the bettajive review magazine #49
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Welcome loyal readers, to issue #49. Contained within, is our review of the Rhythm Riot 2025, featuring Sister Suzie and the Glad Rags, photographed above. We also have an interview with Miss Charlotte Porter to announce her new CD recording. Plus all the jolliness that is the Bettajive Review. We have a small announcement to make, below
hemsby #71 review is in the next issue, #50 :)
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the bettajive review
The press doth depress. With online magazines, blogs and newspapers, and for that matter those that appear in the newsagents, there appears to be a certain interest in the rockin’ scene that while welcome, also perplexes me. Many of the recent press (by recent I mean the last handful of years) reports are riddled with inaccuracy, surmising and generic tat. Some of the writers’ inexperience of the Rock ‘n’ Roll music scene is sometimes blindingly apparent, and much of the reporting tends to be based on aspects of the ‘Wad’, Kenny Everett or Russ Abbott show! (Ask your parents/grandparents kids)
There’s the reporter that went to one event, suggesting we were all at a nostalgia fest, ‘dressing up’ in 1950’s gear. OK, first of all, a lot of the current scene, heralded from the 70’s & 80’s so named ‘revival’. So, it can’t be nostalgia or any other melancholy reminiscence, as for most of us, it’s the first time around. Secondly, we don’t ‘dress up’, ‘Andy’ doesn’t become ‘Mandy’ at the weekend. It’s not a costume you pick out at the fancy dress shop next to the Jester or the French tart one, it’s what we wear. Outside of my work, I haven’t got any ‘normal’ clothes. Dressing ‘up’, only involves trousers and a jacket, gab shirts and the like, i.e. posher gear than at work or leisurely Levis/Freddies (other quality jeans are available).
There’s the reporter that went to one event, suggesting we were all at a nostalgia fest, ‘dressing up’ in 1950’s gear. OK, first of all, a lot of the current scene, heralded from the 70’s & 80’s so named ‘revival’. So, it can’t be nostalgia or any other melancholy reminiscence, as for most of us, it’s the first time around. Secondly, we don’t ‘dress up’, ‘Andy’ doesn’t become ‘Mandy’ at the weekend. It’s not a costume you pick out at the fancy dress shop next to the Jester or the French tart one, it’s what we wear. Outside of my work, I haven’t got any ‘normal’ clothes. Dressing ‘up’, only involves trousers and a jacket, gab shirts and the like, i.e. posher gear than at work or leisurely Levis/Freddies (other quality jeans are available).
For him, they say, is the perfectly slicked back pompadour harking back to the days of ‘Grease’! Now that film was feel-good, rip-roaring, bubble-gum, candy floss, expertly choreographed high school load of codswallop (despite only one principal character being young enough to attend High School). The characters were visions of coolness. And yeah, us of teenage years in ‘78 queued around the block to see the film, just to have some annoying flibbetty gibbets sing all the flamin’ words, in the row behind us. Carefully aimed mint imperials piped ‘em down though (other round candies with a hard shell and crumbly centres flavoured with peppermint oil, are available).
Many of us of a certain age (that would be the males), have less hair than a flock of coots, the days of the quiff matching that of the original Madame De Pompadour, are pretty much confined to history for a lot of us. The impression created by some writers is the caricature monster elephant’s trunk (steady on now), when in reality, they are rather few and far between now, and the only ‘slick’ needed would be Mr Sheen! (other multi-surface polishes, are available)
What is the fascination with ‘Brothel Creepers’ that some writers have? They metaphorically sweep up all the best dressed Teds as wearing such footwear, when many prefer Oxfords or Brogues, with such a polished shine, you can see someone else’s face when you look into them. And if anyone wears blue suede creepers, well, apparently, they would be the fulcrum by which the entire look pivots upon.
So, you have your males, apparently numbering in their hundreds, with massive hair and equally massive turn ups on their trousers, perched on two crepe soled Thames barges, according to the writer. They are accompanied by the ladies….Oh dear! As much as they have a fascination with creepers in the males, it’s Bobby socks and petticoats for the ladies. The phrase ‘dozens of petticoats’ under dresses and skirts was the way one scribe described them. OK, with that many, the ladies would look like up-turned shuttlecocks! Again, a stereotypical assumption based on some over exaggeration of a once fine-looking garment.
Many of us of a certain age (that would be the males), have less hair than a flock of coots, the days of the quiff matching that of the original Madame De Pompadour, are pretty much confined to history for a lot of us. The impression created by some writers is the caricature monster elephant’s trunk (steady on now), when in reality, they are rather few and far between now, and the only ‘slick’ needed would be Mr Sheen! (other multi-surface polishes, are available)
What is the fascination with ‘Brothel Creepers’ that some writers have? They metaphorically sweep up all the best dressed Teds as wearing such footwear, when many prefer Oxfords or Brogues, with such a polished shine, you can see someone else’s face when you look into them. And if anyone wears blue suede creepers, well, apparently, they would be the fulcrum by which the entire look pivots upon.
So, you have your males, apparently numbering in their hundreds, with massive hair and equally massive turn ups on their trousers, perched on two crepe soled Thames barges, according to the writer. They are accompanied by the ladies….Oh dear! As much as they have a fascination with creepers in the males, it’s Bobby socks and petticoats for the ladies. The phrase ‘dozens of petticoats’ under dresses and skirts was the way one scribe described them. OK, with that many, the ladies would look like up-turned shuttlecocks! Again, a stereotypical assumption based on some over exaggeration of a once fine-looking garment.
One national publication visited an event we were at, and clearly cited from the program without actually going to it proper. That was obvious as one of the DJs and one of the bands they quoted, we were all dancing the night away to, had cancelled over a week prior. Oh, and as for those who think that strolling is line dancing, they really do need the pointy end of a winkle picker boot where the sun doesn’t shine! (cue the Carry On sliding whistle and Sidney James laugh). The poor photographer was sent in and had to trawl through a zillion photos of well-dressed rockin’ types (as well as pictures of people’s tongues and tonsils, such is the fascination of someone with a big camera people just have to do it), just to find the one Day-Glo pleb, and his lampshade lady friend, to match the fabricated bilge appearing the next issue.
Another example, I swear the writer hadn’t actually been to the event they were reporting on. We offered our services to cover a 1940s event for a local paper a couple of years ago. Not so much as a titter from the paper. When the review appeared, I was shocked at the laziness of the journalism. Phrases like ‘Fans flocked to Twitter (now known as X) to praise *event*’ with a bunch of quotes from said social media, illustrated by some photos shamelessly nabbed from Facebook (photo courtesy of). You always get the same tired images trotted out, a Churchill impersonator giving the V for Victory sign, Land girls saluting, three army guys around a military vehicle and a random guttersnipe with a gas mask in a haversack. ‘Step back in time for a nostalgic trip down memory lane’ usually gets an airing as too. Again readers, it would possibly be nostalgic for my mum, whose favourite quote about the time is ‘We didn’t have that, they were rationed’, because she was there, but for the rest of us, it’s the first time around.
And most recently, a former broadsheet, now a compact, (not the ‘Daily Fail’ or the ‘Snu’ for
example) paper asks if Rock n Roll is dead. And who do they ask? Us? Nick Kemp? Trevor
Cajiao? Oh, perish the thought, to ask someone who is out there week on week, right up to
speed with what’s hot on the circuit. No, the former editor of a magazine, which has ceased to
exist, that’s who we want. That sound you can hear is my eyes rolling. The suggestion is
that it’s the same bands doing the same songs without innovation. OK, that might be the case
in some venues, but there are still those out there, doing their own thing, and bringing vibrant
sounds to the circuit.
Part of the ‘problem’ for all the subcultures, that have music at their core, I personally think, is the Charts. The Charts? When we had programs like Top of the Pops, and the Chart rundown according to the ‘British Market Research Bureau’ at six o’clock on Radios one and two, records by bands that were hot and cool at the same time, forged the identities of many of us who were teenagers at the time. Your music went up the charts, so it became more popular due to the exposure.
Another example, I swear the writer hadn’t actually been to the event they were reporting on. We offered our services to cover a 1940s event for a local paper a couple of years ago. Not so much as a titter from the paper. When the review appeared, I was shocked at the laziness of the journalism. Phrases like ‘Fans flocked to Twitter (now known as X) to praise *event*’ with a bunch of quotes from said social media, illustrated by some photos shamelessly nabbed from Facebook (photo courtesy of). You always get the same tired images trotted out, a Churchill impersonator giving the V for Victory sign, Land girls saluting, three army guys around a military vehicle and a random guttersnipe with a gas mask in a haversack. ‘Step back in time for a nostalgic trip down memory lane’ usually gets an airing as too. Again readers, it would possibly be nostalgic for my mum, whose favourite quote about the time is ‘We didn’t have that, they were rationed’, because she was there, but for the rest of us, it’s the first time around.
And most recently, a former broadsheet, now a compact, (not the ‘Daily Fail’ or the ‘Snu’ for
example) paper asks if Rock n Roll is dead. And who do they ask? Us? Nick Kemp? Trevor
Cajiao? Oh, perish the thought, to ask someone who is out there week on week, right up to
speed with what’s hot on the circuit. No, the former editor of a magazine, which has ceased to
exist, that’s who we want. That sound you can hear is my eyes rolling. The suggestion is
that it’s the same bands doing the same songs without innovation. OK, that might be the case
in some venues, but there are still those out there, doing their own thing, and bringing vibrant
sounds to the circuit.
Part of the ‘problem’ for all the subcultures, that have music at their core, I personally think, is the Charts. The Charts? When we had programs like Top of the Pops, and the Chart rundown according to the ‘British Market Research Bureau’ at six o’clock on Radios one and two, records by bands that were hot and cool at the same time, forged the identities of many of us who were teenagers at the time. Your music went up the charts, so it became more popular due to the exposure.
Whether you were a Ted, Punk, Rocker, Mod, Skinhead, Rockabilly, New Romantic, Soul Boy, Disco dude, or ‘normal’, there was something to hang your proverbial hat on. November 1981 for example ‘we’ had the Jets (Yes Tonight Josephine), The Stray Cats (You Don’t Believe Me) and Shakin’ Stevens version of Irma Thomas’ ‘It’s Raining’. The Metal fans had Saxon, Black Sabbath and Gillan, Mods and Skins had The Jam, Madness and Bad Manners, New Romantics dug Soft Cell, Human League and Depeche Mode, and Punk orientated bands, The Stranglers and Altered Images were still around the chart in November ‘81. That and the unadulterated sh*te that was ‘O Superman’ and ‘The Birdie Song’ (The Bettajive Review accepts no responsibility for anyone ‘Googling’ these tracks, and shuddering at their awfulness.)
There were also publications you could get your favourite artists featured, NME, Record Mirror and even Look-In. OK peeps, how many of you were singing ‘La la lalala Look-In’ at this point? They published posters and large pictures of all manner of artists, which adorned many a bedroom wall.
So, until there’s another countrywide popularity ‘chart’ it’s unlikely the subcultures mentioned will have the exposure, and ultimately be recruiting youngsters to continue with them. From what we see, most youngsters seem happy with black, grey, drab & monochrome. The music consists of barely comprehendible lyrics, with the additional suggestions of doing unspeakable things to your mother
So is Rock n Roll dead? Nope. We had this in the 70’s when I got into it, bearing in mind, the golden era of Rock n Roll was only twenty years previous. I recall some punk inclined artist on the radio back then describing Rock n Roll as ‘one big fart’. I doubt he knew what he was on about, and probably wanted to be the first guy to say ‘fart’ on the radio. Now, some faves are over seventy years old, and still stir the pot at gigs, and influence artists of today to produce their own original material. There is a school of thought that suggests we shouldn’t live in the past. But the music was so much better then!
Which all means that if you want to know what’s happening from people with their fingers on the metaphorical pulse of Rock n Roll, I’d suggest you stick with The Bettajive Review, Rip It Up, Now Dig This et al readers:-)
There were also publications you could get your favourite artists featured, NME, Record Mirror and even Look-In. OK peeps, how many of you were singing ‘La la lalala Look-In’ at this point? They published posters and large pictures of all manner of artists, which adorned many a bedroom wall.
So, until there’s another countrywide popularity ‘chart’ it’s unlikely the subcultures mentioned will have the exposure, and ultimately be recruiting youngsters to continue with them. From what we see, most youngsters seem happy with black, grey, drab & monochrome. The music consists of barely comprehendible lyrics, with the additional suggestions of doing unspeakable things to your mother
So is Rock n Roll dead? Nope. We had this in the 70’s when I got into it, bearing in mind, the golden era of Rock n Roll was only twenty years previous. I recall some punk inclined artist on the radio back then describing Rock n Roll as ‘one big fart’. I doubt he knew what he was on about, and probably wanted to be the first guy to say ‘fart’ on the radio. Now, some faves are over seventy years old, and still stir the pot at gigs, and influence artists of today to produce their own original material. There is a school of thought that suggests we shouldn’t live in the past. But the music was so much better then!
Which all means that if you want to know what’s happening from people with their fingers on the metaphorical pulse of Rock n Roll, I’d suggest you stick with The Bettajive Review, Rip It Up, Now Dig This et al readers:-)
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Dot…..dot. Best tracks in the world ever ever to let the steam out your pie for this issue are Sonny Burgess’ ‘Tomorrow Night’, ‘Before You Go’ by the Twin Tones and ‘Roberta’ by Frankie Ford……How rockin are you? At a junction, pedestrians ran past me to walk around the back of a car waiting to pull out. As they got halfway round the car pulled out, whereas I approached and without breaking stride, walked straight across the road. Those left in no man’s land commented ‘Wow, he’s really rockin’.……..*So why do we use phone apps to recognise tracks being played by DJs? Two reasons, firstly, so we don’t interrupt the DJ, and secondly (and more likely) so we have a record of what we heard, as chances are, we’d forget the title by the time we’d get back from asking the DJ…… The Nite Rockers 1958 ‘B’ side, ‘Oh! Baby’, the more I hear it, the more it sounds like they all have a stomach ache….You come home from a weekender, go online, people come on saying they had a great time. Yet you never saw them. But then they put some pics up, and you’re in the background!
The Outsiders
Let’s go Outside. Two gigs at Chesterfield Rock n Roll Club to bring you now. First up a four-piece Rock n Roll band from Cambridgeshire, the Outsiders. With Joe Chapman taking vocals, the backing is provided by Tony Thomas on lead guitar, Colin Larke strumming the rhythm guitar (and backing hollers), with drummer Terry Cardwell and bassist Colin Lomas
Numbers were just a little light on this occasion, but a decent and enthusiastic headcount showed up. The band themselves presented a heterogeneous selection of tracks, some faves and a few from, left field shall we say. Instant eyebrow raising with a bass slap version of ‘Devil Gate Drive’ to open the show. Elvis’ ‘Kissing Cousins’ from the 1964 film of that name, got them out on the floor and there was a nice tribute to Graham Fenton with their Matchbox inspired take of ‘When You Ask About Love’.
More Elvis with the nippy ‘Ain’t That Loving You Baby’, and some huge rockers ‘Great Balls of Fire’ and ‘Johnny B Goode’, offset by the more modern (although twenty seven years old already) ‘Dance The Night Away’. The Mavericks’ essentially pop-rock track lends itself very well to the Rockabilly style as well, demonstrated here, even without the horn section. In tribute to their favourite Rockabilly artist, Carl Perkins, the guys fired off two well-known rockers ‘Honey Don’t’ and ‘Matchbox’.
The second set picked up with another hugely varied selection of songs. I mean, would you expect to hear Larry Williams, Mud, Chuck Berry an Status Quo in the same set at a rockin’ club? Well if you are at an Outsiders gig, that’s exactly what you get. If you’re interested the songs were ‘Bony Moronie’, ‘Tiger Feet’, ‘No Particular Place to Go’ and ‘Sweet Caroline’. More from Elvis, although a track you rarely hear, let alone hear covered live. ‘I’ll Take Love’ is from the 1967 film, ‘Easy Come, Easy Go’, a great song from an awful film.
With Cavan’s styled ‘Old Black Joe’ and Matchbox’s anthemic ‘Rockabilly Rebel’ providing a rousing end to the show, the crowd showed suitable appreciation of a good night. Gallery images below, click on them for full sized picture
Numbers were just a little light on this occasion, but a decent and enthusiastic headcount showed up. The band themselves presented a heterogeneous selection of tracks, some faves and a few from, left field shall we say. Instant eyebrow raising with a bass slap version of ‘Devil Gate Drive’ to open the show. Elvis’ ‘Kissing Cousins’ from the 1964 film of that name, got them out on the floor and there was a nice tribute to Graham Fenton with their Matchbox inspired take of ‘When You Ask About Love’.
More Elvis with the nippy ‘Ain’t That Loving You Baby’, and some huge rockers ‘Great Balls of Fire’ and ‘Johnny B Goode’, offset by the more modern (although twenty seven years old already) ‘Dance The Night Away’. The Mavericks’ essentially pop-rock track lends itself very well to the Rockabilly style as well, demonstrated here, even without the horn section. In tribute to their favourite Rockabilly artist, Carl Perkins, the guys fired off two well-known rockers ‘Honey Don’t’ and ‘Matchbox’.
The second set picked up with another hugely varied selection of songs. I mean, would you expect to hear Larry Williams, Mud, Chuck Berry an Status Quo in the same set at a rockin’ club? Well if you are at an Outsiders gig, that’s exactly what you get. If you’re interested the songs were ‘Bony Moronie’, ‘Tiger Feet’, ‘No Particular Place to Go’ and ‘Sweet Caroline’. More from Elvis, although a track you rarely hear, let alone hear covered live. ‘I’ll Take Love’ is from the 1967 film, ‘Easy Come, Easy Go’, a great song from an awful film.
With Cavan’s styled ‘Old Black Joe’ and Matchbox’s anthemic ‘Rockabilly Rebel’ providing a rousing end to the show, the crowd showed suitable appreciation of a good night. Gallery images below, click on them for full sized picture
The Rockets
Second evening at the Dronfield club brought the Rockets into town. Formed in 2016, by drummer Brian ‘Noddy’ Martin and bass player Kurt Simms. Since then, they have co-opted the vocal skills of Hayden Regan. On bass for this evening was JJ King, with John O’Malley on guitar and Krzy Strzelczyk on keyboards. Now readers, this will be a slightly truncated review as we had to leave the show midway through the second set. However, there will be enough here to give you an idea of the band and the evening in general.
‘Rock This Joint’ broadcasted their presence, with the jazzy lilt of ‘Zing Went the Strings of my Heart’ from 1935, would you believe, showcasing the harmony vocals the band employs. ‘My Foolish Heart’(1949) had a similar up-tempo cadence, vocally well delivered. Following that was a parade of fine jive and dance tunes, floor fillers every one, ‘Trickle Trickle’, ‘Bim Bam’ and the ever-popular ‘She’s the Most’. They also perform a reworking of ‘Sally’, the Gracie Fields song originally released in 1931. And it’s a pretty good version too.
Then, just as you think you’ve got them sussed, they lob in ‘Stray Cat Strut’ and ‘One Hand Loose’ sandwiching the Gaylords’ ‘Ma Ma Ma Marie’. The second set picked up with Lee Dresser’s ‘El Camino Real’, giving way to the more recent ‘Scratchin’ Circles’ from JD McPherson’s ‘Signs and Signifiers’ album from 2011.
More classics came in good order. Frankie Lymon’s ‘Goody Goody’ (yes OK it was written in 1936, thank you!), Louis Prima’s ‘Buona Sera’, the Fascinators’ ‘Oh Rosemaire’ and the Drifters’ ‘Fools Fall in Love’. Unfortunately, at this point we had to leave the club, without catching the conclusion of a highly varied and well-presented set.
Big ups as always to Andy B and Steve O for their selections from the decks. There’s always tracks that show up in their sets that have you reaching for Soundhound or Shazam* (other generative AI recognition apps are available). Check this club out folks
‘Rock This Joint’ broadcasted their presence, with the jazzy lilt of ‘Zing Went the Strings of my Heart’ from 1935, would you believe, showcasing the harmony vocals the band employs. ‘My Foolish Heart’(1949) had a similar up-tempo cadence, vocally well delivered. Following that was a parade of fine jive and dance tunes, floor fillers every one, ‘Trickle Trickle’, ‘Bim Bam’ and the ever-popular ‘She’s the Most’. They also perform a reworking of ‘Sally’, the Gracie Fields song originally released in 1931. And it’s a pretty good version too.
Then, just as you think you’ve got them sussed, they lob in ‘Stray Cat Strut’ and ‘One Hand Loose’ sandwiching the Gaylords’ ‘Ma Ma Ma Marie’. The second set picked up with Lee Dresser’s ‘El Camino Real’, giving way to the more recent ‘Scratchin’ Circles’ from JD McPherson’s ‘Signs and Signifiers’ album from 2011.
More classics came in good order. Frankie Lymon’s ‘Goody Goody’ (yes OK it was written in 1936, thank you!), Louis Prima’s ‘Buona Sera’, the Fascinators’ ‘Oh Rosemaire’ and the Drifters’ ‘Fools Fall in Love’. Unfortunately, at this point we had to leave the club, without catching the conclusion of a highly varied and well-presented set.
Big ups as always to Andy B and Steve O for their selections from the decks. There’s always tracks that show up in their sets that have you reaching for Soundhound or Shazam* (other generative AI recognition apps are available). Check this club out folks
And finally. Slipping in under the wire for this issue, is another trip up to Garforth for an evening at Diamond D’s. This is a record hop night that happens a few times in the year, and this one, was the last to take place in 2025. The Garforth WMC has a decent dancefloor, and adequate seating on two levels. This particular event had three DJs, Diamond D herself, the Rhythm Rooster and guesting from the north east, Geordie Paul.
All three drew from their extensive record collections to serve up an enticing selection of tunage throughout the evening. We had it all, the British sound, classic dancefloor winners, top Rockabilly, and some Surf and Garage to boot. And ‘Jitterbop Baby’ was played, so all was good in the world for two heavenly Rockabilly minutes. These are very enjoyable evenings peeps. There are more to come in 2026, so check out the listings for details
Help us to keep this magazine going by popping a donation over, using the button below. Many thanks
All three drew from their extensive record collections to serve up an enticing selection of tunage throughout the evening. We had it all, the British sound, classic dancefloor winners, top Rockabilly, and some Surf and Garage to boot. And ‘Jitterbop Baby’ was played, so all was good in the world for two heavenly Rockabilly minutes. These are very enjoyable evenings peeps. There are more to come in 2026, so check out the listings for details
Help us to keep this magazine going by popping a donation over, using the button below. Many thanks
Next gig at Chesterfield Rock n Roll Club. Click for details
rhythm riot 2025
Sister Suzie
Lil Til and the Gangbusters
Well, that came around quickly, didn’t it? The 2025 Rhythm Riot, now ensconced in the Vauxhall Holiday Park in Great Yarmouth, set out another four night-three-day feast of the roots of Rock n Roll. We picked a number of bands out this Riot, some were favourites, others we’d not seen before. The selection process didn’t follow any particular format, however, being able to get a decent view of the performer to photo them, does help.
The Thursday evening kicked off with the dependable King Joe and the Atlantics, setting the tone with some stylish R&B and Jump Jive. They were quickly followed by the debuting Little Til and the Gangbusters, from Milan, Italy. Piano based Rock ‘n’ Roll, Boogie Woogie and Swinging Blues, featuring some timeless tracks. The opener was actually an original, which really set the stall out, with the highly talented Little Til (Attilo Malambri) tickling a fine ivory to ‘Killer Queenie’, a really peppy boogie tune to get the juices flowing.
The heavy influence of Jerry Lee Lewis cannot be ignored with bands of this ilk, and there were a number of ‘Killer’ (see what I did there? This isn’t just thrown together you know) tracks within the set. ‘Teenage Letter’, ‘Lovin’ Up a Storm’, ‘Rockin’ My Life Away’, ‘End of the Road’ the lesser covered ‘Livin’ Lovin’ Wreck’ and the Lewis take of ‘You Win Again’, all hit the high spots.
It wasn’t all Jerry Lee Lewis. Fats Domino inspired ‘Hello Jospehine’, Chuck’s ‘Sweet Little Sixteen’ and the nudge-nudge tone of ‘Sixty Minute Man’ added to a fine show, and a solid debut for these lads
The Thursday evening kicked off with the dependable King Joe and the Atlantics, setting the tone with some stylish R&B and Jump Jive. They were quickly followed by the debuting Little Til and the Gangbusters, from Milan, Italy. Piano based Rock ‘n’ Roll, Boogie Woogie and Swinging Blues, featuring some timeless tracks. The opener was actually an original, which really set the stall out, with the highly talented Little Til (Attilo Malambri) tickling a fine ivory to ‘Killer Queenie’, a really peppy boogie tune to get the juices flowing.
The heavy influence of Jerry Lee Lewis cannot be ignored with bands of this ilk, and there were a number of ‘Killer’ (see what I did there? This isn’t just thrown together you know) tracks within the set. ‘Teenage Letter’, ‘Lovin’ Up a Storm’, ‘Rockin’ My Life Away’, ‘End of the Road’ the lesser covered ‘Livin’ Lovin’ Wreck’ and the Lewis take of ‘You Win Again’, all hit the high spots.
It wasn’t all Jerry Lee Lewis. Fats Domino inspired ‘Hello Jospehine’, Chuck’s ‘Sweet Little Sixteen’ and the nudge-nudge tone of ‘Sixty Minute Man’ added to a fine show, and a solid debut for these lads
Lost Torontos
Spain’s Los Torontos, are an amalgamation of, or as MC Ian Gillon Jr suggested, the ‘coupling’ of the Velvet Candles and MFC Chicken (observant readers may ask where Legacaster fits in here in such a union….). Some exceptional musicians took the Riot stage, with the highly demonstrative Spencer Evoy on sax and vocals, Agusti Burriel on rhythm guitar and vocals, lead guitarist El Lega, drummer Berto Martinez and on bass guitar Javier Cortes.
There’s never a dull moment when this combo hit a stage, the show is vibrant, animated, and immersive. The songs and tunes, do they matter? Well for completeness’s sake, here’s some of the standouts, of which there were plenty throughout. How about Eddie Bo’s ‘Oh Oh’ for example, just an exquisite take on the Chess kicker from 1957, or their rendition of Jimmy McCracklin’s feisty ‘Georgia Slop’? Chuck in Don and Dewey’s ‘Koko Joe’ for an energetic rock out, and Sam Butera’s ‘Bim Bam’ for some familiar dance delight.
‘Torontonero’, now there’s good listening, a powerful and commanding surf instro track, with a rasping sax solo and cool guitar riffs. ‘No Te Veyas’ sung in Spanish by Augie, translates as ‘Don’t Go’, a tune familiar with many even if Spanish isn’t. Super stuff
There’s never a dull moment when this combo hit a stage, the show is vibrant, animated, and immersive. The songs and tunes, do they matter? Well for completeness’s sake, here’s some of the standouts, of which there were plenty throughout. How about Eddie Bo’s ‘Oh Oh’ for example, just an exquisite take on the Chess kicker from 1957, or their rendition of Jimmy McCracklin’s feisty ‘Georgia Slop’? Chuck in Don and Dewey’s ‘Koko Joe’ for an energetic rock out, and Sam Butera’s ‘Bim Bam’ for some familiar dance delight.
‘Torontonero’, now there’s good listening, a powerful and commanding surf instro track, with a rasping sax solo and cool guitar riffs. ‘No Te Veyas’ sung in Spanish by Augie, translates as ‘Don’t Go’, a tune familiar with many even if Spanish isn’t. Super stuff
Toto and Sam
Friday in the ‘downstairs’ room, a truly basic and stripped back sound with Toto and Sam’s show. The two protagonists are well known to many, Salvatore ‘Toto’ Marziano on acoustic guitar and Sam French on upright bass. That was it, how would that sound. Well pretty darn special if you want to know, a smashing full sound on Johnny Bond’s ‘Here Comes That Train’. Just a few strummed bars into it and the crowd are right there.
Folling that up with Faron Young’s ‘Live Fast, Love Hard, Die Young’ did indeed leave a beautiful memory, to unashamedly paraphrase the song. Buck Owens’ plaintive sounding ‘Act Naturally’ and the equally forlorn ‘Lonely Blue Boy’ got the treatment, before a real treat in the shape of ‘Don’t Mess Around With Jim’. The upbeat rhythm of Jim Croce’s (1943-73) folky-rocker fitted in really well, and stepped slightly into left field.
How about the renditions of a brace from the Everly Brothers then? Harmony vocals on ‘Til I Kissed You’ from 1959 and a favourite of Toto’s sons ‘Bird Dog’, the slightly humorous take of a rival trying to steal the singer’s girlfriend. A top set by the two lads
Folling that up with Faron Young’s ‘Live Fast, Love Hard, Die Young’ did indeed leave a beautiful memory, to unashamedly paraphrase the song. Buck Owens’ plaintive sounding ‘Act Naturally’ and the equally forlorn ‘Lonely Blue Boy’ got the treatment, before a real treat in the shape of ‘Don’t Mess Around With Jim’. The upbeat rhythm of Jim Croce’s (1943-73) folky-rocker fitted in really well, and stepped slightly into left field.
How about the renditions of a brace from the Everly Brothers then? Harmony vocals on ‘Til I Kissed You’ from 1959 and a favourite of Toto’s sons ‘Bird Dog’, the slightly humorous take of a rival trying to steal the singer’s girlfriend. A top set by the two lads
The Hi Stakes
The afternoon then offered something completely different, with the Hi-Stakes, from the Netherlands, a five-piece jumping blues band, looking so sharp in their powder blue suits. They are Frank Groenendijk (sax) Linus Eppinger (guitar), Samuele Ghezzi (vocals, sax), Yoad Korach (drums), Cesar Puente (bass), hailing from Amsterdam. There is definitely an early 50’s sound to the jumping blues sound, joyous, exuberant and jolly, demonstrated admirably with the opening handclapper ‘Seal The Deal’.
The musicianship is worthy of considerable note as well, the sax breaks, be they single or duetting saxophones, wild without being overpowering, and some ace jazzy guitar picking to complement them. ‘Lucid Dreamer’ took the foot of the gas for a few minutes, while ‘Be My Girl’ was a mid-tempo delight, and ‘Do You Love Me’ has a bluesy Doo Wop feel to it.
The interestingly titled ‘Don’t Subjectify Me’ was a cool rocker, as was ‘Hide and Seek’ (not to be confused of another fine tune of that name). This was a cracking introduction to the band for many. I wish I could recall the track that included the imitation of emergency service vehicle sirens, as it was so well replicated, especially with the change as you experience when sirens go past you (in real life that is)
For a hefty dose of shouting the blues, with a nod to greats, and a bunch of original material performed in the most accomplished style, the Hi-Stakes are your guys.
The musicianship is worthy of considerable note as well, the sax breaks, be they single or duetting saxophones, wild without being overpowering, and some ace jazzy guitar picking to complement them. ‘Lucid Dreamer’ took the foot of the gas for a few minutes, while ‘Be My Girl’ was a mid-tempo delight, and ‘Do You Love Me’ has a bluesy Doo Wop feel to it.
The interestingly titled ‘Don’t Subjectify Me’ was a cool rocker, as was ‘Hide and Seek’ (not to be confused of another fine tune of that name). This was a cracking introduction to the band for many. I wish I could recall the track that included the imitation of emergency service vehicle sirens, as it was so well replicated, especially with the change as you experience when sirens go past you (in real life that is)
For a hefty dose of shouting the blues, with a nod to greats, and a bunch of original material performed in the most accomplished style, the Hi-Stakes are your guys.
Sister Suzie
One of the star attractions of this year’s Riot had to be Sister Suzie and her Right Band. Returning for another show, Suzie, looking resplendent in her glistening stage outfit, described by herself as a “****-off big cape”. There was a slightly different look to the Right Band for this show, with no sax. On guitar, Suzie’s ever-present side-kick, Matt Jackson, joined by Wes Brown on drums, bassist Tomas Siroky and slotting in perfectly on guitar and occasionally keyboards, Jim Hammond.
If ever ‘kaboom’ was personified, that would be Suzie’s entrance, as she launched straight into ‘Travellin’ Band’. This was a Creedence Clearwater Revival song written by John Fogerty, which was released by the band in 1970, performed with more than a nod to Little Richard’s style. This was a blinder of an opening for Sister Suzie, as it set the stall out straight away, with the crowd right into it from the get-go. Big Mama Thornton’s ‘I Smell a Rat’ from 1954 was delivered in typically scolding style, while the adulterous lyrics of Irma Thomas’ ‘You Can Have my Husband (but please don’t mess with my man)’ slowed it down a bit.
Ella Mae Morse’s ‘Forty Cups of Coffee’ ended the covers for a song, which made way for the title track of Suzie’s debut album. ‘Ain’t No Lady’ is almost self-deprecating in it’s lyrics. I’m not sure if Carol Fran ever hollered ‘I’ve lost me keys, Howay man’ at the start of her 1959 Excello rocker ‘Knock Knock’ but it’s given the Geordie gan radge twist in this show. ‘Another Waste of my Time’, eeeeerrrrm, how to explain the lyrics. No, they are not so much, ‘double entendre’, more like ‘sens unique’. It’s a performance related ditty, pertaining to males in particular……
With health issues laid bare (metaphorically speaking, it wasn’t that type of show!), the original track, ‘Bitch Back’ is an unashamed perimenopausal anthem. The song was used to raise awareness and raise funds for the Menopause Charity in it’s recorded form. In the live format, it’s inspiring an energetic. Audience participation as well, with Roscoe Gordon’s Sun Records oddity, ‘Cheese and Crackers’. Written by Hayden Thompson, this 1956 curio, was the flip to ‘Shoobie Oobie’, and involved a lot of raised fingers in the crowd (in the ‘nooooo’ bit, get your minds out the gutter).
‘Layla Sue’ notable as much as a rocker, as for the duelling kazoos, between Suzie and Matt. I think that might have been a first at the Riot (awaiting the Facebook vultures to pounce) A self-penned rocker ‘Desire’ co-written by guitarist Matt Jackson and Suzie, initially ended the show, which was never going to be allowed by the crowd. Back they all came for (my) personal favourite, and her admission that this is the only Rockabilly track she does. ‘Big Mistake’ is an absolute gem of a bop track, and benefitted from an extended outing to top off a bill-topping show. Confidence in abundance, and stage presence that sparkled just like her cape. And that was a **** off cape for sure.
If ever ‘kaboom’ was personified, that would be Suzie’s entrance, as she launched straight into ‘Travellin’ Band’. This was a Creedence Clearwater Revival song written by John Fogerty, which was released by the band in 1970, performed with more than a nod to Little Richard’s style. This was a blinder of an opening for Sister Suzie, as it set the stall out straight away, with the crowd right into it from the get-go. Big Mama Thornton’s ‘I Smell a Rat’ from 1954 was delivered in typically scolding style, while the adulterous lyrics of Irma Thomas’ ‘You Can Have my Husband (but please don’t mess with my man)’ slowed it down a bit.
Ella Mae Morse’s ‘Forty Cups of Coffee’ ended the covers for a song, which made way for the title track of Suzie’s debut album. ‘Ain’t No Lady’ is almost self-deprecating in it’s lyrics. I’m not sure if Carol Fran ever hollered ‘I’ve lost me keys, Howay man’ at the start of her 1959 Excello rocker ‘Knock Knock’ but it’s given the Geordie gan radge twist in this show. ‘Another Waste of my Time’, eeeeerrrrm, how to explain the lyrics. No, they are not so much, ‘double entendre’, more like ‘sens unique’. It’s a performance related ditty, pertaining to males in particular……
With health issues laid bare (metaphorically speaking, it wasn’t that type of show!), the original track, ‘Bitch Back’ is an unashamed perimenopausal anthem. The song was used to raise awareness and raise funds for the Menopause Charity in it’s recorded form. In the live format, it’s inspiring an energetic. Audience participation as well, with Roscoe Gordon’s Sun Records oddity, ‘Cheese and Crackers’. Written by Hayden Thompson, this 1956 curio, was the flip to ‘Shoobie Oobie’, and involved a lot of raised fingers in the crowd (in the ‘nooooo’ bit, get your minds out the gutter).
‘Layla Sue’ notable as much as a rocker, as for the duelling kazoos, between Suzie and Matt. I think that might have been a first at the Riot (awaiting the Facebook vultures to pounce) A self-penned rocker ‘Desire’ co-written by guitarist Matt Jackson and Suzie, initially ended the show, which was never going to be allowed by the crowd. Back they all came for (my) personal favourite, and her admission that this is the only Rockabilly track she does. ‘Big Mistake’ is an absolute gem of a bop track, and benefitted from an extended outing to top off a bill-topping show. Confidence in abundance, and stage presence that sparkled just like her cape. And that was a **** off cape for sure.
Mischief!
Here's a band that have featured within many-a Bettajive Review in the past. And rightly so, Mischief! from the Utrecht in the Netherlands, have been delighting audiences with their energetic delivery of fine Rockabilly and harmonies, for many years now. They’ve graced the stage at the Rhythm Riot before and here they were again, welcomed back by a chunky number in the main ballroom. Mischief! are made up of brothers Daze and Pat van der Erf on lead guitar and upright bass respectively, with Richard Verhuel on drums.
The show is as visual as it is musical, with Daze bouncing around on the stage dynamically, and somehow still getting perfect riffs out of the guitar. So good to hear a personal favourite early in the set. Their version of Grandpa Jones’ ‘Hello Blues’ (the flip to ‘Rock Island Line’ from 1956 on King Records) has been a staple of their show for many years now, and the lads paid tribute to the arrangement by Deke Dickerson. Not only that, Deke snuck up behind Daze and played the solo on his guitar, wrapping his arms around.
With a classic riff that led into Rusty and Doug’s dance delight, ‘Hey Mae’, the crowd were having as good a time as the lads on stage, which was maintained throughout the likes of the Morgan Twins’ ‘TV Hop’, Jimmy Pritchett’s ‘That’s the Way I Feel’ and a tear-up kicking take of Charlie Rich’s ‘Rebound’. Between them, they write a cool song as well, with the title track of the latest long-player, ‘Writing on the Wall’ and the laugh-out-loud lyrics of ‘Grow Up’.
Great harmonies with a couple of Everly Brothers beauties, ‘This Little Girl of Mine’ and ‘Should We Tell Him’, before another brill set was topped off with ‘In Dreams’. Super cool authentic 50’s rockin’ sounds.
The show is as visual as it is musical, with Daze bouncing around on the stage dynamically, and somehow still getting perfect riffs out of the guitar. So good to hear a personal favourite early in the set. Their version of Grandpa Jones’ ‘Hello Blues’ (the flip to ‘Rock Island Line’ from 1956 on King Records) has been a staple of their show for many years now, and the lads paid tribute to the arrangement by Deke Dickerson. Not only that, Deke snuck up behind Daze and played the solo on his guitar, wrapping his arms around.
With a classic riff that led into Rusty and Doug’s dance delight, ‘Hey Mae’, the crowd were having as good a time as the lads on stage, which was maintained throughout the likes of the Morgan Twins’ ‘TV Hop’, Jimmy Pritchett’s ‘That’s the Way I Feel’ and a tear-up kicking take of Charlie Rich’s ‘Rebound’. Between them, they write a cool song as well, with the title track of the latest long-player, ‘Writing on the Wall’ and the laugh-out-loud lyrics of ‘Grow Up’.
Great harmonies with a couple of Everly Brothers beauties, ‘This Little Girl of Mine’ and ‘Should We Tell Him’, before another brill set was topped off with ‘In Dreams’. Super cool authentic 50’s rockin’ sounds.
The Glad Rags
Saturday afternoon in the ‘downstairs’ hall, was a true delight. The Glad Rags from Italy, are a trio consisting of Francesca ‘Lil T’ Zanotti on lead vocals and acoustic guitar, with Silvia Consonni on additional vocals and Pete Bridges on lead guitar. You want stripped down, truly authentic sounding Rockabilly, with pitch perfect harmonies? Well you have it right here, with this trio, who formed in 2021
It’s always inspiring when you hear harmony vocals done well, and a prime example came with the opening rocker, the Barker Brothers’ ‘You Can’t Stay Here’. Sparkle Moore’s flip to her debut single from ’56, ‘Skull and Cross Bones’, followed with a superb take on an obscurity. ‘No Use Knocking on my Door’ from 1958, was originally recorded by Lanie Walker and his Black Mountain Boys, and it’s a nippy slice of rockin’ expertly reworked by the Glad Rags. Their style is also effortlessly suited to Rusty and Doug’s ‘Hey Sheriff’ too, which had a welcome outing here.
They write a pretty good tune as well. One such was ‘(My Guitar Player Wanna Sing like) Johnny Cash’. Love this song, the theme and the story, and it is complemented by some spot on ‘boom chicka boom’ rhythm and Luther Perkins styled lead guitar. As far as the ‘best’ cover goes, and this is really a first among equals, I’d go for the Collins Kids’ ‘Hot Rod’, which sat well along another couple of gems, the Strikes’ ‘If You Can’t Rock Me’ and Ronnie Hawkins’ ‘Sick and Tired’.
A very well received set throughout, ended initially with a delightful take on the Everly Brothers’ ‘Bird Dog’. Of course they came straight back on for a rollocking romp called ‘Boom Bop’. It’s under two minutes in duration, but a real go-getter of a track, and a fitting end to a tip top show.
It’s always inspiring when you hear harmony vocals done well, and a prime example came with the opening rocker, the Barker Brothers’ ‘You Can’t Stay Here’. Sparkle Moore’s flip to her debut single from ’56, ‘Skull and Cross Bones’, followed with a superb take on an obscurity. ‘No Use Knocking on my Door’ from 1958, was originally recorded by Lanie Walker and his Black Mountain Boys, and it’s a nippy slice of rockin’ expertly reworked by the Glad Rags. Their style is also effortlessly suited to Rusty and Doug’s ‘Hey Sheriff’ too, which had a welcome outing here.
They write a pretty good tune as well. One such was ‘(My Guitar Player Wanna Sing like) Johnny Cash’. Love this song, the theme and the story, and it is complemented by some spot on ‘boom chicka boom’ rhythm and Luther Perkins styled lead guitar. As far as the ‘best’ cover goes, and this is really a first among equals, I’d go for the Collins Kids’ ‘Hot Rod’, which sat well along another couple of gems, the Strikes’ ‘If You Can’t Rock Me’ and Ronnie Hawkins’ ‘Sick and Tired’.
A very well received set throughout, ended initially with a delightful take on the Everly Brothers’ ‘Bird Dog’. Of course they came straight back on for a rollocking romp called ‘Boom Bop’. It’s under two minutes in duration, but a real go-getter of a track, and a fitting end to a tip top show.
Rioting Dot…dot. Best tracks in the world ever ever to clear out your classic tailpipe for this Riot were Skeets McDonald’s ‘This Old Broken Heart’ , ‘Too Late’ by the Moonglows and ‘Miss Petunia’ by Day, Dawn and Dusk……..To get a half-decent image of the turns on stage, we battle down to as close as we can. I often wonder why though, about some photographers. They have a lens attached to their cameras the size of a Thermos flask, that would focus on a pimple on a Bittern’s bum, from a hundred yards away in a Norfolk reed bed, yet need to appear in our shot, ten feet from the subject…….You have to hand it to the DJs folks. Outstanding selection from across all the genres that make up the roll we call rock. The following list is made up of those we saw/danced-to. Dispatch mentions to The Mailman, Poor Boy Paul, Peggy Lee, Carrie Hope, CJ’s Jumpin’ Boogie, Slimboy, Guisy Wild, Trev Collins, Rob Heron, Rockin’ Cat, Vanessa and Mark’s Kickin’ the Boogie. However much you might think you know this stuff, these DJs always manage to dig out some golden nugget that makes your ears prick up……For those who are new to our magazine, quickly to explain that after years of the Rhythm Riot at Pontins Holiday Camp, we called the main ballroom ‘upstairs’, the ‘downstairs’ hall being the smaller of the two, and chalets as accommodation, changing to one level has made no difference to what we call them at Great Yarmouth. Expect this not to change anytime soon…..Big up to drummer Mark Morgan, understated, but right on cue whenever called upon, which was quite a lot at this Riot…….
Benson Gibbons and the Sapphires
Benson Gibbons and the Sapphires took the main stage early on Saturday night. Surprisingly this was their debut gig, and what an event to make it at. The band is made up of, in the nicest possible way, a trio of Cretins (the band of that name!) Chris ‘Benson’ Gibbons on Vocals and Rhythm Guitar, Elliot Lobo Jones on Electric Bass Guitar and drummer David Lovell, joining Dylan Kirk on piano and Harry Chappel twanging the lead guitar. Their style has a late 50’s to early 60’s R&B, presented with a ballsy and phat sound.
Rudy Green’s ‘Juicy Fruit’ from 1957, was a prime example of the band’s raison d’etre, and Tarheel Slim’s ‘Number 9 Train’ was a belter. The recounting of the singer’s sadness that his girlfriend has left on the Number 9 Train, was put to a forceful guitar driven rhythm and really well shown here. Another cool blues vibe came in the shape of the evergreen ‘Take Five’, Houndog Taylor’s Bea and Baby bottleneck beauty from 1960. That got the crowd jumping. At this point, we should flag up a couple of their own compositions, ‘Eat Up Big Bill’, which is a very well-conceived track, that has the classic blues style shouter, vocal delivery, with a corking triple guitar driven beat, with a slight, and reverential nod to Chuck Berry. ‘Honey Why’, that’s another belter in the original blues fashion.
Two regular strollers on the Rock ‘n’ Roll music circuit, Don and Dewey’s Speciality stunner ‘Justine’ and Big Danny Oliver’s ‘Sapphire’ hit the high spots, with another well known winner, Barrett Strong’s ‘Money (That’s What I Want)’ topping off an impressive debut.
Rudy Green’s ‘Juicy Fruit’ from 1957, was a prime example of the band’s raison d’etre, and Tarheel Slim’s ‘Number 9 Train’ was a belter. The recounting of the singer’s sadness that his girlfriend has left on the Number 9 Train, was put to a forceful guitar driven rhythm and really well shown here. Another cool blues vibe came in the shape of the evergreen ‘Take Five’, Houndog Taylor’s Bea and Baby bottleneck beauty from 1960. That got the crowd jumping. At this point, we should flag up a couple of their own compositions, ‘Eat Up Big Bill’, which is a very well-conceived track, that has the classic blues style shouter, vocal delivery, with a corking triple guitar driven beat, with a slight, and reverential nod to Chuck Berry. ‘Honey Why’, that’s another belter in the original blues fashion.
Two regular strollers on the Rock ‘n’ Roll music circuit, Don and Dewey’s Speciality stunner ‘Justine’ and Big Danny Oliver’s ‘Sapphire’ hit the high spots, with another well known winner, Barrett Strong’s ‘Money (That’s What I Want)’ topping off an impressive debut.
Bodhi Corbett
OK readers, the next act has a variety of handles it seems, the program had Bodhi Corbett and the Ignitors, the Wild Records release from them suggests Bodhi and the Igniters (different spelling). Whatever your choice, this is a sound you need to check out peeps, and we had the next generation of Wild Records, Hayden Kennedy on guitar, as an Igniter. The sound, well taking the title track of their 45rpm, ‘Get That Monkey Off My Back’ which featured early in the set. A supersmooth original track, set to a stroll beat, featuring a gritty guitar solo, and Bodhi’s vocal reminded me a little of Chan Romero.
That was tempered with Johnny Horton’s ‘First Train Heading South’ and an gorgeous touch of original Americana, with a superbly delivered ‘Angels Don’t Fall From Heaven’. By contrast, ‘Your Spells’ flips it to the blues side (check out the harmonica work on the recording folks) and ‘Krazy Catherine’ is a fuzzy guitar stroll workout. And just like that, demonstrating the versatility of Bodhi, a classy chunk of Rockabilly with ‘Razor Sharp’, with the harmonica soaked ‘Pontiac Blues’ hitting the high spots toward the end of the show, which concluded with a fiery cover of Tommy Tucker’s ‘High Heeled Sneekers’. The encore, was a real vocal stretcher, Big T Tyler’s ‘King Kong’, ended a top drawer set.
That was tempered with Johnny Horton’s ‘First Train Heading South’ and an gorgeous touch of original Americana, with a superbly delivered ‘Angels Don’t Fall From Heaven’. By contrast, ‘Your Spells’ flips it to the blues side (check out the harmonica work on the recording folks) and ‘Krazy Catherine’ is a fuzzy guitar stroll workout. And just like that, demonstrating the versatility of Bodhi, a classy chunk of Rockabilly with ‘Razor Sharp’, with the harmonica soaked ‘Pontiac Blues’ hitting the high spots toward the end of the show, which concluded with a fiery cover of Tommy Tucker’s ‘High Heeled Sneekers’. The encore, was a real vocal stretcher, Big T Tyler’s ‘King Kong’, ended a top drawer set.
West Weston's Bluesonics
Do you like West Coast and Chicago Blues (rhetorical question)? Well, the Riot always brings the best exponents of the art to their stage and here is a fine example. West Weston’s Bluesonics, a four piece with Steve ‘West’ Weston on vocals and harmonica, bassist Francesca Nnoka Shaw, lead guitarist Paul Garner and on drums Rob Pokorny. Just a masterclass on how ‘it’ should be done, and every track a peach. An early fave would have been Jimmy Reed’s ‘Shame, Shame, Shame’, extended by some searing harmonica breaks, complementing the lead guitar.
‘Chicken Shack Boogie’, the blues standard, got the treatment, and ‘She’s a Killer’, was an education in blues harmonica, set against the growling guitar beat. It was all the way back to 1924, as they took on Ma Rainey’s ‘C. C. Rider’. Bukka White’s autobiographical song about his ‘stay’ at Parchman Farm, also known as Mississippi State Penitentiary, ‘Parchman Farm Blues’ from 1940, was also included (also popularised by Jazz pianist Mose Alison). Originally a guitar and washboard sound, West Weston’s addition of harmonica, extended it considerably, which is by no means a bad thing.
Sonny Boy Williamson II recorded ‘Checkin’ Up on my Baby’ in 1960 (released in ’66), and such is the style and rhythm, it could have been written specifically for West Weston. An outstanding version of this Blues-shuffle track readers. And to top everything off, another Sonny Boy Williamson II track ‘One Way Out’ which was also recorded (differently) by Elmore James. Just an ace set from this four piece, truly Blues heaven
‘Chicken Shack Boogie’, the blues standard, got the treatment, and ‘She’s a Killer’, was an education in blues harmonica, set against the growling guitar beat. It was all the way back to 1924, as they took on Ma Rainey’s ‘C. C. Rider’. Bukka White’s autobiographical song about his ‘stay’ at Parchman Farm, also known as Mississippi State Penitentiary, ‘Parchman Farm Blues’ from 1940, was also included (also popularised by Jazz pianist Mose Alison). Originally a guitar and washboard sound, West Weston’s addition of harmonica, extended it considerably, which is by no means a bad thing.
Sonny Boy Williamson II recorded ‘Checkin’ Up on my Baby’ in 1960 (released in ’66), and such is the style and rhythm, it could have been written specifically for West Weston. An outstanding version of this Blues-shuffle track readers. And to top everything off, another Sonny Boy Williamson II track ‘One Way Out’ which was also recorded (differently) by Elmore James. Just an ace set from this four piece, truly Blues heaven
Freddy Velas and the Silvertones
In the evening, we had to be in place for Freddy Velas and the Silvertones’ set. Lovers of vocal harmonies and classy Rock n Roll with some doo wop and jump jive lobbed in, would love this sound. They opened up with the uber-famous Danny and the Juniors 1958 rock-out ‘At The Hop’, and followed up with a diamond of a track, ‘Doo Wop Time’ which is a Freddy (Velasquez) original that could have come straight out of the 50’s. ‘Lulu’ was supersmooth vocally, and ‘Little Darlin’ bought nods of recognition from the crowd. It was performed with the accuracy of the Gladiolas’ original version, without the on-stage buffoonery of the Diamonds.
The Crests’ ‘My Juanita’, a classic example of New York doo wop was a delight, as was their take of the Impalas’ ‘Sorry I Ran all the Way Home’, and the Charts’ ‘Dance Girl’. With the audience fully enthralled by the hit-after-hit serving, the ‘bangers’ kept coming in the highest quality. Dion and the Belmonts’ ‘I Wonder Why’ and Dion’s ‘The Wanderer’, the Fascinators’ ‘Oh Rosemarie’ and the Orients’ ‘Shouldn’t I’.
‘Lock My Heart’ initially ended the show, before the encore of ‘Blue Moon’ topped off a really first-class show. Vocal harmony must be one of the most challenging to deliver. With Freddy Velas and the Silvertones, you have one of the finest examples of the craft.
The Crests’ ‘My Juanita’, a classic example of New York doo wop was a delight, as was their take of the Impalas’ ‘Sorry I Ran all the Way Home’, and the Charts’ ‘Dance Girl’. With the audience fully enthralled by the hit-after-hit serving, the ‘bangers’ kept coming in the highest quality. Dion and the Belmonts’ ‘I Wonder Why’ and Dion’s ‘The Wanderer’, the Fascinators’ ‘Oh Rosemarie’ and the Orients’ ‘Shouldn’t I’.
‘Lock My Heart’ initially ended the show, before the encore of ‘Blue Moon’ topped off a really first-class show. Vocal harmony must be one of the most challenging to deliver. With Freddy Velas and the Silvertones, you have one of the finest examples of the craft.
The Rimshots
Another switch of gears next, celebrating forty years in the business, the Rimshots. Headed by the enigmatic vocalist and acoustic guitar, John Lewis, joined by Rob Nedin on lead guitar, Tony Biggs on bass, Paul Goddin sliding the steel and Mark Kemlo on drums, these guys served up a gourmet of a show. An almost traditional opening for the ‘Shots, with the jumping beat of ‘Rock All Night’. A slightly more serene sound of the atmospheric ‘Cattle Call’ made famous by Eddy Arnold, which begat Charlie Adams’ ‘Cattin’ Around’, with the tempo increasing slightly for Barbara Pittman’s ‘Sentimental Fool’.
There’s probably no show featuring John, that doesn’t include his version of Hank Williams’ ‘Ramblin’ Man’. Not a direct copy, this version starts slowly and steadily increases to a frenetic crescendo. Massively popular with crowds, and a must have. Similarly, ‘One More Beer’, a gloriously up-tempo, steel-sliding Western swinger, which when, and indeed if you want to, analyse the lyrics, it’s quite profound. Also in need of flagging up, ‘Salty Boogie, ‘Volcano’ and the initial ending to the show, ‘Planet Bop’.
An encore was a gimmie, and it was double-bubble with a one-two punch of tunes. The traditional ‘Pick a Bale of Cotton’ (ensuring the crowd sung ‘day’ and not ‘hay’) was a rousing sing-along. The perfect foil for that was another Rimshot must-hear, Nat Couty’s novelty bopper ‘Woodpecker Rock’. Simply excellent.
There’s probably no show featuring John, that doesn’t include his version of Hank Williams’ ‘Ramblin’ Man’. Not a direct copy, this version starts slowly and steadily increases to a frenetic crescendo. Massively popular with crowds, and a must have. Similarly, ‘One More Beer’, a gloriously up-tempo, steel-sliding Western swinger, which when, and indeed if you want to, analyse the lyrics, it’s quite profound. Also in need of flagging up, ‘Salty Boogie, ‘Volcano’ and the initial ending to the show, ‘Planet Bop’.
An encore was a gimmie, and it was double-bubble with a one-two punch of tunes. The traditional ‘Pick a Bale of Cotton’ (ensuring the crowd sung ‘day’ and not ‘hay’) was a rousing sing-along. The perfect foil for that was another Rimshot must-hear, Nat Couty’s novelty bopper ‘Woodpecker Rock’. Simply excellent.
Shanda
It’s quite something when you as an artist are known by just one name, such is the case with Shanda. Another Wild Records artist to grace the Riot stage for the second year running, Shanda, resplendent in red, was billed as a solo act this time (ie no Howlers). The opening track, ‘Mother of Lies’ we weren’t familiar with. A lot of the set, however, we were. Some real barnstormers amongst the quality Rhythm and Blues, some Garage, Blues and a bit of Rockabilly, like Wanda Jackson’s ‘Funnel of Love’.
Vocal belters like the Sonics ‘Shot Down’ from 1965 and Joyce Green’s spiteful and vengeful lover’s warning (strangely both songs were originally ‘B’ sides), filled the hall, and the scolding tone of LaVern Baker’s ‘Whipper Snapper’ was super-cool. Toning it down slightly, some heartfelt delivery in the lyrics of Etta James’ ‘I Just Wanna Make Love to You’. To add some light and shade to the set, the touching and soulful ballad, ‘Born With a Broken Heart’ was countered by the foot stomping electric sound of ‘Want You Anyway’.
A simply sublime show concluded with a cracking blues bopper from the 2019 single (c/w the aforementioned Born With a Broken Heart) ‘Hurt For You’, with it’s classic guitar riff from Hayden Kennedy and wailing harmonica from the guesting Bodhi Corbett. Such a versatile and varied set, mixing gritty blues, jumping rhythms and touching sentiments (like Ruth Brown’s ‘I Don’t Know) from Shanda. And to cap it all Betty James’ ‘I’m a Little Mixed Up’. Dig it!
The Rhythm Riot has survived a worldwide pandemic, and having their ancestral home swiped out from under them within a few months of their scheduled event. And not only does it survive, it thrives. The first at Yarmouth, drew the inevitable comparisons with the old venue, particularly from people who had never attended the Riot in the first place (sic). It now feels, however, that Vauxhall Holiday Park is where the future lies for the event. The interest already in the 2026 event was palpable among those who went to this event, and for those who clearly want to sample the Riot in future. The task of keeping a weekender of this quality and stature, cannot be understated, congratulations and kudos to Robin & Colette Weathersbee, and Jerry Chatabox for doing just that.
Gallery images below, click on them for full sized picture
Vocal belters like the Sonics ‘Shot Down’ from 1965 and Joyce Green’s spiteful and vengeful lover’s warning (strangely both songs were originally ‘B’ sides), filled the hall, and the scolding tone of LaVern Baker’s ‘Whipper Snapper’ was super-cool. Toning it down slightly, some heartfelt delivery in the lyrics of Etta James’ ‘I Just Wanna Make Love to You’. To add some light and shade to the set, the touching and soulful ballad, ‘Born With a Broken Heart’ was countered by the foot stomping electric sound of ‘Want You Anyway’.
A simply sublime show concluded with a cracking blues bopper from the 2019 single (c/w the aforementioned Born With a Broken Heart) ‘Hurt For You’, with it’s classic guitar riff from Hayden Kennedy and wailing harmonica from the guesting Bodhi Corbett. Such a versatile and varied set, mixing gritty blues, jumping rhythms and touching sentiments (like Ruth Brown’s ‘I Don’t Know) from Shanda. And to cap it all Betty James’ ‘I’m a Little Mixed Up’. Dig it!
The Rhythm Riot has survived a worldwide pandemic, and having their ancestral home swiped out from under them within a few months of their scheduled event. And not only does it survive, it thrives. The first at Yarmouth, drew the inevitable comparisons with the old venue, particularly from people who had never attended the Riot in the first place (sic). It now feels, however, that Vauxhall Holiday Park is where the future lies for the event. The interest already in the 2026 event was palpable among those who went to this event, and for those who clearly want to sample the Riot in future. The task of keeping a weekender of this quality and stature, cannot be understated, congratulations and kudos to Robin & Colette Weathersbee, and Jerry Chatabox for doing just that.
Gallery images below, click on them for full sized picture
Hemsby #71 was a sellout, so don't miss out on #72, click flyer for details
A kicking line up for the Rockabilly Rave in April 2026. Click on the flyer for details of how you can join in.
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And for Christmas, how about getting some Rockabilly Rave Gift Vouchers. Contact the Rave office for details
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Record release interview with Charlotte Porter
Since starting to sing semi-pro in 2018 and turning full-time professional in 2022, many people who saw Miss Charlotte Porter perform live, wondered if any more of her work would ever be set onto a recording. Well dear readers, wonder no more, as her debut ‘On The Case’ has now been followed up with a new CD ‘Forty Cups of Coffee’ is now available. With the release earlier in November 2025, we thought we’d follow that up with another interview around it.
BJR. How long ago did you consider a CD recording?
I decided to do another CD last year after a few people had mentioned they had worn out their copy of ‘On The Case’. I thought if it was time to do another recording, this time it would be more personal. On The Case was done so early in my career that it was mainly brought out to promote myself and although I love the songs on it, it was very much for business rather than a passion project.
When I approached Pat Reyford to see if he would be available to do the backing music in March this year, I genuinely thought I would have to wait for a year with his busy schedule, but luckily for me, he had just finished another project and as we had already done a few of the tracks a couple of years ago, we found it just clicked and by July it was recorded, mastered (by the incredible Mad Jack Collins) and ready to go! I can’t thank Pat enough for everything he has done to bring Forty Cups of Coffee alive!
BJR. Did you consider any other kinds of release? A 45rpm, or some kind of streaming service?
I am hoping that I can bring ‘Forty Cups of Coffee’ out on vinyl, it has always been a dream of mine to have my work on vinyl! You can also download it on my website in the shop along with the CDs. At the moment it won’t be available on streaming, but you never know at some point I may get with the times and look in to it.
BJR. Onto the tracklisting. Tell us how you went about choosing what tracks to record.
Choosing the tracks was the easiest part, they are all done by some of my biggest influences in early RnB and Jump Jive and are played near enough on repeat in my house. From Ella Mae Morse to Louis Prima I think the whole album sums up me in music form. Although in my solo career I am known for some Swing type numbers, people may have noticed some of these tracks appearing over the last few years and I like to think that as my career evolves so does the music.
BJR. And the title track? Is it a particular favourite? Presumably the Ella Mae Morse 1953 recording was influential. Word is you don’t drink coffee much ( I can hear the gasps of the population as they read this) 😊
Shhhh! Don’t tell everybody!...But I have to come clean, I don’t like coffee and the idea of 40 cups gives me the heebie jeebies, give me 40 cups of tea any day (and maybe a few biscuits)!
Ella Mae Morse is heavily featured in my new album for a reason, she brought some of the earliest RnB on to the scene, her vocals are smooth and raw at the same time and for a female singer she stands out amongst the best of the era in my opinion. Forty Cups of Coffee was one of the first songs I heard of Her’s and I fell in love, songs with humour are my thing, similar to ‘Banana Split For My Baby’ – Louis Prima that also appears on the album. It was a no brainer that it would be the title track!
BJR. And the cover art, really good, and a fine representation of the title. Who was involved in putting that together?
I was very lucky that Alex Douglas from The Jive Aces agreed to do my artwork for me on this project, we sat down when I first started recording with Pat and bounced ideas around about what sort of feel we wanted the album to have just from looking at it and we both agreed that it needed to be fun and with a title like Forty Cups of Coffee it gave us a great concept to work around. So Terry (my poor husband) and I ended up taking thousands of photographs over A LOT of hours until I finally couldn’t stomach the smell of coffee anymore and Terry had got a repetitive strain injury from pressing the shutter button, I sent the ones I liked over to Alex and a couple of months later he had produced the incredible work you can now buy, he truly brought my vision to life and I think you’ll agree he has knocked it out of the park.
Fun fact – Alex only drinks tea too, so I’m not the only one working on this album who doesn’t like coffee!
BJR. Putting that all together, where can people buy the CD?
You can buy your copy from my gigs in person, or via my website – www.misscharlotteporter.com
You can also find a small amount in TJ Crafts in Sleaford, Lincolnshire!
BJR. Thanks Charlotte and good luck with the CD
Thank you very much!
Charlotte
xx
BJR. How long ago did you consider a CD recording?
I decided to do another CD last year after a few people had mentioned they had worn out their copy of ‘On The Case’. I thought if it was time to do another recording, this time it would be more personal. On The Case was done so early in my career that it was mainly brought out to promote myself and although I love the songs on it, it was very much for business rather than a passion project.
When I approached Pat Reyford to see if he would be available to do the backing music in March this year, I genuinely thought I would have to wait for a year with his busy schedule, but luckily for me, he had just finished another project and as we had already done a few of the tracks a couple of years ago, we found it just clicked and by July it was recorded, mastered (by the incredible Mad Jack Collins) and ready to go! I can’t thank Pat enough for everything he has done to bring Forty Cups of Coffee alive!
BJR. Did you consider any other kinds of release? A 45rpm, or some kind of streaming service?
I am hoping that I can bring ‘Forty Cups of Coffee’ out on vinyl, it has always been a dream of mine to have my work on vinyl! You can also download it on my website in the shop along with the CDs. At the moment it won’t be available on streaming, but you never know at some point I may get with the times and look in to it.
BJR. Onto the tracklisting. Tell us how you went about choosing what tracks to record.
Choosing the tracks was the easiest part, they are all done by some of my biggest influences in early RnB and Jump Jive and are played near enough on repeat in my house. From Ella Mae Morse to Louis Prima I think the whole album sums up me in music form. Although in my solo career I am known for some Swing type numbers, people may have noticed some of these tracks appearing over the last few years and I like to think that as my career evolves so does the music.
BJR. And the title track? Is it a particular favourite? Presumably the Ella Mae Morse 1953 recording was influential. Word is you don’t drink coffee much ( I can hear the gasps of the population as they read this) 😊
Shhhh! Don’t tell everybody!...But I have to come clean, I don’t like coffee and the idea of 40 cups gives me the heebie jeebies, give me 40 cups of tea any day (and maybe a few biscuits)!
Ella Mae Morse is heavily featured in my new album for a reason, she brought some of the earliest RnB on to the scene, her vocals are smooth and raw at the same time and for a female singer she stands out amongst the best of the era in my opinion. Forty Cups of Coffee was one of the first songs I heard of Her’s and I fell in love, songs with humour are my thing, similar to ‘Banana Split For My Baby’ – Louis Prima that also appears on the album. It was a no brainer that it would be the title track!
BJR. And the cover art, really good, and a fine representation of the title. Who was involved in putting that together?
I was very lucky that Alex Douglas from The Jive Aces agreed to do my artwork for me on this project, we sat down when I first started recording with Pat and bounced ideas around about what sort of feel we wanted the album to have just from looking at it and we both agreed that it needed to be fun and with a title like Forty Cups of Coffee it gave us a great concept to work around. So Terry (my poor husband) and I ended up taking thousands of photographs over A LOT of hours until I finally couldn’t stomach the smell of coffee anymore and Terry had got a repetitive strain injury from pressing the shutter button, I sent the ones I liked over to Alex and a couple of months later he had produced the incredible work you can now buy, he truly brought my vision to life and I think you’ll agree he has knocked it out of the park.
Fun fact – Alex only drinks tea too, so I’m not the only one working on this album who doesn’t like coffee!
BJR. Putting that all together, where can people buy the CD?
You can buy your copy from my gigs in person, or via my website – www.misscharlotteporter.com
You can also find a small amount in TJ Crafts in Sleaford, Lincolnshire!
BJR. Thanks Charlotte and good luck with the CD
Thank you very much!
Charlotte
xx
New name, same quality. Cracking line up for a top weekender in Lincolnshire next May. Click the flyer for details
Hot Rock n Boogie goes from strength to strength. Here is the line up for #7, check it our folks
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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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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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Next issue, #50, Hemsby #71, The Rimshots, The Firebirds
Notice to advertisers:- The advertisers in this issue, have paid for their adverts, if you would like to run one with us, and have your event/facility open to our 40,000 + viewers per month, drop us a line to [email protected] for details. If you have a company that makes and sells clothing or accessories, you have a themed event or location, you run a record label or shop, you can advertise with us as well. Anything associated with Rock n Roll music, or 1940’s, 1950’s related. We will include a brief article on your company and services if required, as well with your advert, and a clickable link attached to the flyer, which will take customers directly to your webpage or event page on social media. Adverts are £30.00 per month, much less than most printed magazines, and reaching far more potential customers and attendees, more bang for your buck.
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the button. This has to be a two way street for us to be able to continue beyond 2024. Many thanks
Bands and artists who would like their music or latest record release reviewed. We listen to records several times before writing a word about them. We research songs if they are covers, credit writers, performers and musicians. In effect, we pay true reverence to your recordings, not relying in on merely describing a song as a bopper, jiver or stroller. If we don't know about your release, we can't review it. You can send it to us in electronic form or the actual article, drop us an email and we'll arrange it. We do not plagiarise unlike some other sites and publications. Get in touch at [email protected] if you want your record included.
When you get chance to, as seemingly the case is now, do go and support live music, gigs, clubs and bands. Never before has the industry needed it's customers than now. It's much more exiting than two cans and a takeaway in front of the telly.
When we are able to get out and about, if you would like us to cover your event or club night, please get in touch. For two press passes, we will review your event, or your band's show at a gig, in detail, in both words and pictures. We are out there, boots on the ground, front, centre and right and most points in between.
Photographs in this magazine have been provided by the subjects, for use here, or are from our own library. All are copyright
NB, Events and all advertised services are supplied by the advertisers themselves. We do not accept any responsibility for any alterations or adjustments, cancellations or disputes between customers and the advertisers. Please check before booking, travelling to, or buying from advertisers in our magazine
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please avoid copying and pasting articles or parts of articles to your websites or social media, we'd much prefer people to visit our site direct. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome. We do not share links to adult sites here, although adults are welcome to read it. We are considering deleting some early issues and we're interested in your thoughts on whether we should keep them or not. Drop us a note with your thoughts sometime.
Keep up to date with us here, or on our various platforms:-
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email:- [email protected]
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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
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
