The Bettajive Review magazine #5
Dylan Kirk at the Rhythm Riot, part of our complete review this month
The Bettajive Review
Shoe-in. This article was influenced by the closure of an iconic shop in south Essex, Victoria Shoes in Southend on Sea. This was one of those shops that in the 70’s and 80’s was a Mecca for just about every subculture you could think of. Particularly us teenagers in the 70’s and 80’s. Here was a shop that sold brothel creepers, winkle picker boots and shoes, but above all, they had Chukka Boots!
Prior to getting a pair of Chukkas, it was Brothel Creepers, or as they were known in some areas, Beetle Crushers. (Pic from www.tukshoes.co.uk) Thumping great soles on suede uppers with ‘D’ eyes to thread the laces through. And what colours those laces were too, as well as the socks. My first ones were fluorescent green, that you could have probably seen from space they were so bright. It all went with the bright colours we all wore, a kind of gang of Dolly Mixtures coming down the road. Skinny lads looked like they had their feet in two bottom dump barges.
Shoe-in. This article was influenced by the closure of an iconic shop in south Essex, Victoria Shoes in Southend on Sea. This was one of those shops that in the 70’s and 80’s was a Mecca for just about every subculture you could think of. Particularly us teenagers in the 70’s and 80’s. Here was a shop that sold brothel creepers, winkle picker boots and shoes, but above all, they had Chukka Boots!
Prior to getting a pair of Chukkas, it was Brothel Creepers, or as they were known in some areas, Beetle Crushers. (Pic from www.tukshoes.co.uk) Thumping great soles on suede uppers with ‘D’ eyes to thread the laces through. And what colours those laces were too, as well as the socks. My first ones were fluorescent green, that you could have probably seen from space they were so bright. It all went with the bright colours we all wore, a kind of gang of Dolly Mixtures coming down the road. Skinny lads looked like they had their feet in two bottom dump barges.
Then it was winkle picker boots, slightly higher than the ankle, with an elasticated side panel so they slipped on. If there was a problem with them, they had the smoothest soles, so there was the constant terror of slipping A-over-T in the snow. For added ‘here we are, look at us’, there was the necessity to fit Blakeys to the heels.
Blakeys were a cast iron shoe protector that you’d hammer into the heel of the winkle picker boot. If you scuffed the heel on the right path or road surface you could make them spark, although if you altered your stride and caught the path wrongly the heel would slide under you. Difficult to style out of, I can tell you when you’ve just split your difference! Oh and how we laughed at the people who asked if our feet went right up to the end of the point of the picker…..
Once we’d had our wear of creepers and flouted health and safety in winkle picker boots, (like it existed then!), now we wanted Chukkas. These were ankle high boots made of suede and rubber soles with a crepe surround. They look comfy and they looked cool, but they were nowhere to be found.
Once we’d had our wear of creepers and flouted health and safety in winkle picker boots, (like it existed then!), now we wanted Chukkas. These were ankle high boots made of suede and rubber soles with a crepe surround. They look comfy and they looked cool, but they were nowhere to be found.
This was where the afore mentioned shop came in. The trouble was, it was over forty miles away, and most of us were at school, so the shop might as well have been on Saturn. We knew a slightly older ted, who’d left school, and had a motorbike, so it was agreed that everyone who wanted pairs of Chukkas, would give him the relevant monies and he’d bring the boots back.
Yeah that’ll work, one bloke on a motorbike one up from a ‘Fizzie’ with over half a dozen boxes of boots. Do you remember the ‘Fizzie’? The Yamaha FS1-E, the ‘E’ denoting England, officially I guess, a moped, though heaven forbid it was compared to the Puch Maxi. What guys couldn’t do on a Fizzie was no one’s business, apparently, even though it’s speed was restricted. One I recall, reckoned he’d been going 50mph on his and hit an adult stag and knocked it over, all without coming off (which was clearly bumbledom). You’d have needed a tail wind coming down Ffordd Penllech to get that speed up. By that reckoning, a few boxes of Chukka boots should have been a breeze! But I digress
Until then we ‘made do’ with what we called Fell Boots, although after a cursory glance around the internet, I can’t find anything like we wore. They had a rubber sole and were like a brown suede type material, and were OK as a stop gap. Similarly, although these have stood the test of time better, were Bumper boots, however again, they’re clearly not called that anymore judging by the search I’ve just done. Think Converse All-Stars in black and white, they were ‘em.
So, you had to wait ‘til the holidays to get a lift with a family who were going to the seaside for the day. Victoria Shoes had a myriad of styles, punks, mods, skins, rockers, teds and rockabillies came from far and wide, as did I, and finally got a pair of Chukka boots. Not Chukka shoes! Oh no, Chukka boots, and boy did they get some wear. Finally, us lads had the ice blue jeans and black Chukka boot look, although after a while, mine wore so much they made a strange wheezing sound when they got wet. Another mate’s boot sole came adrift and he used an elastic band wrapped over an over the boot to stop it flapping on the path.
It’s been a few years since I’ve worn the iconic boots, and while researching this article I found that, they are still around even though the name has been attributed to a lot of different styles now. But there are still those that match the ones I had. It’s quite nostalgic now when I see peeps wearing them, some good memories, and now the shop I got mine from, is also filed in the memory.
You can still get Chukka boots made for you by Colin, check out this link https://www.johnsoncustomshoes.com/collections/chukka-shoes-boots
Yeah that’ll work, one bloke on a motorbike one up from a ‘Fizzie’ with over half a dozen boxes of boots. Do you remember the ‘Fizzie’? The Yamaha FS1-E, the ‘E’ denoting England, officially I guess, a moped, though heaven forbid it was compared to the Puch Maxi. What guys couldn’t do on a Fizzie was no one’s business, apparently, even though it’s speed was restricted. One I recall, reckoned he’d been going 50mph on his and hit an adult stag and knocked it over, all without coming off (which was clearly bumbledom). You’d have needed a tail wind coming down Ffordd Penllech to get that speed up. By that reckoning, a few boxes of Chukka boots should have been a breeze! But I digress
Until then we ‘made do’ with what we called Fell Boots, although after a cursory glance around the internet, I can’t find anything like we wore. They had a rubber sole and were like a brown suede type material, and were OK as a stop gap. Similarly, although these have stood the test of time better, were Bumper boots, however again, they’re clearly not called that anymore judging by the search I’ve just done. Think Converse All-Stars in black and white, they were ‘em.
So, you had to wait ‘til the holidays to get a lift with a family who were going to the seaside for the day. Victoria Shoes had a myriad of styles, punks, mods, skins, rockers, teds and rockabillies came from far and wide, as did I, and finally got a pair of Chukka boots. Not Chukka shoes! Oh no, Chukka boots, and boy did they get some wear. Finally, us lads had the ice blue jeans and black Chukka boot look, although after a while, mine wore so much they made a strange wheezing sound when they got wet. Another mate’s boot sole came adrift and he used an elastic band wrapped over an over the boot to stop it flapping on the path.
It’s been a few years since I’ve worn the iconic boots, and while researching this article I found that, they are still around even though the name has been attributed to a lot of different styles now. But there are still those that match the ones I had. It’s quite nostalgic now when I see peeps wearing them, some good memories, and now the shop I got mine from, is also filed in the memory.
You can still get Chukka boots made for you by Colin, check out this link https://www.johnsoncustomshoes.com/collections/chukka-shoes-boots
Dot…dot. Best tracks in the world ever ever to bang in your Blakeys for this month are Linda Hayes’ ‘You Ain’t Movin’ Me’, Ella and Buddy Johnson ‘Bring It Home To Me’ and The Jet Tones’ ‘Twangy’……OK readers of a certain vintage, how many of you see the word ‘Blakey’ and immediately say things like ‘I ‘ate you Butler’ and ‘Get them buses out’?......Two more stars of our music passed recently, Jimmy Cavello, as in ‘and the House Rockers’ who you may recall from ‘Rock Rock Rock’, and Rudy Tutti Grayzell. Who could forget one of the oddest lyrics in a rockin’ song, as in his ’57 Mercury cut ‘Let’s Get Wild’? If you need a reminder it went ‘We’ll do the Chinese chicken, the Cuban Cha Cha Cha, we’ll even do the dot-dot-dot-dot-dot-dot-da’……….Just before going on site we learn that Jack Scott and Roc LaRue have also passed……
Whazzat? Chatting to our mate Dave Kopke, we got onto the subject of Shazam-ing and Soundhound-ing. To many youngsters, it’s second nature, hearing a tune and logging into the app to identify it. Dave was saying that, back when we were kids, you asked your mates, or you asked the DJ. Hmmm, I wonder about the second one, every other track would’ve been ‘**** off mate, I’m busy’
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Whazzat? Chatting to our mate Dave Kopke, we got onto the subject of Shazam-ing and Soundhound-ing. To many youngsters, it’s second nature, hearing a tune and logging into the app to identify it. Dave was saying that, back when we were kids, you asked your mates, or you asked the DJ. Hmmm, I wonder about the second one, every other track would’ve been ‘**** off mate, I’m busy’
We rely on advertising and donations to keep the magazine free for you to read. If you like what you see, help us keep it free by popping us a donation please
The B-Sides
Striking it lucky. To Spalding for this month’s featured gig review, with the Christmas presentation from Boston Jive. Two bands and a DJ, situated on the South Holland Centre’s top floor function room, the B-Sides, Sugar Ray and the Lucky Strikes with DJ Mister Big Feet (who went the extra mile playing ‘Dancing Shoes’, well done lad!). It was a bittersweet gig for Claire and Neil Seabrook, they have been massive supporters of the B-Sides since they started out, around four years ago, and here they were playing their final gig.
Stephen, Michael and Craig, three lads that make up the B-Sides, played their set first. A trio that play classic Rock n Roll, with the occasional surprise from a classic artist. Opening with ‘Brown Eyed Handsome Man’, the floor was packed right from the opening bars. The B-Sides have that knack of picking many people’s favourite Rock n Roll tracks, and delivering them with considerable accomplishment.
Good to hear Ricky Nelson’s ‘Believe What You Say’, and their raucous take on Link Wray’s ‘Rawhide’ was ace. The crowd loved ‘Roll On Clickety Clack’, ‘Hey Mae’, ‘Move It’ and ‘Tutti Frutti’, which zipped the set along. They announced their final number, a slightly odd choice of ‘Runaround Sue’, although they were never going to be allowed to get away just with that song. Back they came again with Restless’ ‘Ice Cold’. Was that it? Nope, the Spalding locals didn’t want that, and the rousing ‘You Ain’t Nothing But Fine’ (The Jets) polished it all off. And that was that, a massive ‘Thank You’ and some farewell prezzies from Boston Jive’s Claire and Neil Seabrook, and the lads were done.
Gallery images below, click on them for full size
Stephen, Michael and Craig, three lads that make up the B-Sides, played their set first. A trio that play classic Rock n Roll, with the occasional surprise from a classic artist. Opening with ‘Brown Eyed Handsome Man’, the floor was packed right from the opening bars. The B-Sides have that knack of picking many people’s favourite Rock n Roll tracks, and delivering them with considerable accomplishment.
Good to hear Ricky Nelson’s ‘Believe What You Say’, and their raucous take on Link Wray’s ‘Rawhide’ was ace. The crowd loved ‘Roll On Clickety Clack’, ‘Hey Mae’, ‘Move It’ and ‘Tutti Frutti’, which zipped the set along. They announced their final number, a slightly odd choice of ‘Runaround Sue’, although they were never going to be allowed to get away just with that song. Back they came again with Restless’ ‘Ice Cold’. Was that it? Nope, the Spalding locals didn’t want that, and the rousing ‘You Ain’t Nothing But Fine’ (The Jets) polished it all off. And that was that, a massive ‘Thank You’ and some farewell prezzies from Boston Jive’s Claire and Neil Seabrook, and the lads were done.
Gallery images below, click on them for full size
Sugar Ray and the Lucky Strikes, are Pat Reyford on lead guitar and vocals with Guy Trigg, upright bass, Arnaud Desprez on sax, drummer William Keel-Stocker and Jazzbeer Roberts on piano. Together they perform and exquisite rhythm and blues style of music, which is simply a delight.
Pat can shout the Blues, but in a way that it never sounds forced. So, picking Wynonie Harris tunes like ‘Good Morning Judge’, ‘Wasn’t That Good’ and ‘I Like My Baby’s Pudding’ suit his delivery perfectly. Similarly, 'Quiet Whiskey' from 1953, also featured, with the authenticity of the piano backing for the opening nursery rhyme. Four tracks that were on the ball, musically and vocally.
Gene Phillip’s ‘Big Bug Boogie’ impressed as it was presented in the Merrill E Moore style, while Blanche Thomas’ ‘You Ain’t So Such a Much’ and Hardrock Gunter’s ‘Birmingham Bounce’ in the Red Foley/Amos Milburn style vied for the attention. Classic songs like ‘Slow Boat to China’ had a little twist, so did Billie Holiday’s ‘All of Me’, just enough to make the listener stop and think for a second, before appreciating and enjoying the cadence.
Pat can shout the Blues, but in a way that it never sounds forced. So, picking Wynonie Harris tunes like ‘Good Morning Judge’, ‘Wasn’t That Good’ and ‘I Like My Baby’s Pudding’ suit his delivery perfectly. Similarly, 'Quiet Whiskey' from 1953, also featured, with the authenticity of the piano backing for the opening nursery rhyme. Four tracks that were on the ball, musically and vocally.
Gene Phillip’s ‘Big Bug Boogie’ impressed as it was presented in the Merrill E Moore style, while Blanche Thomas’ ‘You Ain’t So Such a Much’ and Hardrock Gunter’s ‘Birmingham Bounce’ in the Red Foley/Amos Milburn style vied for the attention. Classic songs like ‘Slow Boat to China’ had a little twist, so did Billie Holiday’s ‘All of Me’, just enough to make the listener stop and think for a second, before appreciating and enjoying the cadence.
A massive flag up as well for the guest vocalist Jess Taylor from Norfolk, resplendent in her red dress, and smooth in vocal delivery, switching effortlessly to the more power vocals when called for. Here’s a lady that will be fronting in her own right soon.
I don’t think I’ve heard a more accurate recounting of the Lucky Millinder styled ‘Chew Tobacco Rag’ before, simply sublime. How often have you heard ‘Rockin’ Jenny Jones’ (Hattie Noel I think) before? Not often is my guess, and it stood tall in among ‘Bottle it Up and Go’ and ‘Burnt Toast and Black Coffee’.
A real masterclass in late 40’s and 50’s Rhythm and Blues.
Boston Jive continue to put on the best in jump jive and Rock n Roll, with a real biggie coming up in February 2020 with Ray Collins Hot Club playing the Valentines Dance
I don’t think I’ve heard a more accurate recounting of the Lucky Millinder styled ‘Chew Tobacco Rag’ before, simply sublime. How often have you heard ‘Rockin’ Jenny Jones’ (Hattie Noel I think) before? Not often is my guess, and it stood tall in among ‘Bottle it Up and Go’ and ‘Burnt Toast and Black Coffee’.
A real masterclass in late 40’s and 50’s Rhythm and Blues.
Boston Jive continue to put on the best in jump jive and Rock n Roll, with a real biggie coming up in February 2020 with Ray Collins Hot Club playing the Valentines Dance
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Your Boston Jive hosts Claire and Neil Seabrook, bring a real blue chip act over to Lincolnshire, from Germany. Ray Collins Hot Club are well established with their jumping, jiving brand of R&B that has delighted crowds around the world
Do not miss this one readers, with support from the Summertime Kings and DJ Mr Big Feet 
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For the second Southport Rumble event in the North West of the UK, your hosts Kevin Greener and Tracey Hobbs, have built on the success of this year’s weekender, with a stellar line up for 2020.
They also run successful country music events at the same venue and in the North East and the Rock Ridge Rumble weekender that you can read about in this issue (above), and check the old weekender page on our site for a full review of the 2019 debut weekender. And we have a picture of Kevin and Tracey :) 
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The next Rockabilly Blowout event is selling well. As you would have read last month, it's quality all the way. All in memory of James Robson, and funds go to Asthma UK
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Tom Ingram interview
BJR Tom Ingram is best known to many on the Rock n Roll circuit, as being the organiser of the Viva Las Vegas Rockabilly Weekend, which takes place in every April. Being born in Hampshire, we wanted to chat to the fellow from over here, doing quite well over there.
So, as we ask most of our interviewees, what started your interest and love for the 1950’s style and music?
TI As a younger teenager I liked a lot of the 70s glam bands because they wore drapes. I then got into Elvis and that is when I really got into 50’s music. I was living in Waterlooville, Hampshire then and I would go to the Tuesday night discos at Waterlooville Football Club. That is where there would always be a group of teds. I never got to know them. Radio Victory at the time had Roger Scotts Cruisin’ that I would listen to every week. At about 15 years old we moved to London which is when the interest in 50’s music all really took off for me.
BJR And it wasn’t too long before you started DJing. Do you recall your first gig?
TI I first place I was a DJ was at the Phoenix Youth Club in West Wickham, Kent. Firstly, the general Wednesday nights and then the Saturday nights. Then I helped with doing some DJ work for a DJ at The New Inn in Hayes, Kent. I think that is what it was called. I would DJ before the main DJ would take over. I remember he had to put on his leather gloves and walk across the dance floor so that everyone saw him. I can’t remember his name.
BJR Do you consider yourself a record collector? Vinyl? CDs? Or a combination of both?
TI I prefer to be a music collector. I collect vinyl and CD’s. I don’t like to limit what I can play as I truly believe the audience just wants to hear good music they can dance to.
BJR It’s also pretty well known that before your move to the USA, you organised weekenders and events in this country (he was the founder and organiser of the Hemsby Weekender). What was your first big event, and can you give us an idea of the challenge that must have been for you please?
TI I was very lucky that with my record hops I got to know some big promoters in London. This included the people who ran The Town & Country Club (now The Forum) including the well-known promoter Boss Goodman. So, I had this jump from doing record hops for them at the much smaller TC2, to suddenly having the opportunity to run a New Year’s Eve Rock’n’Roll/Rockabilly night at the Town & Country. A venue that holds 2000 people. This was unheard of but they offered me a deal where I did not have to guarantee the fee for venue, PA, lights and security. I took it. We ended up with about 1500 people for a New Year’s Eve with just Record Hops. That opened up the way for me to organize shows at the Town & Country Club which included shows with Carl Perkins, The Five Keys, Don & Dewey and more. I also did some at The Astoria as it was run by the promoter who ran The Phoenix, The Sunset and Silks. His name was Brian Mason. The very first 2 Hemsby Weekenders I organized in conjunction with Boss Goodman andThe Town & Country Club
BJR Tom Ingram is best known to many on the Rock n Roll circuit, as being the organiser of the Viva Las Vegas Rockabilly Weekend, which takes place in every April. Being born in Hampshire, we wanted to chat to the fellow from over here, doing quite well over there.
So, as we ask most of our interviewees, what started your interest and love for the 1950’s style and music?
TI As a younger teenager I liked a lot of the 70s glam bands because they wore drapes. I then got into Elvis and that is when I really got into 50’s music. I was living in Waterlooville, Hampshire then and I would go to the Tuesday night discos at Waterlooville Football Club. That is where there would always be a group of teds. I never got to know them. Radio Victory at the time had Roger Scotts Cruisin’ that I would listen to every week. At about 15 years old we moved to London which is when the interest in 50’s music all really took off for me.
BJR And it wasn’t too long before you started DJing. Do you recall your first gig?
TI I first place I was a DJ was at the Phoenix Youth Club in West Wickham, Kent. Firstly, the general Wednesday nights and then the Saturday nights. Then I helped with doing some DJ work for a DJ at The New Inn in Hayes, Kent. I think that is what it was called. I would DJ before the main DJ would take over. I remember he had to put on his leather gloves and walk across the dance floor so that everyone saw him. I can’t remember his name.
BJR Do you consider yourself a record collector? Vinyl? CDs? Or a combination of both?
TI I prefer to be a music collector. I collect vinyl and CD’s. I don’t like to limit what I can play as I truly believe the audience just wants to hear good music they can dance to.
BJR It’s also pretty well known that before your move to the USA, you organised weekenders and events in this country (he was the founder and organiser of the Hemsby Weekender). What was your first big event, and can you give us an idea of the challenge that must have been for you please?
TI I was very lucky that with my record hops I got to know some big promoters in London. This included the people who ran The Town & Country Club (now The Forum) including the well-known promoter Boss Goodman. So, I had this jump from doing record hops for them at the much smaller TC2, to suddenly having the opportunity to run a New Year’s Eve Rock’n’Roll/Rockabilly night at the Town & Country. A venue that holds 2000 people. This was unheard of but they offered me a deal where I did not have to guarantee the fee for venue, PA, lights and security. I took it. We ended up with about 1500 people for a New Year’s Eve with just Record Hops. That opened up the way for me to organize shows at the Town & Country Club which included shows with Carl Perkins, The Five Keys, Don & Dewey and more. I also did some at The Astoria as it was run by the promoter who ran The Phoenix, The Sunset and Silks. His name was Brian Mason. The very first 2 Hemsby Weekenders I organized in conjunction with Boss Goodman andThe Town & Country Club
BJR What prompted your move from England to the sun-drenched state that is California (if that doesn’t answer its own question)
TI I moved to California as I met a girl who I eventually married and divorced. I decided to stay here after the divorce.
BJR When we moved house recently, we found a bunch of cassette tapes, on which were several shows from the mid-90s featuring your good self. *Younger readers, this was when you had to air mail requests to Tom for the following week’s show*. When did your radio occupation start?
TI I think I did my first radio show for Skyline Radio in southeast London in about 1984. It was a pirate station run like a full commercial radio station. I did a rock’n’roll show every Saturday and it had a lot of listeners. We would have to keep moving studios to stay ahead of the authorities. It was great fun. I have started putting some of those old shows up on Mixcloud. When Skyline Radio ended, I did shows on a few other pirate stations and then joined CMR to do a weekly Sunday night radio show over the Astra satellite. It was listened to all over Europe. I was constantly pushing Radio One for a show and did guest on the Janis Long show for an hour once. I also did events at the big London venues in conjunction with Capital Radio and BBC Radio London. I guess eventually I would have ended up on one of those radio stations had I not moved to California.
BJR You’re now in America, how and when did the idea to hold a music event, (generically known as a weekender), come about?
TI I intended doing a weekender in the USA as soon as I decided to move here but at first in California. But it did not have what I wanted. Then I came up with Las Vegas as the location. It seemed a perfect fit. That was in 1997.
TI I moved to California as I met a girl who I eventually married and divorced. I decided to stay here after the divorce.
BJR When we moved house recently, we found a bunch of cassette tapes, on which were several shows from the mid-90s featuring your good self. *Younger readers, this was when you had to air mail requests to Tom for the following week’s show*. When did your radio occupation start?
TI I think I did my first radio show for Skyline Radio in southeast London in about 1984. It was a pirate station run like a full commercial radio station. I did a rock’n’roll show every Saturday and it had a lot of listeners. We would have to keep moving studios to stay ahead of the authorities. It was great fun. I have started putting some of those old shows up on Mixcloud. When Skyline Radio ended, I did shows on a few other pirate stations and then joined CMR to do a weekly Sunday night radio show over the Astra satellite. It was listened to all over Europe. I was constantly pushing Radio One for a show and did guest on the Janis Long show for an hour once. I also did events at the big London venues in conjunction with Capital Radio and BBC Radio London. I guess eventually I would have ended up on one of those radio stations had I not moved to California.
BJR You’re now in America, how and when did the idea to hold a music event, (generically known as a weekender), come about?
TI I intended doing a weekender in the USA as soon as I decided to move here but at first in California. But it did not have what I wanted. Then I came up with Las Vegas as the location. It seemed a perfect fit. That was in 1997.
BJR When we have spoken with people from the USA into this music, they often tell us that ‘it’s totally different’ in the UK. We loosely call it a ‘scene’, so how does the UK compare to the USA, with you having experience of both?
TI The USA is very different. There are a lot of people here who are exactly as the UK scene. Clothes, music, the lot. Then there are the people who are more into the cars, so that becomes another scene. The word rockabilly can cover a lot of styles of music here. Anything 50’s is now called rockabilly as is a lot of psychobilly. I am OK with rockabilly being used for most types of 50’s or 50’s style music as ‘Rock’n’Roll’ gets used here to describe rock bands.
Here I may get controversial. What I do not like is bands from outside the scene trying to pass themselves off as rockabilly. Or people promoting bands as rockabilly when they quite obviously are not. They are not even 50’s style rock’n’roll which is already quite a wide range of music. There is a radio show here in the USA (not on Rockabilly Radio) where the well-known DJ plays all sorts of stuff on a so called rockabilly show that should not be on there at all. Much of it by his friends who just want a song promoted. I feel that if someone is discovering 50’s music for the first time and they hear some of the music that is publicized as rockabilly, they will soon be gone. It is doing our scene a massive dis-service.
BJR With its success, came the necessity to move to a larger venue, currently the Orleans Hotel, again, that must have been quite the undertaking mustn’t it?
TI I was lucky. It was not too bad. Both hotels are owned by the same company so they made it easy. Everyone already knew The Orleans because in the last few events at The Gold Coast, more people stayed in The Orleans than at The Gold Coast.
BJR This is almost an unanswerable question, but we’ll ask anyway. Of all the acts you’ve presented at your events, is there one, well may be a few if you want, that really stick out in your mind?
TI Many of the acts stand out but I think Chuck Berry more than most because he was the first big legend that I booked. I remember looking at him on the stage, trying to believe that I had actually booked him.
BJR You also have a career as an actor and director (how many know Tom was one of the rockers in a police van in the ’79 flick ‘Quadrophenia’?), we suspect that VLV takes most of your time, but do you still ‘do’ that stuff?
TI I am trying to get back into it now. VLV takes up a lot of my time and so do my daughters. There were some personal things that took away my energy but now I am ready to get back to acting 100%. I feel that I missed a lot of opportunities during the break. I am currently part of the UK Equity West Coast Network which is for Equity members in California. I am part of the group that has put together a guide for British actors moving to Los Angeles. I am pulling out all of my old files, scripts and everything along with my ideas, so I hope to be working on it all soon.
BJR You’re now a partner in Rockabilly Radio, as well as Ruby Records with Ruby Ann, and the Atomic Style Lounge. What else does the future hold for Tom Ingram?
TI I never know what the future holds. I hope something to do with acting, TV and film. But very often things just seem to appear in front of me. I could end up doing anything.
BJR Thank you for this interview Tom, where can people contact you and get details of your various enterprises
TI The best way to contact me is by email. [email protected]
The websites are:
Viva Las Vegas www.vivalasvegas.net
Rockabilly Radio www.rockabillyradio.com
My everything page www.tomingram.com
Thank you for this interview.
TI The USA is very different. There are a lot of people here who are exactly as the UK scene. Clothes, music, the lot. Then there are the people who are more into the cars, so that becomes another scene. The word rockabilly can cover a lot of styles of music here. Anything 50’s is now called rockabilly as is a lot of psychobilly. I am OK with rockabilly being used for most types of 50’s or 50’s style music as ‘Rock’n’Roll’ gets used here to describe rock bands.
Here I may get controversial. What I do not like is bands from outside the scene trying to pass themselves off as rockabilly. Or people promoting bands as rockabilly when they quite obviously are not. They are not even 50’s style rock’n’roll which is already quite a wide range of music. There is a radio show here in the USA (not on Rockabilly Radio) where the well-known DJ plays all sorts of stuff on a so called rockabilly show that should not be on there at all. Much of it by his friends who just want a song promoted. I feel that if someone is discovering 50’s music for the first time and they hear some of the music that is publicized as rockabilly, they will soon be gone. It is doing our scene a massive dis-service.
BJR With its success, came the necessity to move to a larger venue, currently the Orleans Hotel, again, that must have been quite the undertaking mustn’t it?
TI I was lucky. It was not too bad. Both hotels are owned by the same company so they made it easy. Everyone already knew The Orleans because in the last few events at The Gold Coast, more people stayed in The Orleans than at The Gold Coast.
BJR This is almost an unanswerable question, but we’ll ask anyway. Of all the acts you’ve presented at your events, is there one, well may be a few if you want, that really stick out in your mind?
TI Many of the acts stand out but I think Chuck Berry more than most because he was the first big legend that I booked. I remember looking at him on the stage, trying to believe that I had actually booked him.
BJR You also have a career as an actor and director (how many know Tom was one of the rockers in a police van in the ’79 flick ‘Quadrophenia’?), we suspect that VLV takes most of your time, but do you still ‘do’ that stuff?
TI I am trying to get back into it now. VLV takes up a lot of my time and so do my daughters. There were some personal things that took away my energy but now I am ready to get back to acting 100%. I feel that I missed a lot of opportunities during the break. I am currently part of the UK Equity West Coast Network which is for Equity members in California. I am part of the group that has put together a guide for British actors moving to Los Angeles. I am pulling out all of my old files, scripts and everything along with my ideas, so I hope to be working on it all soon.
BJR You’re now a partner in Rockabilly Radio, as well as Ruby Records with Ruby Ann, and the Atomic Style Lounge. What else does the future hold for Tom Ingram?
TI I never know what the future holds. I hope something to do with acting, TV and film. But very often things just seem to appear in front of me. I could end up doing anything.
BJR Thank you for this interview Tom, where can people contact you and get details of your various enterprises
TI The best way to contact me is by email. [email protected]
The websites are:
Viva Las Vegas www.vivalasvegas.net
Rockabilly Radio www.rockabillyradio.com
My everything page www.tomingram.com
Thank you for this interview.
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Your hosts for Hemsby nowadays are Bill Guntrip and his family. Following May’s event, Bill has announced a super line up for 2020. And indeed has a ‘save the date’ for 16th to 19th October 2020. In the meantime, check out the website for further details, and get booking, it’s going to be a good one.
Word is that there has been a lot of repeat bookings from this May, and in the regenerated camp site and new ownership, has reinforced the fact that the longest running Rock n Roll Weekender, is still going strong 
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Racketeer Radio will be launched Jan. 1st 2020. Beginning then Racketeer Radio will be playing the best music and programs from the golden age along with the best radio shows of today, featuring music inspired from the sounds of the 1930s-1960s. Programs of true crime, noir, Hollywoodland, Gangsters, Vintage Lifestlye and so much more. Connecting you with todays favorite bands their news, tours, and updates. Sharing with you the best vintage inspired brands, events, news and everything in between. Racketeer Radio is your central station for the vintage life style, the Nostalgic Culture.
keep up to date before the launch www.RacketeerRadio.com www.instagram.com/Racketeer_Radio |
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New for 2020, the relaunch of Domino Rock n Roll Club. Check back in the coming issues for full details from the man himself
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Midnight Bus – Marti Brom and her Rancho Notorious
CD review
The first thought that came to mind when looking through Marti Brom’s back catalogue, was that this is her first album release since 2010. Here is a lady that wows audiences, whatever the style, be it Country, Blues, Americana or Rockabilly. For this author, her songs ‘Blue Tattoo’ and ‘Get a Little Gonner’ are modern day classics. This fifteen-track release, features the Swedish band of musicians she worked with on a 2013 tour, and the collaboration gave rise to the Ranch Notorious. They are Ulf Back on Guitar, with Stefan Nykvist on piano, Peter Fröbom keeping the beat on upright Bass and drummer Mattias Hyttsten.
Marti’s voice has always been the vocal version of velvet, whether kickin’ up a Rockabilly track or delivering a super cool ballad. Think Patsy Cline, Billie Joe Spears and Wanda Jackson, maybe, that might give you an idea, if you need one. Taking track one ‘Come Destroy Me’, hot lover lyrics, set to a pacey Rockabilly beat and sublime musicianship. ‘Lasso Mister Moon’ is not only an imaginative title, it’s lyrics are perfectly performed against the musical backdrop of a Country stroll beat. Two opening tracks that show the versatility of this combo.
The next track, ‘Belly of the Beast’, has a more, low down, and somewhat sinister, emotive timbre and lyrics. Don’t mess with the subject here folks. Next up, a rip-roaring honky tonk romp ‘Loveaholic’, cleverly combining shots in a glass with continuingly returning to a bad relationship. Just over three minutes of Country, key-change magic, readers. Slowing it down again and a rambling country jaunt, ‘Push Me Till I’m Going’ containing words of warning for the subject of the lyrics.
Marti’s Rockabilly fans will love ‘Last Ten Years With You’, a punchy and kind of embittered rocker, detailing all the things she could have done, instead of spending the previous decade with this loser. Cracking rocker this one, readers. By contrast, musically, a country lament follows, with ‘Lies of a Promise’, a haunting recounting of a woman’s experience as another takes her place at the alter, she married this guy at before. Another cheating man song, and how she wishes she could forewarn the next woman. Excellent vocals on this one, readers.
A stroll beat once again, with a bit of a curve ball, ‘Ambush’, featuring an electric keyboard sound, before Marti’s reworking of a classic Country tune ‘Little Old Wine Drinker Me’. This Hank Mills and Dick Jennings composition, was first recorded by Charlie Walker in ’66, but became a hit for both Robert Mitchum and Dean Martin in ’67. Here it’s given the Marti Brom treatment, to really cool effect. ‘Stiletto in Black’ has a strut and swagger about it, with it’s almost suggestive rhythm and sliding guitar riffs, with Black Betty at the centre of everything.
‘If ‘If’ Was a Fifth’ rocks up the pace, classic Rockabilly tempo. Now readers this side of the pond, I had to look up and clarify what a ‘fifth’ was. A fifth is a part of a liquid US Gallon, which is the light bulb moment I needed to work out that if ‘If’ was indeed a drink, we would indeed be drunk. A truly well-crafted song folks. ‘Drivin’ Me Crazy’, is a more bluesy sounding tune, a slower beat and simply the best guitar break, against great drum work too. Something familiar for most Rock n Roll fans next with a cover of Little Richard’s ‘Slippin and Slidin’, followed by a beauty of a rocker ‘Mama’s Little Babies Was Rockin’. It rocks and rolls to a bouncing piano rhythm, dance floor winner for sure.
Finally, if you have the CD version, is the title track, ‘Midnight Bus’, which is a cover of John D. Loudermilk’s 1960 ‘B’ side of ‘Tobacco Road’ (yep the Nashville Teens if you will). This is a moody, heavily reverbed guitar tune, and while remains close to the original, the electric version that Marti provides here, adds a twist. If you have the LP, you’ll be familiar with the bluegrass tear-up that is ‘Damn Those Little Demons’.
Musically excellent, vocally sublime, typically Marti. Whatever your preference, be it Country, R&B or Rockabilly, you’ve got to have this in your collection. A real star with a five star album
CD review
The first thought that came to mind when looking through Marti Brom’s back catalogue, was that this is her first album release since 2010. Here is a lady that wows audiences, whatever the style, be it Country, Blues, Americana or Rockabilly. For this author, her songs ‘Blue Tattoo’ and ‘Get a Little Gonner’ are modern day classics. This fifteen-track release, features the Swedish band of musicians she worked with on a 2013 tour, and the collaboration gave rise to the Ranch Notorious. They are Ulf Back on Guitar, with Stefan Nykvist on piano, Peter Fröbom keeping the beat on upright Bass and drummer Mattias Hyttsten.
Marti’s voice has always been the vocal version of velvet, whether kickin’ up a Rockabilly track or delivering a super cool ballad. Think Patsy Cline, Billie Joe Spears and Wanda Jackson, maybe, that might give you an idea, if you need one. Taking track one ‘Come Destroy Me’, hot lover lyrics, set to a pacey Rockabilly beat and sublime musicianship. ‘Lasso Mister Moon’ is not only an imaginative title, it’s lyrics are perfectly performed against the musical backdrop of a Country stroll beat. Two opening tracks that show the versatility of this combo.
The next track, ‘Belly of the Beast’, has a more, low down, and somewhat sinister, emotive timbre and lyrics. Don’t mess with the subject here folks. Next up, a rip-roaring honky tonk romp ‘Loveaholic’, cleverly combining shots in a glass with continuingly returning to a bad relationship. Just over three minutes of Country, key-change magic, readers. Slowing it down again and a rambling country jaunt, ‘Push Me Till I’m Going’ containing words of warning for the subject of the lyrics.
Marti’s Rockabilly fans will love ‘Last Ten Years With You’, a punchy and kind of embittered rocker, detailing all the things she could have done, instead of spending the previous decade with this loser. Cracking rocker this one, readers. By contrast, musically, a country lament follows, with ‘Lies of a Promise’, a haunting recounting of a woman’s experience as another takes her place at the alter, she married this guy at before. Another cheating man song, and how she wishes she could forewarn the next woman. Excellent vocals on this one, readers.
A stroll beat once again, with a bit of a curve ball, ‘Ambush’, featuring an electric keyboard sound, before Marti’s reworking of a classic Country tune ‘Little Old Wine Drinker Me’. This Hank Mills and Dick Jennings composition, was first recorded by Charlie Walker in ’66, but became a hit for both Robert Mitchum and Dean Martin in ’67. Here it’s given the Marti Brom treatment, to really cool effect. ‘Stiletto in Black’ has a strut and swagger about it, with it’s almost suggestive rhythm and sliding guitar riffs, with Black Betty at the centre of everything.
‘If ‘If’ Was a Fifth’ rocks up the pace, classic Rockabilly tempo. Now readers this side of the pond, I had to look up and clarify what a ‘fifth’ was. A fifth is a part of a liquid US Gallon, which is the light bulb moment I needed to work out that if ‘If’ was indeed a drink, we would indeed be drunk. A truly well-crafted song folks. ‘Drivin’ Me Crazy’, is a more bluesy sounding tune, a slower beat and simply the best guitar break, against great drum work too. Something familiar for most Rock n Roll fans next with a cover of Little Richard’s ‘Slippin and Slidin’, followed by a beauty of a rocker ‘Mama’s Little Babies Was Rockin’. It rocks and rolls to a bouncing piano rhythm, dance floor winner for sure.
Finally, if you have the CD version, is the title track, ‘Midnight Bus’, which is a cover of John D. Loudermilk’s 1960 ‘B’ side of ‘Tobacco Road’ (yep the Nashville Teens if you will). This is a moody, heavily reverbed guitar tune, and while remains close to the original, the electric version that Marti provides here, adds a twist. If you have the LP, you’ll be familiar with the bluegrass tear-up that is ‘Damn Those Little Demons’.
Musically excellent, vocally sublime, typically Marti. Whatever your preference, be it Country, R&B or Rockabilly, you’ve got to have this in your collection. A real star with a five star album
Jump for Joy – Sweet Georgia Boys
CD review
Following a triumphant performance on the main stage at the recent Rhythm Riot, it was hardly a surprise that there was a demand for their CD. So here it is, our review of same. The personnel are Jim Hammond, (The Borderlines The Swampthings) ace ivory tickler and vocalist, recently plying his trade with Johnny and the Jailbirds, the Kingcats and his own Jim Hammond’s Electric Mudshack. He is joined by Bill Crittenden on drums and percussion, who many of you will know as lead singer of the Kingcats as well as with the Roosters and the Magnitones.
The sound live is quite extraordinary for just two instruments, and that transfers well to the recorded material as well. Occasionally the lads add a guitar sound, and both take those duties. So how does this debut record sound then?
It’s track list has fifteen covers, and one original song, with one track reworked twice. It would be easy for us to recommend that you put this record on, and let it play, you’d fill many a dancefloor, such is the catchiness of the rhythms and timbres. There’s versatility as well, some straight-ahead Rock n Roll, some R&B and a bit of boogie woogie to boot.
Now it’s a gimmie that you’d get some Jerry Lee Lewis isn’t it, and here there’s ‘Whole Lotta Shakin’ Goin’ On’, ‘High School Confidential’ and ‘Wild One’. The latter was recorded by the Killer in ’58, although not released until the mid-70’s, and it’s this version by the Sweet Georgia Boys, is pretty darn close to it.
They switch between classics like Chuck’s ‘Run Run Rudolph’ and Little Richard’s ‘Tutti Frutti’, through to a remake of Tennessee Ernie’s ‘Blackberry Boogie’, Charlie Rich’s Sun cut ‘Break Up’, and Elvis’ ‘Big Hunk o’ Love’ from ’58. There’s some Blues as well, with Papa Lightfoot’s ‘Mean Ol’ Train’. This features some serious whammy and slidey guitar, that’s an absolute treat.
The title track, ‘Jump For Joy’, is credited as the Duke Ellington song of that name from 1941. The lyrics and delivery, for me anyway, are more Joe Turner’s ‘Roll ‘Em Pete’ from 1938. This is over five minutes long readers, and features Bill on guitar. Super cool stuff. Similarly, another Blues track, Willie Dixon’s ‘My Babe’, is slowed slightly, and features some smashing guitar work, this time from Jim.
The only original tune on the CD is Hammond’s Bop, a rattling good slice of Boogie Woogie on the eighty eight keys. There are also two versions of Slim Harpo’s ‘Shake Your Hips’, both at six minutes long, the second of which involves the electric organ as well as the piano.
A massively impressive debut recording from the duo. I’d personally would have liked to have heard some of their excellent harmonies as well, as we’ve heard in their live shows. Charlie Gracie’s Fabulous and the Everly’s ‘When Will I Be Loved’ for example. That notwithstanding, if this is your introduction to the Sweet Georgia Boys, it’s a really good one.
CD review
Following a triumphant performance on the main stage at the recent Rhythm Riot, it was hardly a surprise that there was a demand for their CD. So here it is, our review of same. The personnel are Jim Hammond, (The Borderlines The Swampthings) ace ivory tickler and vocalist, recently plying his trade with Johnny and the Jailbirds, the Kingcats and his own Jim Hammond’s Electric Mudshack. He is joined by Bill Crittenden on drums and percussion, who many of you will know as lead singer of the Kingcats as well as with the Roosters and the Magnitones.
The sound live is quite extraordinary for just two instruments, and that transfers well to the recorded material as well. Occasionally the lads add a guitar sound, and both take those duties. So how does this debut record sound then?
It’s track list has fifteen covers, and one original song, with one track reworked twice. It would be easy for us to recommend that you put this record on, and let it play, you’d fill many a dancefloor, such is the catchiness of the rhythms and timbres. There’s versatility as well, some straight-ahead Rock n Roll, some R&B and a bit of boogie woogie to boot.
Now it’s a gimmie that you’d get some Jerry Lee Lewis isn’t it, and here there’s ‘Whole Lotta Shakin’ Goin’ On’, ‘High School Confidential’ and ‘Wild One’. The latter was recorded by the Killer in ’58, although not released until the mid-70’s, and it’s this version by the Sweet Georgia Boys, is pretty darn close to it.
They switch between classics like Chuck’s ‘Run Run Rudolph’ and Little Richard’s ‘Tutti Frutti’, through to a remake of Tennessee Ernie’s ‘Blackberry Boogie’, Charlie Rich’s Sun cut ‘Break Up’, and Elvis’ ‘Big Hunk o’ Love’ from ’58. There’s some Blues as well, with Papa Lightfoot’s ‘Mean Ol’ Train’. This features some serious whammy and slidey guitar, that’s an absolute treat.
The title track, ‘Jump For Joy’, is credited as the Duke Ellington song of that name from 1941. The lyrics and delivery, for me anyway, are more Joe Turner’s ‘Roll ‘Em Pete’ from 1938. This is over five minutes long readers, and features Bill on guitar. Super cool stuff. Similarly, another Blues track, Willie Dixon’s ‘My Babe’, is slowed slightly, and features some smashing guitar work, this time from Jim.
The only original tune on the CD is Hammond’s Bop, a rattling good slice of Boogie Woogie on the eighty eight keys. There are also two versions of Slim Harpo’s ‘Shake Your Hips’, both at six minutes long, the second of which involves the electric organ as well as the piano.
A massively impressive debut recording from the duo. I’d personally would have liked to have heard some of their excellent harmonies as well, as we’ve heard in their live shows. Charlie Gracie’s Fabulous and the Everly’s ‘When Will I Be Loved’ for example. That notwithstanding, if this is your introduction to the Sweet Georgia Boys, it’s a really good one.
The Guv’ner Rides Again in Hollywood – Elvis Presley
Here we are with Flat Top Mark Phillips’ third in the ‘The Guv’ner Rides Again’ series. Remixed, remastered and taking care of business. A mix of Elvis’ songs from the movies, presented in a non chronological order, and on occasions with actual dialogue from the films, or documentary soundbites.
Does ‘G.I. Blues’ need any introduction? Probably not, however this has added conversational interview with Elvis on his departure from the army. Also, from this movie, comes ‘Blue Suede Shoes’, which if you recall, started the fight in the bar, being played on the jukebox over Elvis actually singing live. Tapping into the considerable reserve of that film too, is ‘Shoppin’ Around’, and ‘Tonight Is So Right For Love’, and the gentle ballad ‘Doin’ The Best I Can’.
From ‘Wild in the Country’ comes the short and sweet ‘I Slipped, I Stumbled, I Fell’, and similar in tempo from ‘Tickle Me’, comes ‘Put The Blame On Me’, with a sound clip from the film trailer, a format repeated to introduce ‘Dirty Dirty Feeling’ from the same film. Not forgetting the Pan Handle Kid singing ‘Night Rider’. Apparently ‘Busting out all over’ is ‘Love Machine’ from ‘Easy Come Easy Go’ a full sounding mid-60’s rocker, followed by super coolness from ‘Blue Hawaii’ in the shape of ‘Almost Always True’, bongo-tastic readers.
Some more short and sweetness from ‘Loving You’ with ‘Party’, and the harmonious rambling ‘Lonesome Cowboy’, segueing into the title track, ‘Loving You’ with Elvis perfect against the piano accompaniment. Check out later in the record, ‘Angel’, a lovely ballad. Some foot stomping hillbilly sounds herald the arrival of ‘Kissin’ Cousins’ from the 1964 film of the same name, and hot on the heels is another ‘There’s Gold in the Mountains’. From Viva Las Vegas, it’s the lesser heard ‘If You Think I Don’t Need You’, with images in your mid of Elvis singing, playing guitar, and managing to style out rolling over the sofa.
‘A Dog’s Life’, Elvis piloting a helicopter and dogs barking and wiggling about in Paradise Hawaiian Style, yep that’s here, and a triumphant announcement about ‘Flaming Star’ heralds, ‘Britches’ with added ‘Yo-Di-O-Di-O’. ‘Girl Happy’ provides the calypso sound of ‘Fort Lauderdale Chamber of Commerce’, warning lads that they face jail if they don’t pursue the young ladies. It’s the law readers, apparently(!). From ‘It Happened at the World’s Fair’ comes ‘Beyond the Bend’, and the super smooth tempo of ‘One Broken Heart For Sale’.
Do you recall those feuding Reno Brothers in ‘Love Me Tender’? From that film, comes the charming accordion ditty ‘Let Me’, and accompanied by Elvis’ character Clint’s impassioned realisation that his wife Cathy still has feelings for Vance, as ‘Poor Boy’ trots along next. ‘A Little Less Conversation’ has been the subject of remixing in the commercial world. Here FTM adds some of the spoken trailer from the ’68 film ‘Live a Little, Love a Little’, while retaining the original song. Also, from that film, the stroll beat of ‘Let Yourself Go’.
One of the more underrated tracks from ‘Viva Las Vegas’, for me, is the duet with Ann Margaret in ‘The Lady Loves Me’. This is Lucky Jackson’s attempts to woo Rusty Martin by serenading her in a full suit and tie, playing guitar, around by the swimming pool, and ending up in it! ‘Slowly But Surely’ is another short and sweet tune from ‘Fun In Acapulco’ released in the mid-sixties, and it certainly has that feel to it. ‘Flaming Star’ gives us another shorty, at just over a minute and a half, a touching ballad ‘Summer Kisses, Winter Tears’. ‘Girls Girls Girls’ was nominated for a Golden Globe award in the early 60’s and here we have ‘We’ll Be Together’ with the deft guitar work and half English and half Spanish lyrics. Elvis’ character Ross Carpenter declares that ‘I Don’t Wanna Be Tied’
‘Harem Holiday’, what film do you reckon that came from then? Rounding off this latest release, from the ’64 film, ‘Roustabout’, ‘There’s a Brand New on the Horizon’.
As you can see readers, a wide ranging blend of Elvis’ movie songs, from rockers to ballads, jive and stroll. Perfect for Elvis movies’ fans, those also nostalgic for the summer holidays TV as kids when these titles were played so much. The number of copies of this CD is limited to 200. Don’t miss out
Here we are with Flat Top Mark Phillips’ third in the ‘The Guv’ner Rides Again’ series. Remixed, remastered and taking care of business. A mix of Elvis’ songs from the movies, presented in a non chronological order, and on occasions with actual dialogue from the films, or documentary soundbites.
Does ‘G.I. Blues’ need any introduction? Probably not, however this has added conversational interview with Elvis on his departure from the army. Also, from this movie, comes ‘Blue Suede Shoes’, which if you recall, started the fight in the bar, being played on the jukebox over Elvis actually singing live. Tapping into the considerable reserve of that film too, is ‘Shoppin’ Around’, and ‘Tonight Is So Right For Love’, and the gentle ballad ‘Doin’ The Best I Can’.
From ‘Wild in the Country’ comes the short and sweet ‘I Slipped, I Stumbled, I Fell’, and similar in tempo from ‘Tickle Me’, comes ‘Put The Blame On Me’, with a sound clip from the film trailer, a format repeated to introduce ‘Dirty Dirty Feeling’ from the same film. Not forgetting the Pan Handle Kid singing ‘Night Rider’. Apparently ‘Busting out all over’ is ‘Love Machine’ from ‘Easy Come Easy Go’ a full sounding mid-60’s rocker, followed by super coolness from ‘Blue Hawaii’ in the shape of ‘Almost Always True’, bongo-tastic readers.
Some more short and sweetness from ‘Loving You’ with ‘Party’, and the harmonious rambling ‘Lonesome Cowboy’, segueing into the title track, ‘Loving You’ with Elvis perfect against the piano accompaniment. Check out later in the record, ‘Angel’, a lovely ballad. Some foot stomping hillbilly sounds herald the arrival of ‘Kissin’ Cousins’ from the 1964 film of the same name, and hot on the heels is another ‘There’s Gold in the Mountains’. From Viva Las Vegas, it’s the lesser heard ‘If You Think I Don’t Need You’, with images in your mid of Elvis singing, playing guitar, and managing to style out rolling over the sofa.
‘A Dog’s Life’, Elvis piloting a helicopter and dogs barking and wiggling about in Paradise Hawaiian Style, yep that’s here, and a triumphant announcement about ‘Flaming Star’ heralds, ‘Britches’ with added ‘Yo-Di-O-Di-O’. ‘Girl Happy’ provides the calypso sound of ‘Fort Lauderdale Chamber of Commerce’, warning lads that they face jail if they don’t pursue the young ladies. It’s the law readers, apparently(!). From ‘It Happened at the World’s Fair’ comes ‘Beyond the Bend’, and the super smooth tempo of ‘One Broken Heart For Sale’.
Do you recall those feuding Reno Brothers in ‘Love Me Tender’? From that film, comes the charming accordion ditty ‘Let Me’, and accompanied by Elvis’ character Clint’s impassioned realisation that his wife Cathy still has feelings for Vance, as ‘Poor Boy’ trots along next. ‘A Little Less Conversation’ has been the subject of remixing in the commercial world. Here FTM adds some of the spoken trailer from the ’68 film ‘Live a Little, Love a Little’, while retaining the original song. Also, from that film, the stroll beat of ‘Let Yourself Go’.
One of the more underrated tracks from ‘Viva Las Vegas’, for me, is the duet with Ann Margaret in ‘The Lady Loves Me’. This is Lucky Jackson’s attempts to woo Rusty Martin by serenading her in a full suit and tie, playing guitar, around by the swimming pool, and ending up in it! ‘Slowly But Surely’ is another short and sweet tune from ‘Fun In Acapulco’ released in the mid-sixties, and it certainly has that feel to it. ‘Flaming Star’ gives us another shorty, at just over a minute and a half, a touching ballad ‘Summer Kisses, Winter Tears’. ‘Girls Girls Girls’ was nominated for a Golden Globe award in the early 60’s and here we have ‘We’ll Be Together’ with the deft guitar work and half English and half Spanish lyrics. Elvis’ character Ross Carpenter declares that ‘I Don’t Wanna Be Tied’
‘Harem Holiday’, what film do you reckon that came from then? Rounding off this latest release, from the ’64 film, ‘Roustabout’, ‘There’s a Brand New on the Horizon’.
As you can see readers, a wide ranging blend of Elvis’ movie songs, from rockers to ballads, jive and stroll. Perfect for Elvis movies’ fans, those also nostalgic for the summer holidays TV as kids when these titles were played so much. The number of copies of this CD is limited to 200. Don’t miss out
The Grinstorm Show – Various Artists
CD review
When the combined forces of nature, Screamin’ Festival DJs Steve Grinster and Willie Storm get together and put their combined love and knowledge of rockin’ music on a compilation, you know it’s going to be good. Contained in this El Toro Records release are thirty nuggets, that will be a pleasure to behold from start to finish.
The selection is diverse and varied, including instrumentals, Rockabilly, Surf, Blues and R&B and many points in between, opening up with the heavily reverbed 1959 guitar and sax rocker ‘Storm Warning’. This Mac Rebennack beauty, or Dr John if you would like, was a regional hit on it’s release, and has a Bo Diddley feel to it. Then it’s Joey Michaels 1958 Rockabilly bopper ‘Sixteen Cats’ followed by some early James Brown, with one from his double A sider on Federal ‘Chonnie On Chon’. Hot on the heels comes a cracking R&B jiver ‘Shake ‘Til I’m Shook’ by Beverly Wright and the Students from ’56.
So, in just those four opening tracks, you have an idea of the variety in this compilation. And the gems keep coming, with Gene Vincent’s ‘Temptation Baby’ conjuring up images of his appearance in the 1963 film ‘Live It Up’, just under two minutes of magic. Speaking of magic, John Lee Hooker’s ‘I’m Going Upstairs’ from 1961 is just that, simple chords and incredibly effective.
Bobby Swanson’s ‘Twistin’ at the Hop’, clearly at the time tapped into every aspect of the music at the time of it’s release, citing the ‘hop’, ‘Saturday night’ and the latest dance craze. Stroll time again with Eugene Church’s ‘Mind Your Own Business’ originally on King Records from 1961, which is followed by a super slab of British Rock n Roll in the shape of Wee Willie Harris’ ‘Rosie Lee’.
Dare I suggest a bit of early soul stroll sound next with the Isley Brothers’ ‘Respectable’ from ’59. ‘Tequila’ so often associated with the Champs, but here presented by the Ted Heath Band. This is a kind of chicken and egg situation, which came first, as they are both from 1958. From what I gather, the Champs released their’s in January ’58, although the group was technically formed after the single. This version gets kudos from me though as Ted Heath was a firm favourite of my parents!
Some R&B vocal odd-ballery from the Valiants and ‘Walkin’ Girl’ next from 1958, followed by what I suppose are now called ‘cross over’ tunes, Danny Owens’ ‘You’re a Little Too Late’ from ’61, and from ’62 on Imperial, ‘Dutch Treat’ by the Utopians. Can anyone think of ‘Cracker Jack’ without the immediate association with the Janis Martin version? Well here’s Kathy Zee’s take on the song from later on in ’58, and yep, it’s a slightly different tempo, but it’s a good ‘un.
Next up, some growling guitar, wailing sax and the Demontrons’ ‘Rock A-way Special’, and Billy Garner’s soulful R&B stroller ‘Little School Girl’. For many years now, Eddie Clearwater has had a stick on dancefloor track in virtually every club, ‘Shakin’ Mother For Ya’. This has meant that (in my opinion) the far superior ‘A Real Good Time’ from ’61 with it’s Berry-esque sound, has taken a back seat. Not so on this release, a refreshing change from ‘Shakin’. More stroll next with ‘C’Mon Baby’ from Jimmy Williams, and Al Garris’ shouter, ‘That’s All’.
By an artist simply known as S. Johnson, ‘Red Hot Mama’ is a corking R&B rocker from the mid fifties, partly written by Paul Gayten. Who ‘S’ is, can be something for another day, but in the meantime, enjoy a fine example of rocking R&B with this song. In the same vein, Lester Robertson’s ‘Oh Babe’ ticks all the R&B boxes. Another familiar song ‘Wake Up Little Susie’, appears here, by a different artist to what you might expect. Here it’s Joe Melson from 1961, performing the classic Boudleaux-Bryant smash.
I could only find a bit about Vinnie Rogers, and this guitar driven rocker ‘Flash Flood’, which was a ‘B’ side to the only single I’d located from ’62. No such problems with Junior Dean and the Avalons ‘Chick Chick’, a massive late night bopper at many a weekender, originally released in 1958. Also from that year, ‘Jerry Jerry’ by Arte Wilson, a beaty and bouncing rocker heavily reliant on piano and sax.
We’re coming to the end of the CD now, and talk about saving the best til (nearly) last. The Cocoas’ ‘Flip Your Daddy’ from 1955, is as good a R&B jiver as you’re likely to hear, great tempo and the coolest sax break. From R&B to Rockabilly and Bo Davis’ ‘Drownin’ All My Sorrows’ with the added bonus of Eddie Cochran on guitar, and a striding bass line. Does it get any better?
I admit I knew nothing of Chris Cerf’s ‘Fallout Filly’, a nuclear ‘B’ side from 1961, but I’m glad I do now! Finally a real Rockabilly blast from Benny Joy, and the frantic vocals of ‘Crash The Party’, which provides a fitting end to a super compilation.
This has something for everyone’s Rock n Roll tastes. Two DJs who know their stuff and the dance floor. Top drawer
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CD review
When the combined forces of nature, Screamin’ Festival DJs Steve Grinster and Willie Storm get together and put their combined love and knowledge of rockin’ music on a compilation, you know it’s going to be good. Contained in this El Toro Records release are thirty nuggets, that will be a pleasure to behold from start to finish.
The selection is diverse and varied, including instrumentals, Rockabilly, Surf, Blues and R&B and many points in between, opening up with the heavily reverbed 1959 guitar and sax rocker ‘Storm Warning’. This Mac Rebennack beauty, or Dr John if you would like, was a regional hit on it’s release, and has a Bo Diddley feel to it. Then it’s Joey Michaels 1958 Rockabilly bopper ‘Sixteen Cats’ followed by some early James Brown, with one from his double A sider on Federal ‘Chonnie On Chon’. Hot on the heels comes a cracking R&B jiver ‘Shake ‘Til I’m Shook’ by Beverly Wright and the Students from ’56.
So, in just those four opening tracks, you have an idea of the variety in this compilation. And the gems keep coming, with Gene Vincent’s ‘Temptation Baby’ conjuring up images of his appearance in the 1963 film ‘Live It Up’, just under two minutes of magic. Speaking of magic, John Lee Hooker’s ‘I’m Going Upstairs’ from 1961 is just that, simple chords and incredibly effective.
Bobby Swanson’s ‘Twistin’ at the Hop’, clearly at the time tapped into every aspect of the music at the time of it’s release, citing the ‘hop’, ‘Saturday night’ and the latest dance craze. Stroll time again with Eugene Church’s ‘Mind Your Own Business’ originally on King Records from 1961, which is followed by a super slab of British Rock n Roll in the shape of Wee Willie Harris’ ‘Rosie Lee’.
Dare I suggest a bit of early soul stroll sound next with the Isley Brothers’ ‘Respectable’ from ’59. ‘Tequila’ so often associated with the Champs, but here presented by the Ted Heath Band. This is a kind of chicken and egg situation, which came first, as they are both from 1958. From what I gather, the Champs released their’s in January ’58, although the group was technically formed after the single. This version gets kudos from me though as Ted Heath was a firm favourite of my parents!
Some R&B vocal odd-ballery from the Valiants and ‘Walkin’ Girl’ next from 1958, followed by what I suppose are now called ‘cross over’ tunes, Danny Owens’ ‘You’re a Little Too Late’ from ’61, and from ’62 on Imperial, ‘Dutch Treat’ by the Utopians. Can anyone think of ‘Cracker Jack’ without the immediate association with the Janis Martin version? Well here’s Kathy Zee’s take on the song from later on in ’58, and yep, it’s a slightly different tempo, but it’s a good ‘un.
Next up, some growling guitar, wailing sax and the Demontrons’ ‘Rock A-way Special’, and Billy Garner’s soulful R&B stroller ‘Little School Girl’. For many years now, Eddie Clearwater has had a stick on dancefloor track in virtually every club, ‘Shakin’ Mother For Ya’. This has meant that (in my opinion) the far superior ‘A Real Good Time’ from ’61 with it’s Berry-esque sound, has taken a back seat. Not so on this release, a refreshing change from ‘Shakin’. More stroll next with ‘C’Mon Baby’ from Jimmy Williams, and Al Garris’ shouter, ‘That’s All’.
By an artist simply known as S. Johnson, ‘Red Hot Mama’ is a corking R&B rocker from the mid fifties, partly written by Paul Gayten. Who ‘S’ is, can be something for another day, but in the meantime, enjoy a fine example of rocking R&B with this song. In the same vein, Lester Robertson’s ‘Oh Babe’ ticks all the R&B boxes. Another familiar song ‘Wake Up Little Susie’, appears here, by a different artist to what you might expect. Here it’s Joe Melson from 1961, performing the classic Boudleaux-Bryant smash.
I could only find a bit about Vinnie Rogers, and this guitar driven rocker ‘Flash Flood’, which was a ‘B’ side to the only single I’d located from ’62. No such problems with Junior Dean and the Avalons ‘Chick Chick’, a massive late night bopper at many a weekender, originally released in 1958. Also from that year, ‘Jerry Jerry’ by Arte Wilson, a beaty and bouncing rocker heavily reliant on piano and sax.
We’re coming to the end of the CD now, and talk about saving the best til (nearly) last. The Cocoas’ ‘Flip Your Daddy’ from 1955, is as good a R&B jiver as you’re likely to hear, great tempo and the coolest sax break. From R&B to Rockabilly and Bo Davis’ ‘Drownin’ All My Sorrows’ with the added bonus of Eddie Cochran on guitar, and a striding bass line. Does it get any better?
I admit I knew nothing of Chris Cerf’s ‘Fallout Filly’, a nuclear ‘B’ side from 1961, but I’m glad I do now! Finally a real Rockabilly blast from Benny Joy, and the frantic vocals of ‘Crash The Party’, which provides a fitting end to a super compilation.
This has something for everyone’s Rock n Roll tastes. Two DJs who know their stuff and the dance floor. Top drawer
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Your hosts for the Hot Rock n Boogie weekender in 2020 are Neil and Claire Seabrook, of Boston Jive. Next year is the third event, and boasts an excellent line up.
Each year, there are different features to help improve the event, the venue and the experience for attendees. It's gonna be another good one folks! |
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Your host for the Rockabilly Rave, is Jerry Chatabox. Next year, 2020, marks the 24th year of Europe’s, if not the world’s premier Rockabilly Festival. Next year sees for one event only, the Bellfuries, lead singer Joey Simeone pictured below will be performing at. Yes readers, they are reforming just for the Rockabilly Rave.
This isn't quite the finished article folks, there's more to come. Keep checking back readers |
rhythm riot #23
Dylan Kirk
Rhythm Riot #23
Less than one week after the Rockabilly Blowout, we are off again, this time down to Camber Sands in Sussex, for the twenty third annual Rhythm and Blues and Roots Rock n Roll weekend, the Rhythm Riot. Incessant rain, strong winds and winter’s first bite couldn’t dampen spirits ahead of the event with posts on social media going into orbit with enthusiasm. Our usual hernia inducing heave of ‘essentials’ you need for a weekender in November at Pontins (sic), left just about enough room for June and I in the car as we set of in yet more ruddy rain, to travel south.
It’s been a few years since the Riot became a four-day event, with the addition of Thursday drawing in a plentiful number of punters, hauling their possessions against the slanting rain, into the chalets. The Thursday event takes place in the main ballroom, with three bands and DJs, so we made sure we were over there to catch DJ Vanessa’s first set opening with Roy Brown’s ‘Black Diamond’.
First live act up, Dylan Kirk and the Killers, a combination of piano pumping and zingy guitar tracks. That and a well selected set of tunage which mixed British sounds among those from the States. ‘Indian Joe’ (Art Adams) set the stall out, followed by a classic Johnny Kidd and the Pirates leather clad rocker ‘So What’. I really liked their take on Ronnie Smith’s ‘Long Time No Love’, and I can’t recall ever hearing Russel Bridges’ frantic Chess cut ‘All Right’ covered before. This desperately tempo-ed cracker was treat, readers.
The lads added light and shade to their show, it’s not all about what tune they can play the fastest, as they switched to a stroll beat with ‘Sinner Not a Saint’ before ratcheting it up again for Mickey Giley’s ‘Call Me Shorty’. Toward the end of the set, Dylan changed from piano to guitar for ‘Love Me’ and a spot on take of Ronnie Dawson’s ‘Monkey Beat City’ which concluded the show, save for the encore ‘That’s Alright’. This young band have talent and skills by the barrel load, and have justifiably graced both Rave and Riot main stages this year.
Gallery images below, click on them for full sized pics
Less than one week after the Rockabilly Blowout, we are off again, this time down to Camber Sands in Sussex, for the twenty third annual Rhythm and Blues and Roots Rock n Roll weekend, the Rhythm Riot. Incessant rain, strong winds and winter’s first bite couldn’t dampen spirits ahead of the event with posts on social media going into orbit with enthusiasm. Our usual hernia inducing heave of ‘essentials’ you need for a weekender in November at Pontins (sic), left just about enough room for June and I in the car as we set of in yet more ruddy rain, to travel south.
It’s been a few years since the Riot became a four-day event, with the addition of Thursday drawing in a plentiful number of punters, hauling their possessions against the slanting rain, into the chalets. The Thursday event takes place in the main ballroom, with three bands and DJs, so we made sure we were over there to catch DJ Vanessa’s first set opening with Roy Brown’s ‘Black Diamond’.
First live act up, Dylan Kirk and the Killers, a combination of piano pumping and zingy guitar tracks. That and a well selected set of tunage which mixed British sounds among those from the States. ‘Indian Joe’ (Art Adams) set the stall out, followed by a classic Johnny Kidd and the Pirates leather clad rocker ‘So What’. I really liked their take on Ronnie Smith’s ‘Long Time No Love’, and I can’t recall ever hearing Russel Bridges’ frantic Chess cut ‘All Right’ covered before. This desperately tempo-ed cracker was treat, readers.
The lads added light and shade to their show, it’s not all about what tune they can play the fastest, as they switched to a stroll beat with ‘Sinner Not a Saint’ before ratcheting it up again for Mickey Giley’s ‘Call Me Shorty’. Toward the end of the set, Dylan changed from piano to guitar for ‘Love Me’ and a spot on take of Ronnie Dawson’s ‘Monkey Beat City’ which concluded the show, save for the encore ‘That’s Alright’. This young band have talent and skills by the barrel load, and have justifiably graced both Rave and Riot main stages this year.
Gallery images below, click on them for full sized pics
The Hi Jivers
Speaking of the Rave (which we weren’t, but you have to admire the segue readers), another band who played there this year and returned for the Riot, were the Hi Jivers. Fronted by the charismatic vocalist Dawna Zahn, the four piece is completed by Austin John Doody on lead guitar, Hank Miles on upright bass and our own Ricky McCann on drums.
If you’re unfamiliar with their style, well check out some of the powerhouse female blues vocalists, and mould them into one Nashville lady, and there you have it. Think Big Mama Thornton and Tiny Topsy’s scolding delivery, Big Maybelle’s sass, with some likeness to Janis Joplin, and you’re on the right track. ‘Hot Wire Woman’ opened the set, which sounds as good acoustically as it did with full sound on the stage. It was an immediate fave of mine when I first heard it, and remains so especially after witnessing it live twice this year.
So much quality in this show, with the chunk-a-chunk-a beat of ‘Blood in My Mouth’ and the threatening stance taken in ‘Mean Woman’ set to an audience of strollers at the Riot. Cracking beat to ‘Sweet Talkin’ and Lyin’ too. A couple of classic blues covers slotted in among the originals as well. Billy Gayles’ ‘Just One More Time’, got the Hi Jivers’ treatment with Austin’s seemingly effortless guitar work, to the fore. Big Mama’s ‘I Smell a Rat’ also featured, and again, this suited Dawna’s vocal delivery perfectly. This was the real deal peeps, a Wild Records rocking blues band in it’s element, at one of the premier festivals. What’s not to like.
Gallery below, click on the pics for full sized photos
If you’re unfamiliar with their style, well check out some of the powerhouse female blues vocalists, and mould them into one Nashville lady, and there you have it. Think Big Mama Thornton and Tiny Topsy’s scolding delivery, Big Maybelle’s sass, with some likeness to Janis Joplin, and you’re on the right track. ‘Hot Wire Woman’ opened the set, which sounds as good acoustically as it did with full sound on the stage. It was an immediate fave of mine when I first heard it, and remains so especially after witnessing it live twice this year.
So much quality in this show, with the chunk-a-chunk-a beat of ‘Blood in My Mouth’ and the threatening stance taken in ‘Mean Woman’ set to an audience of strollers at the Riot. Cracking beat to ‘Sweet Talkin’ and Lyin’ too. A couple of classic blues covers slotted in among the originals as well. Billy Gayles’ ‘Just One More Time’, got the Hi Jivers’ treatment with Austin’s seemingly effortless guitar work, to the fore. Big Mama’s ‘I Smell a Rat’ also featured, and again, this suited Dawna’s vocal delivery perfectly. This was the real deal peeps, a Wild Records rocking blues band in it’s element, at one of the premier festivals. What’s not to like.
Gallery below, click on the pics for full sized photos
The Fusillis
Concluding Thursday, the Fusillis, an energetic four piece, presenting a chunk of late 50’s early 60’s surf and garage sound. Mainly relying on instrumental sounds this was a loud and proud sound, and for some, and acquired taste. I often wonder how the titles of instrumental tunes are arrived at, for example what set ‘Beavershot’ apart from ‘Black Widow’?
There were some vocals, other than the ones you expect to be shouted during instro tracks. Good to hear Little Ike’s ‘She Can Rock’ for example. Tommy Ridgeley’s ‘Jam Up Twist’ hit the mark, as did ‘Karate’, ‘Ungawa’ (didn’t Tarzan used to say that?) and ‘Ramrod’. Searing guitar work with wailing sax breaks and incredible energy, that about sums it up folks.
There were some vocals, other than the ones you expect to be shouted during instro tracks. Good to hear Little Ike’s ‘She Can Rock’ for example. Tommy Ridgeley’s ‘Jam Up Twist’ hit the mark, as did ‘Karate’, ‘Ungawa’ (didn’t Tarzan used to say that?) and ‘Ramrod’. Searing guitar work with wailing sax breaks and incredible energy, that about sums it up folks.
Friday arrived along with loads of additional ‘rioters’, and the place was buzzing, despite the driving rain. Late in the afternoon, we headed back to the chalet in one such shower when a voice shouted that we were ‘ganin the wrong way man’. Yep, we got our timing wrong for Sister Suzie’s show in the Queen Vic, good job we ran into her battling against the rain.
So, a quick about turn and into the Queen Vic. For those who don’t know, this is a long fairly narrow pub on the Camber Sands site. The stage is in one corner, and only raised a few inches. Being the diminutive types, we are, we don’t get in there very often as we just can’t see, and indeed hear some of the time.
Sister Suzie and the Right Band, have always delivered, and this show was no exception. Their style of soulful blues, offset with the out an out rockers, is a delight, even if it’s just to hear her version of Carol Fran’s ‘Knock Knock’, going from the north east laced ‘I lost me keys, howay man’ to the pitch perfect vocal. We love the stuff on the ‘Ain’t No Lady’ recording, and loads of it was here, the rockers and the ballads. Some of the kickers in the set ‘40 Cups of Coffee’, ‘Just Like a Dog (barking up the wrong tree)’, ‘Cry On’, ‘Cheese and Crackers’, the afore mentioned ‘Ain’t No Lady’, Irma Thomas’ ironic ‘You Can Have my Husband, But Don’t Mess With My Man’, Jimmy Rogers’ ‘Sloppy Drunk’, and ‘Honey Hush.
So, a quick about turn and into the Queen Vic. For those who don’t know, this is a long fairly narrow pub on the Camber Sands site. The stage is in one corner, and only raised a few inches. Being the diminutive types, we are, we don’t get in there very often as we just can’t see, and indeed hear some of the time.
Sister Suzie and the Right Band, have always delivered, and this show was no exception. Their style of soulful blues, offset with the out an out rockers, is a delight, even if it’s just to hear her version of Carol Fran’s ‘Knock Knock’, going from the north east laced ‘I lost me keys, howay man’ to the pitch perfect vocal. We love the stuff on the ‘Ain’t No Lady’ recording, and loads of it was here, the rockers and the ballads. Some of the kickers in the set ‘40 Cups of Coffee’, ‘Just Like a Dog (barking up the wrong tree)’, ‘Cry On’, ‘Cheese and Crackers’, the afore mentioned ‘Ain’t No Lady’, Irma Thomas’ ironic ‘You Can Have my Husband, But Don’t Mess With My Man’, Jimmy Rogers’ ‘Sloppy Drunk’, and ‘Honey Hush.
Many like the intimate atmosphere of the pub, however personally I think a show like this, with a performer like Suzie, is main stage stuff.
And of course we are so blimmin' short, this is usually our view....
And of course we are so blimmin' short, this is usually our view....
Sweet Georgia Boys
Friday night, and a wet journey over to the main ballroom for five acts, two of which we’d not seen before, and one in a different guise. First up, one of two duos, the Sweet Georgia Boys. This is Jim Hammond on keyboard and Bill Crittenden on drums. That’s it. You could wonder what sort of sound that can make, but be amazed readers, be very amazed. It sounded like a four piece, such was the fullness and quality of the sound.
Sure, we got a piano based standard in the shape of ‘Down the Road a Piece’, however their version of Charlie Gracie’s ‘Fabulous’ was given a harmonious twist to really good effect. Similarly, the Everly Brothers’ ‘When Will I Be Loved’, was spectacular, musically and vocally as was, by way of a complete switch, Joe Dyson’s ‘Looped’. Even a song like Smiley Lewis’ ‘Shame, Shame, Shame’ had the depth of volume you’d expect to hear with a complete horn section. Tack on Bill’s own ‘Heartbreak Town’ and the finale of ‘Time of my Life’ (not the Dirty Dancing tune!). Excellent start to the evening
Sure, we got a piano based standard in the shape of ‘Down the Road a Piece’, however their version of Charlie Gracie’s ‘Fabulous’ was given a harmonious twist to really good effect. Similarly, the Everly Brothers’ ‘When Will I Be Loved’, was spectacular, musically and vocally as was, by way of a complete switch, Joe Dyson’s ‘Looped’. Even a song like Smiley Lewis’ ‘Shame, Shame, Shame’ had the depth of volume you’d expect to hear with a complete horn section. Tack on Bill’s own ‘Heartbreak Town’ and the finale of ‘Time of my Life’ (not the Dirty Dancing tune!). Excellent start to the evening
Tammy Savoy
One of the must-see acts making her debut at the Rhythm Riot was up next, Chicago’s Tammi Savoy. The Chris Casello Combo set the stage with a rollicking instrumental romp before Tammi made her entrance, opening with ‘Fine and Dandy’ (written by Chris). We got a taster of what to expect in the Ruth Brown show, upcoming on the Sunday, with Tammi’s flawless renditions of ‘As Long As I’m Movin’ and ‘Sweet Baby of Mine’.
Sarah Vaughan’s ‘Whatever Lola Wants, Lola Gets’ from the 1955 musical play ‘Damn Yankees’ was delivered with supreme accomplishment, as were the two sides of the current 45rpm ‘Big Baby’ and the flip ‘I Ain’t Giving Up Nothing’. Cracking duo with Chris on ‘Ain’t Gonna Be Your Monkey Man’, and the rarely covered ‘Good Gravy Baby’, originally cut by Varetta Dillard.
Tell you what readers, the show lived up to the expectation, and Tammy was soon called back for the encore of ‘New Orleans’. A real star, backed by a trio on top form, what more could you want?
The images in the gallery below can be clicked on for full sized images
Sarah Vaughan’s ‘Whatever Lola Wants, Lola Gets’ from the 1955 musical play ‘Damn Yankees’ was delivered with supreme accomplishment, as were the two sides of the current 45rpm ‘Big Baby’ and the flip ‘I Ain’t Giving Up Nothing’. Cracking duo with Chris on ‘Ain’t Gonna Be Your Monkey Man’, and the rarely covered ‘Good Gravy Baby’, originally cut by Varetta Dillard.
Tell you what readers, the show lived up to the expectation, and Tammy was soon called back for the encore of ‘New Orleans’. A real star, backed by a trio on top form, what more could you want?
The images in the gallery below can be clicked on for full sized images
Voodoo Vendors
For the second time on the Friday evening, a duo took the stage. This was billed as the Voodoovendors, with Sonny and Tubbs the two players, although that billing sounds like an episode of Miami Vice*! Sonny in his snakeskin jacket and boots with snakes (no snakes were harmed in the pursuit of this show) emerging from the toe end of each boot, had two resonator style guitars, presumably tuned differently for the show.
Again, you wonder where all the sound comes from, with just the two instruments, and occasional additional harmonica, as they rolled through some house rocking blues, I think the first of which was a ‘Reeling and Rocking’ vibe. ‘Feeling Good’, think Little Junior Parker, although there was a plethora of ‘Feelin’ songs back then, got an outing, as did a brace of Bo Diddley numbers. ‘Dearest Darling’ and ‘You Pretty Thing’ morphed back and forth into each other, well, and the slowed down version of ‘Wang Dang Doodle’ worked really well.
Cracking Elmore James tune ‘Make a Little Love’, hit the brief as did another Bo Diddley number ‘Who Do You Love’, while I don’t think I’ve heard the encore of Dr Ross’ ‘Boogie Disease’ covered before. Cool beans.
Again, you wonder where all the sound comes from, with just the two instruments, and occasional additional harmonica, as they rolled through some house rocking blues, I think the first of which was a ‘Reeling and Rocking’ vibe. ‘Feeling Good’, think Little Junior Parker, although there was a plethora of ‘Feelin’ songs back then, got an outing, as did a brace of Bo Diddley numbers. ‘Dearest Darling’ and ‘You Pretty Thing’ morphed back and forth into each other, well, and the slowed down version of ‘Wang Dang Doodle’ worked really well.
Cracking Elmore James tune ‘Make a Little Love’, hit the brief as did another Bo Diddley number ‘Who Do You Love’, while I don’t think I’ve heard the encore of Dr Ross’ ‘Boogie Disease’ covered before. Cool beans.
The Velvet Candles
Next up, making a welcome return to the Riot, were the Velvet Candles from Spain. The hall was well populated for the five vocalists, backed by the Revolutionares, as they set the stall out with the Flamingos ‘Kokomo’. Song after song vied for the attention throughout the smoothest vocal performance, you’re likely to see and hear. Take ‘Dance Girl Dance’, ‘Heart and Soul’ and ‘My Angel Love’ for example, top drawer. The four male voices are Augie Burr, Eddie Peregrin, Juan Ibañez and Miguel A. G. Garro. It was, however, the only lady in the group, Mamen Salvador, who took lead vocals on Roy Tyson’s 1963 cracker ‘Oh What a Night For Love’, which was simply outstanding.
The Cadets’ ‘I Want You’ was pitch perfect, as was the Del Satins’ ‘Read Between The Lines’ and the Kodiaks’ ‘Runaround Baby’, and the whole wonder show was topped off by the Drifters’ Fool Fall in Love’ and the Sharps’ ‘Lock My Heart’. This was one of those performances that we, and I’m sure the rest of the crowd, could have watched and listened to all night.
The Cadets’ ‘I Want You’ was pitch perfect, as was the Del Satins’ ‘Read Between The Lines’ and the Kodiaks’ ‘Runaround Baby’, and the whole wonder show was topped off by the Drifters’ Fool Fall in Love’ and the Sharps’ ‘Lock My Heart’. This was one of those performances that we, and I’m sure the rest of the crowd, could have watched and listened to all night.
Benny Peters
Benny Peters had the unenviable slot following the Velvet Candles. He’d played the Riot before with the Flybyniters, however this time he was with the Revolutionaires, again providing excellent backing. Here was a track list you’re unlikely to hear every day folks, starting with James ‘Wide Mouth’ Brown’s ‘Boogie Woogie Nighthawk’, which features some super cool guitar work. ‘Party Like Never Before’ ‘Hammerhead’ and ‘Two Dollar Woman’ are his own and are the type of Blues songs that showcase the instrument proficiency of each band member.
Add in ‘Big Black Train’, ‘Back To San Antone’, ‘Linda Lou’ and ‘Hey Now’ and you have the gist of what was a cool show to end the Friday revelries.
Add in ‘Big Black Train’, ‘Back To San Antone’, ‘Linda Lou’ and ‘Hey Now’ and you have the gist of what was a cool show to end the Friday revelries.
Rioting dot…dot. Best tracks at the Riot ever ever to fill up you meter for this year were The Cocoas ‘Flip Your Daddy’, Sonny Anderson ‘Yes I’m Gonna Love You’, Redd Stewart’s ‘Yes I’ve Come Back To You’ and Cherokee Boogie’ by Joey Thomas ……..OK I know it’s November, and traditionally Camber is not near the equator, but by jiminy it was cold. Not helped by the fact some schlemiel had left the windows of the chalet open before we arrived. The cost of heating this area was horrific, we’ve spent less on a vintage shirt. Can we ‘U-switch’ to a more economical tariff please………Dawna Zahn I’ve compared in part to Janis Joplin. I’d love to hear the Hi Jivers perform ‘Mercedes Benz’ in their own style…….*Readers about to pounce on me and point out that it was ‘Crockett and Tubbs’ in Miami Vice, I am aware of that, thank you……Below are your MCs, Russ Sear left, Ian Gillon Jnr in the middle and Rob Hillier to the right. Good job guys
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Si Cranstoun
Saturday, and everyone’s in, for what on paper looked like the best line up for many years. It must’ve been strong given who was on first! Some years ago, a chap called Si Cranstoun made his debut at the Rhythm Riot on the back of a track called ‘Dynamo’ in the Jackie Wilson stylie. Since then he’s appeared at many a weekender and festival, and has a massive fan base, a back catalogue of five (I think) album releases and national radio airplay. Quite the difference from busking in town centres. The backing band since last we saw his show has changed a bit, and I think the style of music has too, toward more of a Ska/reggae beat.
Whatever, he bounded on the stage to massive audience acclaim, which I have to say was the largest crowd we’ve seen in just for an opening act in a long time. ‘Jack n Jill’ opened the show with typical Si wide eyed and flamboyant moves, followed by the immensely popular ‘Coupe DeVille’. There was a deep love for the bang up to date theme and twist ‘n’ shouter ‘Tweet on Twitter’, and the must-do’s ‘Lonesome Heart Bandit’ and ‘Ella Hula Hula’. The latter song encouraged the audience to join in although those near to us, had far too many ‘Ellas’ and not enough ‘Hula Hulas’.
I guess there would have been a lynching if he hadn’t performed the song that propelled him to the notoriety, he has today, and ‘Dynamo’ duly blew the roof off. An immensely popular opening act for many.
Whatever, he bounded on the stage to massive audience acclaim, which I have to say was the largest crowd we’ve seen in just for an opening act in a long time. ‘Jack n Jill’ opened the show with typical Si wide eyed and flamboyant moves, followed by the immensely popular ‘Coupe DeVille’. There was a deep love for the bang up to date theme and twist ‘n’ shouter ‘Tweet on Twitter’, and the must-do’s ‘Lonesome Heart Bandit’ and ‘Ella Hula Hula’. The latter song encouraged the audience to join in although those near to us, had far too many ‘Ellas’ and not enough ‘Hula Hulas’.
I guess there would have been a lynching if he hadn’t performed the song that propelled him to the notoriety, he has today, and ‘Dynamo’ duly blew the roof off. An immensely popular opening act for many.
Shanda and the Howlers
Next up, Wild Records’ Shanda and the Howlers, from Las Vegas, making their debut not only at the Rhythm Riot, but in the UK. Their style is very much a soulful Rhythm and Blues, with lead singer Shanda Cisneros, a powerpack on vocals, performing a lot of original material. Super start with a mid-tempo tune ‘Keep Telling Me’. Loving the embittered lyrics of ‘Don’t Need Your Love’ and the scolding chorus, enforced by the band joining in with the vocals.
‘Born With a Broken Heart’ could’ve been one of those lady blues shouters’ classics, and Shanda delivers the vocals in that style, making for a corking blues sound. ‘Li’l Operator’ was super smooth, and their version of the Sonics’ ‘Shot Down’ retained the full force of the original. ‘She Don’t Want a Man’ had stuck in my head from the time I heard it until writing this. What did it sound like? Yes, finally. It had the resonance of ‘Do I Love You (Indeed I Do). A great set, readers. Click on the gallery images below for full sized pics readers
‘Born With a Broken Heart’ could’ve been one of those lady blues shouters’ classics, and Shanda delivers the vocals in that style, making for a corking blues sound. ‘Li’l Operator’ was super smooth, and their version of the Sonics’ ‘Shot Down’ retained the full force of the original. ‘She Don’t Want a Man’ had stuck in my head from the time I heard it until writing this. What did it sound like? Yes, finally. It had the resonance of ‘Do I Love You (Indeed I Do). A great set, readers. Click on the gallery images below for full sized pics readers
Pat Capocci
A one-two punch from Australia in the next two acts, starting with Pat Capocci, making a welcome return. Sharply dressed to the nines, this was another set choc full of original material, heavily reliant on Pat’s exceptional guitar work. Hold on to your hats people, here we go with the go-hard or go-home tempo of ‘Pantherburn Stomp’ from a release of the same name, it turns out from five bloomin’ years ago!
From that same release came the bluesy rocker ‘Warpath’ and the growling beat of ‘The Cobra’. ‘Hot Hot Heat’ and ‘Coming In Hot’ from Sleazy and Ruby Records 45s respectively made welcome appearances as did the Bo Diddley sounding ‘Delinquent Beat’ from as far back as ’09. A masterclass in fret wizardry from the New South Wales native.
From that same release came the bluesy rocker ‘Warpath’ and the growling beat of ‘The Cobra’. ‘Hot Hot Heat’ and ‘Coming In Hot’ from Sleazy and Ruby Records 45s respectively made welcome appearances as did the Bo Diddley sounding ‘Delinquent Beat’ from as far back as ’09. A masterclass in fret wizardry from the New South Wales native.
Scotty Baker
Aussie punch two, Scotty Baker, a regular visitor to these shores, but a first timer not only at the Rhythm Riot, but also out of summer time.
Recovering from a heavy cold, nay say I, maybe even the dreaded ‘man-flu’, he’d got the moniker of ‘Snotty’ Baker from sax player Kenny Tomlinson, with whom he’d been staying. This show from Scotty, reflected him taking on the Rhythm Riot raison d’etre, featuring piano and sax, and the more bluesy sounds from his record releases.
We started out with ‘Move to the City’, a recounting of reasons to depart from the country and go where it’s all happening. Ironically a couple of songs later, it was ‘Move Back to the Country’, a kind of answer song if you will. ‘Baby’s Dress’, I don’t think I’ve heard live, and the ponderous ‘Cadillac Girls’, about odd looking guys with beautiful girls, was a welcome addition. As per normal, the Doel Brothers backed Scotty, well, Gordon on drums and David on lead guitar, Phil Morgan on steel, with Gary Boller upright bass, and guests Kenny Tomlinson on sax and Ezra Lee piano.
Unusually, we had a cover tune from Scotty, this time it was Elvis’ ‘Let Yourself Go’ from the movie, ‘Speedway’. ‘Ladykiller’ rocked out and many of the crowd got just what they wanted with the dancefloor winner ‘Pop the Question’. An ace show once again from Mr B.
Recovering from a heavy cold, nay say I, maybe even the dreaded ‘man-flu’, he’d got the moniker of ‘Snotty’ Baker from sax player Kenny Tomlinson, with whom he’d been staying. This show from Scotty, reflected him taking on the Rhythm Riot raison d’etre, featuring piano and sax, and the more bluesy sounds from his record releases.
We started out with ‘Move to the City’, a recounting of reasons to depart from the country and go where it’s all happening. Ironically a couple of songs later, it was ‘Move Back to the Country’, a kind of answer song if you will. ‘Baby’s Dress’, I don’t think I’ve heard live, and the ponderous ‘Cadillac Girls’, about odd looking guys with beautiful girls, was a welcome addition. As per normal, the Doel Brothers backed Scotty, well, Gordon on drums and David on lead guitar, Phil Morgan on steel, with Gary Boller upright bass, and guests Kenny Tomlinson on sax and Ezra Lee piano.
Unusually, we had a cover tune from Scotty, this time it was Elvis’ ‘Let Yourself Go’ from the movie, ‘Speedway’. ‘Ladykiller’ rocked out and many of the crowd got just what they wanted with the dancefloor winner ‘Pop the Question’. An ace show once again from Mr B.
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To top off what had been a sublime Saturday, it was Ray Collins Hot Club, from Germany. We’ve seen them good; we’ve seen them great, and then there was this show. Here we were at 1am and the hall was packed out, as the lads hit the high and goldens with their latest track, ‘Seven Years in a Coffin’. You know what you’ll get with a Ray Collins show, a bouncing jazzy jumping and jiving sound with the brass section all playing at the same time producing the phattest sound.
To the afore mentioned track. This saw Ray Collins on banjo, during three and a quarter minutes of wonderment that had the house jumping from the first bars. The party continued with the bob-up-and-down beat of ‘Week Party’, the fast and wild ‘Young and Wild’ and the allegro spring of ‘1 to 5 Jive’ and ‘Gina’. The crowd were all over this show, with the rhythmic boinging, noticeably moving the floor up and down.
Although every track they’ve recorded, and indeed played, could be described as a classic, there are tunes that resonate just that little bit more with the UK audience. One such song is ‘The Shit’, a hilarious ditty about, well you work it out, a dance maybe? It seemed that the show was over so quickly, with the finale of ‘Barefoot’. Now it wasn’t going to end there was it, and back they came for a three-song encore.
The place came unglued as the opening bars of ‘Bye Bye Paris’ started, followed by ‘I’m in the Blue’ and the force of nature that is ‘Knockout’. An outstanding show to conclude an outstanding night’s entertainment, which promised so much, and delivered so much more.
To the afore mentioned track. This saw Ray Collins on banjo, during three and a quarter minutes of wonderment that had the house jumping from the first bars. The party continued with the bob-up-and-down beat of ‘Week Party’, the fast and wild ‘Young and Wild’ and the allegro spring of ‘1 to 5 Jive’ and ‘Gina’. The crowd were all over this show, with the rhythmic boinging, noticeably moving the floor up and down.
Although every track they’ve recorded, and indeed played, could be described as a classic, there are tunes that resonate just that little bit more with the UK audience. One such song is ‘The Shit’, a hilarious ditty about, well you work it out, a dance maybe? It seemed that the show was over so quickly, with the finale of ‘Barefoot’. Now it wasn’t going to end there was it, and back they came for a three-song encore.
The place came unglued as the opening bars of ‘Bye Bye Paris’ started, followed by ‘I’m in the Blue’ and the force of nature that is ‘Knockout’. An outstanding show to conclude an outstanding night’s entertainment, which promised so much, and delivered so much more.
Mischief!
Spinning class. The glue by which the Rhythm Riot keeps the ballroom dancefloors chocca, is the DJs and the sets they spin. I’ll flag up those we saw/heard/experienced, right from when Vanessa started the whole event upstairs, and indeed finished it on Sunday. Dispatch style mentions also for Rob Popp, Tiger Terry, Jaycee, Moon, Jimmy Guntrip, Blip Blop, Lucky LaRocka, Poor Boy Paul and Jumpin’ Jim. Excellent stuff peeps
What’s this? Sunday already? Can’t be. Yes, here we are for the final night at the Riot, and after a breathless two hour set from Jumpin’ Jim, Dutch trio Mischief! kicked things off. Brothers, Daze and Pat van der Erf, on guitar and bass respectively, plus Richard Verhule on drums, performed a highly energised and visual show which was an absolute delight to be around.
There’s something about when brothers (or sisters, no gender preference) perform vocal harmony, it just has that something extra. A perfect example would have been the opening number ‘Sweet Lovin’ Kind’, an original composition from a 2002 release. It’s short and sweet and really rocks. The show isn’t completely reliant on harmony, with both brothers taking individual vocals, for example on Keith Coverdale’s ‘Trapped Love’ and Al Ferrier’s ‘Blue Stop Knocking at my Door’.
Then there’s the visual side of the show, as Daze leaps, bounds and dances while somehow plays exceptional guitar solos at the same time. The crackers kept coming, with Don and Dewey’s ’57 Speciality cut, ‘I’m Leaving It All Up To You’ (ok who out there thinks of Donny and Marie?), Guy Mitchell’s ‘Heartaches by the Number’, Rusty and Doug’s ‘Hey Mae’ and Ray Charles’ ‘This Little Girl of Mine’, in the Everly’s style all nudging for top billing. Daze’s ‘Grow Up’ has laugh out loud lyrics too, as well as a super beat.
At the end of a hugely popular set, they were back again for a particular favourite of this author’s, ‘Hello Blues’. An outstanding show
Gallery photos below readers, click on them for full sized pics.
What’s this? Sunday already? Can’t be. Yes, here we are for the final night at the Riot, and after a breathless two hour set from Jumpin’ Jim, Dutch trio Mischief! kicked things off. Brothers, Daze and Pat van der Erf, on guitar and bass respectively, plus Richard Verhule on drums, performed a highly energised and visual show which was an absolute delight to be around.
There’s something about when brothers (or sisters, no gender preference) perform vocal harmony, it just has that something extra. A perfect example would have been the opening number ‘Sweet Lovin’ Kind’, an original composition from a 2002 release. It’s short and sweet and really rocks. The show isn’t completely reliant on harmony, with both brothers taking individual vocals, for example on Keith Coverdale’s ‘Trapped Love’ and Al Ferrier’s ‘Blue Stop Knocking at my Door’.
Then there’s the visual side of the show, as Daze leaps, bounds and dances while somehow plays exceptional guitar solos at the same time. The crackers kept coming, with Don and Dewey’s ’57 Speciality cut, ‘I’m Leaving It All Up To You’ (ok who out there thinks of Donny and Marie?), Guy Mitchell’s ‘Heartaches by the Number’, Rusty and Doug’s ‘Hey Mae’ and Ray Charles’ ‘This Little Girl of Mine’, in the Everly’s style all nudging for top billing. Daze’s ‘Grow Up’ has laugh out loud lyrics too, as well as a super beat.
At the end of a hugely popular set, they were back again for a particular favourite of this author’s, ‘Hello Blues’. An outstanding show
Gallery photos below readers, click on them for full sized pics.
Ezra Lee
From there, it was forty-five minutes of pounding piano Australian style, from Ezra Lee. A flamboyant performer, decked out in his personalised brown jacket and gold tassels. This was another pacey a raucous set, with acrobatics and climbing over the stage. With all the visuals though, he also displays a considerable talent for the music and delivery, be it a slower number like ‘Rocket 88’ or the rattling duet with Bill Renwick (on the same piano), swapping from lower keys to higher keys as they went.
There was also a cool vibe with his band’s take on ‘Goofin’ Around’, featuring the guitar skills of Brandon Ashington (from Rampage) which was followed by a rollin’ tune ‘My Baby Wants To Rock ‘n’ Roll All Night’ and a bluesy rocker ‘Coal Fired Man’ showcasing the guest sax wizard Kenny Tomlinson. Almost ad-libbing Ezra then shifted to ‘Red Centre Rock’ which did exactly that. We had an interesting recounting of how Ezra spent all of two weeks working in an abattoir, before becoming a ‘Rock n Roll Piano Man’. He also paid tribute to one of his major influences, Merrill E Moore, by playing his 1952 country boogie number ‘Red Light’ to conclude a breathless set.
There was also a cool vibe with his band’s take on ‘Goofin’ Around’, featuring the guitar skills of Brandon Ashington (from Rampage) which was followed by a rollin’ tune ‘My Baby Wants To Rock ‘n’ Roll All Night’ and a bluesy rocker ‘Coal Fired Man’ showcasing the guest sax wizard Kenny Tomlinson. Almost ad-libbing Ezra then shifted to ‘Red Centre Rock’ which did exactly that. We had an interesting recounting of how Ezra spent all of two weeks working in an abattoir, before becoming a ‘Rock n Roll Piano Man’. He also paid tribute to one of his major influences, Merrill E Moore, by playing his 1952 country boogie number ‘Red Light’ to conclude a breathless set.
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A band new to us was up next, from Forli, Italy, the Lucky Lucianos. I know you shouldn’t judge a book by its cover any more than you should judge a band by their attire, but I was thinking Haley or Jimmy Cavello maybe. Not far out (shines finger nails on shirt), however there were some fantastic surprises in store.
The band members are (apparently) Lucky Luciano playing electric bass and vocals. Darry Luciano on vocals, acoustic guitar, drummer Sonny Luciano, with Tony Luciano on guitar, Mickey Luciano, on piano and (are you getting a pattern here readers) Jimmy Luciano blowing up a storm on tenor saxophone. They opened up with ‘Rimini Rock n Roll’ and followed that with a hopped version of the Capris ‘There’s a Moon Out Tonight’.
It seemed a little odd with a band from Italy, performing British Rock n Roll sounds like the King Brothers’ ‘6-5 Jive’ and Tony Crombie’s ‘London Rock’, plus Haley’s ‘Rock Lomond’. Don’t misinterpret this, readers, the combination and fusion worked extremely well, and the house was rocking throughout. Lucky, announced they were going to perform a song he wrote in ’97 when the Good Fellas ‘met’ Ray Gelato. ‘Pasquale Americano’ now a well-established dance floor classic in our clubs, sounded simply superb.
One of their inspirations, the Treniers, influenced another choice, the mid-tempo handclapping beat of, appropriately ‘Rockin’ on a Sunday Night’. Just a few of the wonderful party the Lucky Lucianos invited everyone to, and we were all glad to attend.
The band members are (apparently) Lucky Luciano playing electric bass and vocals. Darry Luciano on vocals, acoustic guitar, drummer Sonny Luciano, with Tony Luciano on guitar, Mickey Luciano, on piano and (are you getting a pattern here readers) Jimmy Luciano blowing up a storm on tenor saxophone. They opened up with ‘Rimini Rock n Roll’ and followed that with a hopped version of the Capris ‘There’s a Moon Out Tonight’.
It seemed a little odd with a band from Italy, performing British Rock n Roll sounds like the King Brothers’ ‘6-5 Jive’ and Tony Crombie’s ‘London Rock’, plus Haley’s ‘Rock Lomond’. Don’t misinterpret this, readers, the combination and fusion worked extremely well, and the house was rocking throughout. Lucky, announced they were going to perform a song he wrote in ’97 when the Good Fellas ‘met’ Ray Gelato. ‘Pasquale Americano’ now a well-established dance floor classic in our clubs, sounded simply superb.
One of their inspirations, the Treniers, influenced another choice, the mid-tempo handclapping beat of, appropriately ‘Rockin’ on a Sunday Night’. Just a few of the wonderful party the Lucky Lucianos invited everyone to, and we were all glad to attend.
the ruth brown show
Shanda Cisneros with the Velvet Candles
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Sister Susie
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Lily Moe
The final show for the Rhythm Riot, was a Ruth Brown tribute show. We’ve had tributes for the likes of Pee Wee King and Tennessee Ernie Ford in the past that have been top drawer. This one however, I think, topped those. The personnel, for the record, was the Revolutionaires providing the backing, the Velvet Candles supplying backing and harmony vocals, with five ladies performing Ruth Brown songs. They were Shanda Cisneros, Sister Suzie, Lily Moe, Lil Miss Mary and Tammi Savoy.
I did think about listing each lady’s trio of songs, but that would have been like some kind of role call. However, each vocalist excelled with their choices, Shanda, taking on ‘I Don’t Know’ among her songs. Perfectly pitched vocally. Sister Suzie, if ever a Ruth Brown song was written, that fits in with Suzie’s style, it’s ‘Why Me’. It’s got sass and sauce, just like her delivery.
Lily Moe provided more brilliance next with the ‘Candles, and ‘Bye Bye Young Men’. This sent a shiver up the spine; it was so close to the real thing. Lil Miss Mary provided my favourite Ruth track, ‘Teardrops From My Eyes’, while ‘I Wanna Do More’ was the pick of a highly impressive bunch from Tammi Savoy. All five returned, with the Velvet Candles for the finale, a kick ar*e beauty ‘As Long as I’m Moving’.
Sublime musical backing, perfect harmony vocals and five ladies whose vocal delivery was perfectly matched to the songs they sang. A smashing show to end what was one of the best Rhythm Riots we’ve been to (and in June’s case, that would be all of them!
I did think about listing each lady’s trio of songs, but that would have been like some kind of role call. However, each vocalist excelled with their choices, Shanda, taking on ‘I Don’t Know’ among her songs. Perfectly pitched vocally. Sister Suzie, if ever a Ruth Brown song was written, that fits in with Suzie’s style, it’s ‘Why Me’. It’s got sass and sauce, just like her delivery.
Lily Moe provided more brilliance next with the ‘Candles, and ‘Bye Bye Young Men’. This sent a shiver up the spine; it was so close to the real thing. Lil Miss Mary provided my favourite Ruth track, ‘Teardrops From My Eyes’, while ‘I Wanna Do More’ was the pick of a highly impressive bunch from Tammi Savoy. All five returned, with the Velvet Candles for the finale, a kick ar*e beauty ‘As Long as I’m Moving’.
Sublime musical backing, perfect harmony vocals and five ladies whose vocal delivery was perfectly matched to the songs they sang. A smashing show to end what was one of the best Rhythm Riots we’ve been to (and in June’s case, that would be all of them!
Lil Miss Mary
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Tammi Savoy
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Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please do not copy and paste articles or parts of articles to your websites without asking us first. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome, although preferably not the proposal we received from one responder! Anatomically I just don't bend that way!. Keep up to date with us here, or on our various platforms:-
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Cheers 'til next month
Andrew and June
Next month:- Our review of the Hicksville Bombers at Letchworth, Rusti Steel and the Startones plus Mischief! at the Starfighter Club in Norfolk among others. We have future interviews planned with Mischief! and Frankie Riedell of the Honkabillies. All that plus CD reviews featuring Cookin Jack Fats & the Chimney Stacks and, the Belascos, and much more
In the meantime, a very Merry Christmas and a Happy New Year to all our readers and supporters from June and
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. Many thanks
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please do not copy and paste articles or parts of articles to your websites without asking us first. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome, although preferably not the proposal we received from one responder! Anatomically I just don't bend that way!. 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]
Cheers 'til next month
Andrew and June
Next month:- Our review of the Hicksville Bombers at Letchworth, Rusti Steel and the Startones plus Mischief! at the Starfighter Club in Norfolk among others. We have future interviews planned with Mischief! and Frankie Riedell of the Honkabillies. All that plus CD reviews featuring Cookin Jack Fats & the Chimney Stacks and, the Belascos, and much more
In the meantime, a very Merry Christmas and a Happy New Year to all our readers and supporters from June and
