straight out of a vault in Memphis.
The pacy ‘If You Ain’t Gonna Rock it’ rocked out, as did the title track of their first album ‘Howlin’. First album? Oh yes folks, there’s a second album now, and we got a few taster tracks from that, like ‘Monkey on my Back’. An ace show ended with their ‘signature tune’ if you will, Jackie Gotroe’s ‘Lobo Jones’. A treat as the sun started to go down in Potterhanworth.
The Muskrats
We have reached the last band of the weekender now, and stepping in at short notice, the Muskrats. Returning to the Bomber Command stage, was Mark ‘Ellie’ Ellington on bass and Sherman Dakota on drums, supporting Steve ‘Muskrat’ Nemeth on lead guitar and vocals. Another classic rockabilly band, with a playlist to match.
It’s quite rare that a band will take on an instrumental like ‘Cotton Pickin’. The Mickey Hawkes’ guitar rocker from 1959 was a top drawer introduction to the band. The vocals were up there too with Johnny Cash’s ‘Big River’. Ellie weighed in with ‘You’re My Baby’, while Steve then took up a rip-roaring rocker ‘Female Jungle’, a song synonymous with the band for many years now.
Muddy Waters’ ‘I Just Wanna Make Love To You’ was a good one and I’m sure that ‘Muskrat Walk’ was in amongst the diamonds, and if it wasn’t, check it out yourselves readers.
That brought the curtain down on this fine festival. Next year’s line up is already taking shape and there’s a slightly different name, Rockin’ in Bomber County. Same quality event, and the net has been cast for some of the top acts on the circuit. It’s one you should put on your calendar for next year peeps. Check out the flyer elsewhere in this issue.
Gallery images below, click on them for full sized picture
It’s quite rare that a band will take on an instrumental like ‘Cotton Pickin’. The Mickey Hawkes’ guitar rocker from 1959 was a top drawer introduction to the band. The vocals were up there too with Johnny Cash’s ‘Big River’. Ellie weighed in with ‘You’re My Baby’, while Steve then took up a rip-roaring rocker ‘Female Jungle’, a song synonymous with the band for many years now.
Muddy Waters’ ‘I Just Wanna Make Love To You’ was a good one and I’m sure that ‘Muskrat Walk’ was in amongst the diamonds, and if it wasn’t, check it out yourselves readers.
That brought the curtain down on this fine festival. Next year’s line up is already taking shape and there’s a slightly different name, Rockin’ in Bomber County. Same quality event, and the net has been cast for some of the top acts on the circuit. It’s one you should put on your calendar for next year peeps. Check out the flyer elsewhere in this issue.
Gallery images below, click on them for full sized picture
Entertainment passes still available, click the flyer for details
big sandy and the flyrite boys in doncaster
Big night in Donny. Tea and Fig Rolls Promotions grasped the opportunity to put on a real gem of a gig recently at Doncaster’s Woodfield Social Club. They had secured the services of Big Sandy and the Fly-Rite Boys with Croc’s American Hot Wax DJing on his home turf. All this rockin’ on a school night. Good to see a sizeable crowd in for the event, drawing in folk from far, wide and Germany(!).
We couldn’t recall the last time we had seen Big Sandy in a club environment. Sure, many many times at weekenders and festivals, but in a ‘normal’ gig environment, not so much. There’s an intimacy in this setting, both between the crowd and the whites-of-the-eyes view from the stage. Joining Big Sandy, who takes the vocals and rhythm guitar duties, are Ashley Kingman on lead guitar, Wally Hersom on bass and drummer Frankie Hernandez
There are so many classics that everyone knows from these lads, and it was probably ‘Hold Me’ that grabbed the British audience’s attention in the early 1990’s. That sounds every bit as good today as it did back then. Just the tease of the opening riff brings a nod of recognition and appreciation. And of course, there’s the modern-day classic ‘Chalk it up to the Blues’ which is almost compulsory in a Big Sandy show (shocking that it is over twenty years old now!). There would probably be some kind of public unrest if this didn’t make the cut. Lovers of this tune had a wait until the end of the second set for that performance, and of course, it was Fine Fine Superfine (see what I did there?).
They also showed some love for Freddy Fender in 2020 with a tribute EP to him and from that was a superb version of ‘Before the Next Teardrop Falls’, probably Freddy’s best known recording. Then there was a bunch of other must-haves. The outstanding ‘Heaven is the Other Way’, ‘If You Should Come Back Again’ and ‘Love that Man’ mixed it up with the slower tempo of ‘Spanish Dagger’, and the nippy beat of ‘Hot Water’. Cool cover as well, of Frankie Miller’s ‘True Blue Papa’, which we couldn’t recall them ever covering live before. ‘Hip Shakin’ Mama’ was another hot cover track, which sandwiched another original ‘must-play-or-else’ ‘Miss Tracy’. Good to hear ‘Walk Me To The Door’, ‘Thru’ Dreamin’ and from forever-ago, ‘Honky Tonk Queen’. A flavour of what was a peach of a show.
A real coup for the T&FR promoter Dave Kopke to nab these guys on their whistle stop tour of the UK. Consummate vocals, tight and accomplished musicianship from the band, proving that Tuesday night really does rock in Yorkshire. Gallery pics below, click on the for full sized image
We couldn’t recall the last time we had seen Big Sandy in a club environment. Sure, many many times at weekenders and festivals, but in a ‘normal’ gig environment, not so much. There’s an intimacy in this setting, both between the crowd and the whites-of-the-eyes view from the stage. Joining Big Sandy, who takes the vocals and rhythm guitar duties, are Ashley Kingman on lead guitar, Wally Hersom on bass and drummer Frankie Hernandez
There are so many classics that everyone knows from these lads, and it was probably ‘Hold Me’ that grabbed the British audience’s attention in the early 1990’s. That sounds every bit as good today as it did back then. Just the tease of the opening riff brings a nod of recognition and appreciation. And of course, there’s the modern-day classic ‘Chalk it up to the Blues’ which is almost compulsory in a Big Sandy show (shocking that it is over twenty years old now!). There would probably be some kind of public unrest if this didn’t make the cut. Lovers of this tune had a wait until the end of the second set for that performance, and of course, it was Fine Fine Superfine (see what I did there?).
They also showed some love for Freddy Fender in 2020 with a tribute EP to him and from that was a superb version of ‘Before the Next Teardrop Falls’, probably Freddy’s best known recording. Then there was a bunch of other must-haves. The outstanding ‘Heaven is the Other Way’, ‘If You Should Come Back Again’ and ‘Love that Man’ mixed it up with the slower tempo of ‘Spanish Dagger’, and the nippy beat of ‘Hot Water’. Cool cover as well, of Frankie Miller’s ‘True Blue Papa’, which we couldn’t recall them ever covering live before. ‘Hip Shakin’ Mama’ was another hot cover track, which sandwiched another original ‘must-play-or-else’ ‘Miss Tracy’. Good to hear ‘Walk Me To The Door’, ‘Thru’ Dreamin’ and from forever-ago, ‘Honky Tonk Queen’. A flavour of what was a peach of a show.
A real coup for the T&FR promoter Dave Kopke to nab these guys on their whistle stop tour of the UK. Consummate vocals, tight and accomplished musicianship from the band, proving that Tuesday night really does rock in Yorkshire. Gallery pics below, click on the for full sized image
Hot Rock n Boogie #7 in May 2026 folks. Camping is filling up and bookings for the event. Click on the flyer for details
|
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.
|
Different name, same venue, great quality. Circle this date in your diary peeps
|
Next up at Chesterfield. Click the flyer for details
|
vinyl reviews
Al Michaels – This Boy Ain’t So Bad
Vinyl review
Al Michaels, the name might not be so familiar, but the profile is. Long time bass player and vocalist with a number of different bands over the years, he has now produced a four track EP. All of the tracks are original compositions by the man himself. The personnel backing him are Mick Colley on drums with Jim Knowler on lead guitar.
It might look stripped back to basics but the opening bars of the title track, ‘This Boy Ain’t So Bad’ provide a really full sound. The lyrics are very well crafted around a theme of a guy’s efforts to convince his love of his sincerity in a relationship. The rhythm is catchy, and the song comes in at just shy of three minutes. ‘Mr Lonely’ starts with a familiar sounding Rockabilly guitar riff, then settles in to a somewhat melancholy story, of a man who has sought solace in drink ‘Only lonely guys would drink for two’ is a very poignant line, I think. It then turns out that the singer is recounting his own story and is in fact ‘Mr Lonely’. Exceptional song
Flip the record over on to side B, and ‘Spirit of You’. Another story of lost love, a relationship with drink, with some pretty cool vocal harmonies, and ace guitar work. Finally, ‘First Time To Come’. The setting, a bar, the theme, a forgotten relationship suddenly realised again, with the other half of that partnership entering the bar. The lyrics fill the listener in with the details of the lost liaison, before Al’s friend persuades him not to look around and let her leave.
What a brilliantly produced four track EP
Vinyl review
Al Michaels, the name might not be so familiar, but the profile is. Long time bass player and vocalist with a number of different bands over the years, he has now produced a four track EP. All of the tracks are original compositions by the man himself. The personnel backing him are Mick Colley on drums with Jim Knowler on lead guitar.
It might look stripped back to basics but the opening bars of the title track, ‘This Boy Ain’t So Bad’ provide a really full sound. The lyrics are very well crafted around a theme of a guy’s efforts to convince his love of his sincerity in a relationship. The rhythm is catchy, and the song comes in at just shy of three minutes. ‘Mr Lonely’ starts with a familiar sounding Rockabilly guitar riff, then settles in to a somewhat melancholy story, of a man who has sought solace in drink ‘Only lonely guys would drink for two’ is a very poignant line, I think. It then turns out that the singer is recounting his own story and is in fact ‘Mr Lonely’. Exceptional song
Flip the record over on to side B, and ‘Spirit of You’. Another story of lost love, a relationship with drink, with some pretty cool vocal harmonies, and ace guitar work. Finally, ‘First Time To Come’. The setting, a bar, the theme, a forgotten relationship suddenly realised again, with the other half of that partnership entering the bar. The lyrics fill the listener in with the details of the lost liaison, before Al’s friend persuades him not to look around and let her leave.
What a brilliantly produced four track EP
John Lewis – 45rpm review
Welsh vocal and musical wizard, John Lewis must have one of the most distinctive voices on the Rock n Roll/Rockabilly/Hillbilly circuit. In his different guises, be it the Rimshots, Johnny Bach, Pontchartrain, solo or like here, with his trio, there’s always that instant recognition of and artist who has been there and done it, and done it well
There are two tracks on this Atomic Records 45rpm single, ours is in green and black splatter vinyl, with a Tony Diavolo designed picture sleeve. It features John on vocals, guitar and piano on one track, with Nick Whitfield on double bass, Gary Agar on drums and Stuart McIlrory on piano (on the flip side)
‘Happy Ending’ is a tale about an ending relationship, without the tears and heartache from his side, all set to a mid-tempo and very beguiling beat. ‘Heartache and Woe’ I could seriously hear Johnny Horton singing this, such is the style of the guitar work and string bending. Despite it’s rather disagreeable theme to the lyrics, it’s quite a bouncy recording and the guitar solo will stick with you.
Class
Welsh vocal and musical wizard, John Lewis must have one of the most distinctive voices on the Rock n Roll/Rockabilly/Hillbilly circuit. In his different guises, be it the Rimshots, Johnny Bach, Pontchartrain, solo or like here, with his trio, there’s always that instant recognition of and artist who has been there and done it, and done it well
There are two tracks on this Atomic Records 45rpm single, ours is in green and black splatter vinyl, with a Tony Diavolo designed picture sleeve. It features John on vocals, guitar and piano on one track, with Nick Whitfield on double bass, Gary Agar on drums and Stuart McIlrory on piano (on the flip side)
‘Happy Ending’ is a tale about an ending relationship, without the tears and heartache from his side, all set to a mid-tempo and very beguiling beat. ‘Heartache and Woe’ I could seriously hear Johnny Horton singing this, such is the style of the guitar work and string bending. Despite it’s rather disagreeable theme to the lyrics, it’s quite a bouncy recording and the guitar solo will stick with you.
Class
Check our Razzle Dazzle at their store and at various events around the country. Website https://razzledazzlevintage.org.uk/
|
|
|
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
Coming soon:- Rock n Roll Rampage #8, Downtown Jump #3, Nobster's Rumble on the Rock #5 CD, Marcel Bontempi, Dani West, The Houndogs. Keep checking back folks
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:-
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 2025
Many thanks
If you have enjoyed our magazine, why not pop a donation over by using the button below. Many thanks
Notice to advertisers:- The advertisers in this issue, have paid for their adverts, if you would like to run one with us, and have your event/facility open to our 40,000 + viewers per month, drop us a line to [email protected] for details. If you have a company that makes and sells clothing or accessories, you have a themed event or location, you run a record label or shop, you can advertise with us as well. Anything associated with Rock n Roll music, or 1940’s, 1950’s related. We will include a brief article on your company and services if required, as well with your advert, and a clickable link attached to the flyer, which will take customers directly to your webpage or event page on social media. Adverts are £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:-
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 2025
Many thanks
If you have enjoyed our magazine, why not pop a donation over by using the button below. Many thanks
