The Bettajive Review Magazine #50
Welcome to the 50th Bettajive Review Magazine. Full of your favourite rockin features, this month we feature a comprehensive review of Hemsby 71 (including the Mystery Train Riders pictured above), The Firebirds at Chesterfield, The Rimshots and the usual jolliness that is the Bettajive Review.
This magazine operates through advertising and donations. If you would like to donate, please do so using the button below. Many thanks
This magazine operates through advertising and donations. If you would like to donate, please do so using the button below. Many thanks
the bettajive review
Squeeeeeze. Strangely enough, this article starts ahead of our Hemsby review. Over the years, we have met so many people from overseas attending weekenders, and are often marvelled by how they pack. A couple we know from Spain, always look pristine, with the sharpest vintage clothing and perfectly coiffured hair. Her make up is deftly applied and he has the perfect slick in his hair. And all this out of two fairly modest sized cases, over four days and nights!!
Us, on the other hand, used to take so much in our car, there was just about room for June (provided she did the windscreen gurn!). Good grief, we had so much stuff one year, we had to take our van! The Rave and the Riot added an extra day to their weekenders some time ago, which threw a wonderful spanner in the works. An extra day! Yay! Thing is, we need extra outfits…..
Now, we have two pretty darn large cases, and no matter how well and flat the contents are laid, they seem to breed and fill it up to the top before we were half way packed. After all, you can never have too many pants, you might have to change them six times a day. Therefore, twenty-four pairs, but let’s make it up to a quarter of a century. Twenty five, that should do. Towels! Towels? Do they have towels? Let’s look at Viv’s FAQs on Facebook. They don’t supply towels, Ahooga horns sound, lights flash everywhere, as towels line the bottom of each case.
Evening outfits, most important (if you’re a bit of a tart like me). I get them all set up and then pack them. Oh, but what if I fall out the a*se of a pair of trousers, or buttons zing off the shirts. Better pack some more trousers and shirts. And daytime stuff as well, T-shirts, but what if it’s cold? Long sleeved shirts as well, plus Gab jackets in case. Oh, and a coat. Wait a minute, where are the shoes? Four pairs of nighttime shoes, a pair of boots, a pair of slip-ons for the times I can’t be a*sed to do laces up. And that’s just me!
There’s June’s dresses, skirts, swing trousers in case the dancing in the afternoon is hot, plus the equal number of undergarments to mine. Cardigans, light coat, big coat. And spares!
Once everything was forced in, we’d have to try and zip the cases up. Usually this was an inch at a time, and after the puffer feature to increase capacity in the case had been deployed. Even the pro Wrestling tag team moves of bouncing off the ropes and jointly elbow dropping the lids, or flying moonsault splash from the top of the wardrobe, didn’t seem effective. All for a ‘zip-zip-zip’, gnat’s knacker at a time, attempt to do it up.
The two tons of schmutter are then conveyed downstairs with a rhythmic thud from one stair to the next, with our neighbours expecting and accompanying ‘Fi Fy Fo Fum’ chant. A final knee up into the car, and fifteen minutes bronchial wheezing, and it’s back for the next one. Of course, when we arrive at the venue, and undo the zip, ‘KABOOM!’ as the clothes all make an explosive and colourful bid for freedom, pinning us down on the floor.
Then there’s all the food. We are going for, what amounts to, a long weekend, not to explore the seven seas, but somehow we manage to breast stroke our way through several tubes of Doritos®* , a trio-pack of cow biscuits and several pots of tea, before actually unpacking in the chalet. Day time food, main meals, anything to eat in between, there’s enough to satisfy an armada. Here’s a conundrum. At the end of the weekender, once all the food has been scoffed, and the drink imbibed, how come there’s still no room in the car on the way home. It is a task though, you look for something nutritious, sustaining and above all, quick to get ready. Have a look in the celebrity cook books that recommend ‘quick and easy’ meals to make. One suggests ‘Pan fried breast of Ptarmigan, with a Glenfiddich cream sauce, and seasonally steamed vegetables’ and you’ve got a spud and tin of Alphabetti Spaghetti in your pantry. Therefore ‘ping surprise’ anyone? Nothing says nutrition like the sound of a fork piercing the film on a meal for the ‘mee-cora-wavey’ 😊
Winter weekenders often meant we subsidised the heating with our own fan heater, plus taking our own ironing board and iron. These always vibrate together in the back of the car, but never when you set off, oh no, they wait for their metallic rhythm until you’re on a main road and can’t pull over!
Since the upgrading of sites and accommodation at Hemsby, the Rave and Riot moving to Great Yarmouth, the basics like bed linen are actually pleasant to use. It always made me smile how many well-hard, devil-may-care, bring on the beer, only a T-shirt in winter Rockabillies, came stomping into the old sites, with their own bedding
So, we decided a couple of years ago that we needed to reduce the amount of ‘stuff’ we took. Reduce those shirts Andrew, it’s four nights and three days, you don’t need fifteen shirts. And I did! I left one at home ;). No, we both made a concerted effort, taking just enough meals, just enough clothes, and now there’s less need for big CD players, a phone and a boombar, does it for ambient sounds in the chalet. Sorry not sorry vinyl addicts, we don’t carry a Dansette record player, to plug in to the ceiling fitting (cor bloody hell, you ain’t rockin’).
The result? After a fine-tooth comb approach to packing for a weekender, right down to the minutiae of each tie bar and necklace, June can now sit back in the passenger seat, and I can just about see out the back window.
But still nowhere near two small cases. Those overseas visitors, how do they do it? *shakes head slowly*
Us, on the other hand, used to take so much in our car, there was just about room for June (provided she did the windscreen gurn!). Good grief, we had so much stuff one year, we had to take our van! The Rave and the Riot added an extra day to their weekenders some time ago, which threw a wonderful spanner in the works. An extra day! Yay! Thing is, we need extra outfits…..
Now, we have two pretty darn large cases, and no matter how well and flat the contents are laid, they seem to breed and fill it up to the top before we were half way packed. After all, you can never have too many pants, you might have to change them six times a day. Therefore, twenty-four pairs, but let’s make it up to a quarter of a century. Twenty five, that should do. Towels! Towels? Do they have towels? Let’s look at Viv’s FAQs on Facebook. They don’t supply towels, Ahooga horns sound, lights flash everywhere, as towels line the bottom of each case.
Evening outfits, most important (if you’re a bit of a tart like me). I get them all set up and then pack them. Oh, but what if I fall out the a*se of a pair of trousers, or buttons zing off the shirts. Better pack some more trousers and shirts. And daytime stuff as well, T-shirts, but what if it’s cold? Long sleeved shirts as well, plus Gab jackets in case. Oh, and a coat. Wait a minute, where are the shoes? Four pairs of nighttime shoes, a pair of boots, a pair of slip-ons for the times I can’t be a*sed to do laces up. And that’s just me!
There’s June’s dresses, skirts, swing trousers in case the dancing in the afternoon is hot, plus the equal number of undergarments to mine. Cardigans, light coat, big coat. And spares!
Once everything was forced in, we’d have to try and zip the cases up. Usually this was an inch at a time, and after the puffer feature to increase capacity in the case had been deployed. Even the pro Wrestling tag team moves of bouncing off the ropes and jointly elbow dropping the lids, or flying moonsault splash from the top of the wardrobe, didn’t seem effective. All for a ‘zip-zip-zip’, gnat’s knacker at a time, attempt to do it up.
The two tons of schmutter are then conveyed downstairs with a rhythmic thud from one stair to the next, with our neighbours expecting and accompanying ‘Fi Fy Fo Fum’ chant. A final knee up into the car, and fifteen minutes bronchial wheezing, and it’s back for the next one. Of course, when we arrive at the venue, and undo the zip, ‘KABOOM!’ as the clothes all make an explosive and colourful bid for freedom, pinning us down on the floor.
Then there’s all the food. We are going for, what amounts to, a long weekend, not to explore the seven seas, but somehow we manage to breast stroke our way through several tubes of Doritos®* , a trio-pack of cow biscuits and several pots of tea, before actually unpacking in the chalet. Day time food, main meals, anything to eat in between, there’s enough to satisfy an armada. Here’s a conundrum. At the end of the weekender, once all the food has been scoffed, and the drink imbibed, how come there’s still no room in the car on the way home. It is a task though, you look for something nutritious, sustaining and above all, quick to get ready. Have a look in the celebrity cook books that recommend ‘quick and easy’ meals to make. One suggests ‘Pan fried breast of Ptarmigan, with a Glenfiddich cream sauce, and seasonally steamed vegetables’ and you’ve got a spud and tin of Alphabetti Spaghetti in your pantry. Therefore ‘ping surprise’ anyone? Nothing says nutrition like the sound of a fork piercing the film on a meal for the ‘mee-cora-wavey’ 😊
Winter weekenders often meant we subsidised the heating with our own fan heater, plus taking our own ironing board and iron. These always vibrate together in the back of the car, but never when you set off, oh no, they wait for their metallic rhythm until you’re on a main road and can’t pull over!
Since the upgrading of sites and accommodation at Hemsby, the Rave and Riot moving to Great Yarmouth, the basics like bed linen are actually pleasant to use. It always made me smile how many well-hard, devil-may-care, bring on the beer, only a T-shirt in winter Rockabillies, came stomping into the old sites, with their own bedding
So, we decided a couple of years ago that we needed to reduce the amount of ‘stuff’ we took. Reduce those shirts Andrew, it’s four nights and three days, you don’t need fifteen shirts. And I did! I left one at home ;). No, we both made a concerted effort, taking just enough meals, just enough clothes, and now there’s less need for big CD players, a phone and a boombar, does it for ambient sounds in the chalet. Sorry not sorry vinyl addicts, we don’t carry a Dansette record player, to plug in to the ceiling fitting (cor bloody hell, you ain’t rockin’).
The result? After a fine-tooth comb approach to packing for a weekender, right down to the minutiae of each tie bar and necklace, June can now sit back in the passenger seat, and I can just about see out the back window.
But still nowhere near two small cases. Those overseas visitors, how do they do it? *shakes head slowly*
|
|
|
Dot….dot. Best tracks in the world ever ever to bend your bully (ask your parents, kids) for this month are The Valentines’ ‘That’s It Man’, J. B. Lenoir’s ‘Mama Talk To Your Daughter’ and Ray Scott ‘We Need Love’…….. At a weekender recently, and being teetotal, I ought to used to being fleeced for what amounts to concentrate in water, but this one took the biscuit. Near the end of the night, I fancied a lemonade, so I asked for a half. As it was being poured, the barman said ‘£2.25’. ‘No I said, a half’. ‘Yes, £2.25’. It’s one of those that you just can’t stop telling people about. Thieving getts, even Dick Turpin wore a mask!.......*Other delta shaped, flavoured tortilla chips, are available……….. Him to her to him. Him (singing) “I’m eating burnt toast and drinking black black coffee, burnt toast and drinking black black coffee, burnt toast and black black coffee, that’s all she left for meeeee” *whispers* ‘nothing new there then arf arf’ Her:- ‘I heard that!’. Him (damage limitation) ‘Baby face, you got the cutest little baby face’. Her:- ‘So have you, bald as an egg and no teeth!’…….I had no idea readers, that all these years we’ve been listening to the Videos ‘Trickle Trickle’, that it was covered by The Manhattan Transfer. Indulge the oldies for a second young readers. You recall them peeps, ‘Chanson D’Amour’ (rat tee tat tee tat) just as many of us were getting into rockin’. Shocking, it was 1977, getting on for fifty bloody years!!......
Don't miss out on the Rockabilly Rave 2026. Tip top line up as always at Great Yarmouth. Click on the flyer for details
The Firebirds
All for the birds. Chesterfield Rock n Roll club brought a band in that was a stick on winner with the crowd, and many who had travelled several miles to the venue for the first time. Here were the Firebirds, returning after a number of years, with Jim Plummer on lead guitar and vocals, Ritchie Lorriman on bass and vocals and drummer Spencer Lingwood. Hang on, you might say, aren’t the Firebirds a four piece? Well this evening they were three quarters of it. Ask me no more, as I know not. There certainly was a party atmosphere in the hall as Andy B and Steve O got the floor moving with some fine 45’s.
You get good value in a Firebirds show, over twenty five songs of varying pace and rhythm, announcing themselves with ‘Two Timing Lover’. The segues haven’t changed a lot, with Ritchie’s jokes, old enough to have grown whiskers, jollying along between tunes (yes 1956, is just after five to eight, you get the picture). Back to the set, and the Gaylord’s ‘Ma Ma Marie’, that got them out, along with ‘Tonight’s the Night’ and Syd King’s ‘Purr Kitty Purr’.
A real variation in styles, was showcased in that first set. Two songs that demonstrate that perfectly, were ‘Perfidia’ from the Four Aces 1952 styled, English version, and the Stray Cats’ ‘Sexy and Seventeen’. ‘Gone Gone Gone’ morphed into ‘Shim Sham Shimmy’ , while a Lorriman original ‘She’s in Love’ was first class.
An instrumental near the end of set one, with ‘Saturday Night at the Duck Pond’ from the Cougars in 1963. Well that’s the version that came across here, it’s actually from 1875, and composed by Piotr Ilyich Tchaikovsky. The BBC, horrified at the sampling of Swan Lake, metaphorically crapped a blue light and banned it. No such militancy at Chezzy as that tune set up Eddie’s ‘Jeanie Jeanie Jeanie’ to close set one.
Set two picked up again, with a Rock n Roll crowd pleaser, ‘King of Love’, with another gear switch to the Videos’ ‘Trickle Trickle’ and the Belmonts’ ‘Such a Long Way’. For many, there are songs that the Firebirds ‘do’ that are a must, and ‘Dance Girl Dance’ is one such number, along with the strolling ‘Pledge of a Fool’. Here we go again with a mash up of styles, the King Brothers’ ‘Mais Oui’ and Jimmy Skinner’s ‘How Low Do You Feel’. ‘Rockabilly Man’ ended on a fairly breathless note, although the crowd wanted to hear their ‘go-to’ song. ‘My Foolish Heart’ is from a 1949 film of the same name, sung by Martha Mears. Since then it has been covered by a plethora of singers, from Frank Sinatra to Connie Francis to Rod Stewart. Most have been the slower jazz version; however this is a doo wop up-tempo jiver, that provided a fitting end to a very popular gig and a fine year at Chesterfield.
You get good value in a Firebirds show, over twenty five songs of varying pace and rhythm, announcing themselves with ‘Two Timing Lover’. The segues haven’t changed a lot, with Ritchie’s jokes, old enough to have grown whiskers, jollying along between tunes (yes 1956, is just after five to eight, you get the picture). Back to the set, and the Gaylord’s ‘Ma Ma Marie’, that got them out, along with ‘Tonight’s the Night’ and Syd King’s ‘Purr Kitty Purr’.
A real variation in styles, was showcased in that first set. Two songs that demonstrate that perfectly, were ‘Perfidia’ from the Four Aces 1952 styled, English version, and the Stray Cats’ ‘Sexy and Seventeen’. ‘Gone Gone Gone’ morphed into ‘Shim Sham Shimmy’ , while a Lorriman original ‘She’s in Love’ was first class.
An instrumental near the end of set one, with ‘Saturday Night at the Duck Pond’ from the Cougars in 1963. Well that’s the version that came across here, it’s actually from 1875, and composed by Piotr Ilyich Tchaikovsky. The BBC, horrified at the sampling of Swan Lake, metaphorically crapped a blue light and banned it. No such militancy at Chezzy as that tune set up Eddie’s ‘Jeanie Jeanie Jeanie’ to close set one.
Set two picked up again, with a Rock n Roll crowd pleaser, ‘King of Love’, with another gear switch to the Videos’ ‘Trickle Trickle’ and the Belmonts’ ‘Such a Long Way’. For many, there are songs that the Firebirds ‘do’ that are a must, and ‘Dance Girl Dance’ is one such number, along with the strolling ‘Pledge of a Fool’. Here we go again with a mash up of styles, the King Brothers’ ‘Mais Oui’ and Jimmy Skinner’s ‘How Low Do You Feel’. ‘Rockabilly Man’ ended on a fairly breathless note, although the crowd wanted to hear their ‘go-to’ song. ‘My Foolish Heart’ is from a 1949 film of the same name, sung by Martha Mears. Since then it has been covered by a plethora of singers, from Frank Sinatra to Connie Francis to Rod Stewart. Most have been the slower jazz version; however this is a doo wop up-tempo jiver, that provided a fitting end to a very popular gig and a fine year at Chesterfield.
|
|
|
D's Do. First record hop at Diamond D’s club in Garforth, near Leeds, featured guest DJs, the Rhythm Rooster, and up from London, Bop a Lena’s Ian Strop. Top tunes all night peeps. Turntable gremlins reduced playing 45s to one deck, however, with clever segues, the evening kept on rolling. During the stroller section, the instruction was for the ladies to ‘Carry on Strolling’, so I for one expected a Sidney James laugh or two, Kenneth Williams saying ‘Ooo Matron’ and Babs doing something saucy.
A club well worth a visit folks, check out Diamond D on social media
A club well worth a visit folks, check out Diamond D on social media
As usual, the Hemsby weekender is immensely popular and bookings are coming in thick and fast. To secure your booking, click the flyer for details
You've read about them in the article, now's your chance to catch up with them in the club environment, at Chesterfield. Click the flyer for details
|
And for the first half of 2026
|
hemsby #71
Our final biggie of the 2025, was another trip to Norfolk, and the 71st edition of Hemsby Rock n Roll Weekender. The now familiar and very conducive Richardson’s Holiday Park, plays host to the festivities, which once again, had sold out a considerable way ahead of time. Once again Bill Guntrip and his team had put on a massively diverse and varied line up of live acts, supported by a cohort of proficient DJs.
Razor Holler
It was quite an early start on the Friday evening, however the population in the main hall, swelled considerably with the arrival on stage of Razor Holler from the North West of England. Now an established three piece, they consist of Rusty Williams on lead vocals, rhythm guitar and (foot operated) percussion, Danny Ibison on lead guitar and occasional lead & backing vocals, with Helen Blank keeping it real on the upright bass and lead & backing vocals.
There are always favourites among a Razor Holler set, however, the opening track was one that was unfamiliar. Nevertheless, ‘Hoop Spinning Mama’ with it’s jaunty beat and bright lyrics, was a super start. It almost has a B52s feel to the delivery, which brought a smile to many. Some tip top covers rattled through, the likes of Jimmy Lloyd’s ‘Rocket in my Pocket’ and the pacy Jimmy Kirkland ’58 dancer ‘That’s the Way I Feel’. A cover from left field, that was a real delight, was the Ramones’ curio, ‘I Wanna Be Sedated’.
How about a brace of Webb Pierce country gems? Why not, with ace harmony in ‘I Ain’t Never’ and ‘Walking the Dog’, with a smashing take of Johnny Horton’s ‘Ole Slew Foot’. Another great pairing appeared later with two Geroge Jones tunes ‘The Race is On’ and the ‘shine-soaked sound of ‘White Lightning’. They write a decent song as well, with the jolly and humorous ‘Don’t Be So Picky’, and we hope one day to find a recording of ‘She Don’t Love Johnny Cash’.
Some cool harmony on Jimmy and Johnny’s ‘No More Crying the Blues’, before another left-field treat. Ian Dury and the Blockheads’ 1977 single (and subsequent appearance on the LP ‘New Boots and Panties’) ‘Sweet Gene Vincent’ at the time confused us kids a bit. Were they punks? Should we like it? As well as finding Gene at the same time, you can get the story of Gene’s life through the lyrics. Razor Holler took it and gave it their own spin to real acclaim, and the set reached a serious crescendo with the frantic ‘Bip Bop Boom’. Originally by Mickey Hawkes and the Night Raiders, it was a fitting close to a brilliant start to the weekend.
There are always favourites among a Razor Holler set, however, the opening track was one that was unfamiliar. Nevertheless, ‘Hoop Spinning Mama’ with it’s jaunty beat and bright lyrics, was a super start. It almost has a B52s feel to the delivery, which brought a smile to many. Some tip top covers rattled through, the likes of Jimmy Lloyd’s ‘Rocket in my Pocket’ and the pacy Jimmy Kirkland ’58 dancer ‘That’s the Way I Feel’. A cover from left field, that was a real delight, was the Ramones’ curio, ‘I Wanna Be Sedated’.
How about a brace of Webb Pierce country gems? Why not, with ace harmony in ‘I Ain’t Never’ and ‘Walking the Dog’, with a smashing take of Johnny Horton’s ‘Ole Slew Foot’. Another great pairing appeared later with two Geroge Jones tunes ‘The Race is On’ and the ‘shine-soaked sound of ‘White Lightning’. They write a decent song as well, with the jolly and humorous ‘Don’t Be So Picky’, and we hope one day to find a recording of ‘She Don’t Love Johnny Cash’.
Some cool harmony on Jimmy and Johnny’s ‘No More Crying the Blues’, before another left-field treat. Ian Dury and the Blockheads’ 1977 single (and subsequent appearance on the LP ‘New Boots and Panties’) ‘Sweet Gene Vincent’ at the time confused us kids a bit. Were they punks? Should we like it? As well as finding Gene at the same time, you can get the story of Gene’s life through the lyrics. Razor Holler took it and gave it their own spin to real acclaim, and the set reached a serious crescendo with the frantic ‘Bip Bop Boom’. Originally by Mickey Hawkes and the Night Raiders, it was a fitting close to a brilliant start to the weekend.
Alan Power and the Aftershocks
First up in the evening, over from Waterford, Ireland, Alan Power and the Aftershocks. These lads have been making waves on the Rock n Roll music circuit for a couple of years now. Alan takes lead vocals and rhythm guitar duties, with Jimmy Shields on lead guitar, Michael McGill on bass and Liam Ascott on drums. Their show nowadays is a much more immersive affair with audience participation wholeheartedly encouraged. They have the burgeoning exuberance of a band with years on their side, without melodies and songs getting lost in the enthusiastic stage show.
Since they announced their presence on the circuit, comparisons have been made with the young Elvis style. Well yes, many could say that, however despite the opening track being ‘Good Rockin’ Tonight’, it’s not all Elvis (nor some might say, is ‘Good Rockin’ Tonight’). Indeed, they took the crowd back to Louis Jordan’s 1945 jump blues gem ‘Caldonia’, and the frenetic rock n roll classic ‘Tutti Frutti’. There’s an instrumental the guys perform, that has a spaghetti western feel about it. It’s a smashing piece, that must have a title, and I’m sure social media types will metaphorically jump on my bones to tell me…..
Gear switching to Carl Perkins’ ‘Gone, Gone, Gone’ and some jazz from 1931. That was Cab Calloway’s call-and-answer ‘Minnie the Moocher’ involving the assembled thrill seekers at stage front. ‘When the Saints go Marching in’ mixed in another flavour before the encore, aptly named ‘Tear It Up’. A fitting end to a set that typified their style
Since they announced their presence on the circuit, comparisons have been made with the young Elvis style. Well yes, many could say that, however despite the opening track being ‘Good Rockin’ Tonight’, it’s not all Elvis (nor some might say, is ‘Good Rockin’ Tonight’). Indeed, they took the crowd back to Louis Jordan’s 1945 jump blues gem ‘Caldonia’, and the frenetic rock n roll classic ‘Tutti Frutti’. There’s an instrumental the guys perform, that has a spaghetti western feel about it. It’s a smashing piece, that must have a title, and I’m sure social media types will metaphorically jump on my bones to tell me…..
Gear switching to Carl Perkins’ ‘Gone, Gone, Gone’ and some jazz from 1931. That was Cab Calloway’s call-and-answer ‘Minnie the Moocher’ involving the assembled thrill seekers at stage front. ‘When the Saints go Marching in’ mixed in another flavour before the encore, aptly named ‘Tear It Up’. A fitting end to a set that typified their style
Big Sandy and the Flyrite Boys
We are very fortunate to have some exceptional talent on our circuit. Big Sandy and the Flyrite Boys are one such example, and regular visitors to our shores, with Hemsby one of their regular stops in the past thirty years. Last time he took the stage, he was under the weather, however this time he was right back on track. With an extensive back catalogue of original and instantly recognisable, latter day classics, crowds are guaranteed a top drawer show. Joining Big Sandy, who takes vocals and rhythm guitar, are Ashley Kingman on lead guitar, Ricky McCann back on drums for this show, and on bass, Russell Scott.
Many-a show has opened with ‘Heaven is the Other Way’, and this was no exception. From the highly regarded album ‘It’s Time’, it’s now shockingly over twenty two years old now. That was followed by another modern-day barn-burner, ‘Hold Me’ from 1991. Sharp eyed readers may well comment that this track was recorded by the original incarnation of Big Sandy and the Flyrite Trio, however the current line up presented a storming version themselves.
A switch of pace with the swing and sway timbre of ‘Spanish Dagger’, offset by the exceptional ‘Love That Man’. The well-known songs were often followed by ones that might have been off the radar for a while. An example would be the evergreen ‘Miss Tracy’ followed by ‘Hot Water’, a punchy rocker from 1989 (Flyrite Trio times). Another gimmie nowadays, is a Freddie Fender tribute, and the regular offering is ‘Before the Next Teardrop Falls’. This was recorded originally in 1974, and received the Country Music Association’s ‘Single of the Year’ award in 1975. It was sung in both English and Spanish throughout. Big Sandy, has the perfect vocal delivery to replicate this, and although the lyrics are more of a lament, the song is a joy to listen to.
One might even suggest the show was ‘Fine Fine, Superfine’, if you can grasp what I did there. That was originally the conclusion of the show, but of course they were never going to get away without performing ‘Chalk it up to the Blues’. This floor filling jiver ended a sublime show, vocally and musically.
Many-a show has opened with ‘Heaven is the Other Way’, and this was no exception. From the highly regarded album ‘It’s Time’, it’s now shockingly over twenty two years old now. That was followed by another modern-day barn-burner, ‘Hold Me’ from 1991. Sharp eyed readers may well comment that this track was recorded by the original incarnation of Big Sandy and the Flyrite Trio, however the current line up presented a storming version themselves.
A switch of pace with the swing and sway timbre of ‘Spanish Dagger’, offset by the exceptional ‘Love That Man’. The well-known songs were often followed by ones that might have been off the radar for a while. An example would be the evergreen ‘Miss Tracy’ followed by ‘Hot Water’, a punchy rocker from 1989 (Flyrite Trio times). Another gimmie nowadays, is a Freddie Fender tribute, and the regular offering is ‘Before the Next Teardrop Falls’. This was recorded originally in 1974, and received the Country Music Association’s ‘Single of the Year’ award in 1975. It was sung in both English and Spanish throughout. Big Sandy, has the perfect vocal delivery to replicate this, and although the lyrics are more of a lament, the song is a joy to listen to.
One might even suggest the show was ‘Fine Fine, Superfine’, if you can grasp what I did there. That was originally the conclusion of the show, but of course they were never going to get away without performing ‘Chalk it up to the Blues’. This floor filling jiver ended a sublime show, vocally and musically.
Dylan Kirk and the Killers
Some eight eight key pounding? Who’s your pick? Well probably up there with the best would be Dylan Kirk and the Killers. A heady mix of pumping piano tunes both old and new, and an unfamiliar line-up to the Killers, but the same high quality and high octane performance throughout. ‘I Need Your Love’ set the stall out with Mickey Gilley’s ‘Call Me Shorty’ (as in big cigar, Cadillac car and all that) drawing the crowd closer. The Big O’s ‘Move on Down the Line/ Go Go Go’, you choose, sounded truly authentic.
‘King of the Hop’, is an original composition by Axel Praefke (Cherry Casino). This is a smashing song, plenty of pace and a typical shout-back vocal. It’s almost the law that at some stage, there’s a nod to the Killer. With such an extensive back catalogue to choose from, Dylan selected on of the best in ‘High School Confidential’ from 1958. Another brace of notables followed with Roy Orbison/Elvis’ ‘Mean Woman Blues’ and Bo Diddley’s ‘Can’t Judge a Book’.
The set peaked with some typically speedy and frantic tunes, Ronnie Self’s ‘Bop a Lena’ and kicking take of Joe Clay’s ‘Sixteen Chicks’. What else would you expect?
‘King of the Hop’, is an original composition by Axel Praefke (Cherry Casino). This is a smashing song, plenty of pace and a typical shout-back vocal. It’s almost the law that at some stage, there’s a nod to the Killer. With such an extensive back catalogue to choose from, Dylan selected on of the best in ‘High School Confidential’ from 1958. Another brace of notables followed with Roy Orbison/Elvis’ ‘Mean Woman Blues’ and Bo Diddley’s ‘Can’t Judge a Book’.
The set peaked with some typically speedy and frantic tunes, Ronnie Self’s ‘Bop a Lena’ and kicking take of Joe Clay’s ‘Sixteen Chicks’. What else would you expect?
Want2Jive's dance class in the ballroom
Hemsby dot…dot. Best tracks in the world ever ever to put the ball in your ballroom for this Hemsby are ‘Sadie My Lady’ by the Drifters, ‘Dance by the Light of the Moon’ by the Olympics and Bob Luman’s version of ‘I Love You Because’……..OK people of a certain age, how many of you can’t hear the name Ray Allen, without saying ‘Damn silly arse’?.......Additional and inclusive for this Hemsby was the bigger and better attended jive class from Want2Jive. Everything from the basics to rock steps and something more advanced, presented by Dave and Louise, in a relaxed and educative sense……How good were the DJs this time out? Well, everyone hit the high spots in their sets, with excellent blends of popular and left-field stuff. Proof if it were needed that you don’t have to have a box of 45rpm obscurities, with a rare orange label, only issued in Nashville, to please a crowd. So, in no particular order, I give you Jumping Jimmy Taylor, Simon Flintstone, Bill, Jimmy and George Guntrip, Skinny Jim, Pee Wee, Richie Guest and Geordie Paul……Once again, an impeccably observed Remembrance Service took place at 11am Sunday morning. Very well presented by Tony Roath, and a sombre, reflective and reverential silence was observed by everyone…….MC Spencer Evoy needs many plaudits. Erudite, articulate and humorous, and just the right amount of zhuzh to bring the acts on and ensure the show runs smoothly.
This magazine operates through advertising and donations. If you would like to donate, please do so using the button below. Many thanks
This magazine operates through advertising and donations. If you would like to donate, please do so using the button below. Many thanks
JS and the Lockerbillies
It’s always good to take in a band that we hadn’t seen before. J.S. and the Lockerbillies are a band from Ipswich, Suffolk, fronted by a charismatic vocalist, lead guitarist and harmonicarist (if that’s a word) in the shape of Josh Locke. He’s backed by a highly talented trio of musicians, drummer Rayna Vandell, bassist Murray Collins and on acoustic guitar, or keyboards, of sax, Rich Webb.
They mix up their original material with some well-known covers. And they hit the ground running with an original that really packed a punch. ‘Raise Some Hell’ has a rollocking beat and call-and-answer chorus. And immediately after that, as good a modern day rock-out as you’re likely to hear, ‘Rev It Up’. Loved the dark sounding rhythm to this, the petrol soaked lyrics, and the blistering guitar solo. I could imagine a band like the Johnny Burnette Trio having recorded ‘Playing With Fire’ it has that type of vibe to it.
A few covers, slotted in among the original material, like Chuck’s ‘Rock n Roll Music’, the Blasters/Shaky’s ‘Marie Marie’, the afore mentioned Johnny Burnette’s styled ‘Train Kept a Rollin’ and Fats’ ‘I’m Ready’, all hit the spot. Mingling with those tunes, more kickers like ‘Speak of the Devil’, and the string bending ‘Bad News’. And a dispatch style mention for ‘Party in My Head’ too. A first class introduction to this band, some pounding beats, supercool tempos and powerhouse vocals. What’s not to like?
They mix up their original material with some well-known covers. And they hit the ground running with an original that really packed a punch. ‘Raise Some Hell’ has a rollocking beat and call-and-answer chorus. And immediately after that, as good a modern day rock-out as you’re likely to hear, ‘Rev It Up’. Loved the dark sounding rhythm to this, the petrol soaked lyrics, and the blistering guitar solo. I could imagine a band like the Johnny Burnette Trio having recorded ‘Playing With Fire’ it has that type of vibe to it.
A few covers, slotted in among the original material, like Chuck’s ‘Rock n Roll Music’, the Blasters/Shaky’s ‘Marie Marie’, the afore mentioned Johnny Burnette’s styled ‘Train Kept a Rollin’ and Fats’ ‘I’m Ready’, all hit the spot. Mingling with those tunes, more kickers like ‘Speak of the Devil’, and the string bending ‘Bad News’. And a dispatch style mention for ‘Party in My Head’ too. A first class introduction to this band, some pounding beats, supercool tempos and powerhouse vocals. What’s not to like?
The Mystery Train Riders
The Mystery Train Riders have featured in the Bettajive Review on more than one occasion. They are a band whose reputation has been gathering momentum for sometime now. Chris Blakely is the enthusiastic front man, strumming the bejesus out of his acoustic rhythm guitar, backed by Dan Garland on lead guitar, Michael McGill on bass and sitting in on drums, the Firebirds’ Paul Wilmott.
The show sprung into life immediately with Elvis’ ‘Baby Let’s Play House’ and from ‘The Young Ones’ soundtrack, a tear-up of ‘We Say Yeah’. There was a slight easing off of the pace with a really reverential take of Charlie Gracie’s ‘Fabulous’ before we were off again to Eddie’s ‘Jeanie Jeanie Jeanie’. All this is set to the backdrop of Chris fervently bouncing around the stage, exuding confidence at every instrumental break.
The one instrumental that made the set list, has featured just about every time we have seen the band. Duane Eddy’s ‘Rebel Rouser’, from 1958, has a super twangy sound, perfectly replicated here. Song after song vied for the attention, Glenn Glenn’s ‘Blue Jeans and a Boy’s Shirt’ and ‘Everybody’s Movin’, Gene Summers’ ‘School of Rock n Roll’ and Joe Clay’s ‘Sixteen Chicks’. An interesting subject matter for one of their own songs, ‘Tumble Dryer Baby’, I wondered of the origin of that, whilst admiring the beat.
Of course we got Elvis’ ‘Mystery Train’, to end the set, with a rowdy demand they return. A bit of blues bopping to top it all of with Slim Harpo’s ‘Shake Your Hips’. Another classy set of tunes from the lads out of the North East.
The show sprung into life immediately with Elvis’ ‘Baby Let’s Play House’ and from ‘The Young Ones’ soundtrack, a tear-up of ‘We Say Yeah’. There was a slight easing off of the pace with a really reverential take of Charlie Gracie’s ‘Fabulous’ before we were off again to Eddie’s ‘Jeanie Jeanie Jeanie’. All this is set to the backdrop of Chris fervently bouncing around the stage, exuding confidence at every instrumental break.
The one instrumental that made the set list, has featured just about every time we have seen the band. Duane Eddy’s ‘Rebel Rouser’, from 1958, has a super twangy sound, perfectly replicated here. Song after song vied for the attention, Glenn Glenn’s ‘Blue Jeans and a Boy’s Shirt’ and ‘Everybody’s Movin’, Gene Summers’ ‘School of Rock n Roll’ and Joe Clay’s ‘Sixteen Chicks’. An interesting subject matter for one of their own songs, ‘Tumble Dryer Baby’, I wondered of the origin of that, whilst admiring the beat.
Of course we got Elvis’ ‘Mystery Train’, to end the set, with a rowdy demand they return. A bit of blues bopping to top it all of with Slim Harpo’s ‘Shake Your Hips’. Another classy set of tunes from the lads out of the North East.
Whiskey Jean and her Chasers
Literally stepping in at the last minute, for the Tex Speed Combo, was Whiskey Jean, with a her hastily assembled ‘Chasers’ consisting of Sherman Dakota on drums, Trevor Coveny on bass and taking the stage with seconds to go on lead guitar, Robert Hines. The urgency of the assembly of the musicians, was pretty soon forgotten as they presented a varied and accomplished set of tunes. Here’s an instant trio of rockers that caught the attention from the get-go, ‘Brenda Lee’s ‘Let’s Jump the Broomstick’ , a real rock-out to ‘Train Kept a’Rollin’ and ‘My Babe’.
Really good to hear an original in amongst the covers, with the John O’Malley and Sharon (Whiskey Jean) Thurston rocker, ‘Drink That Whiskey, Drink That Wine’. This is a powerful up-tempo tune with a super-cool bop beat. A seamless transition from Connie Francis’ ‘Stupid Cupid’ and Champion Jack Dupree’s ‘Shakin’ Mother For Ya’.
The hits kept coming, with George Jones’ lyrically moonshine soaked, ‘White Lightning’, and a vocally splendid take of ‘This Train (is bound for Glory)’. With it’s roots in the early 1920’s, and made famous by the likes of Sister Rosetta Tharpe, this version had all the rousing gospel inflection you’d expect. Make no bones about this show people, it wasn’t some cobbled together jam session, there was real attention to detail in the set list and it was very well performed.
Really good to hear an original in amongst the covers, with the John O’Malley and Sharon (Whiskey Jean) Thurston rocker, ‘Drink That Whiskey, Drink That Wine’. This is a powerful up-tempo tune with a super-cool bop beat. A seamless transition from Connie Francis’ ‘Stupid Cupid’ and Champion Jack Dupree’s ‘Shakin’ Mother For Ya’.
The hits kept coming, with George Jones’ lyrically moonshine soaked, ‘White Lightning’, and a vocally splendid take of ‘This Train (is bound for Glory)’. With it’s roots in the early 1920’s, and made famous by the likes of Sister Rosetta Tharpe, this version had all the rousing gospel inflection you’d expect. Make no bones about this show people, it wasn’t some cobbled together jam session, there was real attention to detail in the set list and it was very well performed.
John Lewis and his Trio
If you want your Rockabilly delivered with a side of Country Bop and Hillbilly, showcased with ace lead guitar work and a slightly maniacal fashion, the John Lewis your man. Here he was on the Hemsby stage once again, this time fronting the trio incarnation. The players alongside John, were Nick Whitfield on upright bass, Stuart McIllroy on keyboard and drummer Billy Duvall Roberts. The crowd were buzzing almost immediately as the show opened with ‘Flat Top Cat’. This peepy tune is a nod to Mac Curtis, and always gets the proverbial juices flowing.
There’s hardly a show featuring John Lewis, that doesn’t involve ‘Ramblin’ Man’. This Hank Williams lament, was originally released in 1951 and again posthumously, in ’53 (as a ‘B’ side). It details the tale of a man who will break a lover’s heart, and John has put his own stamp on it. The song starts very much like original, but throughout the tempo increases, to the song’s crescendo. Always an ace to play. The uber-smooth ‘Making Believe’ was an ivory tickling delight, and the scary lyrics of ‘Somebody Must Have Walked Over My Grave’ had a crazed edge to it.
A couple of covers followed with consummate takes of ‘Blue Moon Baby’ (Dave ‘Diddle’ Day or The Cramps, depending on how cool you want to be) and another Hank Williams corker, ‘You Win Again’. Another instrumental oddity, from a friend’s ‘catchphrase’ of years ago, followed. This kicking guitar picking tune, wonderfully titled ‘Where’s me ****ing Snouts’, had graced many a show for over twenty years now. The title track from the 2014 (!) album, ‘Sanity’ is vocally smooth, and ‘Chills and Fever’, the stick-on dancefloor stroller, upped the vocal volume once again. Another cover with a back story, the Jiants ‘Tornado’ popped up. This was the first song John performed with the Rimshots, and it had just the right amount of reverb here at Hemsby.
A rousing bopper ‘Knows Nothing’ and the criminal ‘Doing Time’ concluded a typically varied and top-drawer show. You’d expect nothing else from Curly, would you?
There’s hardly a show featuring John Lewis, that doesn’t involve ‘Ramblin’ Man’. This Hank Williams lament, was originally released in 1951 and again posthumously, in ’53 (as a ‘B’ side). It details the tale of a man who will break a lover’s heart, and John has put his own stamp on it. The song starts very much like original, but throughout the tempo increases, to the song’s crescendo. Always an ace to play. The uber-smooth ‘Making Believe’ was an ivory tickling delight, and the scary lyrics of ‘Somebody Must Have Walked Over My Grave’ had a crazed edge to it.
A couple of covers followed with consummate takes of ‘Blue Moon Baby’ (Dave ‘Diddle’ Day or The Cramps, depending on how cool you want to be) and another Hank Williams corker, ‘You Win Again’. Another instrumental oddity, from a friend’s ‘catchphrase’ of years ago, followed. This kicking guitar picking tune, wonderfully titled ‘Where’s me ****ing Snouts’, had graced many a show for over twenty years now. The title track from the 2014 (!) album, ‘Sanity’ is vocally smooth, and ‘Chills and Fever’, the stick-on dancefloor stroller, upped the vocal volume once again. Another cover with a back story, the Jiants ‘Tornado’ popped up. This was the first song John performed with the Rimshots, and it had just the right amount of reverb here at Hemsby.
A rousing bopper ‘Knows Nothing’ and the criminal ‘Doing Time’ concluded a typically varied and top-drawer show. You’d expect nothing else from Curly, would you?
Marcel Riesco
A (scary) number of years ago, this ‘kid’ with a voice like Roy Orbison, in his band, the Truly Lover Trio, wowed the Hemsby crowd in the ‘old’ ballroom. That ballroom is now the car park, but that ‘kid’, with his onyx black guitar, still makes regular visits to these shores and Hemsby in particular. He was backed by the highly accomplished Ray Allen Band, and leapt straight into action with a awesome version of Redd Stewart’s ‘Yes I’ve Come Back’. Bob Luman’s ‘This is the Night’ and Ronnie Love’s ‘Long Time, No Love’. An original Marcel composition ‘Because He Broke Your Heart’ had a super-smooth vocal presentation. It has all the hallmarks of a Big O track, with first class lyrics and vocals, with harmonies in the chorus taken up by Ray Allen. Another latter-day-classic from Marcel’s catalogue, is ‘Paper Heart’, a touching ballad that again has the Orbison sound down to a ‘t’.
A couple well selected and performed covers, slotted in among the originals. Hickory Records’ Al Terry recorded ‘Watchdog’ in 1960, a tale of the requirements of an owner to a dog he wants to keep an eye on a flirtatious partner. The vocals on both the original and Marcel’s live show, are presented in an almost tongue-in-cheek fashion, to great effect. Then onto a floor filling bopper, and some blues, with Jay Swann’s pleading ‘You Don’t Love Me’.
Back on to the originals with the stirring tempo of ‘Oh Yeah’ and ‘Wild Kisses’ before the finale brace of beauties ‘Let’s Get Goin’ from the Morgan Twins and Lee Dresser’s ‘El Camino Real’. With his own ‘Dragging Since You’ve Been Gone’ and Roy Orbison’s ‘Cat Called Domino’ seemingly the end of the show, he was called back a second time, for a searing take of ‘Move on Down the Line’. Top drawer.
A couple well selected and performed covers, slotted in among the originals. Hickory Records’ Al Terry recorded ‘Watchdog’ in 1960, a tale of the requirements of an owner to a dog he wants to keep an eye on a flirtatious partner. The vocals on both the original and Marcel’s live show, are presented in an almost tongue-in-cheek fashion, to great effect. Then onto a floor filling bopper, and some blues, with Jay Swann’s pleading ‘You Don’t Love Me’.
Back on to the originals with the stirring tempo of ‘Oh Yeah’ and ‘Wild Kisses’ before the finale brace of beauties ‘Let’s Get Goin’ from the Morgan Twins and Lee Dresser’s ‘El Camino Real’. With his own ‘Dragging Since You’ve Been Gone’ and Roy Orbison’s ‘Cat Called Domino’ seemingly the end of the show, he was called back a second time, for a searing take of ‘Move on Down the Line’. Top drawer.
Toto and the Raw Deals
It's quite the story for Salvatore Marziano and Hemsby. From attending the weekender as a lad, to headlining on the main stage, fronting his band, Toto and the Raw Deals. Toto takes the lead vocals and rhythm guitar, with lead guitarist Sam French, Danny Brown on upright bass and behind the skins, Tony Hillebrandt. If you’re in the audience, and anywhere near the front of the stage, a Toto show is an explosive and very immersive experience.
Initially, there’s an instrumental segment, before Toto appears on the stage, immediately launching into ‘This Here Rocker’s Gone Country’. This is a fine, lyrically creative, song, set to a country rocking beat. It grabbed the attention of the crowd immediately. The covers throughout the show are well considered as well. Jim Croce’s ‘Don’t Mess Around With Jim’ for example. Croce was killed in a plane crash aged just 30. He left a fine legacy, and Toto took the afore mentioned track, and made it one of their mainstays in their shows. From America Folk-Rock through to the Blues and Sonny Boy Williamson’s ‘Polly Put Your Kettle On’. The 1947 ‘B’ side pays suitable reverence to the original harmonica soaked song, which has been a staple bop tune on the Rock n Roll circuit.
Some out and out Rockabilly with Charlie Feathers’ ‘Stutterin Cindy’ was tempered with a slice of Outlaw-Country. Sturgill Simpson’s ‘You Can Have the Crown’ is an almost desperate set of lyrics surrounding trying to make a living, or at the very basic level, get some cash. Add to that mix, Marty Stuart’s ‘Burn Me Down’ and Go Cat Go’s ‘Please Mama Please’ and you have an idea of the diversity and variation of a fine performance.
Initially, there’s an instrumental segment, before Toto appears on the stage, immediately launching into ‘This Here Rocker’s Gone Country’. This is a fine, lyrically creative, song, set to a country rocking beat. It grabbed the attention of the crowd immediately. The covers throughout the show are well considered as well. Jim Croce’s ‘Don’t Mess Around With Jim’ for example. Croce was killed in a plane crash aged just 30. He left a fine legacy, and Toto took the afore mentioned track, and made it one of their mainstays in their shows. From America Folk-Rock through to the Blues and Sonny Boy Williamson’s ‘Polly Put Your Kettle On’. The 1947 ‘B’ side pays suitable reverence to the original harmonica soaked song, which has been a staple bop tune on the Rock n Roll circuit.
Some out and out Rockabilly with Charlie Feathers’ ‘Stutterin Cindy’ was tempered with a slice of Outlaw-Country. Sturgill Simpson’s ‘You Can Have the Crown’ is an almost desperate set of lyrics surrounding trying to make a living, or at the very basic level, get some cash. Add to that mix, Marty Stuart’s ‘Burn Me Down’ and Go Cat Go’s ‘Please Mama Please’ and you have an idea of the diversity and variation of a fine performance.
The Sundown Boys
First live act on Sunday, were a familiar bunch, the Sundown Boys. Initially they were a three piece, consisting of Dan Morley on lead vocals and rhythm guitar, bassist Danny Brown and lead guitarist Scott Brown. More recently, they have added Curtis Doel on drums to add another dimension to their sound. They still retain the authenticity in their sound, however they’ve expanded their repertoire with a fuller sound on some songs.
An observation made from the stage was that they had played a very similar set every time they’d performed at Hemsby. So, they’d decided to mix up the flavours a bit and add some more material to an already impressive repertoire, opening up with Art Adams’ (Hemsby) classic ‘Rock Pretty Mama’. ‘One Cup of Coffee and a Cigarette’ made way for one of their own tunes ‘I’m Getting Wise’ from their debut single. They hit Carl Perkins’ ‘Tennessee’ perfectly and set out a rousing version of Johnny Burnette’s ‘Lonesome Tears in my Eyes’.
‘Lies’ is an original song that will be on an upcoming EP, along with ‘Too Good to be True’ which is a real beauty, as is ‘Sweet Boppin Baby’. That’s a release you need in your lives folks. Some of the covers that filled many boots, were ‘Pepper Hot Baby’, Al Ferrier’s ‘Blues Stop Knocking’ and a showstopper take of Alton and Jimmy’s ‘No More Crying the Blues’. Tommy Lam’s ‘Speed Limit’ initially closed the show, an ideal tear-up with the addition of drums, before the encore of Elvis’ ‘Just Because’. Outstanding show.
An observation made from the stage was that they had played a very similar set every time they’d performed at Hemsby. So, they’d decided to mix up the flavours a bit and add some more material to an already impressive repertoire, opening up with Art Adams’ (Hemsby) classic ‘Rock Pretty Mama’. ‘One Cup of Coffee and a Cigarette’ made way for one of their own tunes ‘I’m Getting Wise’ from their debut single. They hit Carl Perkins’ ‘Tennessee’ perfectly and set out a rousing version of Johnny Burnette’s ‘Lonesome Tears in my Eyes’.
‘Lies’ is an original song that will be on an upcoming EP, along with ‘Too Good to be True’ which is a real beauty, as is ‘Sweet Boppin Baby’. That’s a release you need in your lives folks. Some of the covers that filled many boots, were ‘Pepper Hot Baby’, Al Ferrier’s ‘Blues Stop Knocking’ and a showstopper take of Alton and Jimmy’s ‘No More Crying the Blues’. Tommy Lam’s ‘Speed Limit’ initially closed the show, an ideal tear-up with the addition of drums, before the encore of Elvis’ ‘Just Because’. Outstanding show.
The Ray Allen Band
Earlier in the weekend, the Ray Allen Band had ably backed Marcel Riesco. Now here they are in their own right on the Hemsby stage. Mathais Arnold is Ray Allen, taking lead guitar and lead vocals, with pianist Martin Wauer, on upright bass Gerd Vorwerk and drummer Sylvio Lau. This show had everything, some ace covers and top drawer original songs, a fine example of which ‘Blues Please Let Me Be, opened the show.
A delightful mid-tempo jaunt followed, ‘Walking Through the Mountains’, which sets up the likes of Sonny Burgess’ ‘Find My Baby For Me’. This 1957 Sun Rockabilly corker was replicated perfectly by Ray Allen’s band, and later in the set they brought another Burgess beauty to the fore. ‘Tomorrow Night’ is another top bopper from 1957, expertly presented. ‘Flip Flop and Bop’ is a lively and breezy instrumental by Floyd Kramer from 1958, ideal for Martin Wauer’s skills on the eighty-eight keys.
‘When Love’s Dead and Gone’ has a very genteel feel to it, ideal for the lamenting note of the lyrics. ‘Chains’ is a super Rockabilly number, which is also the title track of the 2025 album. Another couple of worthy covers, a storming version of the Jades’ ‘Blue Black Hair’, and a real peach ‘Rock a Bayou Baby’ by the Moonlighters from 1958. And top of all them, just a sublime take of Tommy Danton’s ‘Twenty-One’. A first class show from the German lads, the perfect blend of covers and splendidly conceived and composed.
A delightful mid-tempo jaunt followed, ‘Walking Through the Mountains’, which sets up the likes of Sonny Burgess’ ‘Find My Baby For Me’. This 1957 Sun Rockabilly corker was replicated perfectly by Ray Allen’s band, and later in the set they brought another Burgess beauty to the fore. ‘Tomorrow Night’ is another top bopper from 1957, expertly presented. ‘Flip Flop and Bop’ is a lively and breezy instrumental by Floyd Kramer from 1958, ideal for Martin Wauer’s skills on the eighty-eight keys.
‘When Love’s Dead and Gone’ has a very genteel feel to it, ideal for the lamenting note of the lyrics. ‘Chains’ is a super Rockabilly number, which is also the title track of the 2025 album. Another couple of worthy covers, a storming version of the Jades’ ‘Blue Black Hair’, and a real peach ‘Rock a Bayou Baby’ by the Moonlighters from 1958. And top of all them, just a sublime take of Tommy Danton’s ‘Twenty-One’. A first class show from the German lads, the perfect blend of covers and splendidly conceived and composed.
The Jive Aces
The final live show for the weekend, brought the brightness of the Jive Aces back to the Hemsby stage. In their traditional yellow suits the combination of Ian Clarkson (vocals, trumpet and ukelele), drummer Peter Howell, Ken Smith on upright bass, Vince ‘Il Proffesore’ Hurley bouncing around on piano, Alex Douglas on trombone, were also joined by Grazia Clarkson on accordion, Alex Bland deputising for John Fordhan on sax, plus guest vocalist, Charlotte Porter.
Formed in God’s own county of Essex in ’89, they are widely regarded as one of the world’s top swing jive bands. They’ve played before royalty, they’ve played in the Royal Albert Hall, and now they’re back at Hemsby! ‘Rockin’ is their Business’, aptly titled and set out their raison d’etre straight away, with the likes of ‘Good Rockin Tonight’ and ‘Boogie Woogie Country Girl’ keeping up the pace.
‘La Dolce Vita’ (The Sweet Life) is an original song by the band, with a gorgeous jazzy lilt, which sounds just like they’d found an unissued Louis Prima track and recorded it. Seriously folks, it’s that good, catchy and quirky throughout. ‘La Vie En Rose’ (Life in Pink loosely translated) is an Edith Piaf track from 1956, which she sang in her typically emotive, mezzo-soprano & unique tremolo, and chest clutching style. Would replicating this be the musical equivalent of spray painting a butterfly? Well actually readers, no. The Jive Aces brought Grazia, to instrumentally introduce the song on the accordion, before the hopped up lyrics kicked in. The lyrics have largely been adjusted and Anglicised, to make a real toe tapper of a tune.
As close to the edge of a Rockabilly song ‘Keeping the Show on the Road’ rocked and the ever-popular ‘Reet Petite’ added to the melting pot of styles. Introducing Charlotte Porter (Lincoln’s favourite daughter) they immediately wowed the crowd with an ace take of Brook Benton and Dinah Washington’s ‘Baby You Got What it Takes’. Then a procession of hits, that always make a Jive Aces show, Louis Prima’s ‘Just a Gigolo’, Sam Butera’s ‘Bim Bam’, and their own reworking of ‘Bring me Sunshine’, which had those worse for silly sauce replicating Eric and Ernie. Chuck in also Vince’s flying fingers on ‘Bumble Boogie’. And the climax, as always, had the entire ensemble bouncing to ‘Jump Jive and Wail’. A truly exceptional way to end another top drawer Hemsby weekend.
Massive congrats to Bill Guntrip and his team for another tip top Hemsby. As you read this review, the next event is selling fast and has another first class line up. Click on the flyer elsewhere in this issue for details, line up and booking info.
Gallery images below, click on them for full sized pictures
Formed in God’s own county of Essex in ’89, they are widely regarded as one of the world’s top swing jive bands. They’ve played before royalty, they’ve played in the Royal Albert Hall, and now they’re back at Hemsby! ‘Rockin’ is their Business’, aptly titled and set out their raison d’etre straight away, with the likes of ‘Good Rockin Tonight’ and ‘Boogie Woogie Country Girl’ keeping up the pace.
‘La Dolce Vita’ (The Sweet Life) is an original song by the band, with a gorgeous jazzy lilt, which sounds just like they’d found an unissued Louis Prima track and recorded it. Seriously folks, it’s that good, catchy and quirky throughout. ‘La Vie En Rose’ (Life in Pink loosely translated) is an Edith Piaf track from 1956, which she sang in her typically emotive, mezzo-soprano & unique tremolo, and chest clutching style. Would replicating this be the musical equivalent of spray painting a butterfly? Well actually readers, no. The Jive Aces brought Grazia, to instrumentally introduce the song on the accordion, before the hopped up lyrics kicked in. The lyrics have largely been adjusted and Anglicised, to make a real toe tapper of a tune.
As close to the edge of a Rockabilly song ‘Keeping the Show on the Road’ rocked and the ever-popular ‘Reet Petite’ added to the melting pot of styles. Introducing Charlotte Porter (Lincoln’s favourite daughter) they immediately wowed the crowd with an ace take of Brook Benton and Dinah Washington’s ‘Baby You Got What it Takes’. Then a procession of hits, that always make a Jive Aces show, Louis Prima’s ‘Just a Gigolo’, Sam Butera’s ‘Bim Bam’, and their own reworking of ‘Bring me Sunshine’, which had those worse for silly sauce replicating Eric and Ernie. Chuck in also Vince’s flying fingers on ‘Bumble Boogie’. And the climax, as always, had the entire ensemble bouncing to ‘Jump Jive and Wail’. A truly exceptional way to end another top drawer Hemsby weekend.
Massive congrats to Bill Guntrip and his team for another tip top Hemsby. As you read this review, the next event is selling fast and has another first class line up. Click on the flyer elsewhere in this issue for details, line up and booking info.
Gallery images below, click on them for full sized pictures
They've done it again at the Hot Rock n Boogie organisation. Check out their latest weekender, and get yourself booked in by clicking on the flyer
|
Racketeer Radio brings you the New Golden Age of Radio with over 20 scheduled radio programs from around the world, airing each week. Racketeer Radio features the longest running radio program on air, favorite radio programs from 1930s - 1950s as well as the latest programs in the vintage revival.Hear your favorite classics, along with the newest released tunes from Big Band, Swing, Jump Rhythm and Blues to Lounge, Rockabilly and More. In the Racketeer Radio App find News, Updates, Events and More, go to linktr.ee/RacketeerRadio
|
the rimshots double LP
|
|
The Rimshots – Hot Swingin’ Hillbilly Bop
LP review
I bet many picking up this LP for the first time, say, words to the effect of ‘Mine’s upside down’. Indeed, it is, depending on which side you are looking at. This double vinyl album on Atomic Cowboys Records, celebrates forty years of the Rimshots, as a band. Forty years of lead singer and rhythm guitarist John Lewis, lead guitarist Rob Nedin, Tony Biggs on bass and drummer Mark Kemlo. The double LP is limited edition to 500 copies, all hand numbered
The first album is from the Rockhouse Records release of 1993, and the first time on vinyl. It’s a mix of original tracks and some covers, with John having written the opening track ‘I Don’t Care’, a mid-paced classy Rockabilly sound. ‘Saving all my Money’ he co wrote with Tony Biggs, adding little more zip to the tempo. ‘Dirty Deal’ has a call-and-answer style to it, and very much in the Charlie Feathers mould, vocally and musically. Johnny Burnette’s haunting ‘Midnight Train’, basically a lament about prison, a popular combination of subject matter from the 40’s & 50’s, is the first cover.
Trying desperately to avoid comparisons with the actual geological fissure in the earth’s crust, ‘Volcano’ is an eruption (there, I did try) of vocals and sound. A true rocker if you’ve ever heard one. ‘Crazy Fool’ reigns it in a bit, with some super country harmonies and a corking guitar break, before side one concludes with a Rockabilly classic, ‘Mad at You’. Written by Mack Self and Charlie Feathers, the ‘shots version pays suitable vocal homage to the original.
Side two starts with another instantly recognisable Sun beauty in Jack Earls’ ‘Crawdad Hole’ with another original ‘Cold Sweat’ following right behind. Then a real tear up, recounting the high octane ‘Boppin’ High School Baby’ to great effect. Slowing things right down next, with the intriguingly titled ‘I Hope My Brain Still Works the Same’, and the jaunty lilt of ‘Tart’ is quite intriguing. ‘I’m Gone’ has some Burlinson-like guitar riffs, making it a cool Rockabilly sound.
The record completes with some skiffle. This traditional (folk?) number was taken and popularised by the likes of Leadbelly and Lonnie Donegan. The Rimshots use the familiar format of increasing tempo as each verse passes. But don’t you dare sing ‘Hay’!
It would be rather churlish to call it ‘the other LP’, or the ‘one that’s upside down’, but that’s what we are looking at now. It features recordings from the last decade, and again mixes up original material with some covers. Also involved on these recordings, is slide guitar aficionado, Paul Goddin. This LP opens up with a really good version of ‘I Get the Blues When it Rains’. Written by Marcey Klaubert and Harry Stoddart, in 1928, released by Carl Haworth, as well as the duo of Ford and Glenn. So many artists have covered the track over the years, Jim Reeves, Peggy Lee, Jerry Lee Lewis and Marti Brom. Cool beans.
Louisiana Lannis (Trahan) penned the captivatingly titled ‘Tongue Twister Boogie’ from ’56, which gets a run out here with expert steel a lead guitar. Jimmy Swan’s rambling ‘Honky Tonkin’ (from 1965!) makes way for a Buddy Holly classic, ‘Modern Don Juan’. The saxophone duties here are undertaken by the highly proficient, Kenny Tomlinson, on this top drawer stroll tune. Earney Vandagriff (1928 – 2006) wrote and recorded the next song, ‘You Can’t Come In’, which translates well to the Rimshots styling, especially the call-and-answer sound from the lads in the band. Last up on side A is a string bending sound of ‘Small Change’, again by John. Very railroad-ish in it’s structure, and infectious in it’s beat.
Side two, and another nod to the Hillbilly Shakespeare, and a real peach of a track. ‘Alone and Forsaken’ retains the haunting cadence that the original has, with Paul and Rob on steel and lead guitars, adding to the aural experience. He’s Welcome to you’ is another John Lewis oeuvre, a fiery rock-out, especially if you’ve seen it live. ‘Out of Control’ , is a smashing cover of George Jones’ song of that name from 1960.
The combination of Ken Cook & Roy Orbison, produced a smashing slowy, ‘I Was a Fool’, and the Rimshots recorded a super version here. Hank Williams’ ‘Kawliga’, the tale of a wooden Indian chief, who fell in love with an Indian maid in a store opposite. Suspend your belief here readers, and just enjoy the ‘shots recounting this story. Many is the time at a Rimshots show, the audience call out for ‘Woodpecker Rock’. Nat Couty’s floor filling bopper, is perfectly suited to John’s powerhouse vocal, and rounds the release of very well.
Musically both albums are highly accomplished. Visually, the impressive gatefold sleeve, and inserts are really well illustrated, the sleeve notes informative and the photographs perfectly demonstrate the group over the years. Vocally, John Lewis is instantly recognisable, loud proud and even slightly frantic on occasions, as well as controlled and measured on slower numbers. The first LP sounds as fresh today as it would have over thirty years ago. The latter is proof, if it were needed, that the Rimshots are still at the top of the game. And long may that continue.
LP review
I bet many picking up this LP for the first time, say, words to the effect of ‘Mine’s upside down’. Indeed, it is, depending on which side you are looking at. This double vinyl album on Atomic Cowboys Records, celebrates forty years of the Rimshots, as a band. Forty years of lead singer and rhythm guitarist John Lewis, lead guitarist Rob Nedin, Tony Biggs on bass and drummer Mark Kemlo. The double LP is limited edition to 500 copies, all hand numbered
The first album is from the Rockhouse Records release of 1993, and the first time on vinyl. It’s a mix of original tracks and some covers, with John having written the opening track ‘I Don’t Care’, a mid-paced classy Rockabilly sound. ‘Saving all my Money’ he co wrote with Tony Biggs, adding little more zip to the tempo. ‘Dirty Deal’ has a call-and-answer style to it, and very much in the Charlie Feathers mould, vocally and musically. Johnny Burnette’s haunting ‘Midnight Train’, basically a lament about prison, a popular combination of subject matter from the 40’s & 50’s, is the first cover.
Trying desperately to avoid comparisons with the actual geological fissure in the earth’s crust, ‘Volcano’ is an eruption (there, I did try) of vocals and sound. A true rocker if you’ve ever heard one. ‘Crazy Fool’ reigns it in a bit, with some super country harmonies and a corking guitar break, before side one concludes with a Rockabilly classic, ‘Mad at You’. Written by Mack Self and Charlie Feathers, the ‘shots version pays suitable vocal homage to the original.
Side two starts with another instantly recognisable Sun beauty in Jack Earls’ ‘Crawdad Hole’ with another original ‘Cold Sweat’ following right behind. Then a real tear up, recounting the high octane ‘Boppin’ High School Baby’ to great effect. Slowing things right down next, with the intriguingly titled ‘I Hope My Brain Still Works the Same’, and the jaunty lilt of ‘Tart’ is quite intriguing. ‘I’m Gone’ has some Burlinson-like guitar riffs, making it a cool Rockabilly sound.
The record completes with some skiffle. This traditional (folk?) number was taken and popularised by the likes of Leadbelly and Lonnie Donegan. The Rimshots use the familiar format of increasing tempo as each verse passes. But don’t you dare sing ‘Hay’!
It would be rather churlish to call it ‘the other LP’, or the ‘one that’s upside down’, but that’s what we are looking at now. It features recordings from the last decade, and again mixes up original material with some covers. Also involved on these recordings, is slide guitar aficionado, Paul Goddin. This LP opens up with a really good version of ‘I Get the Blues When it Rains’. Written by Marcey Klaubert and Harry Stoddart, in 1928, released by Carl Haworth, as well as the duo of Ford and Glenn. So many artists have covered the track over the years, Jim Reeves, Peggy Lee, Jerry Lee Lewis and Marti Brom. Cool beans.
Louisiana Lannis (Trahan) penned the captivatingly titled ‘Tongue Twister Boogie’ from ’56, which gets a run out here with expert steel a lead guitar. Jimmy Swan’s rambling ‘Honky Tonkin’ (from 1965!) makes way for a Buddy Holly classic, ‘Modern Don Juan’. The saxophone duties here are undertaken by the highly proficient, Kenny Tomlinson, on this top drawer stroll tune. Earney Vandagriff (1928 – 2006) wrote and recorded the next song, ‘You Can’t Come In’, which translates well to the Rimshots styling, especially the call-and-answer sound from the lads in the band. Last up on side A is a string bending sound of ‘Small Change’, again by John. Very railroad-ish in it’s structure, and infectious in it’s beat.
Side two, and another nod to the Hillbilly Shakespeare, and a real peach of a track. ‘Alone and Forsaken’ retains the haunting cadence that the original has, with Paul and Rob on steel and lead guitars, adding to the aural experience. He’s Welcome to you’ is another John Lewis oeuvre, a fiery rock-out, especially if you’ve seen it live. ‘Out of Control’ , is a smashing cover of George Jones’ song of that name from 1960.
The combination of Ken Cook & Roy Orbison, produced a smashing slowy, ‘I Was a Fool’, and the Rimshots recorded a super version here. Hank Williams’ ‘Kawliga’, the tale of a wooden Indian chief, who fell in love with an Indian maid in a store opposite. Suspend your belief here readers, and just enjoy the ‘shots recounting this story. Many is the time at a Rimshots show, the audience call out for ‘Woodpecker Rock’. Nat Couty’s floor filling bopper, is perfectly suited to John’s powerhouse vocal, and rounds the release of very well.
Musically both albums are highly accomplished. Visually, the impressive gatefold sleeve, and inserts are really well illustrated, the sleeve notes informative and the photographs perfectly demonstrate the group over the years. Vocally, John Lewis is instantly recognisable, loud proud and even slightly frantic on occasions, as well as controlled and measured on slower numbers. The first LP sounds as fresh today as it would have over thirty years ago. The latter is proof, if it were needed, that the Rimshots are still at the top of the game. And long may that continue.
A new name, but the same outstanding quality of bands and DJs. Don't miss this great weekender in May. Link is available by clicking the flyer
Razzle Dazzle Vintage out in Long Sutton, Lincolnshire. Check our Razzle Dazzle at their store and at various events around the country. Website https://razzledazzlevintage.org.uk/
|
|
|
Notice to advertisers:- The advertisers in this issue, have paid for their adverts, if you would like to run one with us, and have your event/facility open to our 40,000 + viewers per month, drop us a line to [email protected] for details. If you have a company that makes and sells clothing or accessories, you have a themed event or location, you run a record label or shop, you can advertise with us as well. Anything associated with Rock n Roll music, or 1940’s, 1950’s related. We will include a brief article on your company and services if required, as well with your advert, and a clickable link attached to the flyer, which will take customers directly to your webpage or event page on social media. Adverts are £30.00 per month, much less than most printed magazines, and reaching far more potential customers and attendees, more bang for your buck.
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the button. This has to be a two way street for us to be able to continue beyond 2024. Many thanks
Bands and artists who would like their music or latest record release reviewed. We listen to records several times before writing a word about them. We research songs if they are covers, credit writers, performers and musicians. In effect, we pay true reverence to your recordings, not relying in on merely describing a song as a bopper, jiver or stroller. If we don't know about your release, we can't review it. You can send it to us in electronic form or the actual article, drop us an email and we'll arrange it. We do not plagiarise unlike some other sites and publications. Get in touch at [email protected] if you want your record included.
When you get chance to, as seemingly the case is now, do go and support live music, gigs, clubs and bands. Never before has the industry needed it's customers than now. It's much more exiting than two cans and a takeaway in front of the telly.
When we are able to get out and about, if you would like us to cover your event or club night, please get in touch. For two press passes, we will review your event, or your band's show at a gig, in detail, in both words and pictures. We are out there, boots on the ground, front, centre and right and most points in between.
Photographs in this magazine have been provided by the subjects, for use here, or are from our own library. All are copyright
NB, Events and all advertised services are supplied by the advertisers themselves. We do not accept any responsibility for any alterations or adjustments, cancellations or disputes between customers and the advertisers. Please check before booking, travelling to, or buying from advertisers in our magazine
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please avoid copying and pasting articles or parts of articles to your websites or social media, we'd much prefer people to visit our site direct. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome. We do not share links to adult sites here, although adults are welcome to read it. We are considering deleting some early issues and we're interested in your thoughts on whether we should keep them or not. Drop us a note with your thoughts sometime.
Keep up to date with us here, or on our various platforms:-
Facebook https://www.facebook.com/The-Bettajive-Review-569161136474404/
Instagram https://www.instagram.com/bettajivereview/
Twitter https://twitter.com/AndrewBettajive
email:- [email protected]
https://www.linkedin.com/in/andrew-smith-b626aa63/
Cheers 'til next month
Andrew and June
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. This is the way we can continue beyond 2025
Many thanks
If you have enjoyed our magazine, why not pop a donation over by using the button below. Many thanks
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the button. This has to be a two way street for us to be able to continue beyond 2024. Many thanks
Bands and artists who would like their music or latest record release reviewed. We listen to records several times before writing a word about them. We research songs if they are covers, credit writers, performers and musicians. In effect, we pay true reverence to your recordings, not relying in on merely describing a song as a bopper, jiver or stroller. If we don't know about your release, we can't review it. You can send it to us in electronic form or the actual article, drop us an email and we'll arrange it. We do not plagiarise unlike some other sites and publications. Get in touch at [email protected] if you want your record included.
When you get chance to, as seemingly the case is now, do go and support live music, gigs, clubs and bands. Never before has the industry needed it's customers than now. It's much more exiting than two cans and a takeaway in front of the telly.
When we are able to get out and about, if you would like us to cover your event or club night, please get in touch. For two press passes, we will review your event, or your band's show at a gig, in detail, in both words and pictures. We are out there, boots on the ground, front, centre and right and most points in between.
Photographs in this magazine have been provided by the subjects, for use here, or are from our own library. All are copyright
NB, Events and all advertised services are supplied by the advertisers themselves. We do not accept any responsibility for any alterations or adjustments, cancellations or disputes between customers and the advertisers. Please check before booking, travelling to, or buying from advertisers in our magazine
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please avoid copying and pasting articles or parts of articles to your websites or social media, we'd much prefer people to visit our site direct. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome. We do not share links to adult sites here, although adults are welcome to read it. We are considering deleting some early issues and we're interested in your thoughts on whether we should keep them or not. Drop us a note with your thoughts sometime.
Keep up to date with us here, or on our various platforms:-
Facebook https://www.facebook.com/The-Bettajive-Review-569161136474404/
Instagram https://www.instagram.com/bettajivereview/
Twitter https://twitter.com/AndrewBettajive
email:- [email protected]
https://www.linkedin.com/in/andrew-smith-b626aa63/
Cheers 'til next month
Andrew and June
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. This is the way we can continue beyond 2025
Many thanks
If you have enjoyed our magazine, why not pop a donation over by using the button below. Many thanks
