the bettajive review magazine #51
The Bettajive Review issue #51 is now online and ready to read. We feature a review of Hemsby 72, featuring LP and his Dirty White Bucks (pictured above), The Mystery Train Riders, Midnight Shift, The 4 Evers, FTM record releases and much more.
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the bettajive review
You boy! If only you could return to your school years, (I’ll pass thank you) and tell yourself what you would be able to achieve nearly forty years on. Fellow pre-90’s scholars, how did you get your information about your music and artists? Mostly from books, magazines, mates and LP covers I suspect. Those gatefold LPs with an essay of information on the most obscure tracks and artists. That teensy weensy Rock n Roll paragraph stuck on page 23 in the music press magazine, with a slightly patronising undertone about Shakin Stevens, or the ‘Wad’.
At school (1977-8-9), there was a revelation, something called ‘computer studies’, and only a few of the most elite students would be able to take part in the lessons, because the rest of you are too inferior academically for your pea brains to take on the complexities of the computer. That means ‘you boy’, are not going to take part. Only six of the slurpers and drollers (colloquialisms for swots in my school) entered the sacred computer room, I swear it once housed brooms, it was so long and skinny, poured over a keyboard and sent their work to another town(!) to be processed. It was returned the following week as a series of 0’s and 1’s on reams of green-lined paper. You weren’t allowed to look at that in case you hurt it (that sound you can hear is my eyes rolling)
Present day, and even the most Neanderthal-like, knuckle scraping buffoon can access a world of information about our music, fashion and films, with a swipe left/right motion, on a device a fraction of the size used in the ‘computer room’ (aka ‘you boy, get out’). So put that in your dot matrix and print it, Sir.
The videotape, another revelation. When could you see your favourite Rock n Roll stars on TV in the 70s? Other than Elvis films that is, in the summer holidays. Yes, younger readers, gather closer. We had, during our summer holidays, limited telly time, usually only when it rained. And on those days, you got Elvis films just after anodyne pap like ‘Why Don’t You?’ (ask your parents just how sh*te that program was), and the Children’s Film Foundation dirge. As for seeing the likes of Eddie, Gene, Fats and Bill Haley, no chance, unless you were an insomniac or a milko, who happened to have BBC2 on during darkness, coinciding with the once a decade showing of a true Rock n Roll film. Which we couldn’t because ‘you boy’ need to be at school the next day. And if you missed a program back then, you had missed it for-ev-errrrr. But hail to the video tape….
Yes readers, those plastic boxes with the two spools within, that could hold on to your favourite Rock n Roll film for ever. Set the timer for half an hour before (just in case) and an hour after the end (just in case), and ‘The Girl Can’t Help It’ is yours, and you’re the envy of your friends. You can watch it as many times as you like, and keep it in a book like cover, on a shelf, like a library book. That is until you watched it and some schlemiel had taped Noel’s House Party over Eddie singing Twenty Flight Rock. Now, all you need is an account with an online film provider to tap into whatever rockin film or rockin clip, or music video you want to.
Will we return to those two mediums? I doubt it. Although take the vinyl record for example. With the compact disc, the mini disc (remember that?) and digital download, it seemed to sound the death knell for the 45rpm. But the format hung on, and made a triumphant comeback in the boxes of DJs and collectors of many music genres, including ours. If only some had known when they sold their collections for peanuts, if they could have told their younger self what the future held. I bet you’d start with ‘you boy’!
Him to her to him. Him, singing Tommy Spurlin’s ‘Hang Loose’. ‘Well I learned to rock, down on the farm, known how to roll ever since I was born, No trouble for me cos I’m a cool cat, I hit the ball every time I go to bat’. Her ‘HA! You learned to rock down on the farm? Your mum was a dinner lady at school, your dad worked in a bank. The only time you went to a farm was with the junior school and a cow sneezed in your face and you ran away. And as far as hitting the ball every time you go to bat? Well there’s been more than one foul ball recently.’
At school (1977-8-9), there was a revelation, something called ‘computer studies’, and only a few of the most elite students would be able to take part in the lessons, because the rest of you are too inferior academically for your pea brains to take on the complexities of the computer. That means ‘you boy’, are not going to take part. Only six of the slurpers and drollers (colloquialisms for swots in my school) entered the sacred computer room, I swear it once housed brooms, it was so long and skinny, poured over a keyboard and sent their work to another town(!) to be processed. It was returned the following week as a series of 0’s and 1’s on reams of green-lined paper. You weren’t allowed to look at that in case you hurt it (that sound you can hear is my eyes rolling)
Present day, and even the most Neanderthal-like, knuckle scraping buffoon can access a world of information about our music, fashion and films, with a swipe left/right motion, on a device a fraction of the size used in the ‘computer room’ (aka ‘you boy, get out’). So put that in your dot matrix and print it, Sir.
The videotape, another revelation. When could you see your favourite Rock n Roll stars on TV in the 70s? Other than Elvis films that is, in the summer holidays. Yes, younger readers, gather closer. We had, during our summer holidays, limited telly time, usually only when it rained. And on those days, you got Elvis films just after anodyne pap like ‘Why Don’t You?’ (ask your parents just how sh*te that program was), and the Children’s Film Foundation dirge. As for seeing the likes of Eddie, Gene, Fats and Bill Haley, no chance, unless you were an insomniac or a milko, who happened to have BBC2 on during darkness, coinciding with the once a decade showing of a true Rock n Roll film. Which we couldn’t because ‘you boy’ need to be at school the next day. And if you missed a program back then, you had missed it for-ev-errrrr. But hail to the video tape….
Yes readers, those plastic boxes with the two spools within, that could hold on to your favourite Rock n Roll film for ever. Set the timer for half an hour before (just in case) and an hour after the end (just in case), and ‘The Girl Can’t Help It’ is yours, and you’re the envy of your friends. You can watch it as many times as you like, and keep it in a book like cover, on a shelf, like a library book. That is until you watched it and some schlemiel had taped Noel’s House Party over Eddie singing Twenty Flight Rock. Now, all you need is an account with an online film provider to tap into whatever rockin film or rockin clip, or music video you want to.
Will we return to those two mediums? I doubt it. Although take the vinyl record for example. With the compact disc, the mini disc (remember that?) and digital download, it seemed to sound the death knell for the 45rpm. But the format hung on, and made a triumphant comeback in the boxes of DJs and collectors of many music genres, including ours. If only some had known when they sold their collections for peanuts, if they could have told their younger self what the future held. I bet you’d start with ‘you boy’!
Him to her to him. Him, singing Tommy Spurlin’s ‘Hang Loose’. ‘Well I learned to rock, down on the farm, known how to roll ever since I was born, No trouble for me cos I’m a cool cat, I hit the ball every time I go to bat’. Her ‘HA! You learned to rock down on the farm? Your mum was a dinner lady at school, your dad worked in a bank. The only time you went to a farm was with the junior school and a cow sneezed in your face and you ran away. And as far as hitting the ball every time you go to bat? Well there’s been more than one foul ball recently.’
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Dot…dot Best tracks in the world ever ever to sizzle your sausage for this month are Carl Cherry’s ‘The Itch’, Carl Perkins’ ‘Lonely Heart’ and Big Maybelle’s ‘Ring Dang Dilly’………How rockin’ are you? Are you never in any of those montage videos from an event? We aren’t, now that’s really rockin’😊 ……..Explain how I can hear 70’s disco music and know all the words, despite never owning any of the records, yet can’t remember what I went into a room for…….A mention for two record hop events we attended over the past couple of weeks. Diamond D started 2026 with guest DJs Deano and The Rhythm Rooster at Garforth WMC. This is a compact but equally favourable dance venue, that attracts decent numbers, digging some fine Rock n Roll from the decks. There are only a few events per year, including an all dayer, check them out peeps……..Then there’s Bim Bam Boogie at Upton Village Hall (nr Pontefract) on occasional Sunday afternoons. The hall has a super floor, sprung for dancing, and this time out had Dave Baxter DJing with guest Andy B from Chesterfield Rock n Roll club. Top terpsichore to top tunage (that’s this month’s lesson in alliteration, you’re welcome). Give them a look on socials……
The Rave is getting close now readers. Don't miss out, click flyer for details
Midnight Shift
Mex it up. The (Mighty) Imperial Music Venue in Mexborough, held it’s first Rock n Roll event of 2026 recently. With the combined forces of Polly McMahon and Shane Bhayat given three first-Sundays-of-the-month to put gigs on, they were immediately thrown a curve ball when the initial act, the Mysterons had to cancel with hours to go. Step in, Midnight Shift. More in a mo.
The venue itself has undergone an upgrade, although as it was our first visit there, so we had no preconceptions. Therefore ‘the bar was there and the toilets were there’ meant nothing to us, although I’m glad no one confused the two! The venue itself was spacious enough to fit a decent headcount in, and chunky numbers showed up.
Tom Martin led the charge on lead guitar and vocals, with Midnight Shift being your classic rocking band line up of bass, guitar and drums. Shout out to Keith Bradley as well for depping on the upright bass at the shortest of notice. A lot of the set was familiar Rock n Roll and Rockabilly tracks, which were just the ticket for the crowd. A cross section of rockin’ peeps had showed up, and there was something in the live music for everyone. The likes of ‘Blue Suede Shoes’, ‘My Baby Left Me’ and naturally, the song from which the band took its name Buddy Holly’s ‘Midnight Shift’.
Some more Buddy with ‘Blue Days Black Nights’, with Eddie’s ‘Twenty Flight Rock’ and a twist on ‘Big River’ also featured in a solid show. Kudos to Midnight Shift for putting this show on at such short notice. These events are free to enter, and a cool way to spend a Sunday afternoon.
The venue itself has undergone an upgrade, although as it was our first visit there, so we had no preconceptions. Therefore ‘the bar was there and the toilets were there’ meant nothing to us, although I’m glad no one confused the two! The venue itself was spacious enough to fit a decent headcount in, and chunky numbers showed up.
Tom Martin led the charge on lead guitar and vocals, with Midnight Shift being your classic rocking band line up of bass, guitar and drums. Shout out to Keith Bradley as well for depping on the upright bass at the shortest of notice. A lot of the set was familiar Rock n Roll and Rockabilly tracks, which were just the ticket for the crowd. A cross section of rockin’ peeps had showed up, and there was something in the live music for everyone. The likes of ‘Blue Suede Shoes’, ‘My Baby Left Me’ and naturally, the song from which the band took its name Buddy Holly’s ‘Midnight Shift’.
Some more Buddy with ‘Blue Days Black Nights’, with Eddie’s ‘Twenty Flight Rock’ and a twist on ‘Big River’ also featured in a solid show. Kudos to Midnight Shift for putting this show on at such short notice. These events are free to enter, and a cool way to spend a Sunday afternoon.
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Chezzy's gig list for 2026. Click flyer for details
Mystery Train Riders
Dron-Duo. Chesterfield Rock n Roll Club put on two gigs recently. First up were the returning (for the third time to the club) Mystery Train Riders. Original members Chris Blakely and Dan Garland on rhythm guitar & vocals, and lead guitar respectively, are joined by bass player Michael McGill and drummer Paul Willmott.
Each time we see this band they take it to another level of confidence, enthusiasm and accomplishment. And they are actually enjoying what they do. Lead singer Chris is energetic and demonstrative on rhythm, as he fired out Elvis’ ‘Baby Let’s Play House’ to announce the band on stage. A brace of Eddie Cochran numbers, ‘Jeanie, Jeanie, Jeanie’ and ‘C’mon Everybody’ sandwiched a really good take of Cliff’s ‘We Say Yeah’ early doors. For the strollers, they slowed it down for ‘Bertha Lou’ and ‘One Cup of Coffee and a Cigarette’ . We’ve mentioned before, an excellent version of Duane Eddy’s ‘Rebel Rouser’ that they do. It could be a bit churlish to suggest that this is the standout tune they perform, given that it’s an instrumental, but it’s soul stirring in it’s delivery.
Back on the vocal material with their own ‘Tumble Dryer Baby’, with a trio of classics ‘One Hand Loose’, ‘Long Blond Hair’ and ‘Twenty Flight Rock’, which brought a breathless first set to a close.
Set two picked it straight back up, with a commanding version of ‘Rip It Up’ , then took on two Elvis numbers in the shape of ‘Paralysed’ and ‘Such a Night’, between which came Scotty Baker’s latter day dancefloor winner ‘Pop the Question’. Everyone was appreciating the variation of tracks the band had chosen, from out and out rockers like ‘Please Mama Please’ and ‘Sixteen Chicks’ through an 80’s stroll cover ‘Personal Jesus’ and of course, the song they are named after ‘Mystery Train’. A memorable set came to an end with the anthemic ‘Rockabilly Rebel’ and ‘Shake Your Hips’. Top stuff from the youngsters.
Each time we see this band they take it to another level of confidence, enthusiasm and accomplishment. And they are actually enjoying what they do. Lead singer Chris is energetic and demonstrative on rhythm, as he fired out Elvis’ ‘Baby Let’s Play House’ to announce the band on stage. A brace of Eddie Cochran numbers, ‘Jeanie, Jeanie, Jeanie’ and ‘C’mon Everybody’ sandwiched a really good take of Cliff’s ‘We Say Yeah’ early doors. For the strollers, they slowed it down for ‘Bertha Lou’ and ‘One Cup of Coffee and a Cigarette’ . We’ve mentioned before, an excellent version of Duane Eddy’s ‘Rebel Rouser’ that they do. It could be a bit churlish to suggest that this is the standout tune they perform, given that it’s an instrumental, but it’s soul stirring in it’s delivery.
Back on the vocal material with their own ‘Tumble Dryer Baby’, with a trio of classics ‘One Hand Loose’, ‘Long Blond Hair’ and ‘Twenty Flight Rock’, which brought a breathless first set to a close.
Set two picked it straight back up, with a commanding version of ‘Rip It Up’ , then took on two Elvis numbers in the shape of ‘Paralysed’ and ‘Such a Night’, between which came Scotty Baker’s latter day dancefloor winner ‘Pop the Question’. Everyone was appreciating the variation of tracks the band had chosen, from out and out rockers like ‘Please Mama Please’ and ‘Sixteen Chicks’ through an 80’s stroll cover ‘Personal Jesus’ and of course, the song they are named after ‘Mystery Train’. A memorable set came to an end with the anthemic ‘Rockabilly Rebel’ and ‘Shake Your Hips’. Top stuff from the youngsters.
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The 4 Evers
The next gig at ‘Chezzy’ featured a band that was new to us, the 4 Evers. I think I got my wires crossed as I was kind of expecting a vocal group with backing, however the stage wasn’t set out for that. A couple of the component parts, ie two lads from the Hi-Fis were familiar, as they took the stage looking sharp in their light blue and black Hollywood jackets. Nick Kennedy is lead singer and lead guitarist Keith Southwood on Double Bass, multi-instrumentalist Glenn Brentnall rhythm guitar, sax and piano, with Jeff Tuck on drums
They opened up with Johnny and the Hurricanes’ instrumental ‘Crossfire’, but the gremlins had got into the sound system, rendering the sax largely obsolete for the two sets, which was a shame. It meant that songs like Gene’s ‘Wildcat’ were improvised. ‘Move Around’ utilised the piano to good effect and the guitar driven ‘Promised Land’ charting Chuck Berry’s prison scribed lyrics, rocked along.
With Gene’s ‘Be Bop a Lula’ and ‘Right Now’ either side of Cliff’s ‘Move It’ closing the first set, DJs Andy B and Steve O took over. They are your regular spinners at Chesterfield Club, offering jive bop and stroll aplenty, every time.
Set two mixed up the flavours as well, blending Roy Hall’s ‘Diggin the Boogie’, Charlie Rich’s ‘Rebound’, Ray Smith’s ‘You Made a Hit’, and Johnny Restivo’s ‘The Shape I’m In’. A wide and varied brace of sets.
They opened up with Johnny and the Hurricanes’ instrumental ‘Crossfire’, but the gremlins had got into the sound system, rendering the sax largely obsolete for the two sets, which was a shame. It meant that songs like Gene’s ‘Wildcat’ were improvised. ‘Move Around’ utilised the piano to good effect and the guitar driven ‘Promised Land’ charting Chuck Berry’s prison scribed lyrics, rocked along.
With Gene’s ‘Be Bop a Lula’ and ‘Right Now’ either side of Cliff’s ‘Move It’ closing the first set, DJs Andy B and Steve O took over. They are your regular spinners at Chesterfield Club, offering jive bop and stroll aplenty, every time.
Set two mixed up the flavours as well, blending Roy Hall’s ‘Diggin the Boogie’, Charlie Rich’s ‘Rebound’, Ray Smith’s ‘You Made a Hit’, and Johnny Restivo’s ‘The Shape I’m In’. A wide and varied brace of sets.
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hemsby 72
The first of our weekender sorties of 2026 took us once again to Hemsby in North Norfolk. A journey along the ‘road that time forgot’, which involves often getting stuck behind an agricultural vehicle, for-ev-er, in the forlorn hope that Doug McClure might come to our aid. After finally getting a decent speed up, here are the roadworks in Norfolk, limiting you to 40mph for-ev-er. Finally, we are here.
A slightly earlier booking in time and a super slick check in procedure, meant we were in and out of reception in minutes. Although stopping for the inevitable natter or six tends to slow us down a bit. The weekender started on Thursday with two bands, Slick as a Chicken and Toto and the Raw Deals
A slightly earlier booking in time and a super slick check in procedure, meant we were in and out of reception in minutes. Although stopping for the inevitable natter or six tends to slow us down a bit. The weekender started on Thursday with two bands, Slick as a Chicken and Toto and the Raw Deals
LP and his Dirty White Bucks
We arrived on Friday, ensuring that we would be in place for the opening turn, L.P and His Dirty White Bucks. This four-piece have a super cool Rockabilly style, with lead singer Les Prendergast on rhythm guitar, Dave Flynn on lead guitar, bassist Jim O’Niel and Geordie Paul, newly installed on drums.
The sound produced by this combo, retains the styles of the original fifties Rockabilly, both in their cover material and original compositions. Les’ vocal delivery, is top drawer, truly an authentic cadence, complemented by the lads backing him. Taking Kenny Smith’s ‘I’m So Lonesome Baby’ as an initial example, that featured early in the show. A fine take on the nippy rocker from 1958. In a similar vein, Floyd Fletcher’s ‘Move on Down the Track’, released in 1970, got a favourably comparable outing.
If there’s a cover track that is a particular favourite, for me, that would be the title track from their latest recording, ‘Black Smoke, Blue Tears’. Taking on the Clyde Arnold track, the guitar work from Dave Flynn was such, it replicated the original effortlessly. They do a decent composition themselves as well, with ‘This Train’ (not that one you’re thinking of) and ‘Man From Laramie’ (not that one you’re thinking of either!). Both those tracks have the aura of the 1950s, ably fitting with the band’s raison d’etre.
Benny Cliff’s ‘Shake ‘em Up Rock’, a song whose lyrics don’t seem to make a lick of sense, also had an outing, and a fine take on the floor filler it was too. Add to that some Johnny Cash in the form of ‘Mean Eyed Cat’ and Bob Luman’s ‘Guitar Picker’, and you have a pretty good idea of the variety of the show. A smashing start to the weekend.
The sound produced by this combo, retains the styles of the original fifties Rockabilly, both in their cover material and original compositions. Les’ vocal delivery, is top drawer, truly an authentic cadence, complemented by the lads backing him. Taking Kenny Smith’s ‘I’m So Lonesome Baby’ as an initial example, that featured early in the show. A fine take on the nippy rocker from 1958. In a similar vein, Floyd Fletcher’s ‘Move on Down the Track’, released in 1970, got a favourably comparable outing.
If there’s a cover track that is a particular favourite, for me, that would be the title track from their latest recording, ‘Black Smoke, Blue Tears’. Taking on the Clyde Arnold track, the guitar work from Dave Flynn was such, it replicated the original effortlessly. They do a decent composition themselves as well, with ‘This Train’ (not that one you’re thinking of) and ‘Man From Laramie’ (not that one you’re thinking of either!). Both those tracks have the aura of the 1950s, ably fitting with the band’s raison d’etre.
Benny Cliff’s ‘Shake ‘em Up Rock’, a song whose lyrics don’t seem to make a lick of sense, also had an outing, and a fine take on the floor filler it was too. Add to that some Johnny Cash in the form of ‘Mean Eyed Cat’ and Bob Luman’s ‘Guitar Picker’, and you have a pretty good idea of the variety of the show. A smashing start to the weekend.
Tennessee Hotshots
Making a return visit to Hemsby, from Scotland, the Tennessee Hotshots. Ahead of their backing Marcel Bontempi and Ira Lee, they had a show in their own right. This trio features Sy McBass taking most of the vocals and bass duties, with Paddy Dolan on drums and the expertise of Martin Barrett on lead guitar. I gotta tell you readers, for sheer enthusiasm alone, these guys take the biscuit. Martin’s guitar work is seemingly effortless, with Paddy faultless in the engine room and Sy gets notes out his bass from angles, anatomically you’re not supposed to bend at.
The set then. Yeah, they can mix it up, from Jerry Reed’s optimistic rocker ‘When I Found You’, to the pounding beat of Johnny Knight’s ‘Rock n Roll Guitar’ and Dale Hawkins/Tarheel Slim/Mac Curtis/et al ‘Wildcat Tamer’. Their own stuff is well worthy of mention too. ‘Rock n Roll Rampage’ is a joyous romp with an infectious guitar riff, and a familiar subject in the lyrics. ‘Ain’t Misbehavin’ (an original tune, not the Fats Waller song) is a breezy and bouncy jaunt too.
Surrounding those, were the slower pace of Johnny Horton’s ‘Lovers Rock’ and the energetic Elvis romantic turmoil based ‘Just Because’, with Jerry Reed’s ‘Mister Whiz’ and Jimmy Lloyd’s ‘Rocket in My Pocket’ putting a roll in everyone’s walk. A top set was rounded off perfectly with another kicking original, the bop beat of ‘I Don’t Think So’. Ace.
The set then. Yeah, they can mix it up, from Jerry Reed’s optimistic rocker ‘When I Found You’, to the pounding beat of Johnny Knight’s ‘Rock n Roll Guitar’ and Dale Hawkins/Tarheel Slim/Mac Curtis/et al ‘Wildcat Tamer’. Their own stuff is well worthy of mention too. ‘Rock n Roll Rampage’ is a joyous romp with an infectious guitar riff, and a familiar subject in the lyrics. ‘Ain’t Misbehavin’ (an original tune, not the Fats Waller song) is a breezy and bouncy jaunt too.
Surrounding those, were the slower pace of Johnny Horton’s ‘Lovers Rock’ and the energetic Elvis romantic turmoil based ‘Just Because’, with Jerry Reed’s ‘Mister Whiz’ and Jimmy Lloyd’s ‘Rocket in My Pocket’ putting a roll in everyone’s walk. A top set was rounded off perfectly with another kicking original, the bop beat of ‘I Don’t Think So’. Ace.
Texabilly Rockets
It’s been a while since we have seen The Texabilly Rockets from Lisbon Portugal. It would be disingenuous to say that this was a different incarnation of the band appearing later in the weekend, however the personnel are very similar. It’s a little unusual to see Roy Duke on bass and Ruben El Pavoni on rhythm guitar, but here they were, announcing themselves with the sinister sounding ‘Misery, Sorrow and Pain’.
The energy on the stage, radiated through the crowd as the lads pounded their way through a set list of mainly original material, with raucous rockers like the wonderfully titled ‘Your Heart in my Garbage Can’ from 2008. Ruben also makes a cool sound with the harmonica as well, and they presented a trio of harp howlers, ‘Don’t Treat Me That Way’, ‘Let’s Bop’ and ‘Sweet Baby Blues’. Stirring stuff.
There were a couple of covers within the set, Jim Nesbitt’s ‘Cash’ sounding ‘Go on and Cry Me a River’, Rip Masters’ ‘Rockabilly Man’ and from the early sixties, the seldom heard, ‘She’s a Moonlighter’ originally by Johnny Carlton. And a massive flag for ‘45’s Jamboree’, one of their own, near the end of the set, which left both audience and band, breathless.
The energy on the stage, radiated through the crowd as the lads pounded their way through a set list of mainly original material, with raucous rockers like the wonderfully titled ‘Your Heart in my Garbage Can’ from 2008. Ruben also makes a cool sound with the harmonica as well, and they presented a trio of harp howlers, ‘Don’t Treat Me That Way’, ‘Let’s Bop’ and ‘Sweet Baby Blues’. Stirring stuff.
There were a couple of covers within the set, Jim Nesbitt’s ‘Cash’ sounding ‘Go on and Cry Me a River’, Rip Masters’ ‘Rockabilly Man’ and from the early sixties, the seldom heard, ‘She’s a Moonlighter’ originally by Johnny Carlton. And a massive flag for ‘45’s Jamboree’, one of their own, near the end of the set, which left both audience and band, breathless.
Restless
Friday night concluded with Suffolk’s own Restless. Regular favourites on the Hemsby stage, wherever the location. The whole Neo-Rockabilly sound exploded in the early 1980’s with Restless at the pioneering forefront along with (fill in your favourite Neo band here). This sound isn’t ‘punk-with-a-bass’, as it sometime can be with some bands, it’s well conceived and crafted songs and reworkings of existing material. With sinistral Fender picker Mark Harman taking lead guitar and vocals, with his brother Paul on upright bass, and Ben Cooper on drums, this is your classic line-up.
There are classic Restless tracks that almost have to be in the set, the likes of ‘Why Don’t You Just Rock’ from the 1982 LP of that name, and from 1987, the crowd uniting ‘Ice Cold’. The cover of Dutch rock band, Golden Earring’s ‘Radar Love’ is always a welcome addition to the set. Their take is a thundering tribute, with awesome guitar work. More of the same on the frets with the curiously named ‘My Baby is a Hot Dog’, featuring a call-and-answer chorus.
‘Mercury Blues’ had some serious screaming guitar work from Mark. The traditional blues number ‘Baby Please Don’t Go’ from 1935(ish), was also ratcheted up in pace, and in contrast, Tennessee Ernie’s ‘Sixteen Tons’ eased off the gas. With ‘Rock n Roll Train’ rounding off a top drawer set, Restless had once again demonstrated why they are one of the most revered bands of the last forty-five plus years.
There are classic Restless tracks that almost have to be in the set, the likes of ‘Why Don’t You Just Rock’ from the 1982 LP of that name, and from 1987, the crowd uniting ‘Ice Cold’. The cover of Dutch rock band, Golden Earring’s ‘Radar Love’ is always a welcome addition to the set. Their take is a thundering tribute, with awesome guitar work. More of the same on the frets with the curiously named ‘My Baby is a Hot Dog’, featuring a call-and-answer chorus.
‘Mercury Blues’ had some serious screaming guitar work from Mark. The traditional blues number ‘Baby Please Don’t Go’ from 1935(ish), was also ratcheted up in pace, and in contrast, Tennessee Ernie’s ‘Sixteen Tons’ eased off the gas. With ‘Rock n Roll Train’ rounding off a top drawer set, Restless had once again demonstrated why they are one of the most revered bands of the last forty-five plus years.
Hemsby dot….dot. Best tracks in the world ever ever to vroom your vintage for this Hemsby were Ricky Nelson’s ‘Gypsy Woman’, Georgia Gibbs’ ’24 Hours a Day 365 a Year’ and ‘Ain’t Had No Lovin’ by Connie Smith……The Sunday boot sale, always worth attending, but some people make me smile. ‘Have you got this in a different size?’ they ask, to the collective face palming sounds of everyone else……Spencer Evoy, so articulate and positive, he could probably make and announcement about an income tax rise, sound great…..Big up to Rory Alderson and his Audiolight Design team for the quality of the sound and lighting. You rarely see them, but you know they have been there!!!!......DJs for the weekend, we have to mention, whether they play to a full house or a handful while everyone has gone for some scran and an outfit change. So Brummie Si, Lady Luck Lexy, Trev Collins, Mouse, Dave Mumbles, Ritchie Guest, Bill, Jimmy & George Guntrip, take a bow…..A big cheer, but was it in the right place, when Red Hot Riot’s Rickey Delaney took a swig of water on stage, then dropped his bottle to the stage, only to have it bounce up into the upright position……
Red Hot Riot
Saturday afternoon began with a real blast. Picking up the Neo-Rockabilly baton, left from the Restless show, Red Hot Riot picked it up and ran with it. Orange Gretsch guitar slinger Ricky Delaney, takes the lead and vocals with Scott McParland on bass and drummer Daniel West on drums make up the trio.
No quarter given nor none asked as they hit the stage with the rollocking ‘We’re in This Together’, followed by ‘The Mask’ a growling guitar and hollerin’ vocal tune. Both these butt-kickers are from the 2022 release, the title of which also seems to be the band’s catchphrase ‘Up The Riot’.
Ronnie Dawson’s ‘Up Jumped the Devil’ seriously rocked, as did the title track of their latest long player, ‘Devil’s Curse’. Great guitar hook on this beauty, along with two more from that release ’99 Percent Woman’ and ‘Tiger Stripes’. All of these presented by a trio who clearly enjoyed the vibe from the crowd, and reflected that in their on-stage show. Yeah, they were enjoying it as much as we were.
‘Here’s one you all know’, came the announcement, as the opening riff to ‘Honey Hush’ rang out, followed by the familiar strains of ‘Tainted Love’. Cool beans, all topped off with a rousing version of ‘Rock This Town’. A vibrant and fervent debut show from the lads from the Forest of Dean.
No quarter given nor none asked as they hit the stage with the rollocking ‘We’re in This Together’, followed by ‘The Mask’ a growling guitar and hollerin’ vocal tune. Both these butt-kickers are from the 2022 release, the title of which also seems to be the band’s catchphrase ‘Up The Riot’.
Ronnie Dawson’s ‘Up Jumped the Devil’ seriously rocked, as did the title track of their latest long player, ‘Devil’s Curse’. Great guitar hook on this beauty, along with two more from that release ’99 Percent Woman’ and ‘Tiger Stripes’. All of these presented by a trio who clearly enjoyed the vibe from the crowd, and reflected that in their on-stage show. Yeah, they were enjoying it as much as we were.
‘Here’s one you all know’, came the announcement, as the opening riff to ‘Honey Hush’ rang out, followed by the familiar strains of ‘Tainted Love’. Cool beans, all topped off with a rousing version of ‘Rock This Town’. A vibrant and fervent debut show from the lads from the Forest of Dean.
Marcel Bontempi
Marcel Bontempi and Ira Lee were up next, backed by the Tennessee Hotshots. You never quite know what you’re going to get when the enigmatic Marcel takes to the stage, but one thing you are guaranteed, is quality. Quality in delivery and innovative takes on cover material, along with diverse titles and music within the original material.
Take ‘Bull Frog’ for example, very much along the lines of ‘Hound Dog’ in it’s construction, but not in delivery. ‘Shag Rag’, that starts very much in the ‘Papa Ooo Mow Mow’ style, and a has a fluent and breezy tempo. The cover of Gin Gilette’s unusual ‘B’ side ‘Train to Satanville’ is so perfect for Marcel, it could have almost been written for him. ‘Spiderman’ was written by Paul Francis Webster and Bob Harris for the 1967 cartoon series of that name. And here it was being performed in Bontempi style on the Hemsby stage.
The show actually opened with ‘Train of Sin’, you might be familiar with the Bill Haley version, which immediately engaged the crowd. ‘Old Mad Witch’ was a super-sinister take on the Dave Gardnar horror rocker from 1957. During the breaks, Marcel involved with the crowd in his own way, amusing and engaging, especially explaining the influence Elvis had on his next choice. ‘Crawfish’ from King Creole, was a duet with Elvis and Kitty White. Here Marcel and Ira took it on really effectively.
Billy Lee Riley recorded ‘Parchment Farm’ in 1966, as a rocking blues sound, replicated really well onstage here. ‘Headless Horseman’ is an original tune that ended the show initially. Now many reading this, and for that matter those in the crowd, are familiar with Marcel’s cover of the dancefloor filler ‘Dig a Hole’, be it the stroll or bop version. They truly obliged for the encore, and well-deserved appreciation from the crowd for a super show.
Take ‘Bull Frog’ for example, very much along the lines of ‘Hound Dog’ in it’s construction, but not in delivery. ‘Shag Rag’, that starts very much in the ‘Papa Ooo Mow Mow’ style, and a has a fluent and breezy tempo. The cover of Gin Gilette’s unusual ‘B’ side ‘Train to Satanville’ is so perfect for Marcel, it could have almost been written for him. ‘Spiderman’ was written by Paul Francis Webster and Bob Harris for the 1967 cartoon series of that name. And here it was being performed in Bontempi style on the Hemsby stage.
The show actually opened with ‘Train of Sin’, you might be familiar with the Bill Haley version, which immediately engaged the crowd. ‘Old Mad Witch’ was a super-sinister take on the Dave Gardnar horror rocker from 1957. During the breaks, Marcel involved with the crowd in his own way, amusing and engaging, especially explaining the influence Elvis had on his next choice. ‘Crawfish’ from King Creole, was a duet with Elvis and Kitty White. Here Marcel and Ira took it on really effectively.
Billy Lee Riley recorded ‘Parchment Farm’ in 1966, as a rocking blues sound, replicated really well onstage here. ‘Headless Horseman’ is an original tune that ended the show initially. Now many reading this, and for that matter those in the crowd, are familiar with Marcel’s cover of the dancefloor filler ‘Dig a Hole’, be it the stroll or bop version. They truly obliged for the encore, and well-deserved appreciation from the crowd for a super show.
Lady Luck Lexy
A flash of red hair, a cocktail drum kit and a promise of a top rockin’ set. That would be Lady Luck Lexy and the Riverside Boys then, with Lexy on the drum kit, Nick Bayford on lead guitar and bassist Brandon Hoadley.
Here was another act returning to the Hemsby stage, and judging by the headcount, there was a fair bit of anticipations for the show. The drumbeat of ‘Scream and Shout’ heralded a set of ace tunage. This lively tune, rattled along, setting out the stall. Loved Ella Johnson’s ‘Bring it Home to Me’, which just rolled along brilliantly.
For those of us who are of a certain ‘vintage’, the title ‘Knock Three Times’ evokes memories of the 1970/1 Tony Orlando and Dawn fluff-fest, that made #1 in so many countries. Well, this isn’t that song although there are lyrics that make the cut for Lexy. Cool stuff. Ella Mae Morse’s ‘The House of Blue Lights’ and from 1954, the Robins’ ‘Riot in Cell Block Number Nine’ featured, before their top original ‘Roulette Baby’ rocked out. Not many bands take on Sonny Starnes’ ‘Tangi Paho’, but this band did, and very well too. As the final song suggested ‘Good Times’
Here was another act returning to the Hemsby stage, and judging by the headcount, there was a fair bit of anticipations for the show. The drumbeat of ‘Scream and Shout’ heralded a set of ace tunage. This lively tune, rattled along, setting out the stall. Loved Ella Johnson’s ‘Bring it Home to Me’, which just rolled along brilliantly.
For those of us who are of a certain ‘vintage’, the title ‘Knock Three Times’ evokes memories of the 1970/1 Tony Orlando and Dawn fluff-fest, that made #1 in so many countries. Well, this isn’t that song although there are lyrics that make the cut for Lexy. Cool stuff. Ella Mae Morse’s ‘The House of Blue Lights’ and from 1954, the Robins’ ‘Riot in Cell Block Number Nine’ featured, before their top original ‘Roulette Baby’ rocked out. Not many bands take on Sonny Starnes’ ‘Tangi Paho’, but this band did, and very well too. As the final song suggested ‘Good Times’
Roy Dee and the Spitfires
Roy Dee and the Spitfires were up next, a proven crowd puller, with their Wild Records sound, and animated stage show. This sees Roy on rhythm guitar, Ruben El Pavoni switched back to bass, with Danny Da Silva on drums and lead guitarist Oscar Gomes. The set opened with an awesome version of Narvel Felts’ ‘Did You Tell Me’, with Roy’s vocals en-point accompanied by a seriously foot stomping beat.
Much of the set is their own material, and it truly rocks. The lead guitar on ‘I Got a Woman’ (not a cover version) is almost sinister in its growling grittiness. ‘ABC Booze’ eased off the pedal slightly. The occultly titled ‘I Got Demons’ was a welcome addition, and ‘Rollin’ Thru the Night’ was a hollering treat, with Roy increasing the speed of strumming on the acoustic guitar.
A hefty chunk of this set is taken from the band’s Wild Records long player, ‘Desert Wind’ , the likes of ‘Fool Me No More’, ‘Like a Rocket to my Baby’ and ‘I Did It’. The rhythm guitar had gone by now and the show had heated up to boiling point. ‘Shake Shake Like a Rattle Snake’ ended the show but for the cheers from the crowd, who really got into the encore of Mickey Lee Lane’s ‘Senior Class’. First class.
Much of the set is their own material, and it truly rocks. The lead guitar on ‘I Got a Woman’ (not a cover version) is almost sinister in its growling grittiness. ‘ABC Booze’ eased off the pedal slightly. The occultly titled ‘I Got Demons’ was a welcome addition, and ‘Rollin’ Thru the Night’ was a hollering treat, with Roy increasing the speed of strumming on the acoustic guitar.
A hefty chunk of this set is taken from the band’s Wild Records long player, ‘Desert Wind’ , the likes of ‘Fool Me No More’, ‘Like a Rocket to my Baby’ and ‘I Did It’. The rhythm guitar had gone by now and the show had heated up to boiling point. ‘Shake Shake Like a Rattle Snake’ ended the show but for the cheers from the crowd, who really got into the encore of Mickey Lee Lane’s ‘Senior Class’. First class.
Sonny George
Boz Boorer’s All Stars took to the stage in readiness to bring on the mighty Sonny George. Many know Sonny from the Planet Rockers, with his deep and booming vocal delivery. But first some classic Rockabilly from Boz, with the likes of Benny Cliff’s ‘Shake ‘em up Rock’. Sonny took to the stage, to a rousing reception, belying his seventy nine years. Decked out in a leather jacket covered in badges (must’ve weighed a ton!) and hat almost obscuring his eyes, he had the audience straight away.
There was a super blend of tunes within this show, ‘One More Drink’ that you might be familiar with, having been filmed/recorded in Sun Studios was a top drawer rocker early doors. A nod to the Planet Rockers with ‘Down the Line’ and ‘Gotta Rock’, which has in turn, got it’s roots in ‘Dance Me Daddy’. A medley that hit the high spots featured ‘Yes I Do’, ‘Come On’ and ‘I Love Women’, while ‘Wild Side of Life’ and ‘Rockabilly Guy’ kicked collective keesters. The show ended with a rousing rendition of Ronnie Dawson’s shout-back chorus of ‘Knock Down Drag Out’.
With the racket in the crowd, he was naturally coming back for more, and an extended ‘Big Big Man’, where everyone in the band (Lyn Boorer excluded) was a ‘Big Man’ That included Graham Murphy, Andy Kandil and Brian Nevill. A highly entertaining show with bants among the band that almost turned the air as blue as Lyn’s hair, and some top drawer music.
There was a super blend of tunes within this show, ‘One More Drink’ that you might be familiar with, having been filmed/recorded in Sun Studios was a top drawer rocker early doors. A nod to the Planet Rockers with ‘Down the Line’ and ‘Gotta Rock’, which has in turn, got it’s roots in ‘Dance Me Daddy’. A medley that hit the high spots featured ‘Yes I Do’, ‘Come On’ and ‘I Love Women’, while ‘Wild Side of Life’ and ‘Rockabilly Guy’ kicked collective keesters. The show ended with a rousing rendition of Ronnie Dawson’s shout-back chorus of ‘Knock Down Drag Out’.
With the racket in the crowd, he was naturally coming back for more, and an extended ‘Big Big Man’, where everyone in the band (Lyn Boorer excluded) was a ‘Big Man’ That included Graham Murphy, Andy Kandil and Brian Nevill. A highly entertaining show with bants among the band that almost turned the air as blue as Lyn’s hair, and some top drawer music.
CM Wolf
To end Saturday with a bang, CM Wolf and the Backbones returned after just a year away, testament to how popular they were last time. Chris Moinichen, is the charismatic front man, decked out in black for the show, slinging his onyx black Gretsch guitar. Responsible for much of the Delta Bombers material, it’s no surprise to hear a hefty slab of it during the show, which opened up with the fiery ‘Who Are You?’
The joint was jumping to ’15 to Life’ and the holler that is ‘Lock The Door’. ‘Tin Can Boogie’ had that ‘Feelin’ Good/Bad’ type of guitar riff, while ‘Save Me’ eased off the gas for a bit, with a more genteel approach and sensitive lyrics. There are songs that begin with a single note or word, that instantly hit with a crowd. Sometimes you don’t even need a word, something sound-symbolic will do. Certainly, CM Wolf has a song that does exactly that, with a rhythmic interjection, mimicking his guitar work. ‘The Wolf’, is over ten years old now, and from the first ‘hmm’ the place came unglued.
British TV viewers might be familiar with ‘Night Coppers’ that adopted the tune for it’s opening credits (technically, they show a fox!). Rocking crowds know it for it’s thumping beat. It’s one of those songs that, if the artist doesn’t play, there’s going to be words. Hemsby got it near the end of the show. Take nothing away from the rest of the playlist though. ‘Florida Rose’ is a vocal treat, softening the tone for a couple of minutes, ‘Pressure and Time’ closed the show, while MC Spencer Evoy tried to deal with the volume from the crowd to bring them back for a real romp ‘Top Shelf Woman’, and ‘Slow Down’. Immense stuff from the lads.
The joint was jumping to ’15 to Life’ and the holler that is ‘Lock The Door’. ‘Tin Can Boogie’ had that ‘Feelin’ Good/Bad’ type of guitar riff, while ‘Save Me’ eased off the gas for a bit, with a more genteel approach and sensitive lyrics. There are songs that begin with a single note or word, that instantly hit with a crowd. Sometimes you don’t even need a word, something sound-symbolic will do. Certainly, CM Wolf has a song that does exactly that, with a rhythmic interjection, mimicking his guitar work. ‘The Wolf’, is over ten years old now, and from the first ‘hmm’ the place came unglued.
British TV viewers might be familiar with ‘Night Coppers’ that adopted the tune for it’s opening credits (technically, they show a fox!). Rocking crowds know it for it’s thumping beat. It’s one of those songs that, if the artist doesn’t play, there’s going to be words. Hemsby got it near the end of the show. Take nothing away from the rest of the playlist though. ‘Florida Rose’ is a vocal treat, softening the tone for a couple of minutes, ‘Pressure and Time’ closed the show, while MC Spencer Evoy tried to deal with the volume from the crowd to bring them back for a real romp ‘Top Shelf Woman’, and ‘Slow Down’. Immense stuff from the lads.
The Mee Kats
Here we are on Sunday for heaven’s sake, where’s the time going. The Mee Kats from the North East consist of husband and wife, Colin and Mandy Mee on drums and upright bass respectively, with Rob Brindley on lead guitar. They put on a stirring show of varied Rock n Roll, Rockabilly, and House Rocking Blues, which was just the tonic for many in the crowd. How varied? Well read on.
Let’s start with some stick on classics, Al Ferrier’s ‘Let’s Go Boppin’ and Groovey Joe’s ‘Move Around’ for example. Then a bit of neo-Rockabilly, with a cover of Restless’ ‘Ice Cold’. Colin writes a good tune too, from his times with the Skiprats and Sureshots, and from the present day. ‘Don’t Go’ is your classic bass ticking, vocal nuance Rockabilly track, ‘I Don’t Like It’ had opened up proceedings, with it’s rolling drumbeat, and at the opposite end of the set ‘I’m on Fire’. That track isn’t a cover, it’s a nippy jiver, with a catchy beat and chorus.
Lob in to this particular rockin’ soup, Don Woody’s classic ‘Morse Code’, which Colin has been performing since before Pontious was a Pilate, and Charlie Feathers’ ‘One Hand Loose’. Richard Berry’s ‘Have Love Will Travel’ and Bill Haley’s ‘Where Did You Go Last Night’ got the strollers out, with some classic British ‘Please Don’t Touch’ featuring as well. Corking set that left us all with ‘Rockabilly Boogie’ still ringing in the ears.
Let’s start with some stick on classics, Al Ferrier’s ‘Let’s Go Boppin’ and Groovey Joe’s ‘Move Around’ for example. Then a bit of neo-Rockabilly, with a cover of Restless’ ‘Ice Cold’. Colin writes a good tune too, from his times with the Skiprats and Sureshots, and from the present day. ‘Don’t Go’ is your classic bass ticking, vocal nuance Rockabilly track, ‘I Don’t Like It’ had opened up proceedings, with it’s rolling drumbeat, and at the opposite end of the set ‘I’m on Fire’. That track isn’t a cover, it’s a nippy jiver, with a catchy beat and chorus.
Lob in to this particular rockin’ soup, Don Woody’s classic ‘Morse Code’, which Colin has been performing since before Pontious was a Pilate, and Charlie Feathers’ ‘One Hand Loose’. Richard Berry’s ‘Have Love Will Travel’ and Bill Haley’s ‘Where Did You Go Last Night’ got the strollers out, with some classic British ‘Please Don’t Touch’ featuring as well. Corking set that left us all with ‘Rockabilly Boogie’ still ringing in the ears.
The Revolutionaires
The evening promised, and delivered a real treat, with a trio of class acts, bringing another North Eastern band to the stage to open up. The Revolutionairs have been bringing their brand of rocking blues and Rock n Roll to stages for over twenty years now. So much so, that Ed Stephenson’s son Eliot, is now the drummer, with Ed taking lead guitar and vocals, his brother Rich on bass, and Steve Croft on keyboards, with Alex Bland on sax.
Ensconced as the ‘starting pistol’ tune nowadays, is the Mar-Keys’ ‘Last Night’. OK I’ve mentioned before, the connection with the 1990/1 comedy show here in the UK, ‘Bottom’, and many still hear that instrumental with nostalgic affection. Well, the sound on this track at Hemsby was immense, coming right up from your boots. That’s one of three huge instro tracks that appear in the set. Dick Dale’s ‘Miserlou’ rattles along and the Champs ‘Tequila’ encouraging audience participation.
The vocal material has to include the likes of ‘Kansas City’ and their hopped-up version of ‘Riot in Cell Block Number Nine’ (or else, it seems), and no Revs show is complete without ‘Eddie’s Jump’. That’s a harmonica-soaked big beat drumming blues delight that is always well received by a foot stomping crowd. Slim Harpo’s ‘Shake Your Hips’ is the classic crescendo to a Revs performance, as is the encore of Big Joe’s ‘Jump For Joy’. Well alreet there, for sure.
Ensconced as the ‘starting pistol’ tune nowadays, is the Mar-Keys’ ‘Last Night’. OK I’ve mentioned before, the connection with the 1990/1 comedy show here in the UK, ‘Bottom’, and many still hear that instrumental with nostalgic affection. Well, the sound on this track at Hemsby was immense, coming right up from your boots. That’s one of three huge instro tracks that appear in the set. Dick Dale’s ‘Miserlou’ rattles along and the Champs ‘Tequila’ encouraging audience participation.
The vocal material has to include the likes of ‘Kansas City’ and their hopped-up version of ‘Riot in Cell Block Number Nine’ (or else, it seems), and no Revs show is complete without ‘Eddie’s Jump’. That’s a harmonica-soaked big beat drumming blues delight that is always well received by a foot stomping crowd. Slim Harpo’s ‘Shake Your Hips’ is the classic crescendo to a Revs performance, as is the encore of Big Joe’s ‘Jump For Joy’. Well alreet there, for sure.
The Extraordinaires
The Revs were back again, with the addition of Paul Richardson on drums, to back the Extraordinaires, probably the hottest ticket in town. Originally a three piece, back in the day, and indeed a few Hemsbys ago, here were not four, but five microphones. Initially four took to the stage, including original members Gabriel Foate and Mark Anthony Hall. The ballroom was packed in anticipation, with Sunday night traditionally the place for a quality Doo Wop act.
Were you ready? Well folks, from the opening bars of the Treniers’ ‘Rockin’ is our Business’, everyone knew they were in for a treat. The Du-Droppers’ ‘Boot ‘em Up’ was taken on with considerable aplomb, while ‘Ruby Baby’ decelerated the tempo for some grade A harmonies. The Billy Ward and the Dominoes oddity, ‘Bobby Sox Baby’ was a delight. They then took on the colossal ‘I Only Have Eyes For You’. This song was originally written in 1934 for the film ‘Dames’. The Flamingos recorded a seminal version in 1959, which has (to my mind anyway) set the bar at it’s highest. The Extraordinaires absolutely nailed the vocal, in a version that would have brought a tear to a glass eye, it was that good.
As everyone as recovering from that, they launched into the Flairs ‘She Loves to Rock’. If I have a first among equals, it would be their take of the Cadillacs’ ‘Zoom’. This bouncy vocal beauty was perfect in every way, recreating that sound from 1956. But then, another Cadillac song. Anyone who takes on ‘Gloria’, knows what a massive vocal it is, but it’s excellence here was jaw-dropping.
An outstanding show was also complemented by Fifi who came out for a number which was almost Ruth Brown incarnate, and make no bones, the Revs backing was sublime in a showstopping performance.
Were you ready? Well folks, from the opening bars of the Treniers’ ‘Rockin’ is our Business’, everyone knew they were in for a treat. The Du-Droppers’ ‘Boot ‘em Up’ was taken on with considerable aplomb, while ‘Ruby Baby’ decelerated the tempo for some grade A harmonies. The Billy Ward and the Dominoes oddity, ‘Bobby Sox Baby’ was a delight. They then took on the colossal ‘I Only Have Eyes For You’. This song was originally written in 1934 for the film ‘Dames’. The Flamingos recorded a seminal version in 1959, which has (to my mind anyway) set the bar at it’s highest. The Extraordinaires absolutely nailed the vocal, in a version that would have brought a tear to a glass eye, it was that good.
As everyone as recovering from that, they launched into the Flairs ‘She Loves to Rock’. If I have a first among equals, it would be their take of the Cadillacs’ ‘Zoom’. This bouncy vocal beauty was perfect in every way, recreating that sound from 1956. But then, another Cadillac song. Anyone who takes on ‘Gloria’, knows what a massive vocal it is, but it’s excellence here was jaw-dropping.
An outstanding show was also complemented by Fifi who came out for a number which was almost Ruth Brown incarnate, and make no bones, the Revs backing was sublime in a showstopping performance.
MFC Chicken
Where could you possibly go from there? Well, how about the zany stage show of MFC Chicken? For the whole of Hemsby, Spencer Evoy had been on stage bringing on the best of the band in his own style. Now it was his turn to shine with his band, joined by Dan Criscuolo on guitar, bass guitarist Zig Criscuolo and drummer Ravi Low Beer.
How to describe this show…..songs about chicken, yes, onstage and offstage antics plus general buffoonery, indeed. But with all that in mind, there’s an undertone of quality musicianship and although largely out-to-lunch, innovative lyrics. ‘KFC Called the Cops on Me’, a kind of reference to the similarity in names of the two brands perhaps? ‘F**k You Me’ no idea! ‘Voodoo Chicken’ and ‘Milk Chicken’, well good luck with those two titles.
‘Rumble Strip’ is a real curio, featuring demonstrative head shaking tremors from Spencer, which I’m guessing is the chorus. ‘Bad News from the Clinic’ is a side stepping, sax, kicker of an instrumental, though origin of the title, much like the whole show, is up for discussion. ‘Spy Wail’ is up there too in the instro stakes. Could any other band celebrate the purchase of ‘New Socks’ with such conviction? The lads were among the crowd, there were letter cards and rubber squeaky chickens to promote their merchandise. Absolutely nuts, but exceptional nonetheless, and a brilliant way to end the live acts.
Another fine Hemsby event came to an end with the promise of a November weekender, choc full of tip top entertainment. You have to hand it to Bill Guntrip, he organises this event is twice a year, and it always delivers in quality. The team around him, from the top organisational skills of Viv Roberts to the merchandise and reception brigade, make for a super weekender experience.
Check ads elsewhere in the magazine, and get it booked asap. Gallery images below, click on them for full sized photo
Fancy helping us keep this magazine free to read? Why not drop us a donation by using the button below
How to describe this show…..songs about chicken, yes, onstage and offstage antics plus general buffoonery, indeed. But with all that in mind, there’s an undertone of quality musicianship and although largely out-to-lunch, innovative lyrics. ‘KFC Called the Cops on Me’, a kind of reference to the similarity in names of the two brands perhaps? ‘F**k You Me’ no idea! ‘Voodoo Chicken’ and ‘Milk Chicken’, well good luck with those two titles.
‘Rumble Strip’ is a real curio, featuring demonstrative head shaking tremors from Spencer, which I’m guessing is the chorus. ‘Bad News from the Clinic’ is a side stepping, sax, kicker of an instrumental, though origin of the title, much like the whole show, is up for discussion. ‘Spy Wail’ is up there too in the instro stakes. Could any other band celebrate the purchase of ‘New Socks’ with such conviction? The lads were among the crowd, there were letter cards and rubber squeaky chickens to promote their merchandise. Absolutely nuts, but exceptional nonetheless, and a brilliant way to end the live acts.
Another fine Hemsby event came to an end with the promise of a November weekender, choc full of tip top entertainment. You have to hand it to Bill Guntrip, he organises this event is twice a year, and it always delivers in quality. The team around him, from the top organisational skills of Viv Roberts to the merchandise and reception brigade, make for a super weekender experience.
Check ads elsewhere in the magazine, and get it booked asap. Gallery images below, click on them for full sized photo
Fancy helping us keep this magazine free to read? Why not drop us a donation by using the button below
Check out this kicking line up for May in Lincolnshire, by clicking on the flyer
Now in it's 7th year, Hot Rock n Boogie presents a stellar line up. Click flyer for details
Back for 2026, the Hot Rod Hayride. Click flyers for details
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Check out the Hotrod Hayride for this summer readers. So much to see and do at this weekender in Surrey
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ftm 45rpm releases
Here are some reviews from the Maverick Record label that have been mastered by Flat Top Mark, starting with;
Cuckoo Girl by Chico Holiday. Chico was born Ralph Joseph Vergolino in 1934. ‘Cuckoo Girl’ was his debut single in 1959, and was originally a ‘B’ side to ‘Young Ideas’. It was written by Jack Segal who has over a thousand credits to his name and Paul Vance (who wrote ‘Catch a Falling Star’ and ‘Itsy Bitsy etc etc). This is a frantic jive rocker, and floor filler.
The ’B’ side, well, it’s Gene Vincent. Shouldn’t matter what the song is, but for completeness, it’s ‘Bird Doggin’. This is from 1966, ten years after his breakthrough single ‘Be Bop a Lula’, and was the ‘A’ side to ‘Ain’t That Too Much’ on Challenge Records. ‘Bird Doggin’ has been a stick-on stroller for a few years now, with Gene’s drawn vocal style and a searing lead guitar break. (and you get a ladybird on the label!)
The single is available in white and black vinyl formats.
Cuckoo Girl by Chico Holiday. Chico was born Ralph Joseph Vergolino in 1934. ‘Cuckoo Girl’ was his debut single in 1959, and was originally a ‘B’ side to ‘Young Ideas’. It was written by Jack Segal who has over a thousand credits to his name and Paul Vance (who wrote ‘Catch a Falling Star’ and ‘Itsy Bitsy etc etc). This is a frantic jive rocker, and floor filler.
The ’B’ side, well, it’s Gene Vincent. Shouldn’t matter what the song is, but for completeness, it’s ‘Bird Doggin’. This is from 1966, ten years after his breakthrough single ‘Be Bop a Lula’, and was the ‘A’ side to ‘Ain’t That Too Much’ on Challenge Records. ‘Bird Doggin’ has been a stick-on stroller for a few years now, with Gene’s drawn vocal style and a searing lead guitar break. (and you get a ladybird on the label!)
The single is available in white and black vinyl formats.
Two tracks on this 45rpm that have filled many a dancefloor for some years now.
‘Dance Franny Dance’ by the Floyd Dakil Combo, was a national hit in 1964, and definitely has that mid-sixties vibe to it. There’s not a great deal more about the group as they couldn’t recreate that initial hit and parted company in 1967.
Little Johnny Taylor (1943 – 2002) was a blues and soul singer in the 60’s and 70’s. ‘Somewhere Down the Line’ was recorded in 1963, and originally a ‘B’ side. He wrote the song himself a couple of years into his career. A huge stroll tune.
‘Dance Franny Dance’ by the Floyd Dakil Combo, was a national hit in 1964, and definitely has that mid-sixties vibe to it. There’s not a great deal more about the group as they couldn’t recreate that initial hit and parted company in 1967.
Little Johnny Taylor (1943 – 2002) was a blues and soul singer in the 60’s and 70’s. ‘Somewhere Down the Line’ was recorded in 1963, and originally a ‘B’ side. He wrote the song himself a couple of years into his career. A huge stroll tune.
Something from the Country side of Rock n Roll with this 45rpm
‘Shanghaied’ by Webb Pierce (1921 – 1991) was a ‘B’ side to the singalong ‘I Ain’t Never’, released on Decca Records in 1959. It’s a delightful tempo with lyrics concerning a young sailor basically being ‘press-ganged’ or ‘shanghaied’ into sailing, although it ends well. Ace bopper
On the flip, George Jones (1931 – 2013) singing ‘Revenooer Man’. Jones was a very reluctant Rockabilly singer, hence some of his cuts were under the name ‘Thumper’. This song comes from a fair time past that period of the mid-50’s. The 1963 release ‘I Love You Because’ had ‘Revenooer Man’ on the ‘B’ side. It charts the struggle and confrontation between moonshine makers and the authorities, to a catchy beat.
Available in black and white vinyl.
‘Shanghaied’ by Webb Pierce (1921 – 1991) was a ‘B’ side to the singalong ‘I Ain’t Never’, released on Decca Records in 1959. It’s a delightful tempo with lyrics concerning a young sailor basically being ‘press-ganged’ or ‘shanghaied’ into sailing, although it ends well. Ace bopper
On the flip, George Jones (1931 – 2013) singing ‘Revenooer Man’. Jones was a very reluctant Rockabilly singer, hence some of his cuts were under the name ‘Thumper’. This song comes from a fair time past that period of the mid-50’s. The 1963 release ‘I Love You Because’ had ‘Revenooer Man’ on the ‘B’ side. It charts the struggle and confrontation between moonshine makers and the authorities, to a catchy beat.
Available in black and white vinyl.
Some grade A R&B for dancers on this Maverick release.
Linda Hayes (1923 – 1998) was the sister of Platters lead singer Tony Williams and recorded jazz and R&B in the 1950’s. ‘You Ain’t Movin’ Me’ is a peach of a jiver, though it has to be said, the lyrics in places are somewhat risqué. The combination of Linda and the accompaniment from the Earle Warren Orchestra, is sublime.
Ronnie Love (1939 – 2018) and his Orchestra, recorded ‘Chills and Fever’ originally in 1960, which was picked up by Dot Records in ’61. Tom Jones also recorded the track in ’63. This is a winner of a stroller.
Linda Hayes (1923 – 1998) was the sister of Platters lead singer Tony Williams and recorded jazz and R&B in the 1950’s. ‘You Ain’t Movin’ Me’ is a peach of a jiver, though it has to be said, the lyrics in places are somewhat risqué. The combination of Linda and the accompaniment from the Earle Warren Orchestra, is sublime.
Ronnie Love (1939 – 2018) and his Orchestra, recorded ‘Chills and Fever’ originally in 1960, which was picked up by Dot Records in ’61. Tom Jones also recorded the track in ’63. This is a winner of a stroller.
Looking forward to the Autumn and the Rhythm Riot is back again with this stellar line up. Click flyer for details
You've read about it, now book it. Bookings are coming in fast, click flyer for details
You read the reviews, now buy the merch. The Jezabox 45 is available at the upcoming Rockabilly Rave
Razzle Dazzle Vintage out in Long Sutton, Lincolnshire. Check out Razzle Dazzle Vintage at their store and at various events around the country. Website https://razzledazzlevintage.org.uk/
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Your Razzle Dazzle Vintage hosts, April and Andy Birdseye
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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 up to 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 2026. 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 2026. 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
