the bettajive review magazine #48
The Mystery Train Riders hit the high spots at Rock n Roll Rampage. We provide a review of that event, as well as Dowtown Jump, The Houndogs and Cooking Jack Fats and the Chimney Stacks gigs at Chesterfield. That plus the Nobsters latest Rumble on the Rock CD
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the bettajive review
Would Patrons kindly refrain from…. How times and attitudes change readers. So much ‘elf n safety’, the rock n roll venue nowadays, with signs and warnings up about dancing at your own risk and suchlike. Honestly it has almost become like the swimming pool of the 1970’s! Seriously, folks, it can’t just have been an Essex thing, can it? The answer to that is a resounding ‘No’ as there was one such poster detailed below, in an antiques emporium in Lincolnshire.
There used to be a big poster up (it seemed like at every turn) in our pool, with a list of ‘don’ts’. Would patrons kindly refrain from Running, Pushing, Acrobatics or Gymnastics, Shouting, Ducking, Petting, Bombing, Diving in the Swimming Area, or Smoking. The poster even had an addendum underneath with various other finger wagging ‘don’ts’ like the wearing of cut down jeans for example. So many rules, they might just as well have put ‘In fact don’t even bother getting wet!! Leave your money at reception and clear off’, unless you could swim like a porpoise, then the two poseurs in the kiosk at the entrance would scatter rose petals at their feet
Such is the way health and safety is going now, the rockin’ gigs will be patrolled not by heavy geezers in black with ‘Security’ on their shirts, but posing teenagers in yellow shirts, red shorts and flip-flops, perched on raised chairs, with an Acme Thunderer whistle (other brands of sports whistles, may well be available) on a coloured chord round their neck. Any slight misdemeanour is chastised by a loud ‘pheep’ on the whistle, lip pursing and slow headshake.
With the rules as above, how close are we to this at our clubs? Let the Bettajive Review elucidate here, though you don’t need to wade through the pre-pool foot bath stinking of chlorine, disinfectant and floating corn plasters first. Nor will you have to blow up your pyjama bottoms and dive down to retrieve a brick from the bottom of the pool before swimming round it for ten circuits! …. No Running? That would be at certain weekender venues when the doors are opened for the evening session, and like exiting greyhounds from the traps at Newcastle Dogs, they tear across the floor to reserve a table. No Pushing, well see above, just pre-doors opening, as the pressure of humanity squishes the people at the front against the door, from the other side their faces look like an African fright mask. Even security take a strategic body swerve to avoid the throng.
No Acrobatics or Gymnastics. Not the pommel horse or parallel bars type. Well, that would be those who take to the dancefloor however populated and include those throws and all sorts of weird and wonderful contortions during a dance. These human strimmers have little regard for anyone else on the floor or for that matter the height of the ceiling, as they wipe out fellow revellers and most of the lighting system. A flying leg, boots out the suspended ceiling tile, depositing forty five years of dust, cobwebs and an empty Players Number 6* packet on those below. Mind you readers, there are some I’m sure many of us would like to ‘Pheep’ at,. Those bloody people who censure the slightest misdirection of a people, mid dance.
No Shouting. Sorry, but that’s unenforceable. Anyone who has been to a gig or weekender know that you have to yell at the top of your voice, usually an inch away from the ear of whoever you want to communicate with. The health warning here would be for the copious amounts of alcohol soaked saliva that will end up in your ear, and the fact that you’ll sound like John Lee Hooker crossed with Tom Waits by the end of the night….and that’s just the ladies! ‘How How How How’!
Ok ‘Ducking’, hmmm, either pulling legs from underneath or pushing the head below the surface. I’ll leave you readers to fill in the gaps and whatever rhyming slang on this one. No Petting? Forget about it, I mean, who would we shout ‘Get a room’ at if we banned that?
No Bombing. The process of seeing a group photo being lined up, and jumping in front of the photographer thinking that everyone finds your teeth, tonsils, tongue and raised fingers interesting and funny, is banned. That’s photo bombing anyway, though many of you will have seen ‘stage bombing’, where someone heavily under the influence of tipsification** jumps on stage and slurs through a song until being ushered off. Ironically, this is sometimes viewed as part of the show!
Diving in the swimming area. That’s a tough call, I suppose we could slightly modify that as no jiving in the strolling area, or no Charleston strolling ever? And no Smoking, well that’s been out for a while, but how about no ‘Schmokin’, the process of being far too cool and beautiful for the rest of us. Cut down jeans, see turned up jeans. The clothing police will soon be measuring the turn ups on jeans, or so some on social media will have us believe. ‘Oi mate, that’s a blue stripe up the seam of those jeans, where’s the red stitching?’
Naturally none of the above should be taken seriously, but it does seem like the advisories are everywhere. Take with a hint of irony, especially when you can have a floor full of forty and fifty somethings singing ‘Teenage Cutie’ at the top of their voices, children are allowed to weave through dancers on a full floor, and even wrecking is still allowed, although it’s much more polite nowadays. Where the Jodimars tell you to ‘Arch up your back behind your knees, grab your baby’s hand and squeeze’. Actually, you surely would grab your baby’s hand and squeeze if most of us tried the first move, probably in pain!
But hey dear readers, let’s be careful out there…..’Pheeep! *slow head shake* (mouthed silently) Yes you!
There used to be a big poster up (it seemed like at every turn) in our pool, with a list of ‘don’ts’. Would patrons kindly refrain from Running, Pushing, Acrobatics or Gymnastics, Shouting, Ducking, Petting, Bombing, Diving in the Swimming Area, or Smoking. The poster even had an addendum underneath with various other finger wagging ‘don’ts’ like the wearing of cut down jeans for example. So many rules, they might just as well have put ‘In fact don’t even bother getting wet!! Leave your money at reception and clear off’, unless you could swim like a porpoise, then the two poseurs in the kiosk at the entrance would scatter rose petals at their feet
Such is the way health and safety is going now, the rockin’ gigs will be patrolled not by heavy geezers in black with ‘Security’ on their shirts, but posing teenagers in yellow shirts, red shorts and flip-flops, perched on raised chairs, with an Acme Thunderer whistle (other brands of sports whistles, may well be available) on a coloured chord round their neck. Any slight misdemeanour is chastised by a loud ‘pheep’ on the whistle, lip pursing and slow headshake.
With the rules as above, how close are we to this at our clubs? Let the Bettajive Review elucidate here, though you don’t need to wade through the pre-pool foot bath stinking of chlorine, disinfectant and floating corn plasters first. Nor will you have to blow up your pyjama bottoms and dive down to retrieve a brick from the bottom of the pool before swimming round it for ten circuits! …. No Running? That would be at certain weekender venues when the doors are opened for the evening session, and like exiting greyhounds from the traps at Newcastle Dogs, they tear across the floor to reserve a table. No Pushing, well see above, just pre-doors opening, as the pressure of humanity squishes the people at the front against the door, from the other side their faces look like an African fright mask. Even security take a strategic body swerve to avoid the throng.
No Acrobatics or Gymnastics. Not the pommel horse or parallel bars type. Well, that would be those who take to the dancefloor however populated and include those throws and all sorts of weird and wonderful contortions during a dance. These human strimmers have little regard for anyone else on the floor or for that matter the height of the ceiling, as they wipe out fellow revellers and most of the lighting system. A flying leg, boots out the suspended ceiling tile, depositing forty five years of dust, cobwebs and an empty Players Number 6* packet on those below. Mind you readers, there are some I’m sure many of us would like to ‘Pheep’ at,. Those bloody people who censure the slightest misdirection of a people, mid dance.
No Shouting. Sorry, but that’s unenforceable. Anyone who has been to a gig or weekender know that you have to yell at the top of your voice, usually an inch away from the ear of whoever you want to communicate with. The health warning here would be for the copious amounts of alcohol soaked saliva that will end up in your ear, and the fact that you’ll sound like John Lee Hooker crossed with Tom Waits by the end of the night….and that’s just the ladies! ‘How How How How’!
Ok ‘Ducking’, hmmm, either pulling legs from underneath or pushing the head below the surface. I’ll leave you readers to fill in the gaps and whatever rhyming slang on this one. No Petting? Forget about it, I mean, who would we shout ‘Get a room’ at if we banned that?
No Bombing. The process of seeing a group photo being lined up, and jumping in front of the photographer thinking that everyone finds your teeth, tonsils, tongue and raised fingers interesting and funny, is banned. That’s photo bombing anyway, though many of you will have seen ‘stage bombing’, where someone heavily under the influence of tipsification** jumps on stage and slurs through a song until being ushered off. Ironically, this is sometimes viewed as part of the show!
Diving in the swimming area. That’s a tough call, I suppose we could slightly modify that as no jiving in the strolling area, or no Charleston strolling ever? And no Smoking, well that’s been out for a while, but how about no ‘Schmokin’, the process of being far too cool and beautiful for the rest of us. Cut down jeans, see turned up jeans. The clothing police will soon be measuring the turn ups on jeans, or so some on social media will have us believe. ‘Oi mate, that’s a blue stripe up the seam of those jeans, where’s the red stitching?’
Naturally none of the above should be taken seriously, but it does seem like the advisories are everywhere. Take with a hint of irony, especially when you can have a floor full of forty and fifty somethings singing ‘Teenage Cutie’ at the top of their voices, children are allowed to weave through dancers on a full floor, and even wrecking is still allowed, although it’s much more polite nowadays. Where the Jodimars tell you to ‘Arch up your back behind your knees, grab your baby’s hand and squeeze’. Actually, you surely would grab your baby’s hand and squeeze if most of us tried the first move, probably in pain!
But hey dear readers, let’s be careful out there…..’Pheeep! *slow head shake* (mouthed silently) Yes you!
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Dot…dot Best tracks in the world ever ever to clot your cream for this month are Ivory Joe Hunter’s ‘Shooty Booty’, Johnny Fuller’s ‘All Night Long’ and the Dooley Sisters’ ‘Shtiggy Boom’……… It’s time we think, that we incorporate a plant-based diet into the rockin’ sound. We would have to start with a 1951 sauce-fest like The Swallows’ ‘It Ain’t The Meat, it’s the Motion’, and consider maybe ‘It Ain’t the Meat, it’s the Tofu?........How rockin’ are you? I was in a café queue, the family behind were discussing what they wanted to eat. ‘Mum’, said one of the children, ‘We want fruit scones, and there’s only two fruit scones left’. Me (being next to be served) ‘Two fruit scones please’. The rest of the queue observed, ‘Wow, he’s really rockin’……The next week, same scenario, but the kid got one place in front of me. ‘Two fruit scones please’ he said triumphantly, with his mum smiling in satisfaction. As I approached, the assistant brought out a tray of freshly baked scones. “Your usual two scones Mr Smith?” The rest of the queue commented, ‘Wow, he really IS rockin’. ……. What is it with some of the young nowadays? Black, grey, off white clothes, topped off with a black cap. All monochrome. Strange. At that age, many of us had drapes and coloured socks so we looked like a parade of Dolly Mixtures (other multi coloured fondant shapes and jelly confections, are available) walking down the road……*Other behind-the-bike-sheds brands were available…..**This word is used without having to pay anyone £200 for so doing……We had a good time at the Diamond D All Dayer. Organiser Debbie Jo Wright, brought some smashing DJs up to her Garforth club for several hours of Rock n Roll aural finery. Joining her were Deano and Laura Weatherly from the South, Mike James from Birmingham, and Yorkshire’s own Mark Thorpe and the Rhythm Rooster from Sheffield and Leeds respectively. Some top tunes aplenty, check listings for her November event……..
Losses. We had a couple of recent announcements that shook the Rock n Roll music scene, as the passing was announced of two titans of the circuit. Vicky Tafoya, lost her battle with cancer in late August, and the world lost an exceptional, soulful and influential singer. She was due to appear at the upcoming Rhythm Riot, and we, along with so many others, were looking forward to her show. Our condolences to her family and friends.
Only this week as we go to upload, the news that Randy Richter had also succumbed to cancer. Known by many as Randy Rich, his supreme Rockabilly guitar style, was something he was keen to share on his You Tube channel. We were happy to have an interview with Randy that you can read in issue #25 of our magazine. We send our sympathies to Randy’s family and friends
Losses. We had a couple of recent announcements that shook the Rock n Roll music scene, as the passing was announced of two titans of the circuit. Vicky Tafoya, lost her battle with cancer in late August, and the world lost an exceptional, soulful and influential singer. She was due to appear at the upcoming Rhythm Riot, and we, along with so many others, were looking forward to her show. Our condolences to her family and friends.
Only this week as we go to upload, the news that Randy Richter had also succumbed to cancer. Known by many as Randy Rich, his supreme Rockabilly guitar style, was something he was keen to share on his You Tube channel. We were happy to have an interview with Randy that you can read in issue #25 of our magazine. We send our sympathies to Randy’s family and friends
Vicky Tafoya
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Randy Richter
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It's getting close now people, get in touch with the Riot team if you want to go. At the time of uploading this magazine, the accommodation is sold out, but you may be still able to join by sharing You don't want to miss it. Click the flyer for details
The Houndogs
Double Bubble, no Trouble. Two club gigs make the review this month, both at Dronfield Social Club, presented by Chesterfield Rock n Roll Club. First up were the Houndogs, three brothers, playing incendiary Rock n Roll and Rockabilly in their own style.
The line up is the classic Rockabilly set up of lead guitar, upright bass and drums, with Robert, Ian and David Wilson. The show is high octane, fast paced and acrobatic. Literally no prisoners are taken through two sets, which opened up with hit numbers like Jerry Lee Lewis’ ‘Great Balls of Fire’ and Eddie Cochran’s ‘Summertime Blues’. It wasn’t all a hundred miles an hour though, there was some strolling respite with Dion’s ‘The Wanderer’ and the Stray Cats’ ‘Stray Cat Strut’
Lots of people who have seen these guys before were expecting some fireworks, and they got it. Lighter fluid on the cymbal, set on fire, it looks impressive as well. But it’s not just style over substance, behind it all there’s accomplished musicianship. ‘Long Blond Hair’, ‘Rockabilly Boogie’, and ‘Mean Woman Blues’ gave way to one of their best known performances. The Surfaris’ ‘Wipe Out’ had the drums out in the crowd and a blistering version.
The lads are fans of Carl Perkins, and presented a medley of his tunes. Elvis’ ‘Houndog’ naturally, Stevie Ray Vaughn’s ‘This House is a Rockin’ and Buddy’s ‘Midnight Shift’ among others made up a really well received set. We had bass standing, balancing on drums, fire and probably a bit of brimstone too.
Gallery images below, click on them for full sized image
The line up is the classic Rockabilly set up of lead guitar, upright bass and drums, with Robert, Ian and David Wilson. The show is high octane, fast paced and acrobatic. Literally no prisoners are taken through two sets, which opened up with hit numbers like Jerry Lee Lewis’ ‘Great Balls of Fire’ and Eddie Cochran’s ‘Summertime Blues’. It wasn’t all a hundred miles an hour though, there was some strolling respite with Dion’s ‘The Wanderer’ and the Stray Cats’ ‘Stray Cat Strut’
Lots of people who have seen these guys before were expecting some fireworks, and they got it. Lighter fluid on the cymbal, set on fire, it looks impressive as well. But it’s not just style over substance, behind it all there’s accomplished musicianship. ‘Long Blond Hair’, ‘Rockabilly Boogie’, and ‘Mean Woman Blues’ gave way to one of their best known performances. The Surfaris’ ‘Wipe Out’ had the drums out in the crowd and a blistering version.
The lads are fans of Carl Perkins, and presented a medley of his tunes. Elvis’ ‘Houndog’ naturally, Stevie Ray Vaughn’s ‘This House is a Rockin’ and Buddy’s ‘Midnight Shift’ among others made up a really well received set. We had bass standing, balancing on drums, fire and probably a bit of brimstone too.
Gallery images below, click on them for full sized image
Cooking Jack Fats and the Chimney Stacks
The second gig at Chesterfield Rock n Roll club, brought Cooking Jack Fats and the Chimney Stacks to the stage. This was a contrast in styles to the previous event, as this six piece specialises in jumping Rhythm and Blues from the late 40’s and 50’s. It was Smiley Lewis’ ‘Ooh La La’ that announced them, with a really full sound and Jacks voice powering over it. There were a couple of sound issues early doors but with these ironed out the show was the biz.
So many dance delights among the set, the enduring freshness of Sam Butera’s ‘Bim Bam’, the pleading tone of Clyde McPhatter’s ‘Lover Please’ and Big Joe’s ‘Hide and Seek’. Some stroll tempo tunes got them out as well, ‘Chills and Fever’ standing out along with Danny Owen’s ‘You’re a Little Too Late’ originally from 1961. From Imperial Records to Sun, and a top drawer take of Charlie Rich’s ‘Lonely Weekend’, and to round off the first set, Charles Sheffield ‘It’s Your Voodoo Working’.
Set two picked it up again, with some fine rhythms like ‘Shirley’ and ‘Jump For Joy’ before a real vocal blast. Roy Montrell, often associated solely for his 1956 recording of ‘Mellow Saxophone’, but the flip side of that single is a peach of a vocal rocker ‘Oooh Wow’ Not sure that we have heard many versions of this tune, but Jack Fats served up a treat here. Some bop vibes maybe? Jay Swann’s ‘You Don’t Love Me’ slotted in well with the likes of jive material ‘Chicken and the Hawk’ and Smiley Lewis’ ‘Hook Line and Sinker’.
The well deserved encore, was an audience participation number. Huey (Piano) Smith and the Clown’s ‘Don’t You Just Know It’ from 1958, had all the Aha aha ahas you could want in a joyous conclusion to a top show.
As always, both gigs had Andy Barker and Steve O on the sounds. There are faves that make the playlist each event, but there’s a guarantee that there will be the gem that has everyone Soundhounding/Shazamming. Muchos kudos to the Chesterfield Rock n Roll club and their continued commitment to their regulars, bring diverse and quality rockin’ to the Dronfield venue.
Gallery images below, click on them for full sized image
So many dance delights among the set, the enduring freshness of Sam Butera’s ‘Bim Bam’, the pleading tone of Clyde McPhatter’s ‘Lover Please’ and Big Joe’s ‘Hide and Seek’. Some stroll tempo tunes got them out as well, ‘Chills and Fever’ standing out along with Danny Owen’s ‘You’re a Little Too Late’ originally from 1961. From Imperial Records to Sun, and a top drawer take of Charlie Rich’s ‘Lonely Weekend’, and to round off the first set, Charles Sheffield ‘It’s Your Voodoo Working’.
Set two picked it up again, with some fine rhythms like ‘Shirley’ and ‘Jump For Joy’ before a real vocal blast. Roy Montrell, often associated solely for his 1956 recording of ‘Mellow Saxophone’, but the flip side of that single is a peach of a vocal rocker ‘Oooh Wow’ Not sure that we have heard many versions of this tune, but Jack Fats served up a treat here. Some bop vibes maybe? Jay Swann’s ‘You Don’t Love Me’ slotted in well with the likes of jive material ‘Chicken and the Hawk’ and Smiley Lewis’ ‘Hook Line and Sinker’.
The well deserved encore, was an audience participation number. Huey (Piano) Smith and the Clown’s ‘Don’t You Just Know It’ from 1958, had all the Aha aha ahas you could want in a joyous conclusion to a top show.
As always, both gigs had Andy Barker and Steve O on the sounds. There are faves that make the playlist each event, but there’s a guarantee that there will be the gem that has everyone Soundhounding/Shazamming. Muchos kudos to the Chesterfield Rock n Roll club and their continued commitment to their regulars, bring diverse and quality rockin’ to the Dronfield venue.
Gallery images below, click on them for full sized image
Next up at Chesterfield Rock n Roll Club. Read about the club in this issue and make plans to go. You won't be disappointed
Rock n Roll Rampage #8
Mississippi Red
We left home in July, glorious sunshine and warm temperatures, and seemed to arrive in October, having driven through a hoolie and stinging rain that drove sideways across the carriageway. The event itself took place at Gartcosh Social Club, it’s ancestral home. The organisers had a ten year plan, which Covid kicked in the cods for two years. So effectively, this was the last one, and a bittersweet feel to it.
As with preceding Rampages, there’s a Friday evening gig, featuring two bands this time. The first was Mississippi Red, two lads with just a guitar and harmonica playing a selection of Bluesy versions of the classics. It was stripped back as you’d expect with just two instruments, but the sound was surprisingly full.
As with preceding Rampages, there’s a Friday evening gig, featuring two bands this time. The first was Mississippi Red, two lads with just a guitar and harmonica playing a selection of Bluesy versions of the classics. It was stripped back as you’d expect with just two instruments, but the sound was surprisingly full.
The Frettones
A real blue-chip act followed, the Frettones, with Sy McBain taking lead vocals and rhythm guitar. The late Keith Turner’s combo comprised of drummer David ‘DC Amero’ Cameron, Alan McCubbin on upright bass and the exceptional guitar skills of Martin Barrett on lead, and it was this line up that backed Sy. I suppose that those who recall the original line up, had a certain feeling of nostalgia as the lads opened up with Sonny Fisher’s ‘Sneaky Pete’, a staple from back ‘then’.
The set was a super-cool mix of covers and original material, the delights of ‘Sittin’ on Top of the World’ and ‘Honky Tonk Mind’, mixing it up with Frettone originals and some Hi Voltage also lobbed in. ‘I Got a Gun’ written by Kenny Tomlinson, sounds as fresh today as it did in 2007 from the LP of that name.
The almost jazzy lilt of Martin’s guitar work was the perfect complement at DC took lead vocals on ‘Papa Moonshine’. ‘Freightline Boogie’ from 2012, the ace sound of ‘Down on my Luck’ from 2009 and from the 2012 Riverside Sessions their own anthem ‘Frettone Boogie’. Just a top set from the lads.
The set was a super-cool mix of covers and original material, the delights of ‘Sittin’ on Top of the World’ and ‘Honky Tonk Mind’, mixing it up with Frettone originals and some Hi Voltage also lobbed in. ‘I Got a Gun’ written by Kenny Tomlinson, sounds as fresh today as it did in 2007 from the LP of that name.
The almost jazzy lilt of Martin’s guitar work was the perfect complement at DC took lead vocals on ‘Papa Moonshine’. ‘Freightline Boogie’ from 2012, the ace sound of ‘Down on my Luck’ from 2009 and from the 2012 Riverside Sessions their own anthem ‘Frettone Boogie’. Just a top set from the lads.
The Tennessee Hotshots
Saturday’s entertainment started early doors at 1pm (sic), with DJs spinning some top wax. And look who it isn’t, it’s the Tennessee Hotshots, with Sy McBain striking a more familiar pose with his double bass, Martin Barrett on lead guitar and Paddy Dolan on drums.
These lads never disappoint, presenting as they do, a healthy chunk of Rockabilly finery, presented with enthusiastic stage presence. Again, this set was peppered with a bunch of covers and some of the band’s own material.
Indeed, it was a McBain original, ‘Breaking My Heart’ that set the pace for ‘Tally Ho’ and a rock-out take of a brace of Jerry Reed’s tunes ‘When I Found You’ and ‘Mister Whizz’. Martin Barrett’s ‘Ain’t Misbehavin’ super stroll beat and the rollocking ‘Rock ‘n’ Roll Rampage’, another Sy track, mixed up well with Little Jimmy Dickens’ ‘Rocket in my Pocket’ and Moon Mullican’s ‘Seven Nights to Rock’.
Saving the best to last, a real barn burner of their own ‘I Don’t Think So’, which apparently had a slightly more ribald title originally. Top drawer start to the day.
These lads never disappoint, presenting as they do, a healthy chunk of Rockabilly finery, presented with enthusiastic stage presence. Again, this set was peppered with a bunch of covers and some of the band’s own material.
Indeed, it was a McBain original, ‘Breaking My Heart’ that set the pace for ‘Tally Ho’ and a rock-out take of a brace of Jerry Reed’s tunes ‘When I Found You’ and ‘Mister Whizz’. Martin Barrett’s ‘Ain’t Misbehavin’ super stroll beat and the rollocking ‘Rock ‘n’ Roll Rampage’, another Sy track, mixed up well with Little Jimmy Dickens’ ‘Rocket in my Pocket’ and Moon Mullican’s ‘Seven Nights to Rock’.
Saving the best to last, a real barn burner of their own ‘I Don’t Think So’, which apparently had a slightly more ribald title originally. Top drawer start to the day.
Mystery Train Riders
Up from the North East, the Mystery Train Riders with the energetic Chris Blakely on lead vocals and rhythm guitar, Dan Garland on lead guitar, Michael McGill on bass and stepping in on drums, literally at the last minute, Paddy Dolan. The guys really did hit the ground running, announcing themselves with Elvis’ ‘Baby Let’s Play House’ , a pair of Eddie Cochran crackers, ‘C’mon Everybody’ and ‘Jeanie Jeanie Jeanie’, sandwiching Cliff’s ‘We Say Yeah’. With the onlookers a little breathless at the pace of the opening rockers, ‘One Cup of Coffee and a Cigarette’ gave some brief respite along with ‘Bertha Lou’.
I know it’s a bit disingenuous to suggest a standout track would be an instrumental, but their version of Duane Eddy’s ‘Rebel Rouser’ is just excellent. Back to the foot stomping with Gene Summers’ ‘School of Rock ‘n’ Roll’ and the frenetic Johnny Burnette’s ‘Tear it Up’. Oops, there goes a string, and one of those fatter ones, who even breaks those. Well, if you’re Chris, giving the thick end of one hundred per cent….
The hits kept on coming, in a fully crammed to the gunnels set, that was rounded off, unsurprisingly, with ‘Mystery Train’. Despite the occasional personnel change, the Mystery Train Riders are going from strength to strength. Check ‘em out peeps.
I know it’s a bit disingenuous to suggest a standout track would be an instrumental, but their version of Duane Eddy’s ‘Rebel Rouser’ is just excellent. Back to the foot stomping with Gene Summers’ ‘School of Rock ‘n’ Roll’ and the frenetic Johnny Burnette’s ‘Tear it Up’. Oops, there goes a string, and one of those fatter ones, who even breaks those. Well, if you’re Chris, giving the thick end of one hundred per cent….
The hits kept on coming, in a fully crammed to the gunnels set, that was rounded off, unsurprisingly, with ‘Mystery Train’. Despite the occasional personnel change, the Mystery Train Riders are going from strength to strength. Check ‘em out peeps.
Howlin Ric
Next up, Howlin Ric and the Rocketeers, from Leeds. Their style? Well is it Rockabilly with a sixties twist or is it sixties Rock ‘n’ Roll with a fifties feel. Or is it just really good retro sounding music? Certainly, lead singer Richard Colley, has the vocal delivery that has a striking similarity with J D McPherson. And that’s by no means a bad thing, as they also perform many of their own compositions.
‘One Last Drink’ opened the show, a forceful and proud sound, setting the tone for a no-holds barred performance. Ric is joined by Ben Powling on sax, bassist Adam Richards, drummer Josh Smout and Will Lakin on guitar. The rumbling drum beat of ‘Cannonball’, the cautionary sentiment of ‘Mr Creep’ and the pacy ‘Secrets and Lies’ all delighted the crowd. A fair chunk of this set was from the latest record release, ‘High Risk Low Reward’ an extremely well-conceived release that transferred well to the live show at Rampage.
‘One Last Drink’ opened the show, a forceful and proud sound, setting the tone for a no-holds barred performance. Ric is joined by Ben Powling on sax, bassist Adam Richards, drummer Josh Smout and Will Lakin on guitar. The rumbling drum beat of ‘Cannonball’, the cautionary sentiment of ‘Mr Creep’ and the pacy ‘Secrets and Lies’ all delighted the crowd. A fair chunk of this set was from the latest record release, ‘High Risk Low Reward’ an extremely well-conceived release that transferred well to the live show at Rampage.
The Deltas
A great deal of anticipation greeted The Deltas as they took the Rampage stage. Formed in 1980, they fused together pacy and punchy Rockabilly sounds with some kicking Blues. Forty five years later, here they were, still tearing it up, as those who witnessed Gene Maltais’ ‘Ragin’ Sea’, from their debut 1981 album ‘Boogie Disease’. The most recent release came in 2015, from where ‘Milk and Honey’ was selected, then it was back to ’81 with a top rocker ‘As You Like It’.
Cover tracks that stood out through the set, included Charlie Feathers’ ‘One Hand Loose’, one of the finest Rockabilly tunes recorded in 1956, Elvis’ ‘Little Sister’ and a real tribute to Dr Ross. The influence on the young Steve Bongo at a concert by Dr Ross in ’81 permeated through to the Deltas style, and their take on ‘Boogie Disease’ was top drawer.
Add to that, the stroll beat of ‘Good Time Guide’, the heavily reverb sound of ‘Bubble Up’ and the supercool bop beat of ‘Spellbound’, and you have a taste of the variety that was served up in the set. ‘Captain’ Pat Panioty’s guitar riffs sound as fresh as they did ‘back then’, the band sound is tight, and the performance accomplished. Massively popular with the assembled.
Cover tracks that stood out through the set, included Charlie Feathers’ ‘One Hand Loose’, one of the finest Rockabilly tunes recorded in 1956, Elvis’ ‘Little Sister’ and a real tribute to Dr Ross. The influence on the young Steve Bongo at a concert by Dr Ross in ’81 permeated through to the Deltas style, and their take on ‘Boogie Disease’ was top drawer.
Add to that, the stroll beat of ‘Good Time Guide’, the heavily reverb sound of ‘Bubble Up’ and the supercool bop beat of ‘Spellbound’, and you have a taste of the variety that was served up in the set. ‘Captain’ Pat Panioty’s guitar riffs sound as fresh as they did ‘back then’, the band sound is tight, and the performance accomplished. Massively popular with the assembled.
Dylan Kirk
The final live act for this event, and indeed the Rampage as a brand, were Dylan Kirk and the Killers. The later hour is very conducive to this type of high-octane Rock ‘n’ Roll delivery, pumping piano. rock-out guitar breaks and a crowd well involved in proceedings. An almost standard introduction to the set, Little Victor’s ‘Papa Lou and Gran’ hit the ground running and set an almost breathless pace early-doors.
‘King of the Hop’ is an original track penned by Axel Praefke (Cherry Casino if you will), which wound up the pace again for ‘High School Confidential’, ‘Down the Line’ and Bo Diddley’s ‘You Cant’ Judge a Book it’s Cover’. There was some respite from the pounding of the eighty eight keys, with ‘I Got My Eyes on You’, before it was ratcheted up again with ‘Wild One’ and the uber-frantic ‘Bop a Lena’ which ended the set, with sweat and an almost maniacal physical delivery.
The hairdo was flopped all over the place, and the lads left everything on the stage, only to be called back again for an encore of Jerry Lee Lewis’ ‘Whole Lotta Shaking’. A blinding way to end the event.
We can’t leave the Rampage review without mentioning the DJs who, whenever they were scheduled, played some top stuff. With Jungle Rocker, leading the charge on Friday, ably followed by Tojo, Harry, Ten-15 and Killer Kim through Saturday, the sounds were varied and danceable throughout.
Kudos to the Rampage team for the past eight events.
‘King of the Hop’ is an original track penned by Axel Praefke (Cherry Casino if you will), which wound up the pace again for ‘High School Confidential’, ‘Down the Line’ and Bo Diddley’s ‘You Cant’ Judge a Book it’s Cover’. There was some respite from the pounding of the eighty eight keys, with ‘I Got My Eyes on You’, before it was ratcheted up again with ‘Wild One’ and the uber-frantic ‘Bop a Lena’ which ended the set, with sweat and an almost maniacal physical delivery.
The hairdo was flopped all over the place, and the lads left everything on the stage, only to be called back again for an encore of Jerry Lee Lewis’ ‘Whole Lotta Shaking’. A blinding way to end the event.
We can’t leave the Rampage review without mentioning the DJs who, whenever they were scheduled, played some top stuff. With Jungle Rocker, leading the charge on Friday, ably followed by Tojo, Harry, Ten-15 and Killer Kim through Saturday, the sounds were varied and danceable throughout.
Kudos to the Rampage team for the past eight events.
downtown jump #3
The Wildcat Wailers
It was a road trip down to Hampshire for an event that was new to us, although this was the third such ‘Jump’ of it’s kind. The venue was the Phoenix Arts Centre, in Bordon, and the organisers had hired out the whole building and ground for the all dayer.
The Jump Joint, was almost set out like a theatre with a floor at the base of a tiered seating area. That was the setting for the dance lessons, and the MFC Chicken show (more on that later). The clothing and shoes vendors took up the remaining rooms, and indeed spilled outside within the courtyard, where some food stands had also sited themselves. The main Downtown Bandstand, was a marquee with a temporary wooden dancefloor installed. This was the venue for the live acts and DJs.
There was a half decent population in for Vernon Whittle’s first DJ set, and with rain holding off, many took to the outside while the weather was fine. The first band, was one we hadn’t seen before, the Wildcat Wailers. This was a five piece Rock n Roll band from the South Coast, which is where they ply their trade for the most part it seems. Formed in 2024, they feature two female lead singers Corinna and Natasha, backed by the classic combo of lead guitar, upright bass and drums, courtesy of Jon, Sean and Jimi.
Two vocalists performing both at the same time? Yep, that’s it, but songs you might not expect to be sung by a duet. ‘Train Kept a’Rollin’ opened the show, and I’ll be honest, I’ve never heard that tune, done in that way before. Now, the likes of Dale Hawkins’ ‘Little Pig’, many times, and this band put that out there with serious enthusiasm. It worked very well. A fair chunk of the set was classic rockin’, think ‘Long Tall Sally’, ‘Tutti Frutti’ and ‘Shake Rattle and Roll’, however there were some cool additions. A standout example was Tarheel Slim’s ‘Number Nine Train’ that came near the end of the set.
A set of hot tracks performed in a very warm marquee environment, in leather and leopard print. Rock ‘n’ Roll!
The Jump Joint, was almost set out like a theatre with a floor at the base of a tiered seating area. That was the setting for the dance lessons, and the MFC Chicken show (more on that later). The clothing and shoes vendors took up the remaining rooms, and indeed spilled outside within the courtyard, where some food stands had also sited themselves. The main Downtown Bandstand, was a marquee with a temporary wooden dancefloor installed. This was the venue for the live acts and DJs.
There was a half decent population in for Vernon Whittle’s first DJ set, and with rain holding off, many took to the outside while the weather was fine. The first band, was one we hadn’t seen before, the Wildcat Wailers. This was a five piece Rock n Roll band from the South Coast, which is where they ply their trade for the most part it seems. Formed in 2024, they feature two female lead singers Corinna and Natasha, backed by the classic combo of lead guitar, upright bass and drums, courtesy of Jon, Sean and Jimi.
Two vocalists performing both at the same time? Yep, that’s it, but songs you might not expect to be sung by a duet. ‘Train Kept a’Rollin’ opened the show, and I’ll be honest, I’ve never heard that tune, done in that way before. Now, the likes of Dale Hawkins’ ‘Little Pig’, many times, and this band put that out there with serious enthusiasm. It worked very well. A fair chunk of the set was classic rockin’, think ‘Long Tall Sally’, ‘Tutti Frutti’ and ‘Shake Rattle and Roll’, however there were some cool additions. A standout example was Tarheel Slim’s ‘Number Nine Train’ that came near the end of the set.
A set of hot tracks performed in a very warm marquee environment, in leather and leopard print. Rock ‘n’ Roll!
Chicago 9
Chicago 9, were another outfit we hadn’t encountered before, fronted by vocalist Angie Restorick. The group name is a nod to Muddy Waters’ train to Chicago, and unsurprisingly, their style is centred around the Blues. Not the moans and laments centred around getting up in the morning, no, this was more upbeat. Rhythm and Blues, some boogie and the occasional toe-dip into Rock ‘n’ Roll.
Making up the personnel, Steve Brennan on lead guitar, Paul Tasker on sax, with drummer Elrad Matthews, bassist Melvyn Locklear and Jim Mitchell on the eighty eight keys. The band’s name made up the title of the opener, ‘Chicago 9’. ‘Walking to my Baby’ (Fabulous Thunderbirds I think) was an impressive sound, as was a belting version of Imelda May’s ‘Big Bad Handsome Man’.
T-Bone Walker’s ‘T-Bone Shuffle’ and Johnny Otis’ ‘Willie and the Hand Jive’ was an engaging contrast, and the classic ‘Shake Your Money Maker’ rocked. Certainly, a good introduction for us to Chicago 9. A tight sound, musically & vocally accomplished, and a treasure chest of R&B. Can't ask for much else folks.
Making up the personnel, Steve Brennan on lead guitar, Paul Tasker on sax, with drummer Elrad Matthews, bassist Melvyn Locklear and Jim Mitchell on the eighty eight keys. The band’s name made up the title of the opener, ‘Chicago 9’. ‘Walking to my Baby’ (Fabulous Thunderbirds I think) was an impressive sound, as was a belting version of Imelda May’s ‘Big Bad Handsome Man’.
T-Bone Walker’s ‘T-Bone Shuffle’ and Johnny Otis’ ‘Willie and the Hand Jive’ was an engaging contrast, and the classic ‘Shake Your Money Maker’ rocked. Certainly, a good introduction for us to Chicago 9. A tight sound, musically & vocally accomplished, and a treasure chest of R&B. Can't ask for much else folks.
Pat Reyford
With Cooking Jack Fats unable to attend, Pat Reyford stepped up to the plate at short notice, bringing his style of jumping Rhythm and Blues, which simply was a delight for the dancers, and toe-tappers alike. Some true go-to tunes here readers, the likes of Louis Jordan’s ‘Choo-Choo Ch’Boogie’ immediately springs to mind. The jump blues number from 1946, was Jordan’s biggest hit, and it’s longevity is due to the catchy lyrics and beat, that was replicated so well by Pat.
Clarence Frogman Henry’s ‘Ain’t Got no Home’ with it’s vocal inflections and Moon Mullican’s ‘Seven Nights to Rock’ kept that beguiling beat up, and the floor filled. ‘Rock the Joint’ contrasted in tempo with The Chords’ ‘Sh-Boom’, with bassist Markus Feldman bending a fine string. A couple of fine Blues shouters as well from the back catalogue of Wynonie Harris with the evergreen ‘Bloodshot Eyes’ and the suggestive tick-tock sound of ‘Wasn’t That Good’. Add to that, super versions of ‘Don’t Be Angry’, Mike Pedicin’s styled ‘Burnt Toast, Black Coffee’, and a corking take of Big John Greer’s ‘Come Back Uncle John’.
Whatever guise Pat Reyford takes for a show, there’s a guarantee of an accomplished set of tracks, well suited to the event he’s playing. Of course this was no exception.
Other attractions during the day featured dance classes, from the Reverend Boogie, Andrew Hall, teaching Basic St Louis Shag and other dances from the Jazz age, plus Chichester Lindy offering classes on Collegiate Shag and Lindy Hop. Kudos to DJs Slimboy and Vernon Whittle who alternated between the two music venues, all day. Quite the shift, over ten hours folks.
Clarence Frogman Henry’s ‘Ain’t Got no Home’ with it’s vocal inflections and Moon Mullican’s ‘Seven Nights to Rock’ kept that beguiling beat up, and the floor filled. ‘Rock the Joint’ contrasted in tempo with The Chords’ ‘Sh-Boom’, with bassist Markus Feldman bending a fine string. A couple of fine Blues shouters as well from the back catalogue of Wynonie Harris with the evergreen ‘Bloodshot Eyes’ and the suggestive tick-tock sound of ‘Wasn’t That Good’. Add to that, super versions of ‘Don’t Be Angry’, Mike Pedicin’s styled ‘Burnt Toast, Black Coffee’, and a corking take of Big John Greer’s ‘Come Back Uncle John’.
Whatever guise Pat Reyford takes for a show, there’s a guarantee of an accomplished set of tracks, well suited to the event he’s playing. Of course this was no exception.
Other attractions during the day featured dance classes, from the Reverend Boogie, Andrew Hall, teaching Basic St Louis Shag and other dances from the Jazz age, plus Chichester Lindy offering classes on Collegiate Shag and Lindy Hop. Kudos to DJs Slimboy and Vernon Whittle who alternated between the two music venues, all day. Quite the shift, over ten hours folks.
MFC Chicken
Now we all upped sticks and made our way to the Downtown Jump Joint, that small theatre like setting we mentioned at the top of the article. MFC Chicken were set up ‘on the floor’ with the sloping seating housing around a hundred onlookers. ‘Talk among yourselves, has anyone got any questions while we sort the sound?’ was the opening comment as they took their place. ‘What’s MFC stand for?’ came the reply. ‘Whatever you want it to’ apparently. Well that’s cleared that up.
Eventually and almost without warning, they exploded into action with ‘Ain’t Nobody Meaner Than My Baby’ with a first taste of the high energy style of the sax lead four piece. The frantic sound of ‘KFC Called the Cops on me’ was the first reference to the galline moniker of the band. Rhythmic sidestepping in formation next with the curiously titled ‘Voodoo Chicken’. The nuttiest (or nugget-iest arf arf) tune has to be ‘Rumble Strip’ with lead singer and sax player Spencer Evoy in rapid side-to-side head shaking movement mode.
As the set progressed, they made their way into the audience. It’s always an interactive show with these lads, and unsuspecting audience members were treated to guitarist Dan Criscuolo, Spencer and bass player Zig Criscuolo up close and personal. Guess it’s not really possible for Ravi Low Beer to join in…..
The shout-back vocals on ‘Bear Sized Skeeters’ is an amusingly titled, strange comparison, song was another rock-out, and ‘Milk Chicken’ raised the actual prospect of acting in the context of the title. With most of the songs lasting less than two and a half minutes, there were an awful lot crammed into the show, and everything was original. ‘New Socks’ again an interesting subject for a rock n roll grind, and ‘Love FYUP’ (the abbreviation you can work out yourselves, raising many an eyebrow. Top stuff.
Eventually and almost without warning, they exploded into action with ‘Ain’t Nobody Meaner Than My Baby’ with a first taste of the high energy style of the sax lead four piece. The frantic sound of ‘KFC Called the Cops on me’ was the first reference to the galline moniker of the band. Rhythmic sidestepping in formation next with the curiously titled ‘Voodoo Chicken’. The nuttiest (or nugget-iest arf arf) tune has to be ‘Rumble Strip’ with lead singer and sax player Spencer Evoy in rapid side-to-side head shaking movement mode.
As the set progressed, they made their way into the audience. It’s always an interactive show with these lads, and unsuspecting audience members were treated to guitarist Dan Criscuolo, Spencer and bass player Zig Criscuolo up close and personal. Guess it’s not really possible for Ravi Low Beer to join in…..
The shout-back vocals on ‘Bear Sized Skeeters’ is an amusingly titled, strange comparison, song was another rock-out, and ‘Milk Chicken’ raised the actual prospect of acting in the context of the title. With most of the songs lasting less than two and a half minutes, there were an awful lot crammed into the show, and everything was original. ‘New Socks’ again an interesting subject for a rock n roll grind, and ‘Love FYUP’ (the abbreviation you can work out yourselves, raising many an eyebrow. Top stuff.
The Jive Romeros
A mass exodus from the Joint, back to the Bandstand for the Jive Romeros to end the day. Looking dapper in their white jackets and black trousers, the five piece hit the floor dancing with the Jodimars’ ‘Dance the Bop’. It’s as visual as it is musically excellent, and so good to see original Romeros, Martyn ‘Nobby’ Clarke, Zac Zdravkovic and Ritchie Crabtree on stage (vocals, lead guitar and upright bass respectively). They were joined by John Dobinson on sax and Mark Morgan on double drum duty (having played for Pat Reyford earlier).
It was a bit disappointing that they had to truncate their set, I think it was local opinion on the sound level, however as usual they delivered by the barrel-load. A few Haley-esque sounds made the set, the likes of ‘Dipsy Doodle’, ‘Sweet Sue’ the thumping ‘Birth of a Boogie’, ‘Tonight’s the Night’and ‘Hey Then There Now’, with the Jodimars’ ‘Well Now Dig This’, complete with boatswain whistle. And there was the ever present British Rock n Roll sound as well
Tommy Steele’s ‘Rock Around the Town’, rubbed shoulders with Terry Dene’s ‘London Rock’ and the King Brothers’ ace-up-the-sleeve ‘Si Si Si’. Right in the middle there was a slice of top Western Swing with Cliffie Stone’s ‘Barracuda’ which paired well with the exuberant Italian/American sound of Louis Prima’s ‘Buona Sera’. And that was pretty much it, as the Romeros ended and the crowd dispersed pretty quickly from there.
Yes readers, Downtown Jump was highly entertaining, especially as the promised deluge held off throughout the July Saturday. David Lovegrove and his team ensured a smoothly run timetable, and had booked some quality acts. At the time of writing, we are unsure if there will be a Downtown Jump #4, but keep a check on their websites for details
Some images from the day are in this gallery, click on the photo for full image. And if you would like to help us keep this magazine going, please use the donate button below. Many thanks
It was a bit disappointing that they had to truncate their set, I think it was local opinion on the sound level, however as usual they delivered by the barrel-load. A few Haley-esque sounds made the set, the likes of ‘Dipsy Doodle’, ‘Sweet Sue’ the thumping ‘Birth of a Boogie’, ‘Tonight’s the Night’and ‘Hey Then There Now’, with the Jodimars’ ‘Well Now Dig This’, complete with boatswain whistle. And there was the ever present British Rock n Roll sound as well
Tommy Steele’s ‘Rock Around the Town’, rubbed shoulders with Terry Dene’s ‘London Rock’ and the King Brothers’ ace-up-the-sleeve ‘Si Si Si’. Right in the middle there was a slice of top Western Swing with Cliffie Stone’s ‘Barracuda’ which paired well with the exuberant Italian/American sound of Louis Prima’s ‘Buona Sera’. And that was pretty much it, as the Romeros ended and the crowd dispersed pretty quickly from there.
Yes readers, Downtown Jump was highly entertaining, especially as the promised deluge held off throughout the July Saturday. David Lovegrove and his team ensured a smoothly run timetable, and had booked some quality acts. At the time of writing, we are unsure if there will be a Downtown Jump #4, but keep a check on their websites for details
Some images from the day are in this gallery, click on the photo for full image. And if you would like to help us keep this magazine going, please use the donate button below. Many thanks
There are only accommodation passes left now if you want to join everyone at Hemsby #71. You can be added to a friend's booking, just get in touch with the booking team by clicking the flyer
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If you are unable to make Hemsby #71, check out #72 next March, by clicking the flyer
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Rockabilly Rave Online Booking is now Open!
We've already had a large number of Priority Bookings (taken at the Rave earlier this year) for the 2026 Rockabilly Rave!
So don't delay, as the new line up has just been announced, the new date has proved very popular, and the new site is already a big hit!!! We expect 16th - 20th April 2026 will be a sell out show! Book up now and have your trip to Rockabillyland in the calendar, to help brighten the next ten months! Rave On Cats!
Rumble on the Rock - The Final Chapter
It’s the final chapter for the Nobster’s Rumble on the Rock event, and partnering that, is this fine CD containing twenty-eight hot tracks. Twenty-four of those are DJ picks and the remaining four, from ‘todays’ artists. As with previous releases in this series, each DJ appearing at the actual event, chooses two tunes.
It’s Kip Tyler’s 1958 haunting, sax soaked ‘Rumble Rock’ that sets the CD in motion, which appears anonymously at the top of the pile, maybe compiler’s perks in action. Indeed, it’s Nobster who opens up the picks with a cool stroll track by Huelyn Duvall, the rather sadly titled ‘Friday Night on a Dollar Bill’. His other contribution, is Buddy Britten and the Regents version of ‘Money’. This is from 1963, and has that early-mid-sixties resonance, and that’s not a great surprise when you realise that Buddy Britten was from Liverpool.
Ginny No Class, weighs in initially with Paul Anka’s hopped up version of his own song ‘Uh Huh’. Her other choice is also from the sixties, which has a soulful lilt in the form of Jo Ann Campbell’s ‘I Changed My Mind Jack’.
Next up, (Thee) Vanessa Holmes, and her first choice, the novel sound of the Valiants’ ‘Walkin’ Girl’. It’s Vanessa’s only choice on the release, but what a fine tune from 1959 it is. Mmhmm Cha Cha Cha indeed. Dave Flattop offers Lincoln Chase’s ‘Miss Orangatang’ (correct spelling) from 1960, it’s short and it’s sweet. His second contribution is The Cupids’ ‘Now You Tell Me’. Written by the Lenser Brothers who founded Atlantic Records, on which this was released in ’57, this stop-start humorous tune is a delight.
Little Walter, one of the finest and influential Blues harmonica players, is the subject of the first choice by Tojo. ‘Flying Saucer’ is a superb example of his talent, set to a catchy beat. Tojo’s second choice, ‘Blue Songs of Love’, is a B side of Johnnie Honeycutt’s sole release on the New York label, Teenage Records. Very ‘high-school’ in it’s theme and beat, so prevalent in the mid-late 50’s.
The Sun sound of Tommy Blake’s ‘Sweetie Pie’ from 1958, is the first choice from Brummie Si. This track is more mellow than the ‘I Dig You Baby’ which was on the ‘B’ side. Engaging guitar riffs on this one. Si’s second choice, would barely need any introduction, just hearing the opening guitar work on Gene Vincent’s ‘Right Now’ fills any dancefloor. The song was recorded by Gene and the Bluecaps in December ’57 but not released until 1959, after they had disbanded. One of Gene’s many classic tracks.
The other half of the Flattop Brothers, Mark, opens up with ‘That’s Amore’ by Patrizio Buanne. Often known as the signature song for the ‘King of Cool’ Dean Martin, this version by Buanne starts as one would expect but takes on a zippy rhythm, ideal for dancers. Selection number two, is Jose Feliciano’s ‘Everybody do the Click’. This was the single that kick started his career in 1964, and has that Latino sound, echoes of his Puerto Rican origin.
Cliff Johnson, was a Country/Rockabilly singer, who is responsible for one of the tracks that formed the bedrock for many a young Rockabilly in the seventies on CBS Records. ‘Go ‘way Hound Dog’ is just a sublime slice of Rockabilly mixed with harmonica, and represents Deano’s first selection. His second is from one of the premier Blues shouters of the mid-forties and fifties. Lesser known and certainly not played as widely as some of the other Wynonie go-to’s, ‘Git with the Grits’, has all the nudge-nudgery you’d expect from him. Grits being a type of porridge made from dried, ground corn, may not be on the top of many songwriters list of titles, however this Henry Glover song brings it to the fore.
Tall Mark pitches in with ‘Midnight Blues’ by Town Three with Wes Voight. I can hear the sharp intakes of breath from here, but no, it’s not that stroller! Bit of (useless) trivia, Wes Voight is actor John Voight’s brother and uncle to Angelina Jolie. He was also slightly better known by his alias, Chip Taylor. Got that? Good. All this shouldn’t distract you from the upbeat, jive tempo of this song
Now readers, Chubby Checker, what do you think of? Yes, Twisting of some sorts, from the 60’s songs, through performing the Superbowl Twist at Superbowl XXXXII and onward. Those, the ‘Pony’ and ‘Limbo Rock’ featured dance crazes. The first Mark Vincent choice deviates from this theme. ‘I Could Have Danced All Night’ came from ‘My Fair Lady’, sung by Audrey Hepburn. It’s hopped up here, and I guess you ca twist to it if you want to. His other nomination is Little Richard’s take on Johnny Cash’s ‘Get Rhythm’, performed in typical Penniman frantic vocal style.
Cookie Roberts’ ‘Draggin’ the Drive Inns’, from 1962(ish) represents the first of Tony Versfield’s picks with Geroge Jones’ ‘Too Much Water’ later in the release. Jones’ 1957 country corker, is an upbeat and bright sound, that deserves so much more airplay. Juke Box Gina has just one contribution, but what a beauty it is. The Jodimars, made up of some of the original Comets, released what are now considered rock n roll diamonds, among which was ‘Rattle Shakin’ Daddy’ which was coupled with the track here. ‘Eat Your Heart Out Annie’ is an excellent addition to this CD. Lady Luck Lexy also has one record suggestion, that of Dolly Cooper’s ‘My Man’. Thelma ‘Dolly’ Cooper, had a number of pseudonyms, and some fine fine music. ‘My Man’ has a nippy beat and her vocal delivery is somewhat unique.
The final four tracks are from today’s artists. ‘Where’s the Party?’ is a high energy, twangy guitar rocker, followed by Lady Luck Lexy’s drumbeat and guitar driven ‘Scream and Shout’. Craig Shaw’s ‘Twist and Bop’ , is a gritty sounding, heavily reverbed mid-tempo stunner from Wild Records (not sure of the year of release, someone will tell me…..). Alan Power’s ‘You Don’t Know (What I Like)’, concludes the release, which has an Elvis, Scotty and Bill feel to it, ace sounding Rockabilly.
There’s never been a weak link in this series of releases by the Nobster. Have they saved the best ‘til last? That’s up to you to decide. But for completists, collectors and lovers of great rockin music, this is a must have CD
It’s Kip Tyler’s 1958 haunting, sax soaked ‘Rumble Rock’ that sets the CD in motion, which appears anonymously at the top of the pile, maybe compiler’s perks in action. Indeed, it’s Nobster who opens up the picks with a cool stroll track by Huelyn Duvall, the rather sadly titled ‘Friday Night on a Dollar Bill’. His other contribution, is Buddy Britten and the Regents version of ‘Money’. This is from 1963, and has that early-mid-sixties resonance, and that’s not a great surprise when you realise that Buddy Britten was from Liverpool.
Ginny No Class, weighs in initially with Paul Anka’s hopped up version of his own song ‘Uh Huh’. Her other choice is also from the sixties, which has a soulful lilt in the form of Jo Ann Campbell’s ‘I Changed My Mind Jack’.
Next up, (Thee) Vanessa Holmes, and her first choice, the novel sound of the Valiants’ ‘Walkin’ Girl’. It’s Vanessa’s only choice on the release, but what a fine tune from 1959 it is. Mmhmm Cha Cha Cha indeed. Dave Flattop offers Lincoln Chase’s ‘Miss Orangatang’ (correct spelling) from 1960, it’s short and it’s sweet. His second contribution is The Cupids’ ‘Now You Tell Me’. Written by the Lenser Brothers who founded Atlantic Records, on which this was released in ’57, this stop-start humorous tune is a delight.
Little Walter, one of the finest and influential Blues harmonica players, is the subject of the first choice by Tojo. ‘Flying Saucer’ is a superb example of his talent, set to a catchy beat. Tojo’s second choice, ‘Blue Songs of Love’, is a B side of Johnnie Honeycutt’s sole release on the New York label, Teenage Records. Very ‘high-school’ in it’s theme and beat, so prevalent in the mid-late 50’s.
The Sun sound of Tommy Blake’s ‘Sweetie Pie’ from 1958, is the first choice from Brummie Si. This track is more mellow than the ‘I Dig You Baby’ which was on the ‘B’ side. Engaging guitar riffs on this one. Si’s second choice, would barely need any introduction, just hearing the opening guitar work on Gene Vincent’s ‘Right Now’ fills any dancefloor. The song was recorded by Gene and the Bluecaps in December ’57 but not released until 1959, after they had disbanded. One of Gene’s many classic tracks.
The other half of the Flattop Brothers, Mark, opens up with ‘That’s Amore’ by Patrizio Buanne. Often known as the signature song for the ‘King of Cool’ Dean Martin, this version by Buanne starts as one would expect but takes on a zippy rhythm, ideal for dancers. Selection number two, is Jose Feliciano’s ‘Everybody do the Click’. This was the single that kick started his career in 1964, and has that Latino sound, echoes of his Puerto Rican origin.
Cliff Johnson, was a Country/Rockabilly singer, who is responsible for one of the tracks that formed the bedrock for many a young Rockabilly in the seventies on CBS Records. ‘Go ‘way Hound Dog’ is just a sublime slice of Rockabilly mixed with harmonica, and represents Deano’s first selection. His second is from one of the premier Blues shouters of the mid-forties and fifties. Lesser known and certainly not played as widely as some of the other Wynonie go-to’s, ‘Git with the Grits’, has all the nudge-nudgery you’d expect from him. Grits being a type of porridge made from dried, ground corn, may not be on the top of many songwriters list of titles, however this Henry Glover song brings it to the fore.
Tall Mark pitches in with ‘Midnight Blues’ by Town Three with Wes Voight. I can hear the sharp intakes of breath from here, but no, it’s not that stroller! Bit of (useless) trivia, Wes Voight is actor John Voight’s brother and uncle to Angelina Jolie. He was also slightly better known by his alias, Chip Taylor. Got that? Good. All this shouldn’t distract you from the upbeat, jive tempo of this song
Now readers, Chubby Checker, what do you think of? Yes, Twisting of some sorts, from the 60’s songs, through performing the Superbowl Twist at Superbowl XXXXII and onward. Those, the ‘Pony’ and ‘Limbo Rock’ featured dance crazes. The first Mark Vincent choice deviates from this theme. ‘I Could Have Danced All Night’ came from ‘My Fair Lady’, sung by Audrey Hepburn. It’s hopped up here, and I guess you ca twist to it if you want to. His other nomination is Little Richard’s take on Johnny Cash’s ‘Get Rhythm’, performed in typical Penniman frantic vocal style.
Cookie Roberts’ ‘Draggin’ the Drive Inns’, from 1962(ish) represents the first of Tony Versfield’s picks with Geroge Jones’ ‘Too Much Water’ later in the release. Jones’ 1957 country corker, is an upbeat and bright sound, that deserves so much more airplay. Juke Box Gina has just one contribution, but what a beauty it is. The Jodimars, made up of some of the original Comets, released what are now considered rock n roll diamonds, among which was ‘Rattle Shakin’ Daddy’ which was coupled with the track here. ‘Eat Your Heart Out Annie’ is an excellent addition to this CD. Lady Luck Lexy also has one record suggestion, that of Dolly Cooper’s ‘My Man’. Thelma ‘Dolly’ Cooper, had a number of pseudonyms, and some fine fine music. ‘My Man’ has a nippy beat and her vocal delivery is somewhat unique.
The final four tracks are from today’s artists. ‘Where’s the Party?’ is a high energy, twangy guitar rocker, followed by Lady Luck Lexy’s drumbeat and guitar driven ‘Scream and Shout’. Craig Shaw’s ‘Twist and Bop’ , is a gritty sounding, heavily reverbed mid-tempo stunner from Wild Records (not sure of the year of release, someone will tell me…..). Alan Power’s ‘You Don’t Know (What I Like)’, concludes the release, which has an Elvis, Scotty and Bill feel to it, ace sounding Rockabilly.
There’s never been a weak link in this series of releases by the Nobster. Have they saved the best ‘til last? That’s up to you to decide. But for completists, collectors and lovers of great rockin music, this is a must have CD
Get on down to HRB#7 for the best in rhythm n blues, rock n roll, Western swing, and more
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Racketeer Radio brings you the New Golden Age of Radio with over 20 scheduled radio programs from around the world, airing each week. Racketeer Radio features the longest running radio program on air, favorite radio programs from 1930s - 1950s as well as the latest programs in the vintage revival.Hear your favorite classics, along with the newest released tunes from Big Band, Swing, Jump Rhythm and Blues to Lounge, Rockabilly and More. In the Racketeer Radio App find News, Updates, Events and More, go to linktr.ee/RacketeerRadio.
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interview with Marcel Bontempi
Multi-talented, multi-instrumentalist, songwriter and graphic artist, Marcel Bontempi has delighted audiences with live performances as well as supercool original songs and quirky versions of standards. His version(s) of ‘Dig a Hole’ have become modern-day classics, and must-haves for DJs.
A native of Dreieich, Hessen, Germany, Marcel’s recorded output is massively impressive. So with such a serious back catalogue, we thought an interview was in order.
BJR. As we always start with the early years, what was your first introduction to 1950’s styled music?
MB. if i remember it right, it was via a friend i had in school. it was around 1986 i would say, and we had the urge to be "outsiders" - we started rejecting the popular music at these times, and we seeked for other stuff. I think he came along with some records he bought, and we others followed and slowly wanted more and roamed the record shops for new material. At first we listened to psychobilly, but then we wanted to hear the originals. i personally remember when i saw this record of elvis called "the sun sessions" and brought it home. I knew the typical Elvis "hits" by this time, but what i was about to hear REALLY fascinated me. also the fact that it was so wild and fresh, without even using drums... I don't consider myself a big Elvis-fan - but these songs are just so good, and I still enjoy to listen to them once in a while.
BJR What was the first instrument you learned to play and were you professionally taught, or did you learn it yourself?
MB. i always was interested in playing music, but i wasn't interested in "learning" something. initially i wanted to play the piano and I hoped my parents would buy me one to make some noise on it. But my parents did send me to this church where there was a big classical church organ and a guy who tried to give me some lessons. I had the key to the church, and so all i did was entering the church whenever i could, go upstairs where the big church organ was, and play - but not in the "right" way, as the teacher and my parents hoped. i just had fun getting weird sounds and rudimentary themes out of this big instrument and just enjoy it. I wonder what the cleaning woman in the church hall was thinking. she is the only witness.
BJR. You are also well known as an artist and graphic designer. Did that come about before music?
MB: It's in my blood I guess - my father was a sculptor and my mom wanted to study art, but her father didn't allow that (welcome to the REAL 1950s!), so i guess i just followed them somehow. Since i can remember i drew and drew and my parents were super happy, cause it was so easy for them. They just gave me paper and pen and there was nothing else i wanted. So it came about LONG before music. In fact, this was my first love.
BJR. Do you think that the creativity used in your artwork and in music are linked at all?
MB: It comes in VERY handy, yes. i think it is very important to have a good visual along with good music. It breaks my heart to listen to an exquisite album, and realize the cover is very bad. this is the worst case that could happen. i mean, there are different styles you can like or not - i don't say what i design is the best design out there - in the contrary, i'm very critical with myself. But i'm talking about craft here. a good design should be crafted by someone who knows and who puts his heart in it.
Also you can compare a painting to a piece of music. you can hide little messages, you can use different effects, and you can spoil the whole thing with different effects. you can play it safe, by repeating thr same formula over and over again OR you can try new ways, start again from scratch. The whole process of "art" and "music" is very alike in my opinion.
A native of Dreieich, Hessen, Germany, Marcel’s recorded output is massively impressive. So with such a serious back catalogue, we thought an interview was in order.
BJR. As we always start with the early years, what was your first introduction to 1950’s styled music?
MB. if i remember it right, it was via a friend i had in school. it was around 1986 i would say, and we had the urge to be "outsiders" - we started rejecting the popular music at these times, and we seeked for other stuff. I think he came along with some records he bought, and we others followed and slowly wanted more and roamed the record shops for new material. At first we listened to psychobilly, but then we wanted to hear the originals. i personally remember when i saw this record of elvis called "the sun sessions" and brought it home. I knew the typical Elvis "hits" by this time, but what i was about to hear REALLY fascinated me. also the fact that it was so wild and fresh, without even using drums... I don't consider myself a big Elvis-fan - but these songs are just so good, and I still enjoy to listen to them once in a while.
BJR What was the first instrument you learned to play and were you professionally taught, or did you learn it yourself?
MB. i always was interested in playing music, but i wasn't interested in "learning" something. initially i wanted to play the piano and I hoped my parents would buy me one to make some noise on it. But my parents did send me to this church where there was a big classical church organ and a guy who tried to give me some lessons. I had the key to the church, and so all i did was entering the church whenever i could, go upstairs where the big church organ was, and play - but not in the "right" way, as the teacher and my parents hoped. i just had fun getting weird sounds and rudimentary themes out of this big instrument and just enjoy it. I wonder what the cleaning woman in the church hall was thinking. she is the only witness.
BJR. You are also well known as an artist and graphic designer. Did that come about before music?
MB: It's in my blood I guess - my father was a sculptor and my mom wanted to study art, but her father didn't allow that (welcome to the REAL 1950s!), so i guess i just followed them somehow. Since i can remember i drew and drew and my parents were super happy, cause it was so easy for them. They just gave me paper and pen and there was nothing else i wanted. So it came about LONG before music. In fact, this was my first love.
BJR. Do you think that the creativity used in your artwork and in music are linked at all?
MB: It comes in VERY handy, yes. i think it is very important to have a good visual along with good music. It breaks my heart to listen to an exquisite album, and realize the cover is very bad. this is the worst case that could happen. i mean, there are different styles you can like or not - i don't say what i design is the best design out there - in the contrary, i'm very critical with myself. But i'm talking about craft here. a good design should be crafted by someone who knows and who puts his heart in it.
Also you can compare a painting to a piece of music. you can hide little messages, you can use different effects, and you can spoil the whole thing with different effects. you can play it safe, by repeating thr same formula over and over again OR you can try new ways, start again from scratch. The whole process of "art" and "music" is very alike in my opinion.
BJR. Your music is wide ranging and varied. Do you have a favourite style?
MB In fact i wouldn't consider myself as a rockabilly singer or musician. Rockabilly is really only a very small part of what i love and do. a piece of music needs maybe the following things to please me: it has to "sound" old or retro somehow, not too smooth or suitable for the masses.. it can involve REAL instruments - but can also be electronic, it doeesn't matter - it#s all about the sound. I love the first electronic sounds they used back in the 40s in the "musique concrete" for example. It shouldn't sound "modern". This is about technique - but to REALLY please me, the melody, the character of the song has to be "criminal" as I say. The Song should reflect a certain wildness, rawness, sentimentality also in the melody. This can be also a tearjerker, it's not about BPM. I know this sounds vague somehow - but i can't find a better way to explain it.
But there is no favourite style, no. I love to have all the variety of certain musical styles, Be it rocksteady, Ska, mambo, Jazz, Rockabilly, Blues, hillbilly, western swing, cumbia, oriental stuff, soul, 60s frat rock, surf instrumentals, 60s Punk....... the list goes on and on.
BJR. You have taken classic and well-known songs, and given them a new twist. Not just ‘Dig a Hole’ but the likes of ‘Race With the Devil’ , ‘Train to Satanville’ and ‘Blue Moon Baby’ for example. Do you purposely target a song and consider what you could do with it to make it your own, or do you get inspiration from elsewhere?
MB. As far as i remember i always did it like this when it came to cover a song. For me it is clear, it makes no sense to do a cover of a song, that saounds exactly the same, but not as brilliant and fresh as the original. You can do it in a live-show - this is something else, but on a record i don't want to listen to a lame cover version. It's a challenge, but it#s also super interesting to take a melody, and change the rhythm, or some chords and make it different. To find a song for you as a singer is not an easy task. There are songs that are for you, and songs that aren't - and i hope i'm able to distinguish them. The inspiration for changes on cover-versions comes from my broad range of musical styles i love so much - i can draw from that a lot. I don't reinvent the wheel, i just use all these styles as a tool to build something new.
BJR. A number of your record releases, have a theme to them, Cats, Wolves, and Frogs for example. Do you simply think of a subject and work songs into it? Or is the process not as complex?
MB. it is weird - it just happens... there is no plan, or at least no plan i know of. But i maybe they kind of attract me, cause i love the unusual stuff, or the criminal stuff. if it is too neat, it's not for me. and yes, when i write my own material, it's about ghosts, or headless horseman. I'm so happy about this on song with a whole verse in german. ha, talking about german - i have a few songs in my poison cabinet sung in german, i should release them. gosh, i got a lot of things stuffed in my cabinet - i just can't find the time to release it - or how to combine the songs. i always like to do a release where to songs meet that really make sense together, or tell a story or have a red thread.
But my mother died just recently, it was the most terrible experience i ever had. the dust has to settle down a bit, until a release something i guess.
BJR. Your wife, Ira Lee, also shared, and shares the stage with you. The beat/surf/rockabilly band, The Montesas and in Dr Bontempi’s Snake Oil Company with it’s Hillbilly & Rockabilly sound. How much input does Ira have to the material you perform?
MB. First of all - she is really a mad dog!!! She is a full time teacher from monday to friday, she is taking care a lot of her mother who has dementia and lives in a caring home (without care as we all know) and she does all these concerts with me - learned guitar in no time, and travels, travels, travels the world on my side for concerts - only to be on her tough working place again on monday morning. she is incredible - alone this would be worth a big, big medal!
She changes songs, puts on a second voice - did that for a song we started to play recently, warren smith's "I LIKE YOUR KIND OF LOVE", and it works so good. So, yes, i'm just a lucky son-of-a-gun with this tough bandit's bride by my side!!!
BJR. Do you have a particularly memorable gig, or gigs, that stands out in your mind?
MB. well, any gig is special somehow... i specially remember this small weekend tour we did with the montesas, to a huge festival in france - and we were topping the bill and it was full packed and it was a brilliantly wild concert - and on the way back we played a good payed gig in the netherlands somewhere in the middle of nowhere - in a restaurant - and NOBODY was there. And it is really a pitty, cause we played, and we had the fun of our lives - this was really a great concert. we laughed and played and laughed our asses off... man, we had fun. we took the good amount of money after the gig (cause WE accomplished) and that#s it. With the Snake Oil Company we are booked for lots of strange places: churches, juke joints in uncivilised places, art exhibitions, cultural red wine drinker clubs... so it is the mix that really does it. it never get's boring. With the Solo project with ira we have different backing bands - sometimes people i did never see or meet before. So this can be a little bit frightening sometimes, cause you never know how they rehearsed the songs. But it usually works out fine in the end. The backing bands we do work the most with are the Sinners, my backing band from barcelona, with berto, Javi and lega (all three are known for a lots of bands and projects) and of course scotlands own tennessee hot shots.
BJR. Are there any recordings coming in the near future?
MB. My poison cabinet is full - some songs are finished, some songs never finish. I lost my mother a few months ago and it was the hardest thing i ever went through. somehow i want to do a kind of cut. i'm not so much interested in going on like always. I used to record everything at home. maybe i go into a studio and record something with other musicians. i don't know. Time will tell. right now i don't feel like releasing anything - but i also know there are a few finished songs that REALLY should see the light of day better sooner than later - you never know how long you walk on earth.
BJR. How can people get in touch with you for bookings and merchandise
MB. through facebook or instagram - i ain't got a proper website. But it really seems to work like this.
BJR Thank you for doing this interview for us
MB In fact i wouldn't consider myself as a rockabilly singer or musician. Rockabilly is really only a very small part of what i love and do. a piece of music needs maybe the following things to please me: it has to "sound" old or retro somehow, not too smooth or suitable for the masses.. it can involve REAL instruments - but can also be electronic, it doeesn't matter - it#s all about the sound. I love the first electronic sounds they used back in the 40s in the "musique concrete" for example. It shouldn't sound "modern". This is about technique - but to REALLY please me, the melody, the character of the song has to be "criminal" as I say. The Song should reflect a certain wildness, rawness, sentimentality also in the melody. This can be also a tearjerker, it's not about BPM. I know this sounds vague somehow - but i can't find a better way to explain it.
But there is no favourite style, no. I love to have all the variety of certain musical styles, Be it rocksteady, Ska, mambo, Jazz, Rockabilly, Blues, hillbilly, western swing, cumbia, oriental stuff, soul, 60s frat rock, surf instrumentals, 60s Punk....... the list goes on and on.
BJR. You have taken classic and well-known songs, and given them a new twist. Not just ‘Dig a Hole’ but the likes of ‘Race With the Devil’ , ‘Train to Satanville’ and ‘Blue Moon Baby’ for example. Do you purposely target a song and consider what you could do with it to make it your own, or do you get inspiration from elsewhere?
MB. As far as i remember i always did it like this when it came to cover a song. For me it is clear, it makes no sense to do a cover of a song, that saounds exactly the same, but not as brilliant and fresh as the original. You can do it in a live-show - this is something else, but on a record i don't want to listen to a lame cover version. It's a challenge, but it#s also super interesting to take a melody, and change the rhythm, or some chords and make it different. To find a song for you as a singer is not an easy task. There are songs that are for you, and songs that aren't - and i hope i'm able to distinguish them. The inspiration for changes on cover-versions comes from my broad range of musical styles i love so much - i can draw from that a lot. I don't reinvent the wheel, i just use all these styles as a tool to build something new.
BJR. A number of your record releases, have a theme to them, Cats, Wolves, and Frogs for example. Do you simply think of a subject and work songs into it? Or is the process not as complex?
MB. it is weird - it just happens... there is no plan, or at least no plan i know of. But i maybe they kind of attract me, cause i love the unusual stuff, or the criminal stuff. if it is too neat, it's not for me. and yes, when i write my own material, it's about ghosts, or headless horseman. I'm so happy about this on song with a whole verse in german. ha, talking about german - i have a few songs in my poison cabinet sung in german, i should release them. gosh, i got a lot of things stuffed in my cabinet - i just can't find the time to release it - or how to combine the songs. i always like to do a release where to songs meet that really make sense together, or tell a story or have a red thread.
But my mother died just recently, it was the most terrible experience i ever had. the dust has to settle down a bit, until a release something i guess.
BJR. Your wife, Ira Lee, also shared, and shares the stage with you. The beat/surf/rockabilly band, The Montesas and in Dr Bontempi’s Snake Oil Company with it’s Hillbilly & Rockabilly sound. How much input does Ira have to the material you perform?
MB. First of all - she is really a mad dog!!! She is a full time teacher from monday to friday, she is taking care a lot of her mother who has dementia and lives in a caring home (without care as we all know) and she does all these concerts with me - learned guitar in no time, and travels, travels, travels the world on my side for concerts - only to be on her tough working place again on monday morning. she is incredible - alone this would be worth a big, big medal!
She changes songs, puts on a second voice - did that for a song we started to play recently, warren smith's "I LIKE YOUR KIND OF LOVE", and it works so good. So, yes, i'm just a lucky son-of-a-gun with this tough bandit's bride by my side!!!
BJR. Do you have a particularly memorable gig, or gigs, that stands out in your mind?
MB. well, any gig is special somehow... i specially remember this small weekend tour we did with the montesas, to a huge festival in france - and we were topping the bill and it was full packed and it was a brilliantly wild concert - and on the way back we played a good payed gig in the netherlands somewhere in the middle of nowhere - in a restaurant - and NOBODY was there. And it is really a pitty, cause we played, and we had the fun of our lives - this was really a great concert. we laughed and played and laughed our asses off... man, we had fun. we took the good amount of money after the gig (cause WE accomplished) and that#s it. With the Snake Oil Company we are booked for lots of strange places: churches, juke joints in uncivilised places, art exhibitions, cultural red wine drinker clubs... so it is the mix that really does it. it never get's boring. With the Solo project with ira we have different backing bands - sometimes people i did never see or meet before. So this can be a little bit frightening sometimes, cause you never know how they rehearsed the songs. But it usually works out fine in the end. The backing bands we do work the most with are the Sinners, my backing band from barcelona, with berto, Javi and lega (all three are known for a lots of bands and projects) and of course scotlands own tennessee hot shots.
BJR. Are there any recordings coming in the near future?
MB. My poison cabinet is full - some songs are finished, some songs never finish. I lost my mother a few months ago and it was the hardest thing i ever went through. somehow i want to do a kind of cut. i'm not so much interested in going on like always. I used to record everything at home. maybe i go into a studio and record something with other musicians. i don't know. Time will tell. right now i don't feel like releasing anything - but i also know there are a few finished songs that REALLY should see the light of day better sooner than later - you never know how long you walk on earth.
BJR. How can people get in touch with you for bookings and merchandise
MB. through facebook or instagram - i ain't got a proper website. But it really seems to work like this.
BJR Thank you for doing this interview for us
A slightly new name, but the same high quality. Click on the flyer for details
Razzle Dazzle Vintage out in Long Sutton, Lincolnshire. Check our Razzle Dazzle at their store and at various events around the country. Website https://razzledazzlevintage.org.uk/
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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.
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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
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the button. This has to be a two way street for us to be able to continue beyond 2024. Many thanks
Bands and artists who would like their music or latest record release reviewed. We listen to records several times before writing a word about them. We research songs if they are covers, credit writers, performers and musicians. In effect, we pay true reverence to your recordings, not relying in on merely describing a song as a bopper, jiver or stroller. If we don't know about your release, we can't review it. You can send it to us in electronic form or the actual article, drop us an email and we'll arrange it. We do not plagiarise unlike some other sites and publications. Get in touch at [email protected] if you want your record included.
When you get chance to, as seemingly the case is now, do go and support live music, gigs, clubs and bands. Never before has the industry needed it's customers than now. It's much more exiting than two cans and a takeaway in front of the telly.
When we are able to get out and about, if you would like us to cover your event or club night, please get in touch. For two press passes, we will review your event, or your band's show at a gig, in detail, in both words and pictures. We are out there, boots on the ground, front, centre and right and most points in between.
Photographs in this magazine have been provided by the subjects, for use here, or are from our own library. All are copyright
NB, Events and all advertised services are supplied by the advertisers themselves. We do not accept any responsibility for any alterations or adjustments, cancellations or disputes between customers and the advertisers. Please check before booking, travelling to, or buying from advertisers in our magazine
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please avoid copying and pasting articles or parts of articles to your websites or social media, we'd much prefer people to visit our site direct. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome. We do not share links to adult sites here, although adults are welcome to read it. We are considering deleting some early issues and we're interested in your thoughts on whether we should keep them or not. Drop us a note with your thoughts sometime.
Keep up to date with us here, or on our various platforms:-
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email:- [email protected]
https://www.linkedin.com/in/andrew-smith-b626aa63/
Cheers 'til next month
Andrew and June
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. This is the way we can continue beyond 2025
Many thanks
If you have enjoyed our magazine, why not pop a donation over by using the button below. Many thanks
