The Bettajive Review Magazine #52
The Bettajive Review Magazine #52, also coincides with our 22nd birthday as a 'thing'. In the upcoming issue we have our review of the Rockabilly Rave, featuring Jenny Lee above. We also feature The Comet Club's inaugural event, The Revolutionaires, The Rhythm Room and record releases from Flat Top Mark. Plus our interview this issue is with DJ & Promoter, Mr Big Feet (Ross Pickwell-Smart).
Advertisers, it's not too late for your event to be included in this issue, get in touch for details.
Your next issue will feature Hot Rock n Boogie weekender and The Rhythm Aces and much more
If you would like to donate to keep us going, please use the button below. Many thanks
Advertisers, it's not too late for your event to be included in this issue, get in touch for details.
Your next issue will feature Hot Rock n Boogie weekender and The Rhythm Aces and much more
If you would like to donate to keep us going, please use the button below. Many thanks
the bettajive review
Now on Discovery, it’s time for David Attleborough’s (sic) look at the Rock n Roll homo sapiens in their natural habitats. And some viewers may find some of the scenes upsetting, with strong language and adult humour from the start. I can almost hear the collective pricking up of ears and dilating of pupils in response
‘One two three o’clock four o’clock rock’ plays then fades. “Here, in the darkness of the miner’s welfare working man’s club village hall, we observe the dimly lit, and often secretive life, of the British Rock n Roller”. “A film, many years in the making, involving secret filming of some of the rarest individuals in this culture, we can now show you their fascinating behaviour”.
Cut to scenes of dancing, a couple in an ‘embrace’, gangs of Teds walking about, a grainy pic of three lads mooning on a chalet roof at Caister in the early 1980’s, two girls lifting their tee shirts up (Drat! you say, the camera cut away jus at the wrong moment), jiving, bopping, strolling, a band playing on stage, audience jumping up and down, DJ cueing up the next track listening down a traditional phone receiver, males with beer photobombing a camera shot open mouthed and showing their tonsils, a guy slapping a bass, people looking at records, blond girls, a frantic bopper, black haired girls, late night dancing, a guy with a gravity defying quiff, red haired girls, rails of clothes, hotrods and cars.
“Darkness falls, and the earliest rockers are coming out for the evening, their carriages can be clearly heard through the darkness. Here comes ‘Rockrollus crinitus’, the Fluffy ones, and ‘Rockrollus spheara lepus’, the Spinning Bunny Rock n Roller. These two species, are often the first to the venue, for there are rich pickings to be claimed. One has claimed a parking space, while the females in their finest exaggerated plumage, make for the seating with the best view. Often these females are the dominant of the species, and spread themselves flamboyantly across a variety of seats, to ensure exclusivity for later arrivals of the same species”.
“Next, we observe the arrival of ‘Rockrollus familia coetus’, the Rock n Roll family. This involves matriarchal and patriarchal attendance with their group of offspring, that need constant feeding with both food and entertainment. Some can be spilt into a subspecies ‘Rockrollus excrementum parvulus’, the ‘Little s**t Rock n Roller’ if left unchecked by the parents, as they run around the area, skidding on their knees. This is usually short lived though, as their energy levels diminish, along with the supply of brightly coloured confectionary they bought with them, and they soon fall asleep. The rest of the Rockrollus, collectively rejoice.”
“The arrival of ‘Rockrollus pulchra populus’ Rock n Roll Beautiful People’ is the highlight of the evening, if only for the Beautiful People themselves. These pristinely attired, perfectly coiffured individuals, are effectively responsible for the continuation of the order, without which, the order would become extinct within a few decades (according to them anyway). Similarly, in the darkness, there suddenly appears a row of dark creatures, similar in appearance. These are ‘Rockrollus edvvardiani attinere’, the Edwardian Rock n Roller. This species group also contains ‘Rockrollus corvus’ the crow, due to their dark coloured attire, and ‘Rockrollus ridiculum est indumentis’ the Rock n Roller of ridiculous clothing, with it’s overly bright plumage.”
“The two sub species do not always co-exist very well together, as we observe ‘corvus’ eyeing the rest under the cover of their chosen liquid nourishment, a bottle of brown ale. This ale is the sustenance of ‘corvus’, and alternatives are not tolerated. Non conformers are often banished, along with those who don’t think Johnny Kidd is all that special”
“Territories have been set, but some have encroached, a chair has been commandeered and there’s a tension in the air, some express their distress by word (usually ‘Slaaaaaag’), others by the baring of teeth (in the mouth, not the glass where they are usually kept). The chair that caused the problem is returned”.
“The arrival of ‘Rockrollus duplex bass’ and the rest of the band attract the attention of all Rockrollus species during the first few songs. Couples of ‘Spheara lepus’ take the floor, but as we see, they have left their territory vulnerable again. Luckily, none of the others have seen and another scene has been avoided.”
“Later as we observe, some Rockrollus species are departing, many stay. The thunderous music keeps them in the venue and even ‘pulchra populus’ and ‘corvus niger’ allow themselves a certain freedom to join the dance.” The shock of sudden illumination, heralds the end of the event, and all Rockrollus species make haste for their carriages, which disappear into the distance. That is……..until next month
Next week on Discovery, the motorized habebat vehentum of the 1960’s (‘all patches and mirrors’ for regular readers)
‘One two three o’clock four o’clock rock’ plays then fades. “Here, in the darkness of the miner’s welfare working man’s club village hall, we observe the dimly lit, and often secretive life, of the British Rock n Roller”. “A film, many years in the making, involving secret filming of some of the rarest individuals in this culture, we can now show you their fascinating behaviour”.
Cut to scenes of dancing, a couple in an ‘embrace’, gangs of Teds walking about, a grainy pic of three lads mooning on a chalet roof at Caister in the early 1980’s, two girls lifting their tee shirts up (Drat! you say, the camera cut away jus at the wrong moment), jiving, bopping, strolling, a band playing on stage, audience jumping up and down, DJ cueing up the next track listening down a traditional phone receiver, males with beer photobombing a camera shot open mouthed and showing their tonsils, a guy slapping a bass, people looking at records, blond girls, a frantic bopper, black haired girls, late night dancing, a guy with a gravity defying quiff, red haired girls, rails of clothes, hotrods and cars.
“Darkness falls, and the earliest rockers are coming out for the evening, their carriages can be clearly heard through the darkness. Here comes ‘Rockrollus crinitus’, the Fluffy ones, and ‘Rockrollus spheara lepus’, the Spinning Bunny Rock n Roller. These two species, are often the first to the venue, for there are rich pickings to be claimed. One has claimed a parking space, while the females in their finest exaggerated plumage, make for the seating with the best view. Often these females are the dominant of the species, and spread themselves flamboyantly across a variety of seats, to ensure exclusivity for later arrivals of the same species”.
“Next, we observe the arrival of ‘Rockrollus familia coetus’, the Rock n Roll family. This involves matriarchal and patriarchal attendance with their group of offspring, that need constant feeding with both food and entertainment. Some can be spilt into a subspecies ‘Rockrollus excrementum parvulus’, the ‘Little s**t Rock n Roller’ if left unchecked by the parents, as they run around the area, skidding on their knees. This is usually short lived though, as their energy levels diminish, along with the supply of brightly coloured confectionary they bought with them, and they soon fall asleep. The rest of the Rockrollus, collectively rejoice.”
“The arrival of ‘Rockrollus pulchra populus’ Rock n Roll Beautiful People’ is the highlight of the evening, if only for the Beautiful People themselves. These pristinely attired, perfectly coiffured individuals, are effectively responsible for the continuation of the order, without which, the order would become extinct within a few decades (according to them anyway). Similarly, in the darkness, there suddenly appears a row of dark creatures, similar in appearance. These are ‘Rockrollus edvvardiani attinere’, the Edwardian Rock n Roller. This species group also contains ‘Rockrollus corvus’ the crow, due to their dark coloured attire, and ‘Rockrollus ridiculum est indumentis’ the Rock n Roller of ridiculous clothing, with it’s overly bright plumage.”
“The two sub species do not always co-exist very well together, as we observe ‘corvus’ eyeing the rest under the cover of their chosen liquid nourishment, a bottle of brown ale. This ale is the sustenance of ‘corvus’, and alternatives are not tolerated. Non conformers are often banished, along with those who don’t think Johnny Kidd is all that special”
“Territories have been set, but some have encroached, a chair has been commandeered and there’s a tension in the air, some express their distress by word (usually ‘Slaaaaaag’), others by the baring of teeth (in the mouth, not the glass where they are usually kept). The chair that caused the problem is returned”.
“The arrival of ‘Rockrollus duplex bass’ and the rest of the band attract the attention of all Rockrollus species during the first few songs. Couples of ‘Spheara lepus’ take the floor, but as we see, they have left their territory vulnerable again. Luckily, none of the others have seen and another scene has been avoided.”
“Later as we observe, some Rockrollus species are departing, many stay. The thunderous music keeps them in the venue and even ‘pulchra populus’ and ‘corvus niger’ allow themselves a certain freedom to join the dance.” The shock of sudden illumination, heralds the end of the event, and all Rockrollus species make haste for their carriages, which disappear into the distance. That is……..until next month
Next week on Discovery, the motorized habebat vehentum of the 1960’s (‘all patches and mirrors’ for regular readers)
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Dot….dot Best tracks in the world ever ever to pipe your patissiere for this month are Glenn Reeves’ ‘Rock a Boogie Lou’, Teddy Redell’s ‘Knocking on the Backside’ and ‘Friction Heat’ by Bonnie Lou……Night out, drive to a gig, enjoy the band, observe and photograph, dance, stand around yapping after the lights come on at the end, drive home, sometimes stopping somewhere for coffee and eats, get home at silly o’clock, and still awake. Night in, 9pm, zzzzzzzzz…..At this point I’d like to welcome everyone back from Google Translate, entering all the Latin words, which may or may not be correctly conjugated ……..Anyone reading the above in a Sir David Attenborough style, that is purely coincidental, our presenter is the Poundland* equivalent…..*Other British budget variety stores, are available……Here is a little story. The Hammond Organs of the world self-destructed, and there was much rejoicing. The End……Will there ever be an end to ‘Do you want one more’ cr*p’ at the end of a band’s set? The band is obviously coming back on, we know it, the DJ knows it, the promoter knows it, the band know it, just sing the songs already……There’s been rumblings against the ‘phone on a stick’ method of videoing or photographing a band. People have suggested that it obscures their view. To that I say, ‘walk a mile in our shoes’. Wherever we stand, guaranteed a figure 6’6” tall, who then wears a large Stetson hat will stand in front of us, to be joined by another 6’6” figure in a large Stetson hat, eclipsing our view completely. They then hold their phone up to take video or photos, and hey, it’s at the same height as the ones on the sticks
It's on us folks, and you can still come and enjoy everything on show
Rev it up at Chezzy. Early April saw the Revolutionaires make the trip down to Dronfield for the latest Chesterfield Rock n Roll Club. Tonight’s line up, were the ever-present Ed Stephenson on lead guitar, harmonica and vocals, Rich Stephenson on bass guitar, keyboardist Steve Croft and drummer Elliot Stephenson. Thine hosts on the decks were the ever-present Andy B and Steve O, keeping the floor moving.
If you have been reading the Bettajive Review in whatever form over the past twenty-two years, you will have read about the Revolutionaires. There are reasons for that, firstly, that their brand of house rocking blues and powerful Rock n Roll is a delight every time you hear it. Secondly, wherever the gig and to however many or few there are in, the quality of the performance never wanes. And simply put, it’s a good night out.
Two sets from the canny lads, and in no chronological order, or order of preference, here’s a taste, a nay a brief nosegay, into the evening at Dronfield. For many years, the Revs relied on the saxophone accompaniment/lead. This is now more occasional, and where the sax leaves off, the keyboard fills in. Take the Mar Keys ‘Last Night’, as an immediate example, a heavily based sax instrumental, reconfigured for keyboard lead. And the iconic Dick Dale ‘Miserlou’, you might think that wouldn’t transfer to anything but the brass sound, also nudges the attention of the listener.
All the favourite Revs tracks were in there (except ‘Give Me Back My Hat’ MIA for some time now). The likes of ‘Keep a Knockin’, their bopped-up version of ‘Riot in Cell Block #9’ and Moon Mullican’s ‘Seven Nights to Rock’ for example. It wouldn’t be a Revs show without ‘Eddie’s Jump’, an extended harmonica soaked, foot-stomping blues-fest of an instro track. A hat tip toward Steve Croft for the ivory tickling on ‘Swoogie’ (I think), a masterclass in boogie-woogie on the eighty-eight keys.
Lob into the mix, ‘Kansas City’, Chuck’s ‘Roll Over Beethoven’ and the show stopping ‘Shake Your Hips’ as well, with Big Joe’s ‘Jump for Joy’ topping it off in the encore. Corking couple of sets, at a club that always delivers. Gallery images below
If you have been reading the Bettajive Review in whatever form over the past twenty-two years, you will have read about the Revolutionaires. There are reasons for that, firstly, that their brand of house rocking blues and powerful Rock n Roll is a delight every time you hear it. Secondly, wherever the gig and to however many or few there are in, the quality of the performance never wanes. And simply put, it’s a good night out.
Two sets from the canny lads, and in no chronological order, or order of preference, here’s a taste, a nay a brief nosegay, into the evening at Dronfield. For many years, the Revs relied on the saxophone accompaniment/lead. This is now more occasional, and where the sax leaves off, the keyboard fills in. Take the Mar Keys ‘Last Night’, as an immediate example, a heavily based sax instrumental, reconfigured for keyboard lead. And the iconic Dick Dale ‘Miserlou’, you might think that wouldn’t transfer to anything but the brass sound, also nudges the attention of the listener.
All the favourite Revs tracks were in there (except ‘Give Me Back My Hat’ MIA for some time now). The likes of ‘Keep a Knockin’, their bopped-up version of ‘Riot in Cell Block #9’ and Moon Mullican’s ‘Seven Nights to Rock’ for example. It wouldn’t be a Revs show without ‘Eddie’s Jump’, an extended harmonica soaked, foot-stomping blues-fest of an instro track. A hat tip toward Steve Croft for the ivory tickling on ‘Swoogie’ (I think), a masterclass in boogie-woogie on the eighty-eight keys.
Lob into the mix, ‘Kansas City’, Chuck’s ‘Roll Over Beethoven’ and the show stopping ‘Shake Your Hips’ as well, with Big Joe’s ‘Jump for Joy’ topping it off in the encore. Corking couple of sets, at a club that always delivers. Gallery images below
Thine hosts
Wide range at the Grange. Carleton Grange, sited in the village of Carleton, Pontefract-shire (loosely) was built in the 19th Century as a private home. It was gifted to the community in the mid-20th century, and now is run by the Carleton Grange Trust and is open for bookings of various events. It’s the home now Want2Jive’s classes, and on this particular evening, the launch of the Comet Club.
The Comet Club, is a new occasional event from the Want2Jive team of Dave Baxter and Louise Davison, who took most of the DJing duties, as well as setting up the hall, the large 3m x 2m media screen and probably polishing the brass too. The room itself is a decent size, plenty of seating and a good wooden dancefloor.
Around sixty punters showed up, at the event that promised a journey through the 40’s to the early 60’s. It was wall to wall Rock n Roll, Rockabilly, R&B, Swing, Surf, Western Swing, you name it (thankfully no mop top nonsense!). The tag-line was ‘Dance as you like’ however with several class members, the onus was on jive, stroll and bop. It rocked, it rolled and it swung. Smashing debut night.
This is also the venue for Want2Jive’s weekly classes, for all levels of jive and stroll. Whether you’re a beginner, or wanting to learn a new move or two, this is your place to go in West Yorkshire on a Thursday night.
The Comet Club, is a new occasional event from the Want2Jive team of Dave Baxter and Louise Davison, who took most of the DJing duties, as well as setting up the hall, the large 3m x 2m media screen and probably polishing the brass too. The room itself is a decent size, plenty of seating and a good wooden dancefloor.
Around sixty punters showed up, at the event that promised a journey through the 40’s to the early 60’s. It was wall to wall Rock n Roll, Rockabilly, R&B, Swing, Surf, Western Swing, you name it (thankfully no mop top nonsense!). The tag-line was ‘Dance as you like’ however with several class members, the onus was on jive, stroll and bop. It rocked, it rolled and it swung. Smashing debut night.
This is also the venue for Want2Jive’s weekly classes, for all levels of jive and stroll. Whether you’re a beginner, or wanting to learn a new move or two, this is your place to go in West Yorkshire on a Thursday night.
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Finest Malt. The weekend after the Rockabilly Rave, we took ourselves off to Leicestershire for an evening at the Rhythm Room, at the Malthouse Suite in Syston. DJs for the evening were CJ’s Jumping Boogie and Savoy Jump, hosting a decent headcount in the room. It’s a cool vibe at this venue, parquet dance floor and plenty of seating should you need it. And free sweets!
Between snaffling Quality Street (other tinned and boxed confectionaries, are available), there were dance tunes aplenty, encompassing every style from the 1940’s Swing you’re your ‘In The Mood’ style, through LaVern’s ‘St Louis Blues’, ‘Little House’ by Ray Collins Hot Club, Hank Harral’s ‘DJ Blues’ and Carl Perkins ‘Movie Magg’. And most points in between. There was jive bop and stroll aplenty to be had, in a relaxed atmosphere. This is a regular event throughout the year. Check listings for details.
Between snaffling Quality Street (other tinned and boxed confectionaries, are available), there were dance tunes aplenty, encompassing every style from the 1940’s Swing you’re your ‘In The Mood’ style, through LaVern’s ‘St Louis Blues’, ‘Little House’ by Ray Collins Hot Club, Hank Harral’s ‘DJ Blues’ and Carl Perkins ‘Movie Magg’. And most points in between. There was jive bop and stroll aplenty to be had, in a relaxed atmosphere. This is a regular event throughout the year. Check listings for details.
You've read about it here, now check out the club on these dates in 2026
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Petrol heads and music lovers, click on either flyer for further Hot Rod Hayride info
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the rockabilly rave 2026
April brings hints of spring, better weather and of course, the Rockabilly Rave. With the hosts, Parkdean Resorts, having spent a serious chunk of change on the Vauxhall Park, many wondered quite what further luxury we would encounter on this the second Rave to take place at the Norfolk venue. Four nights, three days of Rockabilly heaven, and if you’re anything like us, once you’re through those gates, the outside world largely ceases to matter.
A bit of a glossary for new readers. For many years, the previous site had two ballrooms, as does this one. However, they were on two levels, colloquially known as ‘upstairs and downstairs’. Do not expect that to change here, and for that matter in the official program. Similarly, much of the accommodation was in chalets originally and here in Yarmouth, it’s a majority of static caravans. Expect those to be referred to as chalets. Old habits die hard readers. Our digs, simply put, were brand new, one example of the commitment to improvements.
A curve ball was pitched at Jerry Chatabox to start with. Issues in Iran forced Scotty Baker to withdraw from flying from Australia, and illness prevented Mischief! and Eddie and Thee Scorpions from coming over. This review isn’t covering every band that played at the Rave, and for that matter we didn’t photograph every one. Opinions on any of the acts or DJs is always subjective, and for that matter, opinions differ between the two of us, as they did on this occasion (betcha can’t tell which!). Now, let’s get started.
A bit of a glossary for new readers. For many years, the previous site had two ballrooms, as does this one. However, they were on two levels, colloquially known as ‘upstairs and downstairs’. Do not expect that to change here, and for that matter in the official program. Similarly, much of the accommodation was in chalets originally and here in Yarmouth, it’s a majority of static caravans. Expect those to be referred to as chalets. Old habits die hard readers. Our digs, simply put, were brand new, one example of the commitment to improvements.
A curve ball was pitched at Jerry Chatabox to start with. Issues in Iran forced Scotty Baker to withdraw from flying from Australia, and illness prevented Mischief! and Eddie and Thee Scorpions from coming over. This review isn’t covering every band that played at the Rave, and for that matter we didn’t photograph every one. Opinions on any of the acts or DJs is always subjective, and for that matter, opinions differ between the two of us, as they did on this occasion (betcha can’t tell which!). Now, let’s get started.
Charlie Hightone
Thursday evening began for us with an act that has, within their repertoire, a couple of stick-on dancefloor bangers. Charlie Hightone and the Rock-its provided a tear-up for the opening act, blasting out the wonderfully titled ‘Carrot Pie Mama’ to set the tone.
It’s interesting when one of your finest recordings ‘Hangover Blues’, is known by some as ‘the one with the burp in it’ (that sound you can hear is my eyes rolling), but that particular track sounded just like someone had put the record on. It appeared later in the set, as did latter-day barn-burners like ‘Booze, Booze, Booze’ and ‘Dead End Track’.
A Charlie Hightone set isn’t all thunderous boppers though. ‘Baby Behave’ is superb jive beat, and ‘No Esta Bien’ (It’s Not Okay), is the finest mid-tempo track. By contrast, the frantic pace of ‘Cancion De Amor’ is a diamond, and dare we suggest that ‘Small But Loud’ is autobiographical? Just the ‘bang’ you’d want the Rave to start with.
It’s interesting when one of your finest recordings ‘Hangover Blues’, is known by some as ‘the one with the burp in it’ (that sound you can hear is my eyes rolling), but that particular track sounded just like someone had put the record on. It appeared later in the set, as did latter-day barn-burners like ‘Booze, Booze, Booze’ and ‘Dead End Track’.
A Charlie Hightone set isn’t all thunderous boppers though. ‘Baby Behave’ is superb jive beat, and ‘No Esta Bien’ (It’s Not Okay), is the finest mid-tempo track. By contrast, the frantic pace of ‘Cancion De Amor’ is a diamond, and dare we suggest that ‘Small But Loud’ is autobiographical? Just the ‘bang’ you’d want the Rave to start with.
The Honkabillies
The Honkabillies have an established footprint on the Rockabilly Rave stage, from many years of experience, right back from when they were Doggone! Frankie Reidel takes the lead vocal and rhythm guitar, with Frankie Reidel Jr on lead guitar, drummer Claire Reidel and on upright bass, Sam French.
Since joining Wild Records, the band has combined the classics with some of their own material, that has a gritty and intense sound, as ‘Bye Bye Baby’ would clearly demonstrate as the set opened up. A thump-tick rhythm and ballsy guitar riff made this the ideal tune to set the stall out. ‘Lockdown Lonely’ I think we can safely say, is a bop tunes that was written with 2020 in mind.
A switch in tempo with ‘Bettie Bettie’, complete with recounting Frankie noticing those magazines on the top row of newsagents, for which we all bowed to his superior knowledge on the subject….. It’s a cover of the BR549 track from the 1990’s, and has become a mainstay of the Honkabillies’ shows for several years now.
‘All I Can Do Is Cry’ got an outing, before their own ‘Hog Wild’. That song and it’s rhythm is pure joy, with an almost jazzy lilt. ‘Wild Cat’ is another original track that has a seriously punchy guitar solo, which set up Dwight Yoakham’s ‘Please Please Baby’ and the ever-popular encore, the Delmore Brothers’ ‘Freight Train Boogie’ in a heavy bop style. Top drawer.
Since joining Wild Records, the band has combined the classics with some of their own material, that has a gritty and intense sound, as ‘Bye Bye Baby’ would clearly demonstrate as the set opened up. A thump-tick rhythm and ballsy guitar riff made this the ideal tune to set the stall out. ‘Lockdown Lonely’ I think we can safely say, is a bop tunes that was written with 2020 in mind.
A switch in tempo with ‘Bettie Bettie’, complete with recounting Frankie noticing those magazines on the top row of newsagents, for which we all bowed to his superior knowledge on the subject….. It’s a cover of the BR549 track from the 1990’s, and has become a mainstay of the Honkabillies’ shows for several years now.
‘All I Can Do Is Cry’ got an outing, before their own ‘Hog Wild’. That song and it’s rhythm is pure joy, with an almost jazzy lilt. ‘Wild Cat’ is another original track that has a seriously punchy guitar solo, which set up Dwight Yoakham’s ‘Please Please Baby’ and the ever-popular encore, the Delmore Brothers’ ‘Freight Train Boogie’ in a heavy bop style. Top drawer.
Hi- Fly Rangers
The Hi-Fly Rangers, from Finland, were visiting the UK for the very first time. They are Vesa Haaja on rhythm guitar and vocals with lead guitarist, Kari Kunnas and bassist Jarrko Lahdeniemi and later in the set, drummer Jani Ahtiainen. A good deal of their set was original material, however one song that immediately had everyone listening in recognition. That was ‘Skyfall’, who would have thought we would have something by Adele at the Rave. Well, we did, and a pretty cool version it was too.
After briefly introducing themselves, the opening bars of ‘Another Gear’ engaged the crowd. This was before the addition of drums, so the percussive sound of the bass, was really effective on the early Rockabilly sound. Similarly, ‘Hot Rod Ride to the Moon’ had a jaunty beat, and top lead guitar work. They also presented a tidy version of Billy Wallace’s ‘Burning the Wind’, which is a nippy rocker on Mercury from 1956. Soon it was time to introduce a special guest as Bubba Feathers, hit the ground running with ‘Tongue Tied Jill’.
A smashing introduction to these guys who put on a fine debut show.
After briefly introducing themselves, the opening bars of ‘Another Gear’ engaged the crowd. This was before the addition of drums, so the percussive sound of the bass, was really effective on the early Rockabilly sound. Similarly, ‘Hot Rod Ride to the Moon’ had a jaunty beat, and top lead guitar work. They also presented a tidy version of Billy Wallace’s ‘Burning the Wind’, which is a nippy rocker on Mercury from 1956. Soon it was time to introduce a special guest as Bubba Feathers, hit the ground running with ‘Tongue Tied Jill’.
A smashing introduction to these guys who put on a fine debut show.
Danny McVey
For Rockabilly in it’s nominate form, Danny McVey and his Trio, are as good as it gets. Slight in physical form, Danny has a deep vocal delivery, and takes on the acoustic rhythm guitar. He is joined by the expertise of Morgan Willis on lead guitar, Wayne Harrison on the big silver double bass, and the newest addition being Ricky McCann on drums. We had seen the original line up, with Wayne providing percussive sounds on the bass, to really good effect. If you could improve on that, well, maybe this was it.
Anyone expecting a trip down the well-trodden Rockabilly path, was off the pace. He writes a tidy song as well, and one such track appeared early doors. ‘Hello Heartaches’ is a rollocking song, brisk in tempo, with a lively rhythm. ‘French Woman’ takes the foot off the pedal slightly, while ‘No Fault of Mine’ has a scolding undertone to the lyrics and some super riffs from Morgan on lead guitar.
Although not an original Danny McVey track, the Surf Riders 1958 kicker, ‘I’m Out’ could have been one of his own, especially as that is as close you are likely to get to his vocal style. Ken Davis’ ‘Shook Shake’ also got the treatment, as did ‘Party Line’. Back on the ‘new’ material, there’s a minute and forty five seconds worth of the strum-tastic ‘I Walk Alone’, and the vocal stretch of the rock-out of ‘Rock n Roll Star’.
All of the newer self-penned material stood shoulder to shoulder with the fifties stuff, with the likes of Don Woody’s ‘Barking up the Wrong Tree’ and the almost primitive sound of Lloyd McCullough’s ‘Gonna Love My Baby Now’ concluding the set. When Rockabilly is done well readers, it’s done by Danny McVey and his Trio.
Anyone expecting a trip down the well-trodden Rockabilly path, was off the pace. He writes a tidy song as well, and one such track appeared early doors. ‘Hello Heartaches’ is a rollocking song, brisk in tempo, with a lively rhythm. ‘French Woman’ takes the foot off the pedal slightly, while ‘No Fault of Mine’ has a scolding undertone to the lyrics and some super riffs from Morgan on lead guitar.
Although not an original Danny McVey track, the Surf Riders 1958 kicker, ‘I’m Out’ could have been one of his own, especially as that is as close you are likely to get to his vocal style. Ken Davis’ ‘Shook Shake’ also got the treatment, as did ‘Party Line’. Back on the ‘new’ material, there’s a minute and forty five seconds worth of the strum-tastic ‘I Walk Alone’, and the vocal stretch of the rock-out of ‘Rock n Roll Star’.
All of the newer self-penned material stood shoulder to shoulder with the fifties stuff, with the likes of Don Woody’s ‘Barking up the Wrong Tree’ and the almost primitive sound of Lloyd McCullough’s ‘Gonna Love My Baby Now’ concluding the set. When Rockabilly is done well readers, it’s done by Danny McVey and his Trio.
Truffle Valley Boys
The Truffle Valley Boys, from Italy, are at the forefront of the Bluegrass sound. Jerry Chatabox’s notes suggested if there were any better, he would have booked them. A chunky headcount waited in anticipation for the four lads to take the stage. The personnel are Matteo Ringressi on Mandolin, Acoustic Guitar and lead vocals, Germano Ciavone on banjo, harmony and occasional lead vocals with Denny Rocchio taking Acoustic and Resonator guitar as well as harmony vocals. Finally, guesting on upright bass (and the only instrument ‘plugged in’ in the traditional sense) Rick Engstrom.
So, it was time to party like it’s 1949. Bluegrass emerged as a type of folk, jazz, blues and hillbilly sound, championed (and largely cited as named after) Bill Monroe and his Blue Grass Boys. The Truffle Valley Boys make it their job to ensure their reproduction of this sound is as authentic as it could possibly be. The achieve this by having a single microphone in the middle of the stage, and swapping round to showcase their particular instrument. This ballet is choregraphed such that the three players change places without clashing headstocks into each other. That, and having to change a banjo string mid-song and performance.
The music, was a massive hit with the crowd, with their reproducing the lies of ‘Just the Thought of Losing You’ for example. First recorded by Bill Napier and Charlie Moore, the Truffle Valley Boys, added just enough spin to it, and managed to be reverential to the original. Ray Price’s ‘My Shoes Keep Walking Back To You’, written by Lee Ross & Bob Wills, is your traditional country music sound that the lads ‘Grass’ up to fit their style, including the Dobro sound. (Brother) Claude Ely wrote the Gospel inspired track ‘Ain’t No Grave Gonna Hold This Body Down’ when he was twelve years old in 1934/5. He didn’t record a version until 1953. On stage at the Rave, we had a nippy and pacy version with consummate vocal harmonies. Corbet ‘Cuddles’ Newsome’s composition for the Flat Mountain Boys, ‘Choo Choo Coming’, was another well received harmony, in a set that was rowdily cheered throughout.
A dispatch style mention for Glenn Doran who was invited up on the stage for a guest spot, and delivered a version of Gene O’Quinn’s ‘Pinball Millionaire’ with superior accuracy.
So, it was time to party like it’s 1949. Bluegrass emerged as a type of folk, jazz, blues and hillbilly sound, championed (and largely cited as named after) Bill Monroe and his Blue Grass Boys. The Truffle Valley Boys make it their job to ensure their reproduction of this sound is as authentic as it could possibly be. The achieve this by having a single microphone in the middle of the stage, and swapping round to showcase their particular instrument. This ballet is choregraphed such that the three players change places without clashing headstocks into each other. That, and having to change a banjo string mid-song and performance.
The music, was a massive hit with the crowd, with their reproducing the lies of ‘Just the Thought of Losing You’ for example. First recorded by Bill Napier and Charlie Moore, the Truffle Valley Boys, added just enough spin to it, and managed to be reverential to the original. Ray Price’s ‘My Shoes Keep Walking Back To You’, written by Lee Ross & Bob Wills, is your traditional country music sound that the lads ‘Grass’ up to fit their style, including the Dobro sound. (Brother) Claude Ely wrote the Gospel inspired track ‘Ain’t No Grave Gonna Hold This Body Down’ when he was twelve years old in 1934/5. He didn’t record a version until 1953. On stage at the Rave, we had a nippy and pacy version with consummate vocal harmonies. Corbet ‘Cuddles’ Newsome’s composition for the Flat Mountain Boys, ‘Choo Choo Coming’, was another well received harmony, in a set that was rowdily cheered throughout.
A dispatch style mention for Glenn Doran who was invited up on the stage for a guest spot, and delivered a version of Gene O’Quinn’s ‘Pinball Millionaire’ with superior accuracy.
Hey DJ, play some….. With the two venues, and a truckload of people wanting to shake their collective tail feathers, you need a bunch of toppermost DJs. Here at the Rave, we had just that. Again, we didn’t see every one, but a massive mention to Geordie Paul, Carrie Hope, Topper, El Nova, Annaleigh, Blip Blop, Deano, Andy Roadoiler, Robert Popp, Sonny Rocket. Even thine host, Jerry Chatabox had a session, just the one Mrs Wembley, in the deepest darkest bowels of 1-2am. Everyone mixed up the classics, with a few oddities lobbed in, proving you don’t need a box of dusty demos that never saw the light of day, to impress.
Sundown Boys
With Mischief! unable to attend, up stepped the Sundown Boys to play their second set of the weekend. Dan Morley leads the charge on rhythm guitar and vocals, with Danny Brown on upright bass, Scott Brown on lead guitar and drummer Curtis Doel. Initially this band was a three piece, however the addition of drums has added another dimension to their set list. A tear-up of Art Adams’ ‘Rock Crazy Baby’ announced them onto the stage, setting the tone for a set chocca with classy Rockabilly.
Hardly-heards, like the Van Brothers’ ‘Servant of Love’ and Justin Tubb’s ‘Pepper Hot Baby’ mixed up well with quintessential rockers like Alton and Jimmy’s ‘No More Crying the Blues’, Johnny Burnette’s ‘Lonesome Tears in My Eyes’ and a couple of Carl Perkins faves ‘Tennessee’ and ‘Right String Baby, Wrong Yoyo’ . Throughout there was a tight sound with the rhythm ably complementing the lead guitar.
The Sundown Boys have set a high standard for themselves, and they deliver every time they take to a stage. And this was no exception.
Hardly-heards, like the Van Brothers’ ‘Servant of Love’ and Justin Tubb’s ‘Pepper Hot Baby’ mixed up well with quintessential rockers like Alton and Jimmy’s ‘No More Crying the Blues’, Johnny Burnette’s ‘Lonesome Tears in My Eyes’ and a couple of Carl Perkins faves ‘Tennessee’ and ‘Right String Baby, Wrong Yoyo’ . Throughout there was a tight sound with the rhythm ably complementing the lead guitar.
The Sundown Boys have set a high standard for themselves, and they deliver every time they take to a stage. And this was no exception.
The Mean Devils
The Mean Devils, have been absent from our shores for some time, however a recent appearance at Hemsby had reminded many of just how good they are. The last time they played at the Rockabilly Rave was a truly memorable show with the late Billy Lee Riley, and that was nearly twenty years ago.
Lead singer Pedro Serra, is a charismatic frontman, slinging an acoustic rhythm guitar. His presentation is as much lively and dynamic, as it is vocally accomplished, and we soon got an example of it with a hopped up take on Little Jimmy Dickens’ ‘I Got a Hole in my Pocket’.
They write a decent rocker as well, taking ‘Don’t Stop the Bop Rock’ as a case in point. But if I had to choose one that typifies the quality of this group, it would be ‘Wizard of Wax’. As a Rockabilly track, it has everything, a thumping bass beat and super guitar breaks from lead guitarist Oscar Gomes, with a vocal that reminds the listener of Johnny Burnette.
Taking the foot off the gas for a bit, was Johnny Horton’s ‘I Don’t Like I Did’, before we were all whipped up again for the vocally ranging ‘Bop A Rama’ and the frantic ‘Pack ‘em Up, Stack ‘em Up, Rack ‘em Up’. One of their most recent tracks, is called ‘Make up for Lost Time’, quite ironic as we did indeed, with a showstopping set.
Lead singer Pedro Serra, is a charismatic frontman, slinging an acoustic rhythm guitar. His presentation is as much lively and dynamic, as it is vocally accomplished, and we soon got an example of it with a hopped up take on Little Jimmy Dickens’ ‘I Got a Hole in my Pocket’.
They write a decent rocker as well, taking ‘Don’t Stop the Bop Rock’ as a case in point. But if I had to choose one that typifies the quality of this group, it would be ‘Wizard of Wax’. As a Rockabilly track, it has everything, a thumping bass beat and super guitar breaks from lead guitarist Oscar Gomes, with a vocal that reminds the listener of Johnny Burnette.
Taking the foot off the gas for a bit, was Johnny Horton’s ‘I Don’t Like I Did’, before we were all whipped up again for the vocally ranging ‘Bop A Rama’ and the frantic ‘Pack ‘em Up, Stack ‘em Up, Rack ‘em Up’. One of their most recent tracks, is called ‘Make up for Lost Time’, quite ironic as we did indeed, with a showstopping set.
The Hill Brothers
One of the best parts of being at an international music festival, is that you’ll always come across a band that, you’ve never seen before, that are making their debut and who really impresses you. Such is the case with the Hill Brothers from France (Dijon I think) who graced the ‘downstairs’ hall to open Saturday afternoon’s live shows.
Readers might recall a previous incarnation, known as the Hillbillies. Led by vocalist and rhythm guitarist, Jim Ventura, and the wonderfully named, Flyingjimmy Peter Parker on lead guitar, and Stephane Ferlay on bass, they utilise a number of their own compositions, sprinkled with some arrangements of cover tunes.
This is another trio that uses the upright bass as the percussion as well as the bass notes, and it’s really effective. They opened up with their own track, released on Spare Time Records, titled ‘Big Drunk Mouth’, which is a brisk, strumming number. Actually, the flip side of that single, ‘No Law, No Justice’ appeared later, which has a smooth and somewhat haunting vocal sound to it. I guess if one were to make a comparison to any original artist, then Charlie Feathers would be a fair shout. Hearing their version of ‘Rain’ would confirm that to anyone. What an excellent version.
‘Call of Your Land’ is a similar tempo, and the picking lead guitar work on it is exemplary. Some Gospel perhaps? Why not, with the guys take of Ernie Haase’s ‘Three Men on a Mountain’. This is a song about the crucifixion of Christ between two thieves on Calvary. This reworking retains the due reverence to the subject and the original arrangement. Another track that gets the Hill Brothers treatment, is Jim Nesbitt’s ‘Working all my Life’ from 1966(!). They also brought Matteo Ringressi onto the stage to accompany them on mandolin during ‘Deep River’.
Storming set by the French lads, a real treat.
Readers might recall a previous incarnation, known as the Hillbillies. Led by vocalist and rhythm guitarist, Jim Ventura, and the wonderfully named, Flyingjimmy Peter Parker on lead guitar, and Stephane Ferlay on bass, they utilise a number of their own compositions, sprinkled with some arrangements of cover tunes.
This is another trio that uses the upright bass as the percussion as well as the bass notes, and it’s really effective. They opened up with their own track, released on Spare Time Records, titled ‘Big Drunk Mouth’, which is a brisk, strumming number. Actually, the flip side of that single, ‘No Law, No Justice’ appeared later, which has a smooth and somewhat haunting vocal sound to it. I guess if one were to make a comparison to any original artist, then Charlie Feathers would be a fair shout. Hearing their version of ‘Rain’ would confirm that to anyone. What an excellent version.
‘Call of Your Land’ is a similar tempo, and the picking lead guitar work on it is exemplary. Some Gospel perhaps? Why not, with the guys take of Ernie Haase’s ‘Three Men on a Mountain’. This is a song about the crucifixion of Christ between two thieves on Calvary. This reworking retains the due reverence to the subject and the original arrangement. Another track that gets the Hill Brothers treatment, is Jim Nesbitt’s ‘Working all my Life’ from 1966(!). They also brought Matteo Ringressi onto the stage to accompany them on mandolin during ‘Deep River’.
Storming set by the French lads, a real treat.
Jenny Lee
The smaller hall was very well populated for Jenny Lee and her Band, who took on one of the afternoon slots in the up-close and personal venue. She fronts the band on vocals and rhythm guitar with Harry Chappel on lead guitar, bassist Luke Nichols and Todd Knapp on drums. The set features a chunky slab of Wanda Jackson, and the familiarity of Jenny Lee’s voice, to early Wanda’s is audibly notable.
That said it was no surprise when they opened up with the caustic lyrics of ‘Mean Mean Man’ and the potentially explosive ‘Fujiyama Mama’. The crowd were right into this show from the start, with more Wanda wizardry on show with the likes of ‘That’s Alright Mama’, ‘Hard Headed Woman’ and ‘Lost Weekends’ (we do know about other versions of these songs, thank you).
Was it all about Wanda? Actually no. Many female singers take on another of the influential artists of that era. Although Janis Martin had a comparatively shorter career at the start, she produced some of the standout classics, that are go-to’s for today’s performers. Jenny Lee took on two absolute beauties, ‘Alright Baby’ and the pistol-cocking rocker ‘Bang Bang’. Janis gave way to Brenda Lee, with the nuptial jaunt through ‘Let’s Jump the Broomstick’, and some Chuck Berry, in the shape of ‘Brown Eyed Handsome Man’.
Jenny Lee’s voice carried really well over the top drawer backing from her band. The set list had out and out rockers with some lighter tones, thinking of ‘Hot Dog That Made Him Made’ and ‘Rock Your Baby’. And a massive mention in a dispatch stylie, for ‘You Said Too Much’, making it’s debut ‘live’. This is an original song written by Eliot ‘Lobo’ Jones, mid-tempo and a truly authentically sounding delight. ‘Let’s Have a Party’ ended the proceedings, and we’d already had one thanks to this show.
That said it was no surprise when they opened up with the caustic lyrics of ‘Mean Mean Man’ and the potentially explosive ‘Fujiyama Mama’. The crowd were right into this show from the start, with more Wanda wizardry on show with the likes of ‘That’s Alright Mama’, ‘Hard Headed Woman’ and ‘Lost Weekends’ (we do know about other versions of these songs, thank you).
Was it all about Wanda? Actually no. Many female singers take on another of the influential artists of that era. Although Janis Martin had a comparatively shorter career at the start, she produced some of the standout classics, that are go-to’s for today’s performers. Jenny Lee took on two absolute beauties, ‘Alright Baby’ and the pistol-cocking rocker ‘Bang Bang’. Janis gave way to Brenda Lee, with the nuptial jaunt through ‘Let’s Jump the Broomstick’, and some Chuck Berry, in the shape of ‘Brown Eyed Handsome Man’.
Jenny Lee’s voice carried really well over the top drawer backing from her band. The set list had out and out rockers with some lighter tones, thinking of ‘Hot Dog That Made Him Made’ and ‘Rock Your Baby’. And a massive mention in a dispatch stylie, for ‘You Said Too Much’, making it’s debut ‘live’. This is an original song written by Eliot ‘Lobo’ Jones, mid-tempo and a truly authentically sounding delight. ‘Let’s Have a Party’ ended the proceedings, and we’d already had one thanks to this show.
Ravin’ dot…dot. Best tracks in the world ever ever to whip up your cream for your horns for this Rave were, Rick Nelson’s ‘Gypsy Woman’, ‘C’est Si Tout’ by Tibby Edwards and Grady Martin’s ‘I’m a Big Boy Now’…….Knowing the caravan we had booked from last year, imagine the surprise when finding it, the colour had changed, the balcony had been nicked and the inside was spanky-new. So much so, the instruction leaflets for the appliances were still in the polythene wrappers. Did we ever have anything new at P*nt*ns? Does anyone actually miss having their ar*e nipped by the toilet seat?......The stage has now been raised by twelve inches, which is handy for the likes of us vertically challenged, but is the max for the likes of Deke on the stage, whose hat brushes perilously near the lighting rigs…… How about that, the Country Side of Harmonica Sam, didn’t perform ‘Look Out Heart’, some onlookers seemed like released battery hens, what to do?…. Once again, muchos congratulations to Rory Alderson and his team for the sound and lighting throughout the Rave…..How many times did Frankie Reidel have to clarify that the Hundred Dollar Quartet aren’t a Honkabillies tribute act and ‘Bettie Bettie’ is a BR549 song 😊……Heard some really ‘Old Skool’ (with the ‘k’ round the wrong way) Rockabilly songs this Rave from all the DJs. You can’t beat the likes of Johnny Burnette and Mac Curtis et al. And throwing the shapes to ‘Jitterbop Baby’ on more than one occasion, is heavenly. That is all. As you were….. You get a program at the Rave that is not only bulging with information, but has a hefty chunk of amusement, with Jerry Chatabox’s musings, and lately, cartoons from the mightily talented Gary Boller…..I dare someone to sneak into the Vinyl Junkies club at the Rave and shout ‘Digital download’, and run away……Acts we didn’t review, but need a shout out. The Doel Brothers adjusted show, without Scotty, John Lewis kind-of take of ‘Pop the Question’, Lynette Morgan’s version of ‘High Fly Baby’ and Crazy Joe & Kyle Edridge’s blistering guitar skills…..
Rockin' Rocket 88
Rockin Rocket 88, my goodness how long has it been? Formed in 1986 (yes readers, that’s forty years ago!) in Kent, their last album way released in 2009. The line up was still familiar, Leroy Bradley on lead vocals and acoustic rhythm guitar, Matt Linton-Smith, Nick Linton-Smith, Tom Hayes and Steve Matthews make up the personnel that included occasional fiddle in among the standard guitar bass and drums set up. Their approach is very much a Blues meets Rockabilly, falls in love and produces a child that has inherited traits from both parents.
This is borne out by examples in the set from (way) back in ’89, and their debut release that had a Hillbilly side and a Blues side. ‘I’m Coming Home’ was written by Leroy, and has a guitar riff that put me in mind of stuff like ‘Boom Boom’ or ‘Dimples’, with added zest in the tempo. Also in the Blues vein, is the band’s collaborative effort, ‘Until the Sun Goes Down’, which has that ‘Feelin’ Good’ aura in the rhythm and guitar work. ‘Red Hot Lover’ was co-written with Leroy and Ashley Kingman, and is one of the smashing examples of the use of Matt Linton-Smith’s fiddle playing.
‘The Storm’ displayed the group’s Neo-Rockabilly side, and the fiddle is given front and centre stage with ‘High Heeled Booted Baby’. You get the picture here readers. Inventive sounds from back then, that still sounds innovative today, with the writing style and delivery, mixing up the ‘billies’ with the blues.
This is borne out by examples in the set from (way) back in ’89, and their debut release that had a Hillbilly side and a Blues side. ‘I’m Coming Home’ was written by Leroy, and has a guitar riff that put me in mind of stuff like ‘Boom Boom’ or ‘Dimples’, with added zest in the tempo. Also in the Blues vein, is the band’s collaborative effort, ‘Until the Sun Goes Down’, which has that ‘Feelin’ Good’ aura in the rhythm and guitar work. ‘Red Hot Lover’ was co-written with Leroy and Ashley Kingman, and is one of the smashing examples of the use of Matt Linton-Smith’s fiddle playing.
‘The Storm’ displayed the group’s Neo-Rockabilly side, and the fiddle is given front and centre stage with ‘High Heeled Booted Baby’. You get the picture here readers. Inventive sounds from back then, that still sounds innovative today, with the writing style and delivery, mixing up the ‘billies’ with the blues.
Deke Dickerson
The towering presence of Deke Dickerson, both physically and metaphorically, has graced the Rave stage on many occasions, in a variety of combos. This was a returning act, with the Whippersnappers, multi-talented instrumentalists and vocalists, Bert Avalos, Zander Griffith and for the last time (it transpired) drummer Dylan Patterson.
You gotta love the opening track, ‘Here Kitty Kitty’ from their 2023 debut album. This was a reworking of the Jimmy Murphy’s 1956 harmonica hillbilly rocker, which this combo added musical ‘beef’ to. An attention grabber for sure. The title track of the afore mentioned LP, ‘Honky Tonkin’ Rhythm’ was a vocal delight, much like the Bobby Sisco original. Deke’s own composition ‘Bucket of Blood’ has a seriously infectious guitar riff, I think from the Danelectro bass.
The recounting of two Johnny Horton corkers, ‘Sugar Coated Baby’ and ‘Honky Tonk Hardwood Floor’ sandwiched a more sedate country ramble through a super Billy Golden track from 1968 (yes, SIXTY eight) ‘Wild Wild Thing’ and ‘Ridin’ with the Devil’ fair rolled along. If I have a ‘Deke’ track as a favourite, it would probably be ‘Mexicali Rose’. This was a well-known cowboy styled tune performed over the earlier years by the likes of Gene Autry and Jim Reeves. Deke has taken it, hopped it up and given the lyrics a vocally more forceful resonance. A first class ending to an equally first-class show.
You gotta love the opening track, ‘Here Kitty Kitty’ from their 2023 debut album. This was a reworking of the Jimmy Murphy’s 1956 harmonica hillbilly rocker, which this combo added musical ‘beef’ to. An attention grabber for sure. The title track of the afore mentioned LP, ‘Honky Tonkin’ Rhythm’ was a vocal delight, much like the Bobby Sisco original. Deke’s own composition ‘Bucket of Blood’ has a seriously infectious guitar riff, I think from the Danelectro bass.
The recounting of two Johnny Horton corkers, ‘Sugar Coated Baby’ and ‘Honky Tonk Hardwood Floor’ sandwiched a more sedate country ramble through a super Billy Golden track from 1968 (yes, SIXTY eight) ‘Wild Wild Thing’ and ‘Ridin’ with the Devil’ fair rolled along. If I have a ‘Deke’ track as a favourite, it would probably be ‘Mexicali Rose’. This was a well-known cowboy styled tune performed over the earlier years by the likes of Gene Autry and Jim Reeves. Deke has taken it, hopped it up and given the lyrics a vocally more forceful resonance. A first class ending to an equally first-class show.
Hundred Dollar Quartet
The combined forces of the BR549 and the Bellfuries, took the stage under the banner of the Hundred Dollar Quartet. Guessing by this handle, Chuck Mead and Jay McDowell of the BR549 and Joey Simeone & Chris Sensat of the Bellfuries, considered themselves a quartet worth considerably less than others that have gone before. Were they?
The band switched between each other’s material, seamlessly, with Bellfuries classics like the stroll winner ‘Bad Seed Sown’ delighting the crowd. Each band’s tune seemed to up the ante, a bit like a game of cards. So, with ‘Little Ramona (Gone Hillbilly Nuts)’, a Chuck Mead song that’s nearly thirty years old (!) and ‘Bettie Bettie’, another original cracking heads with ‘Your Love, is all that I’m Missing’, the crowd were in for a treat.
Joey’s ‘Beaumont Blues’ and the latter-day classic ‘Hey Mister Locomotive’ hardly needed the band, given the audience participation, while the BR549 ‘One Long Saturday Night’ and the cover of Moon Mullican & Chief William Redbird’s ‘Cherokee Boogie’ stood shoulder to shoulder, in a tip top show.
The band switched between each other’s material, seamlessly, with Bellfuries classics like the stroll winner ‘Bad Seed Sown’ delighting the crowd. Each band’s tune seemed to up the ante, a bit like a game of cards. So, with ‘Little Ramona (Gone Hillbilly Nuts)’, a Chuck Mead song that’s nearly thirty years old (!) and ‘Bettie Bettie’, another original cracking heads with ‘Your Love, is all that I’m Missing’, the crowd were in for a treat.
Joey’s ‘Beaumont Blues’ and the latter-day classic ‘Hey Mister Locomotive’ hardly needed the band, given the audience participation, while the BR549 ‘One Long Saturday Night’ and the cover of Moon Mullican & Chief William Redbird’s ‘Cherokee Boogie’ stood shoulder to shoulder, in a tip top show.
The Playboys
There was a fiery end to Saturday with the return of the Playboys. Rob Glazebrook is the talismanic sinistral guitar wizard and front man, with Wayne Hopkins on upright bass, drummer Ricky McCann, with sax ace, Kenny Tomnlinson. This was a set that literally took no prisoners from Peanuts Wilson’s ‘Cast Iron Arm’, a kicking take of Hop Wilson’s ‘Rocking at the Cocanut Hop’ complete with curious shout back noises, and the ever-popular ‘Lovers Curse’.
The Playboys have backed Barrence Whitfield on a number of occasions, and they recreated the likes of ‘Bloody Mary’ and the multi decibel ‘Stop Twisting My Arm’. ‘Come Back Judy’ is a Glazebrook original that just rocked out, as did Don and Dewey’s ‘Justine’. Corking set from the ‘boys.
The Playboys have backed Barrence Whitfield on a number of occasions, and they recreated the likes of ‘Bloody Mary’ and the multi decibel ‘Stop Twisting My Arm’. ‘Come Back Judy’ is a Glazebrook original that just rocked out, as did Don and Dewey’s ‘Justine’. Corking set from the ‘boys.
Black Kat Boppers
I don’t know about you readers, but as soon as we hit the weekender, wherever it may be, we want the time to stand still. At this Rave, however, there was one band on Sunday that I personally was really looking forward to seeing again. Shamefully though, the last time we saw them was indeed the last time they played the Rockabilly Rave, in 2013! Yes, finally, the Black Kat Boppers landed in Yarmouth from the depths of Southampton, on the south coast of England.
This four piece is led by the charismatic figure of Roy Phillips on vocals, in his trademark HBT styled hat, backed by Colin Owens on drums, who was also responsible for most of the segues between songs, Connor Hillary on lead guitar and bassist Dylan Clarke. Refreshingly, pretty much all of the set was original material, and songs that ran for that little bit longer than your classic two minutes, thirty seconds rocker. The lyrics are well conceived and in places amusing, with Roy’s vocal delivery, spot on, accompanied by an infectious smile and demeanour throughout. They take influences from Rock n Roll, Rockabilly and R&B, which results in a melting pot sound, which they’ve pretty much found their own niche for.
A quick wander through some of the tracks folks. ‘1st Base Blues’ is a mid-tempo tune, with an almost jazzy undertone, while ‘Caveman!!’ is an out an out rocking beauty. ‘Your Picture’ is just a joy, a love song, set to a jaunty beat and with a brilliant harmony vocal chorus. ‘Scream ‘n’ Holla’ for a lot of it, has a minimal guitar and vocal delivery, until the rest join in for a smashing stroll beat. The set ended with the powerhouse ‘Billy Billy’, a show that will stick in the memory for sure.
This four piece is led by the charismatic figure of Roy Phillips on vocals, in his trademark HBT styled hat, backed by Colin Owens on drums, who was also responsible for most of the segues between songs, Connor Hillary on lead guitar and bassist Dylan Clarke. Refreshingly, pretty much all of the set was original material, and songs that ran for that little bit longer than your classic two minutes, thirty seconds rocker. The lyrics are well conceived and in places amusing, with Roy’s vocal delivery, spot on, accompanied by an infectious smile and demeanour throughout. They take influences from Rock n Roll, Rockabilly and R&B, which results in a melting pot sound, which they’ve pretty much found their own niche for.
A quick wander through some of the tracks folks. ‘1st Base Blues’ is a mid-tempo tune, with an almost jazzy undertone, while ‘Caveman!!’ is an out an out rocking beauty. ‘Your Picture’ is just a joy, a love song, set to a jaunty beat and with a brilliant harmony vocal chorus. ‘Scream ‘n’ Holla’ for a lot of it, has a minimal guitar and vocal delivery, until the rest join in for a smashing stroll beat. The set ended with the powerhouse ‘Billy Billy’, a show that will stick in the memory for sure.
Bubba Feathers
The bill topper on Sunday night, once again brought the Hi Fly Rangers onto the stage to back up Bubba Feathers. For anyone reading about Rockabilly for the first time, one of the pioneers of the genre was Charlie Feathers (1932 – 1998). His recordings have formed the bedrock of many collections, are a constant at many many events. Bubba, simply put is his son, who played lead guitar on later releases (New Jungle Fever and Honky Tonk Man). Aside from being an accomplished guitarist, Bubba is a fine vocalist and performer in his own right.
He took the stage utilising the classic ‘smart-casual’ look, with a sharp white jacket and blue jeans, to the strains of the instant winner ‘One Hand Loose’. It wasn’t all ‘dad’ though, and soon everyone was treated to a cool tune ‘Mean Hepcat’ written by Vesa Haaja, who, if you’ve been paying attention, is the rhythm guitarist of the Hi Fly Rangers.
Two seminal classics, ‘Tongue Tied Jill’ and ‘That Certain Female’ had the place coming unglued, followed by the slower tempo of ‘Everybody’s Lovin’ My Baby’ & ‘We’re Getting Closer to Being Apart’, with ‘Too Much Alike’ maintaining the tempo. The 2026 album, appropriately titled ‘Raised on Rockabilly’, gives us gems like ‘London 77’ which slot in well with the likes of ‘Stutterin’ Cindy’. There was also time for a hymn, yes readers, a hymn from 1907 no less. ‘Will the Circle be Unbroken’, drew some choral accompaniment from the crowd. And let’s not forget the out and out rockers that concluded the show, Johnny Burnette’s ‘Tear it Up’ , and a medley of Elvis’ ‘Milk Cow Blues’ & ‘Mystery Train’. Totally excellent in every way.
It was left to the Stars of Rockabilly to conclude the live acts. Tell you what peeps, you won’t get a better rendition of Johnny Burnette’s ‘Please Don’t Leave Me’ than by Bob Cotton. And also worthy of considerable note was Ruby Briggs, taking on the songs of Barbara Pittman. It’s interesting that Ruby isn’t far off the age Barbara was when she recorded at Sun. ‘Sentimental Fool’ was class, ‘Everlasting Love’ came with a hefty dose of confidence and ‘I Need a Man’ was simply sublime.
The Rockabilly Rave continues to deliver the very best artists, musicians and performers. It won’t be long from the time of writing that the 2027 booking will be open. Don’t miss out
Like what you see? Help us keep going by popping over a donation by using the button below
He took the stage utilising the classic ‘smart-casual’ look, with a sharp white jacket and blue jeans, to the strains of the instant winner ‘One Hand Loose’. It wasn’t all ‘dad’ though, and soon everyone was treated to a cool tune ‘Mean Hepcat’ written by Vesa Haaja, who, if you’ve been paying attention, is the rhythm guitarist of the Hi Fly Rangers.
Two seminal classics, ‘Tongue Tied Jill’ and ‘That Certain Female’ had the place coming unglued, followed by the slower tempo of ‘Everybody’s Lovin’ My Baby’ & ‘We’re Getting Closer to Being Apart’, with ‘Too Much Alike’ maintaining the tempo. The 2026 album, appropriately titled ‘Raised on Rockabilly’, gives us gems like ‘London 77’ which slot in well with the likes of ‘Stutterin’ Cindy’. There was also time for a hymn, yes readers, a hymn from 1907 no less. ‘Will the Circle be Unbroken’, drew some choral accompaniment from the crowd. And let’s not forget the out and out rockers that concluded the show, Johnny Burnette’s ‘Tear it Up’ , and a medley of Elvis’ ‘Milk Cow Blues’ & ‘Mystery Train’. Totally excellent in every way.
It was left to the Stars of Rockabilly to conclude the live acts. Tell you what peeps, you won’t get a better rendition of Johnny Burnette’s ‘Please Don’t Leave Me’ than by Bob Cotton. And also worthy of considerable note was Ruby Briggs, taking on the songs of Barbara Pittman. It’s interesting that Ruby isn’t far off the age Barbara was when she recorded at Sun. ‘Sentimental Fool’ was class, ‘Everlasting Love’ came with a hefty dose of confidence and ‘I Need a Man’ was simply sublime.
The Rockabilly Rave continues to deliver the very best artists, musicians and performers. It won’t be long from the time of writing that the 2027 booking will be open. Don’t miss out
Like what you see? Help us keep going by popping over a donation by using the button below
Rockabilly Rave gallery, click on the images for full sized pics
Always a good evening at Diamond D's, and now you have the chance for an all dayer in the summer. Click the flyer for event details
In just 5 months' time we'll all be back at the fabulous Vauxhall Holiday Park for another action-packed weekend and 4 days of non-stop partying, with music, dancing, cars, shopping and so much more...
There are a few chalets available for groups of 3, and a wide choice of options for groups of 4 or more, so get together with your friends and book your accommodation now for the biggest 1950s weekender in the UK.
FTM records 45rpm reviews
Reissue magnate Flat Top Mark, has taken two of the Rock n Roll scene’s hard hitters, and paired their collective choices onto a stellar stroll 45rpm.
DJ Jezabel, from Scotland has selected a Jose Feliciano track from 1966. José Montserrate Feliciano García was born on September 10, 1945, in Puerto Rico, and is still with us aged 80. He was born blind, and taught himself to play guitar aged nine. ‘If I Really Bug You, Then You Don’t Love Me’ comes from the album ‘A Bag Full Of Soul’, and is a slightly more up-tempo stroll tune.
On the flip, Jerry Chatabox selects a well-established gem. Crazy Blues, by Jape Richardson and the Japettes is a ‘B’ side to ‘Beggar to a King’ which was Richardson’s first release in 1957. Also known as the Big Bopper, Richardson had a knack for song writing and performing, and this track is among his finest work. A floor filler for sure.
All with an eye-catching picture sleeve, and the trademark FTM production. Available in blue (limited) and black vinyl
DJ Jezabel, from Scotland has selected a Jose Feliciano track from 1966. José Montserrate Feliciano García was born on September 10, 1945, in Puerto Rico, and is still with us aged 80. He was born blind, and taught himself to play guitar aged nine. ‘If I Really Bug You, Then You Don’t Love Me’ comes from the album ‘A Bag Full Of Soul’, and is a slightly more up-tempo stroll tune.
On the flip, Jerry Chatabox selects a well-established gem. Crazy Blues, by Jape Richardson and the Japettes is a ‘B’ side to ‘Beggar to a King’ which was Richardson’s first release in 1957. Also known as the Big Bopper, Richardson had a knack for song writing and performing, and this track is among his finest work. A floor filler for sure.
All with an eye-catching picture sleeve, and the trademark FTM production. Available in blue (limited) and black vinyl
FTM – Shake ‘em on Down
I suppose the title of this four-track EP, immediately suggests the involvement of the Flat Top Brothers, so synonymous ‘Shake ‘em on Down’ is with their house rocking blues releases over the past couple of decades. Here is a four-track stomper for your delight and delectation.
Side A opens up with ‘Almost Gone’ by Big H Williams from 1967. This nippy blues number is only just north of a minute and thirty seconds long, but it will have you hooked. It has strains of Bo Diddley and Chuck Berry (not only in the ‘Almost’ part), and a variety of different hoots and tongue rattling accompanying the repetitive, but very engaging rhythm.
‘Goodie Train Part 1’ starts off very much in the ‘My Babe’ ilk. The composition of the song is very close to it, with some serious harmonica work and female backing harmony. The original release was 1971/2, by Cleo Page (1928-1979). Incidentally, part two, is very much like part one.
Sonny Terry (1911 – 1986) and Brownie McGhee (1915 – 1996) have released a ton of stuff over the years, and their whooping and hollerin’ style is a delight. This take of ‘Rock Island Line’ is from the 1969 album ‘A Long Way From Home’, and has a slightly ballsier feel to it than versions of previous years. It is indeed, a mighty good road.
Clifton Chenier (1925 – 1987) is widely regarded as a pioneer of Zydeco music, the style that was a combination of Creole, Cajun and R&B. Here is ‘(High as a) Georgia Pine’ (slang for highly intoxicated) from 1967, and it a bouncy masterclass in accordion playing.
I suppose the title of this four-track EP, immediately suggests the involvement of the Flat Top Brothers, so synonymous ‘Shake ‘em on Down’ is with their house rocking blues releases over the past couple of decades. Here is a four-track stomper for your delight and delectation.
Side A opens up with ‘Almost Gone’ by Big H Williams from 1967. This nippy blues number is only just north of a minute and thirty seconds long, but it will have you hooked. It has strains of Bo Diddley and Chuck Berry (not only in the ‘Almost’ part), and a variety of different hoots and tongue rattling accompanying the repetitive, but very engaging rhythm.
‘Goodie Train Part 1’ starts off very much in the ‘My Babe’ ilk. The composition of the song is very close to it, with some serious harmonica work and female backing harmony. The original release was 1971/2, by Cleo Page (1928-1979). Incidentally, part two, is very much like part one.
Sonny Terry (1911 – 1986) and Brownie McGhee (1915 – 1996) have released a ton of stuff over the years, and their whooping and hollerin’ style is a delight. This take of ‘Rock Island Line’ is from the 1969 album ‘A Long Way From Home’, and has a slightly ballsier feel to it than versions of previous years. It is indeed, a mighty good road.
Clifton Chenier (1925 – 1987) is widely regarded as a pioneer of Zydeco music, the style that was a combination of Creole, Cajun and R&B. Here is ‘(High as a) Georgia Pine’ (slang for highly intoxicated) from 1967, and it a bouncy masterclass in accordion playing.
FTM v/s Nobster, round 3
Ding and indeed ding, round three of these two big hitters providing corkers for another twin spin in the ‘versus’ series.
FTM’s choice is Joe Hinton’s ‘You’re My Girl’ from 1964 on Back Beat records (from Peacock Records). Hinton (1929 – 1968) was active as a recording artist from the late 1950’s to the early 1970’s. ‘You’re My Girl’ is an up-tempo track on the edge of being a jive tune, and very much of the era.
Nobster comes back with Sam Baker’s ‘Crazy About You Baby’, a ‘B’ side from 1960. Baker (b-1941) on this track has a belting blues shouting vocal delivery. A good jive beat with a shout-back chorus on this one folks
Ding and indeed ding, round three of these two big hitters providing corkers for another twin spin in the ‘versus’ series.
FTM’s choice is Joe Hinton’s ‘You’re My Girl’ from 1964 on Back Beat records (from Peacock Records). Hinton (1929 – 1968) was active as a recording artist from the late 1950’s to the early 1970’s. ‘You’re My Girl’ is an up-tempo track on the edge of being a jive tune, and very much of the era.
Nobster comes back with Sam Baker’s ‘Crazy About You Baby’, a ‘B’ side from 1960. Baker (b-1941) on this track has a belting blues shouting vocal delivery. A good jive beat with a shout-back chorus on this one folks
Don't delay booking for Hemsby peeps, click the flyer for details
interview with DJ & Promoter Mister Big Feet
We were talking history, as we occasionally do from time to time, the other day. Seeing a Mister Big Feet run event upcoming on the socials, we tried to recall when we did actually meet the afore mentioned DJ and Promoter. Letting the veil slip, we thought it’s about time we got an interview from Ross. (photo's provided for this piece, by the interviewee)
BJR. As we do with every interviewee, we ask, what was you introduction to Rock ‘n’ Roll?
MrBF: I grew up listening to Elvis, Buddy, Billy and Johnny, alongside the likes of The Stray Cats, Darts, Shaky and the revival tracks from the 80s. When we moved to Lincolnshire in the early 2000s, one of my school friends introduced us to The Houndogs, and the rest is history.
BJR. Do you recall your first rocking event that you attended, and were you hooked from the start?
MrBF: very much so! Mum and Dad hadn’t been out to a gig in years having been focussed on raising a family, so when we found the local scene they were hooked back in, with 11 year old me in tow! We went to watch The Houndogs at the local pub and were introduced to them, quickly striking up a friendship that then led us to attending the “Holbeach Rock’n’Roll Club” at the football club bar, where I later went on to guest on guitar with The Houndogs and also where I learnt to dance (from none other than Claire, later of Boston Jive fame)
BJR. As we do with every interviewee, we ask, what was you introduction to Rock ‘n’ Roll?
MrBF: I grew up listening to Elvis, Buddy, Billy and Johnny, alongside the likes of The Stray Cats, Darts, Shaky and the revival tracks from the 80s. When we moved to Lincolnshire in the early 2000s, one of my school friends introduced us to The Houndogs, and the rest is history.
BJR. Do you recall your first rocking event that you attended, and were you hooked from the start?
MrBF: very much so! Mum and Dad hadn’t been out to a gig in years having been focussed on raising a family, so when we found the local scene they were hooked back in, with 11 year old me in tow! We went to watch The Houndogs at the local pub and were introduced to them, quickly striking up a friendship that then led us to attending the “Holbeach Rock’n’Roll Club” at the football club bar, where I later went on to guest on guitar with The Houndogs and also where I learnt to dance (from none other than Claire, later of Boston Jive fame)
BJR. Who are your favourite artists (original and today’s)
MrBF: Elvis obviously (I’m named after the character he played in Girls Girls Girls), but aside from the King, I love Bill Haley’s stuff, right from the early days with The Saddlemen through to The Comets, Johnny Cash, The Cues and The Platters. Modern band wise, The Velvet Candles, Cat Lee King & His Cocks and MFC Chicken are definitely up there for me, but I could easily go on!
BJR. When did you start as a DJ?
MrBF: I actually started out on our local radio station in 2009, but made the transition into “mobile” in 2012, the inspiration being to DJ at my mum's surprise 50th birthday party. My first actual gig was a couple of weeks before that, for Brian “Noddy” Martin at the old Kettering Athletic RnR Club alongside Mark Keeley’s Good Rockin Tonight. The bug well and truly bit me, and I then went on to have spots at Mundesley for Rockin Eddie, Rockhouse 58, and Holiday Rock’s Xmas Party Hop – which I still DJ at today. Back in those days I relied on “dad’s taxi”, playing the Krypton Factor getting everything in the boot whilst leaving room in the back for me!
BJR. You’re a dancer, do you formulate your set list to suit the dancefloor, or check out the crowd when they come into the venue
MrBF: a bit of both, I like to spend the first half hour of a gig people watching, playing a variety of tracks to see what gets people’s feet tapping. I like to throw in the odd curveball that people might not hear that often or have forgotten about, but there’s always certain songs that no set list is complete without.
MrBF: Elvis obviously (I’m named after the character he played in Girls Girls Girls), but aside from the King, I love Bill Haley’s stuff, right from the early days with The Saddlemen through to The Comets, Johnny Cash, The Cues and The Platters. Modern band wise, The Velvet Candles, Cat Lee King & His Cocks and MFC Chicken are definitely up there for me, but I could easily go on!
BJR. When did you start as a DJ?
MrBF: I actually started out on our local radio station in 2009, but made the transition into “mobile” in 2012, the inspiration being to DJ at my mum's surprise 50th birthday party. My first actual gig was a couple of weeks before that, for Brian “Noddy” Martin at the old Kettering Athletic RnR Club alongside Mark Keeley’s Good Rockin Tonight. The bug well and truly bit me, and I then went on to have spots at Mundesley for Rockin Eddie, Rockhouse 58, and Holiday Rock’s Xmas Party Hop – which I still DJ at today. Back in those days I relied on “dad’s taxi”, playing the Krypton Factor getting everything in the boot whilst leaving room in the back for me!
BJR. You’re a dancer, do you formulate your set list to suit the dancefloor, or check out the crowd when they come into the venue
MrBF: a bit of both, I like to spend the first half hour of a gig people watching, playing a variety of tracks to see what gets people’s feet tapping. I like to throw in the odd curveball that people might not hear that often or have forgotten about, but there’s always certain songs that no set list is complete without.
Photo by Stacy Clayton
BJR. How did you make the transition to the radio shows.
MrBF: as I said earlier, I actually started off in radio, albeit not RnR. When Noddy started SplinterWood Radio, Rockin Eddie and myself where the first to be part of it, and we both still are today. I’ve had a variety of slots over the years, from Sunday lunchtimes to Sunday evenings, and now on a Monday night. It’s a great station to be part of, and the beauty of it is I can do it from home – as you yourselves can testify having joined me on air a few years back in my living room.
BJR. Mr Big Feet, is a track by the Charlie Bop Trio from 1958. How did that become your adopted DJ name (*we know, others may not! 😊 )
MrBF: back in 2012, I was struggling to come up with an alias. One of my college tutors had suggested “Ross & Roll” – insert eye roll – but it was actually Dizzy Lizzy’s dad who suggested Mr Big Feet (and the accompanying “theme song”) given the fact that I wear a size 14 (not quite the 16 in the lyrics but hey, beggars can’t be).
BJR. Lately there has been the transition into promoting gigs and events. Talk us through how that came about
MrBF: because I’m a glutton for punishment who evidently doesn’t like having any free time! December 2023 I had a brainwave of starting a weekly RnR club at a local village hall, and managed to convince my poor husband Ben that it was a good idea. We launched at the end of Jan 2024, and I remember standing on the stage having set up on the first night, worrying that nobody would turn up – how wrong I was! 2 and a half years later and we’re still going strong, with a roster of guest DJs, solo artists on selected Tuesdays, and this year, quarterly band nights. In fact, I’ve already got 2 bands booked for the club for next year, and have organised our first Alldayer at the iconic Gliderdrome in Boston coming in September 2027.
BJR. What is the most satisfying part about DJing/promoting? And to that end, what are the frustrations?
MrBF: seeing people enjoying themselves, making new friends and seeing new bands. I generally find that those attending RnR events are there to enjoy the music and not the alcohol selections at the bar, a nice contrast to DJing at parties and weddings (something I gave up at the end of 2019 before the world went mad – maybe I’m psychic?). The only thing that frustrates me is waiting for responses from people I’m trying to book with, I’m quite impatient, but also quite laid back (much to Ben’s frustration!), so although I might hassle someone for a response, I’ll apologise whilst doing it!
BJR. Where can readers see you, hear you and attend your events?
MrBF: hiding isn’t a strong skill of mine so you’ll struggle to miss me! You can hear me on SplinterWood Radio every Monday night from 8:30-10pm (splinterwoodradio.uk), or catch me behind the decks at The Big Beat Rock’n’Roll Club every Tuesday 7:30-10:30pm – check out our Facebook page for gig listings. You’ll also find me at the Hot Rock’n’Boogie Weekender, DJing and compering, and next year, our Alldayer, The Jukebox Jump – all of which can be found on Facebook.
BJR. And where can they contact you?
MrBF: via my Mr Big Feet or The Big Beat club Facebook page is the best bet, failing that, carrier pigeon, message in a bottle or semaphore is a fair shout.
BJR Thank you for doing this interview for us Ross
My absolute pleasure, thank you for asking me!
MrBF: as I said earlier, I actually started off in radio, albeit not RnR. When Noddy started SplinterWood Radio, Rockin Eddie and myself where the first to be part of it, and we both still are today. I’ve had a variety of slots over the years, from Sunday lunchtimes to Sunday evenings, and now on a Monday night. It’s a great station to be part of, and the beauty of it is I can do it from home – as you yourselves can testify having joined me on air a few years back in my living room.
BJR. Mr Big Feet, is a track by the Charlie Bop Trio from 1958. How did that become your adopted DJ name (*we know, others may not! 😊 )
MrBF: back in 2012, I was struggling to come up with an alias. One of my college tutors had suggested “Ross & Roll” – insert eye roll – but it was actually Dizzy Lizzy’s dad who suggested Mr Big Feet (and the accompanying “theme song”) given the fact that I wear a size 14 (not quite the 16 in the lyrics but hey, beggars can’t be).
BJR. Lately there has been the transition into promoting gigs and events. Talk us through how that came about
MrBF: because I’m a glutton for punishment who evidently doesn’t like having any free time! December 2023 I had a brainwave of starting a weekly RnR club at a local village hall, and managed to convince my poor husband Ben that it was a good idea. We launched at the end of Jan 2024, and I remember standing on the stage having set up on the first night, worrying that nobody would turn up – how wrong I was! 2 and a half years later and we’re still going strong, with a roster of guest DJs, solo artists on selected Tuesdays, and this year, quarterly band nights. In fact, I’ve already got 2 bands booked for the club for next year, and have organised our first Alldayer at the iconic Gliderdrome in Boston coming in September 2027.
BJR. What is the most satisfying part about DJing/promoting? And to that end, what are the frustrations?
MrBF: seeing people enjoying themselves, making new friends and seeing new bands. I generally find that those attending RnR events are there to enjoy the music and not the alcohol selections at the bar, a nice contrast to DJing at parties and weddings (something I gave up at the end of 2019 before the world went mad – maybe I’m psychic?). The only thing that frustrates me is waiting for responses from people I’m trying to book with, I’m quite impatient, but also quite laid back (much to Ben’s frustration!), so although I might hassle someone for a response, I’ll apologise whilst doing it!
BJR. Where can readers see you, hear you and attend your events?
MrBF: hiding isn’t a strong skill of mine so you’ll struggle to miss me! You can hear me on SplinterWood Radio every Monday night from 8:30-10pm (splinterwoodradio.uk), or catch me behind the decks at The Big Beat Rock’n’Roll Club every Tuesday 7:30-10:30pm – check out our Facebook page for gig listings. You’ll also find me at the Hot Rock’n’Boogie Weekender, DJing and compering, and next year, our Alldayer, The Jukebox Jump – all of which can be found on Facebook.
BJR. And where can they contact you?
MrBF: via my Mr Big Feet or The Big Beat club Facebook page is the best bet, failing that, carrier pigeon, message in a bottle or semaphore is a fair shout.
BJR Thank you for doing this interview for us Ross
My absolute pleasure, thank you for asking me!
Already selling so well a couple of weeks after the 7th event. Click on flyer for details
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 hosts, Andy and April 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.
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Cheers 'til next month
Andrew and June
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. This is the way we can continue beyond 2026
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 2026
Many thanks
If you have enjoyed our magazine, why not pop a donation over by using the button below. Many thanks
