the bettajive review magazine #53
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Welcome to The Bettajive Review issue #53. In it we will feature a full review of the recent Hot Rock n Boogie event in Spalding, Lincolnshire, featuring Laura B and The Mystery Train Riders, pictured above. We also have the Rhythm Aces, Charlotte Porter and the Hi Rollers and the Lah Di Dahs.
For those wondering, the full review of Rockin in Bomber County, is next issue #54, featuring the likes of the Dallas Roots Combo, the Rimshots and Ellie B and the Tonopah Trailblazers, along with a gig review of Cody Lee and his Rhythm Keys. Now let's get on with it. If you like what you see and would like to help us keep it free, please use the donation button below. Many thanks
For those wondering, the full review of Rockin in Bomber County, is next issue #54, featuring the likes of the Dallas Roots Combo, the Rimshots and Ellie B and the Tonopah Trailblazers, along with a gig review of Cody Lee and his Rhythm Keys. Now let's get on with it. If you like what you see and would like to help us keep it free, please use the donation button below. Many thanks
The Bettajive Review
OK, a bit of journalistic licence here, I was 14 at this time
It ain’t the same. A guy turned round to me at a weekender recently and mentioned that it was not like ‘when we used to go to Caister, or the original Hemsbys’. So, what was ‘it’? I suppose that ‘it’ is in the same category as ‘everyone’ and ‘they’, i.e. a mythical state or group to describe a very generic situation. I get the point he’d made, but in reality, what should we really expect?
I think back to 1977, versus (nearly) 2027, that’s nigh on a fifty-year span, and have the ‘yikes’ reaction. I got into this in 1977 as a 13 year-old, as a schoolboy, even though as many of us did, I was listening to parents and friend’s parents old 45’s and 78’s from the 50’s. In ’79 I was approaching my last year at school, which by then had become a hindrance to anything remotely enjoyable in life. Matchbox had scored with ‘Rockabilly Rebel’ and the fashion I was wearing had become just that, yup the jacket with the confederate flag on it and ‘Rockabilly Rules OK’ sentiment.
Before you all gasp in horror, at that flag and chide and goad in your Facebook comments, here’s what else I was doing at that age. Me and my mate were tying bedsprings, those with the big coil diminishing to the small coil at one end, and trying to bounce along the path, shouting ‘boing’ like Zebedee! We were children. The supercool designers were illustrating punk and eventually Two Tone etc. We had ghastly cartoon Teds in soda pop shops, big skirted polka dot or cherry designs on the upturned shuttlecock looking girls, and massively exaggerated quiffs. We wanted something with an edge, and that’s what came along. Even teachers asked what that flag is on the pencil case, and were more interested in the fact that “you boy”, had spelled ‘Rules’ with a ‘Z’. Anyhow, enough controversy
At 16, I’d left school, had an apprenticeship and by mid ’81, aged 17 I had a car and a job, freedom, a few quid, few if any commitments, energy to burn, testosterone aplenty and above all, time. We used to queue up to get in to clubs and all dayers, and be there until they literally booted us out. Caister was a haven for all the rockin teenagers, many lived on air, nutrition-less crud, alcohol, nicotine and not surprisingly, were skinny as rakes. We bopped most of the time to most things, jiving was for itemised couples, but danced almost endlessly. It was a haven, rather than the ‘yoof senta’ when those naughty punky types pogo-ed through the only Rock n Roll record the DJ would play.
Now in 2026 I’m that classic age similar to a dart score, we run a business, a home, bills, occasional indigestion fit to drop a rhinoceros, no time, a strange vocal anomaly when rising from a chair, non-smoking, teetotal, and far too much superfluous ‘stuff to do’. Still have the energy though, I have to have to carry our endless luggage from the car to the chalets and caravans, at weekenders. Ironically to survive at them we have the contents of your local supermarket in two knee buckling wheel along boxes. And yes, I still get to dance pretty much all night, jiving as well as bopping (subject to Mr or Mrs DJ playing some decent stuff), though payment in creaking joints and aches the next day is apparent! And if June and I had a swear-box, the local church would never want for lead on the roof
At fifteen/sixteen I almost envied my older acquaintances, because they could enter, unchallenged into, THE PUB. We tried, oh how we tried. Sometimes we got away with it, then you’d have a nit-wit schoolmate come in with such giveaway as ‘Ah prithee hosteler, a firkin of thy finest foaming ale, and spare not the horses’, or ‘Hello mister barman, how much is a cup of beer please?’. Sometimes the bar staff would catch you out like in the Great Escape ‘Good Luck’ scene. ‘Pint of larger tops please’ * ‘Certainly sir, how was R.E. today?’ ‘Oh, a bit crap, and so was geography……..’ We then had a different use for the word ‘firkin’ shall we say, it either preceded ‘idiot’ (or ‘great bag of chips’ at the chippy)
Ironically though, once we did get into the pub legitimately, it was a bit of an anticlimax. The lounge bar was always virtually zero visibility with cigarette/cigar/pipe smoke and full of regulars who were ancient, ie, forty(!), the silence being broken by the occasional nicotine induced rattling cough. And the public bar was full of pushers and shovers, and ‘Are you looking at my pint’ types. The jukebox usually only had one Rock n Roll track on it. Such fun
So, no, it’s not the same. You don’t get Teds scrapping with Rockabillies anymore, which seemed pointless and futile over something as banal as the ownership of ‘South’s Gonna Rise Again’. We just unfriend people on social media. You’d never see a pair of trainers worn at a gig, and street clothes were virtually non-existent. Now, for example, at the Rave, people hold doors open for each other and are polite. It’s not an erosion of the scene or the attitude I believe, more that with the progression of time, you dress to impress rather than trying to dominate (though some may dress in something they can shoe horn themselves into)
Unfortunately, you do get some pretty turgid dross played at some gigs today, if some of that came on back in the day there would have been a collective ‘Wass dis (characterisation deleted)???’. Dare to say it now and you’ll be admonished that the club is not set up for you (as the audience dwindles).
I’m quite glad in some senses that this isn’t ’77 to ’80, I don’t have to run for the last bus home on a school nightJ
I think back to 1977, versus (nearly) 2027, that’s nigh on a fifty-year span, and have the ‘yikes’ reaction. I got into this in 1977 as a 13 year-old, as a schoolboy, even though as many of us did, I was listening to parents and friend’s parents old 45’s and 78’s from the 50’s. In ’79 I was approaching my last year at school, which by then had become a hindrance to anything remotely enjoyable in life. Matchbox had scored with ‘Rockabilly Rebel’ and the fashion I was wearing had become just that, yup the jacket with the confederate flag on it and ‘Rockabilly Rules OK’ sentiment.
Before you all gasp in horror, at that flag and chide and goad in your Facebook comments, here’s what else I was doing at that age. Me and my mate were tying bedsprings, those with the big coil diminishing to the small coil at one end, and trying to bounce along the path, shouting ‘boing’ like Zebedee! We were children. The supercool designers were illustrating punk and eventually Two Tone etc. We had ghastly cartoon Teds in soda pop shops, big skirted polka dot or cherry designs on the upturned shuttlecock looking girls, and massively exaggerated quiffs. We wanted something with an edge, and that’s what came along. Even teachers asked what that flag is on the pencil case, and were more interested in the fact that “you boy”, had spelled ‘Rules’ with a ‘Z’. Anyhow, enough controversy
At 16, I’d left school, had an apprenticeship and by mid ’81, aged 17 I had a car and a job, freedom, a few quid, few if any commitments, energy to burn, testosterone aplenty and above all, time. We used to queue up to get in to clubs and all dayers, and be there until they literally booted us out. Caister was a haven for all the rockin teenagers, many lived on air, nutrition-less crud, alcohol, nicotine and not surprisingly, were skinny as rakes. We bopped most of the time to most things, jiving was for itemised couples, but danced almost endlessly. It was a haven, rather than the ‘yoof senta’ when those naughty punky types pogo-ed through the only Rock n Roll record the DJ would play.
Now in 2026 I’m that classic age similar to a dart score, we run a business, a home, bills, occasional indigestion fit to drop a rhinoceros, no time, a strange vocal anomaly when rising from a chair, non-smoking, teetotal, and far too much superfluous ‘stuff to do’. Still have the energy though, I have to have to carry our endless luggage from the car to the chalets and caravans, at weekenders. Ironically to survive at them we have the contents of your local supermarket in two knee buckling wheel along boxes. And yes, I still get to dance pretty much all night, jiving as well as bopping (subject to Mr or Mrs DJ playing some decent stuff), though payment in creaking joints and aches the next day is apparent! And if June and I had a swear-box, the local church would never want for lead on the roof
At fifteen/sixteen I almost envied my older acquaintances, because they could enter, unchallenged into, THE PUB. We tried, oh how we tried. Sometimes we got away with it, then you’d have a nit-wit schoolmate come in with such giveaway as ‘Ah prithee hosteler, a firkin of thy finest foaming ale, and spare not the horses’, or ‘Hello mister barman, how much is a cup of beer please?’. Sometimes the bar staff would catch you out like in the Great Escape ‘Good Luck’ scene. ‘Pint of larger tops please’ * ‘Certainly sir, how was R.E. today?’ ‘Oh, a bit crap, and so was geography……..’ We then had a different use for the word ‘firkin’ shall we say, it either preceded ‘idiot’ (or ‘great bag of chips’ at the chippy)
Ironically though, once we did get into the pub legitimately, it was a bit of an anticlimax. The lounge bar was always virtually zero visibility with cigarette/cigar/pipe smoke and full of regulars who were ancient, ie, forty(!), the silence being broken by the occasional nicotine induced rattling cough. And the public bar was full of pushers and shovers, and ‘Are you looking at my pint’ types. The jukebox usually only had one Rock n Roll track on it. Such fun
So, no, it’s not the same. You don’t get Teds scrapping with Rockabillies anymore, which seemed pointless and futile over something as banal as the ownership of ‘South’s Gonna Rise Again’. We just unfriend people on social media. You’d never see a pair of trainers worn at a gig, and street clothes were virtually non-existent. Now, for example, at the Rave, people hold doors open for each other and are polite. It’s not an erosion of the scene or the attitude I believe, more that with the progression of time, you dress to impress rather than trying to dominate (though some may dress in something they can shoe horn themselves into)
Unfortunately, you do get some pretty turgid dross played at some gigs today, if some of that came on back in the day there would have been a collective ‘Wass dis (characterisation deleted)???’. Dare to say it now and you’ll be admonished that the club is not set up for you (as the audience dwindles).
I’m quite glad in some senses that this isn’t ’77 to ’80, I don’t have to run for the last bus home on a school nightJ
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Dot…dot Best tracks in the world ever ever to lick your lolly for this month are ‘In The Dream’ by the Truly Lover Trio, ‘Get T’Stepping’ by Donna Hightower and ‘Gimmie Some Love’ by Harold Jenkins…. When DJ’s announce, for example ‘Here’s a bit of Elvis’, which bit do they refer to?... A club we used to go to, recently closed it’s doors for the last time. You may have read my referring to it as the Gloom Room. It’s strange, I can remember being there on a Thursday night along with 320 others for a band. Eventually though, it had more rules than a swimming pool and was much fun as being a scallop on ‘Masterchef’! It’s never good when any club closes, and before anyone asks why we didn’t keep up our support, we moved over 200 miles away from the area. Worked it out yet? Answers on the back of a £10 note handed to us when you see us……*Does ‘lager tops’ still exist? Or has it been consigned to the history books with Tankard, Whitbread Trophy (the pint that thinks it’s a quart), and Flowers?.......Come to that, is R.E. still a lesson? And since you left school, does anyone actually give a s*** about the formation of Ox Bow lakes you learned about in geography?.......How rockin’ are you? I went to a supermarket recently, and with trollies in short supply, people rushed to get the last ones. I waited for another customer to return theirs, which was the only one that didn’t have a rattling wheel, or a limp. Those that had pinched the ones before me looked on and said ‘Wow he’s really rockin’….
Insta-nt success. What is this influencer stuff about these days? Everyone and his mate, is some kind of influencer. So, I’ll join in.
Oi, read this magazine, it’s dead good!
Mind you, there seems to be a sequence of how to display an outfit or product on Instagram. You have short sections of action all ‘glued’ together. So, you open with a package that has just been delivered, which is pure fantasy already, as to get said package, you have to trawl your local Facebook group to find who has actually got your parcel. Posts like ‘This isn’t my house, nor is that my leg, who has got my parcel please?’, or, ‘If my parcel has indeed been left in my porch as the notification suggests, not only do I have my parcel, but I have gained a porch!’
Anyway, here’s your parcel. You have to start with ‘Ooo look, I have a parcel, I wonder what’s in it’ and wiggle it about, even though you’ve actually paid for the contents. Let’s undo the tape, then open the box, remove the tissue paper, which in reality is last week’s local newspaper shredded. All the time, make sure to show surprise, pleasure and anticipation in equal parts. Then in the next frame, remove the (let’s say) outfit, and wiggle that at the camera, make sure to show surprise, pleasure and anticipation in equal parts. Cut to the next scene, with top part of the garment on, do a brief and wiggly dance. Ditto for the bottom half. Oh my goodness, they all fit you like a bum fits in a bucket. Then grab a parasol and, walk off out of shot with it spinning.
You’re welcome
Insta-nt success. What is this influencer stuff about these days? Everyone and his mate, is some kind of influencer. So, I’ll join in.
Oi, read this magazine, it’s dead good!
Mind you, there seems to be a sequence of how to display an outfit or product on Instagram. You have short sections of action all ‘glued’ together. So, you open with a package that has just been delivered, which is pure fantasy already, as to get said package, you have to trawl your local Facebook group to find who has actually got your parcel. Posts like ‘This isn’t my house, nor is that my leg, who has got my parcel please?’, or, ‘If my parcel has indeed been left in my porch as the notification suggests, not only do I have my parcel, but I have gained a porch!’
Anyway, here’s your parcel. You have to start with ‘Ooo look, I have a parcel, I wonder what’s in it’ and wiggle it about, even though you’ve actually paid for the contents. Let’s undo the tape, then open the box, remove the tissue paper, which in reality is last week’s local newspaper shredded. All the time, make sure to show surprise, pleasure and anticipation in equal parts. Then in the next frame, remove the (let’s say) outfit, and wiggle that at the camera, make sure to show surprise, pleasure and anticipation in equal parts. Cut to the next scene, with top part of the garment on, do a brief and wiggly dance. Ditto for the bottom half. Oh my goodness, they all fit you like a bum fits in a bucket. Then grab a parasol and, walk off out of shot with it spinning.
You’re welcome
Check out the next gigs at Chesterfield Rock n Roll Club. Click on the flyer for details. Be aware, that the July event is cancelled. Check with the organisers
gig reviews
The Rhythm Aces
Aces high. Another gig at Chesterfield for you, which this time brought top ‘Ted band’, the Rhythm Aces back to the club, ably supported as usual by Andy B and Steve O on sounds. The trio of Pete Lyth on lead guitar and vocals is backed by the ever-enthusiastic and energetic Chevvy Coles on bass and drummer Luke Twyford.
The two sets the Rhythm Aces played took no prisoners, straight-ahead, multiple decibel, searing guitar riffs, thundering rhythms from bass and drums. You’d almost expect a chunk of British Rock n Roll in their shows, and sure enough there was. Johnny Kidd’s foreboding ‘Please Don’t Touch’ and the embittered undertone of Billy Fury’s ‘Turn My Back on You’, and the timeless guitar riff of ‘Brand New Cadillac’.
With the floor bouncing, the ‘Aces took on Gene’s ‘Dance To The Bop’ which is rarely covered by bands. Good to hear this one peeps. You may recall past issues of this magazine, when watching the Rhythm Aces. They include their own material, including a proper diamond of a track, ‘78rpm’. If you want it classified, I guess it’s a jiver, but whatever your dance of preference, this is the stuff you need in your life. Other self-penned tunes included a fairly new rocker, called ‘aTEDtude’ along with ‘Downtown Rockin’.
From the American side of Rock n Roll, came the anthemic Johnny Burnette ‘Rockabilly Boogie’ and ‘Sweet Love on My Mind’, with Carl Perkins’ ‘Put Your Cat Clothes on’ and the pleading tone of Bill Allen’s ‘Please Give me Something’. Add to that a semi-modern-day tune, Ray Campi’s ‘Rockabilly Man’. Rollickingly good brace of sets by the lads.
The two sets the Rhythm Aces played took no prisoners, straight-ahead, multiple decibel, searing guitar riffs, thundering rhythms from bass and drums. You’d almost expect a chunk of British Rock n Roll in their shows, and sure enough there was. Johnny Kidd’s foreboding ‘Please Don’t Touch’ and the embittered undertone of Billy Fury’s ‘Turn My Back on You’, and the timeless guitar riff of ‘Brand New Cadillac’.
With the floor bouncing, the ‘Aces took on Gene’s ‘Dance To The Bop’ which is rarely covered by bands. Good to hear this one peeps. You may recall past issues of this magazine, when watching the Rhythm Aces. They include their own material, including a proper diamond of a track, ‘78rpm’. If you want it classified, I guess it’s a jiver, but whatever your dance of preference, this is the stuff you need in your life. Other self-penned tunes included a fairly new rocker, called ‘aTEDtude’ along with ‘Downtown Rockin’.
From the American side of Rock n Roll, came the anthemic Johnny Burnette ‘Rockabilly Boogie’ and ‘Sweet Love on My Mind’, with Carl Perkins’ ‘Put Your Cat Clothes on’ and the pleading tone of Bill Allen’s ‘Please Give me Something’. Add to that a semi-modern-day tune, Ray Campi’s ‘Rockabilly Man’. Rollickingly good brace of sets by the lads.
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Gainsborough Armed Forces Day
Charlotte Porter and the Hi Rollers
Forces Day. Ordinarily we review events chronologically, however, given we had two weekenders in the same month, the second of which will headline next issue, we decided to include the acts at a day long event. This was Gainsborough’s Armed Forces Day, in the Lincolnshire town’s Levelling’s Field. It took up the entire Saturday, and was blessed with clement weather throughout, fortunately minus the searing heat and humidity, that had sweltered the county around the date.
Now readers, this wasn’t a forties event, or wartime, though Mr Churchill opened up the proceedings, or rockin’ for that matter, however a couple of turns on that we like to catch now and again. This was the first such event since before Covid put paid to the 2020 occasion, and in general, and celebrates Britain’s HM Armed Forces, Veterans, Cadets, Reservists plus all the families that support them. A fitting act on was the RAF Waddington Military Wives Choir, showcasing their vocal talents across two shows throughout the day.
Nothing says fun like a large Cretaceous dinosaur, walking through the crowd pretending to eat a Shiatsu or a small child. And a flypast by a C-47 Dakota, now that was something special
The stage was your archetypal ‘back of a lorry’ setting, which we’ll never complain about as it elevates the performers so vertically challenged (us) can view with relative ease. First familiar cab off the rank was Charlotte Porter and the Hi Rollers, with Miss Charlotte Porter on vocals. Backing her, Terry Garfoot on lead guitar and vocals, Graham Gee on bass and drummer Tim Wheelhouse.
The two sets had a bit of everything for the audience, from the best-known Rock n Roll songs, the likes of ‘Be Bop a Lula’ and ‘Rock Around the Clock’, with hopped up takes on ‘Tainted Love’ and ‘The Boss’ Daughter’. Some Ruth Brown with ‘As Long as I’m Movin’ and one of the circuit’s most popular jivers ‘Look Out Heart’. Chuck in the stripped back sound of Canned Heat’s ‘Goin’ Up the Country’. And Terry got in on the act with a take on Johnny Cash’s ‘Folsom Prison Blues’. Super sets, tight sound and top vocals.
Now readers, this wasn’t a forties event, or wartime, though Mr Churchill opened up the proceedings, or rockin’ for that matter, however a couple of turns on that we like to catch now and again. This was the first such event since before Covid put paid to the 2020 occasion, and in general, and celebrates Britain’s HM Armed Forces, Veterans, Cadets, Reservists plus all the families that support them. A fitting act on was the RAF Waddington Military Wives Choir, showcasing their vocal talents across two shows throughout the day.
Nothing says fun like a large Cretaceous dinosaur, walking through the crowd pretending to eat a Shiatsu or a small child. And a flypast by a C-47 Dakota, now that was something special
The stage was your archetypal ‘back of a lorry’ setting, which we’ll never complain about as it elevates the performers so vertically challenged (us) can view with relative ease. First familiar cab off the rank was Charlotte Porter and the Hi Rollers, with Miss Charlotte Porter on vocals. Backing her, Terry Garfoot on lead guitar and vocals, Graham Gee on bass and drummer Tim Wheelhouse.
The two sets had a bit of everything for the audience, from the best-known Rock n Roll songs, the likes of ‘Be Bop a Lula’ and ‘Rock Around the Clock’, with hopped up takes on ‘Tainted Love’ and ‘The Boss’ Daughter’. Some Ruth Brown with ‘As Long as I’m Movin’ and one of the circuit’s most popular jivers ‘Look Out Heart’. Chuck in the stripped back sound of Canned Heat’s ‘Goin’ Up the Country’. And Terry got in on the act with a take on Johnny Cash’s ‘Folsom Prison Blues’. Super sets, tight sound and top vocals.
The Lah Di Dahs
For fans of the female vocal sound from the 1940s & 50’s (that would be us), the La Di Dahs are up there with the best. The three vocalists here were Bridget Wood, Rebekah Blackledge and Tara Walker. There was a hefty number of Andrews Sisters tunes, and that’s never a bad thing, and some wartime stuff as well. A medley of 40’s singalongs featured, Vera Lynn’s ‘Bless Them All’, with ‘Kiss me Goodnight, Sergeant Major’ (George Formby, Vera Lynn Arthur Askey, you choose) and ‘Hang out the Washing on the Siegfried Line’ (Flanaghan and Allen, Joe Loss, the NAAFI singers and Janet Webb).
The close harmonies of the Andrews Sisters pretty much defined the vocal memory of the Swing and Boogie Woogie era, with ‘Boogie Woogie Bugel Boy’ one of the earliest types of Jump Jive style. The Lah Di Dahs have a similar Alto, Soprano and Mezzo Soprano vocal combination, utilising musical backing tracks. The likes of ‘Get Your Kicks on Route 66’, ‘Rum and Coca Cola’ (banned by the BBC for advertising!) and the outstanding ‘South American Way’ (or if you prefer, Carmen Miranda), first among equals in a smashing brace of shows.
Tell you what readers, this trio always delivers the highest quality vocal performance. The attention to detail they show, while covering, what amounts to the soundtrack of an era, is as crystal clear as their voiced presentation. Whether in a hall, town centre or as in this show, on the back of a lorry, it’s always first rate.
The day ended with all the musical acts on stage for a rousing and patriotic rendition of the National Anthem and Land of Hope and Glory. Massive credit goes to Dick Lindsay and his team for the Herculean task they undertook to put on such a well run and well attended event. Gallery images below, click on the for full sized image
The close harmonies of the Andrews Sisters pretty much defined the vocal memory of the Swing and Boogie Woogie era, with ‘Boogie Woogie Bugel Boy’ one of the earliest types of Jump Jive style. The Lah Di Dahs have a similar Alto, Soprano and Mezzo Soprano vocal combination, utilising musical backing tracks. The likes of ‘Get Your Kicks on Route 66’, ‘Rum and Coca Cola’ (banned by the BBC for advertising!) and the outstanding ‘South American Way’ (or if you prefer, Carmen Miranda), first among equals in a smashing brace of shows.
Tell you what readers, this trio always delivers the highest quality vocal performance. The attention to detail they show, while covering, what amounts to the soundtrack of an era, is as crystal clear as their voiced presentation. Whether in a hall, town centre or as in this show, on the back of a lorry, it’s always first rate.
The day ended with all the musical acts on stage for a rousing and patriotic rendition of the National Anthem and Land of Hope and Glory. Massive credit goes to Dick Lindsay and his team for the Herculean task they undertook to put on such a well run and well attended event. Gallery images below, click on the for full sized image
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Only 3 months to go... and we just can't wait!
With so many great bands and DJs, 3 music venues, a pool party, jam session, car cruise, huge vintage malls, flea market, free 1950s shuttle bus and so much more, the Rhythm Riot is gonna be an absolute blast.
Book online now for groups of 3 or more - or contact us ASAP to go on the waiting list for 2-person accommodation.
RHYTHM RIOT!
8th-12th October 2026
Vauxhall Holiday Park, Great Yarmouth NR30 1TB
hot rock n boogie #7
Toto and the Raw Deals
Hot Rock n Boogie as a brand, if you will, had really been through the mill over the years. A worldwide pandemic wiped out an event, and went right up to the edge of the precipice of closure a couple of years ago. That being said, the past couple of events (and as you will see, this one), have really been on the up, to cement their status as one of the Midlands’ ‘go-to’ weekenders. And there is much rejoicing, especially at Café Nero (other premium brand coffeehouses, are available) once your hosts Claire Seabrook and Neil Seabrook, hit town.
Springfield’s Event Centre is the site for this, and has been for every other, Hot Rock n Boogie. It boasts a large main hall, over a thousand square yards in size, as well as a smaller hall. That, for this event, is the Boogie Lounge, and houses the vendors as well as bands in the afternoons. Those two halls are connected by a hallway, off which is a café/restaurant. It’s all there, camping, a hotel nearby, and plenty of parking. Just add people, and add they did.
For the past few years, the ‘Boogie starts on a Friday with a pre-party, open for day ticketers and weekender-ites as well. This one opened up with a real blast. Toto and the Raw Deals had played to great acclaim before, and here to open proceedings were the returning Salvatore Marziano on rhythm guitar and vocals, Sam French on lead guitar, bassist Danny Brown and on drums, Tony Hillebrandt. There’s always an interesting mix of rockers and country bop sounds mixed in with the Rockabilly and a bit of Blues, with the covers, not always taken from the beaten track. Take their opener, was an original track, ‘Reelin’ and Rockin’, which sent the tempo. Next up a cover of Jim Croce’s ‘Don’t Mess Around with Jim’ from 1972, the tale of pool player Jim Walker, who ultimately was defeated by Willie ‘Slim’ McCoy.
Grabbing the harmonica for some Sonny Boy Williamson. ‘Polly Put Your Kettle On’ from 1947, was released six months before Williamson died. On it he played harmonica as well as performing the vocals. Here it was really well replicated by Toto, taking the same duties.
The cover tracks ranged from Brenda Lee’s ‘Here Comes That Feeling’ from 1962, through to 2013 and Sturgill Simpson’s ‘You Can Have the Crown’ with Dick Dale’s powerhouse instrumental ‘Miserlou’ from ’62, although the origins of this track can be traced back to the 1920’s. Others within the first set included ‘Green River’ from Creedence Clearwater Revival in ’69 and a Rockabilly classic with Charlie Feathers’ ‘Stutterin’ Cindy’.
The second set opened with a real blast. Marty Stuart’s ‘Honky Tonkin is What I do Best’ from the 1996 album of the same name, kicked some serious keester to get it going again. There were plenty of classics here for the crowd, with the lads mixing up the dancefloor bop winner ‘Senior Class’ from Mickey Lee Lane with the frantic Jimmy Wages Sun rocker from ‘56 ‘Miss Pearl’. Their own ‘Moonshine Blues’ is a tough and gritty rock-out, slotting in perfectly with the covers, and Ronnie Dawson’s ‘Up Jumped the Devil’ with the Burnette Trio’s ‘Train Kept a Rollin’ (including call-and-answer with the crowd) topped off a super evening to open up the weekender.
Springfield’s Event Centre is the site for this, and has been for every other, Hot Rock n Boogie. It boasts a large main hall, over a thousand square yards in size, as well as a smaller hall. That, for this event, is the Boogie Lounge, and houses the vendors as well as bands in the afternoons. Those two halls are connected by a hallway, off which is a café/restaurant. It’s all there, camping, a hotel nearby, and plenty of parking. Just add people, and add they did.
For the past few years, the ‘Boogie starts on a Friday with a pre-party, open for day ticketers and weekender-ites as well. This one opened up with a real blast. Toto and the Raw Deals had played to great acclaim before, and here to open proceedings were the returning Salvatore Marziano on rhythm guitar and vocals, Sam French on lead guitar, bassist Danny Brown and on drums, Tony Hillebrandt. There’s always an interesting mix of rockers and country bop sounds mixed in with the Rockabilly and a bit of Blues, with the covers, not always taken from the beaten track. Take their opener, was an original track, ‘Reelin’ and Rockin’, which sent the tempo. Next up a cover of Jim Croce’s ‘Don’t Mess Around with Jim’ from 1972, the tale of pool player Jim Walker, who ultimately was defeated by Willie ‘Slim’ McCoy.
Grabbing the harmonica for some Sonny Boy Williamson. ‘Polly Put Your Kettle On’ from 1947, was released six months before Williamson died. On it he played harmonica as well as performing the vocals. Here it was really well replicated by Toto, taking the same duties.
The cover tracks ranged from Brenda Lee’s ‘Here Comes That Feeling’ from 1962, through to 2013 and Sturgill Simpson’s ‘You Can Have the Crown’ with Dick Dale’s powerhouse instrumental ‘Miserlou’ from ’62, although the origins of this track can be traced back to the 1920’s. Others within the first set included ‘Green River’ from Creedence Clearwater Revival in ’69 and a Rockabilly classic with Charlie Feathers’ ‘Stutterin’ Cindy’.
The second set opened with a real blast. Marty Stuart’s ‘Honky Tonkin is What I do Best’ from the 1996 album of the same name, kicked some serious keester to get it going again. There were plenty of classics here for the crowd, with the lads mixing up the dancefloor bop winner ‘Senior Class’ from Mickey Lee Lane with the frantic Jimmy Wages Sun rocker from ‘56 ‘Miss Pearl’. Their own ‘Moonshine Blues’ is a tough and gritty rock-out, slotting in perfectly with the covers, and Ronnie Dawson’s ‘Up Jumped the Devil’ with the Burnette Trio’s ‘Train Kept a Rollin’ (including call-and-answer with the crowd) topped off a super evening to open up the weekender.
Jive Lessons with Want 2 Jive
Saturday began, with the main hall hosting the Want 2 Jive dance class. This is one of two such classes that take place over the weekend, the other being with the Dukes of Boogie on Sunday. The two classes cover a couple of areas of dance, with the Saturday being ideal for beginners and improvers alike. Dave Baxter and Louise Davison had around fifty people enthused to embrace their style of Rock n Roll and Rockabilly Jive. The Sunday class, with the Dukes of Boogie, focussed a lot on footwork and the finer details of a more Lindy approach. Really good classes, not too formal or regimental, and very well attended.
The Moonlight Sirens
While the class was going on in the main hall, the Moonlight Sirens were taking the stage in the Boogie Lounge. This all-female combo from London, formed in 2024, were debuting at Hot Rock n Boogie, bringing their brand of fifties and sixties Rock ‘n’ Roll, R&B tinged in places with a sixties garage slew, to Lincolnshire. Lead singer Patsy Dee has an impressive set of pipes, essential when you’re backed by three electric guitars and drums. Playing those with some considerable accomplishment, were Karolina Zdziarska on lead guitar Joey Hill on rhythm guitar and backing vocals, Tomika Mitchell keeping it real on bass guitar and Noelle Davies-Brock on drums. Setting the stall out with ‘Trouble’, it was immediately clear that the covers they perform, they cover with adding their own twist.
Take ‘Mama Don’t Allow (no music playin’ around here)’ as a stand-alone example. Here’s a defiant country song from 1936, by Milton Brown and his Brownies. How would that transfer to the Siren sound? They slowed the tempo and gave it an injection of sixties beat, and boogaloo, referencing the jazzy Latin cadence of that time. When a band takes on one of the best tracks in the world ever ever, Mamie Bradley’s ‘I Feel Like a Million’ from 1958, you have to listen. Taking an orchestra sound and covering as a guitar band worked really well here.
The strollers were out for ‘Burnt Toast and Black Coffee’, presented in the Mike Pedicin style as opposed to Shorty Long, for example, and the evergreen ‘Mama, He Treats Your Daughter Mean’ got the Siren treatment. Another Ruth Brown track, ‘As Long as I’m Movin’ made a welcome appearance near the end of the set. Interesting take on the Coasters’/Elvis’ ‘Girls Girls Girls’ too. How to top it all off? Well, how about a Barbara Mandrell song? Yes, from one of Country music’s most successful artists of the 70’s and 80’s. The Moonlight Sirens took ‘Treat Him Right’ from 1971, and injected it with their own zhuzh, giving it an almost garage-y feel. Ace debut.
Take ‘Mama Don’t Allow (no music playin’ around here)’ as a stand-alone example. Here’s a defiant country song from 1936, by Milton Brown and his Brownies. How would that transfer to the Siren sound? They slowed the tempo and gave it an injection of sixties beat, and boogaloo, referencing the jazzy Latin cadence of that time. When a band takes on one of the best tracks in the world ever ever, Mamie Bradley’s ‘I Feel Like a Million’ from 1958, you have to listen. Taking an orchestra sound and covering as a guitar band worked really well here.
The strollers were out for ‘Burnt Toast and Black Coffee’, presented in the Mike Pedicin style as opposed to Shorty Long, for example, and the evergreen ‘Mama, He Treats Your Daughter Mean’ got the Siren treatment. Another Ruth Brown track, ‘As Long as I’m Movin’ made a welcome appearance near the end of the set. Interesting take on the Coasters’/Elvis’ ‘Girls Girls Girls’ too. How to top it all off? Well, how about a Barbara Mandrell song? Yes, from one of Country music’s most successful artists of the 70’s and 80’s. The Moonlight Sirens took ‘Treat Him Right’ from 1971, and injected it with their own zhuzh, giving it an almost garage-y feel. Ace debut.
The Mystery Train Riders
On the main stage, immediately afterwards, a band that had made a lasting impression in 2025 in the Boogie Lounge, the Mystery Train Riders. Regular readers of this magazine will most likely read about this four-piece many times. Sure, they get around, popular with clubs and weekenders, with the younger members displaying the joi de vivre you would expect. Lead singer and rhythm guitarist Chris Blakely is an energetic front man, with a strong vocal delivery. He’s backed by the guitar skills on the orange Gretsch, by Dan Garland, and the perpetual movements of the enthusiastic Michael McGill on bass. Joining them for this occasion on drums, the understated by highly skilled Alan Bentley.
The supercool look to the band isn’t sartorial spin over musical substance, there’s a real attention to performing detail and well-rehearsed results. Pretty much all, over this set, were cover tracks, and well-chosen crowd pleasers they were every one. Hearing their take on Cliff’s ‘We Say Yeah’ for example. This song was a ‘B’ side to ‘The Young Ones’ in 1962, and the ‘Riders take it to an animated level in their version. ‘Jeanie Jeanie Jeanie’, a classic Eddie Cochran number is also a mainstay of their shows. The kicking beat of the 1958 belter is just right for these guys. Charlie Gracie’s ‘Fabulous’ is another, not so wild, but well presented. Stroll time with ‘Bertha Lou’ (probably the only Rock n Roll song incorporating the word ‘conjugate’*) and ‘One Cup of Coffee’ from Glenn Glenn. Another classy show from the lads from the North East (and Scotland).
The supercool look to the band isn’t sartorial spin over musical substance, there’s a real attention to performing detail and well-rehearsed results. Pretty much all, over this set, were cover tracks, and well-chosen crowd pleasers they were every one. Hearing their take on Cliff’s ‘We Say Yeah’ for example. This song was a ‘B’ side to ‘The Young Ones’ in 1962, and the ‘Riders take it to an animated level in their version. ‘Jeanie Jeanie Jeanie’, a classic Eddie Cochran number is also a mainstay of their shows. The kicking beat of the 1958 belter is just right for these guys. Charlie Gracie’s ‘Fabulous’ is another, not so wild, but well presented. Stroll time with ‘Bertha Lou’ (probably the only Rock n Roll song incorporating the word ‘conjugate’*) and ‘One Cup of Coffee’ from Glenn Glenn. Another classy show from the lads from the North East (and Scotland).
JG and the Ultimates
Another band returning by popular demand and through sheer acclaim, was JG and the Ultimates. You want Rhythm and Blues dealt out in a highly musically polished fashion? Look no further than Jay Gipson on lead guitar and vocals. Vocals that have that powerful blues-shouter sound when needed and restrained on other songs. He is backed by Karl Hird and Nick Lunt on Sax(s), Stu Gipson - Trumpet & Harmonica, Nick Whitfield on Double Bass, Sam Wain tickling the eighty eight keys and drummer Dan Buskell.
In past shows at Hot Rock n Boogie, they have adapted Jimmy Liggins’ ‘Nite Life Boogie’ from 1949, to include ‘Hot Rock n Boogie’ and the number of the event. Sadly, as ‘seven’ has too many syllables, it stayed as original, and a top version it was too. Another Liggins’ track got the JG treatment, with ‘Drunk’ and it’s repetitive but catchy beat, bringing the crowd out onto the floor. Tiny Grimes’ ‘Drinkin’ Beer’ showcased Jay’s vocals very well, before a gear switch to Little Willie John’s ‘I’m Shakin’ and Fats’ ‘Be My Guest’ .
Dipping a toe into the 1960’s, they took on Charles Sheffield’s ‘It’s You Voodoo Working’ from 1961, a soulful and bluesy slab of Louisiana, blended together with some fine musicianship. In fact, it was another Charles Sheffield track, ‘I Would be a Sinner’ also from ’61 (and the follow up to ‘Voodoo’) that ended this masterclass in Rhythm and Blues to the delight of the crowd who filled the floor throughout.
In past shows at Hot Rock n Boogie, they have adapted Jimmy Liggins’ ‘Nite Life Boogie’ from 1949, to include ‘Hot Rock n Boogie’ and the number of the event. Sadly, as ‘seven’ has too many syllables, it stayed as original, and a top version it was too. Another Liggins’ track got the JG treatment, with ‘Drunk’ and it’s repetitive but catchy beat, bringing the crowd out onto the floor. Tiny Grimes’ ‘Drinkin’ Beer’ showcased Jay’s vocals very well, before a gear switch to Little Willie John’s ‘I’m Shakin’ and Fats’ ‘Be My Guest’ .
Dipping a toe into the 1960’s, they took on Charles Sheffield’s ‘It’s You Voodoo Working’ from 1961, a soulful and bluesy slab of Louisiana, blended together with some fine musicianship. In fact, it was another Charles Sheffield track, ‘I Would be a Sinner’ also from ’61 (and the follow up to ‘Voodoo’) that ended this masterclass in Rhythm and Blues to the delight of the crowd who filled the floor throughout.
Rockin' Em
In the Boogie Lounge, Rockin Em, a trio made up of Ken Marlow on lead guitar and vocals, his son Dion Marlow on bass and vocals with Dan Whitwell on drums. Together they squashed twenty tunes into a well varied show. The pace was set with Vic Vickers’ ‘Action Speaks Louder than Words’ a nippy jiver from 1964, with a real crowd pleaser in the form of Johnny Preston’s ‘Cradle of Love’ from 1960.
There’s a professional vibe you get at a Rockin Em show, as they switch gears effortlessly between songs. There’s a top instro track mid-set, ‘Nazare’, a surf sound, that I presume the influence of which, comes from the Portuguese resort of that name. Cool beans that one readers. The Police’s ‘Every Breath You Take’ was given a reworking, in a kind of vocal group meets reggae fashion. ‘Memories of Memphis’ unsurprisingly takes a serious inspiration from Elvis Presley’s life, while ‘The Sound of Rock n Roll’ is a bright and breezy jaunt.
Some well-known covers worthy of note sprang up through the set. Jimmy McCracklin’s ‘Georgia Slop’, The Cheers’ ‘Whadya Want’ and the Clovers’ ‘Love Potion Number Nine’, and a Rock n Roll anthem, ‘C’mon Everybody’ ended a very popular show.
There’s a professional vibe you get at a Rockin Em show, as they switch gears effortlessly between songs. There’s a top instro track mid-set, ‘Nazare’, a surf sound, that I presume the influence of which, comes from the Portuguese resort of that name. Cool beans that one readers. The Police’s ‘Every Breath You Take’ was given a reworking, in a kind of vocal group meets reggae fashion. ‘Memories of Memphis’ unsurprisingly takes a serious inspiration from Elvis Presley’s life, while ‘The Sound of Rock n Roll’ is a bright and breezy jaunt.
Some well-known covers worthy of note sprang up through the set. Jimmy McCracklin’s ‘Georgia Slop’, The Cheers’ ‘Whadya Want’ and the Clovers’ ‘Love Potion Number Nine’, and a Rock n Roll anthem, ‘C’mon Everybody’ ended a very popular show.
Darrel Higham
The evening session brought on one of the prominent performers on the Rock n Roll circuit to the main stage. Darrel Higham and the Enforcers, consisted of Darrel on lead guitar and vocals, with Tony Hillebrandt on drums, with Laura Hickling deputising on double bass. It seems ages since we have seen Laura in action on the upright bass (she suggested it was around ten years since our paths crossed), and she slotted in perfectly as they opened up with a tear-up of Gene Summers’ ‘School of Rock n Roll’ from 1958.
This was immediately shaping up as a collection of crowd pleasers, with Carl Perkins’ ‘Honey Don’t’ hitting the high and goldens. You are always guaranteed a serious slab of Eddie Cochran in a Darrel Higham show. And this was no exception, with winners such as ‘Somethin’ Else’, ‘Twenty Flight Rock’ ‘C’mon Everybody’ and ‘Jeanie Jeanie Jeanie’ for example. And with Eddie you also get Gene, with ‘Rocky Road Blues’ from 1958 and the jangling guitar rhythm of ‘She She Little Sheila’ a stick-on stroller from ’61.
With the Sun smash, and Billy Lee Riley’s first hit, ‘Flying Saucers Rock and Roll’ initially ending the set, the crowd were seriously up for more. They got a modern-day classic, with Restless’ ‘Ice Cold’, a guaranteed winner that rounded off a very well received show.
This was immediately shaping up as a collection of crowd pleasers, with Carl Perkins’ ‘Honey Don’t’ hitting the high and goldens. You are always guaranteed a serious slab of Eddie Cochran in a Darrel Higham show. And this was no exception, with winners such as ‘Somethin’ Else’, ‘Twenty Flight Rock’ ‘C’mon Everybody’ and ‘Jeanie Jeanie Jeanie’ for example. And with Eddie you also get Gene, with ‘Rocky Road Blues’ from 1958 and the jangling guitar rhythm of ‘She She Little Sheila’ a stick-on stroller from ’61.
With the Sun smash, and Billy Lee Riley’s first hit, ‘Flying Saucers Rock and Roll’ initially ending the set, the crowd were seriously up for more. They got a modern-day classic, with Restless’ ‘Ice Cold’, a guaranteed winner that rounded off a very well received show.
Lobo Jones and the Rhythm Hounds
Larry Donn’s ‘Honey Bun’, on it’s own, is a cracking track. In the capable hands of Lobo Jones and the Rhythm Hounds, the live version in the Main Hall truly rocked. Having watched this band for a few years now, it has been quite sad to realise that this show was the last time we’d get to see the line-up that took to the Hot Rock n Boogie stage. Both bassist Mark Howells and ace guitarist, Morgan Willis have left the band since. We’ll have the memory of this performance to reflect upon in future for sure.
Elliot ‘Lobo’ Jones writes a mean song it has to be said, full of meaningful and well thought lyrics set to a potent rocking beat. I’m thinking of one top offering in particular, ‘The Creature’. It’s ballsy and thoroughly rocked up in it’s musicality, a true gem of a track. ‘Howlin’ was the title track to one of their albums, heavily on the double bass, ticking along the rhythm. ‘Wind Up Baby’ and ‘Bad Bad Baby’ were supercool additions of their own material, around Rockabilly revered standards like ‘Pink n Black’.
Another welcome addition was the title track to their latest long player, ‘Alcoholic Tendencies’, which along with many of the self-composed material, sounded like it had come straight out of Nashville in ’56. A tip top set from these lads, good luck and fortune to those departing and let’s see what’s in the pipeline for Lobo Jones.
Elliot ‘Lobo’ Jones writes a mean song it has to be said, full of meaningful and well thought lyrics set to a potent rocking beat. I’m thinking of one top offering in particular, ‘The Creature’. It’s ballsy and thoroughly rocked up in it’s musicality, a true gem of a track. ‘Howlin’ was the title track to one of their albums, heavily on the double bass, ticking along the rhythm. ‘Wind Up Baby’ and ‘Bad Bad Baby’ were supercool additions of their own material, around Rockabilly revered standards like ‘Pink n Black’.
Another welcome addition was the title track to their latest long player, ‘Alcoholic Tendencies’, which along with many of the self-composed material, sounded like it had come straight out of Nashville in ’56. A tip top set from these lads, good luck and fortune to those departing and let’s see what’s in the pipeline for Lobo Jones.
Cherry Casino and the Gamblers
The ever-popular German combo, Cherry Casino and the Gamblers graced the HR&B stage once again. They are favourites with the organisers as well as us, with their jaunty musical and vocal delivery, well-crafted songs and cleverly selected cover songs. Lead singer Axel Prafke is also the lead guitarist, and once you have heard his delivery, you’ll find it unmistakable.
On the backing vocals you have Michael ‘Humpty’ Kirscht and Ike Stoye, who are on guitar and sax respectively, and clearly enjoy themselves, with a mischievous air, looking like they’ve put a mousetrap in a Lucky Dip, and awaiting the hilarious results. The barn-burner sound of ‘All Night Long’ from their 2006 album, ‘Let’s Play Around’ announced themselves. Yes readers, this and some of the other tracks in the set, are twenty years old now, including ‘You’re Too High For Me’. ‘My Baby Calls Me on the Phone’ slows it down a little, setting up a couple of pure gold covers, ‘Rebecca’, ‘Love Roller Coaster and ‘Call Me Shorty’ (big cigar, Cadillac car etc). This is Rhythm and Blues at it’s very best readers.
A cool stroller, ‘Loo-Le-Loo-Le-Loo’ filled the dancefloor, as did their own track titled ‘Midnight Blues’ not to be confused with any other song of that name(!) Again, the saucy ‘Kiss Me’ isn’t the Marvin and Johnny number, and ‘Fat Mama’s Daughter’, has a slightly, un-PC thread to the lyrics. And Big John Greer’s ‘Bottle it up and Go’ was a fitting encore to a superb set.
Hot Rock n Dot….dot. Best tracks in the world ever ever to sizzle up your sausage for this event were Frankie Miller’s ‘Poppin Johnny’, ‘Hey Elvis’ by Boots Randolph and ‘Rockin’ Horse’ by the Pearls…….Take a bow, DJs Mark Kickin the Boogie, Air Monkey, Slimboy, Carrie Hope, exclusively in the Boogie Lounge, Pagan and Tone Deaf. Also take a bigger bow, Mister Big Feet for not only DJing, but MCing and sharing out jelly teddies by air mail!........Oi, Cherry Casino, let’s have ‘Did You Hear the Door Slam’ back in the show, best track you’ve recorded in the world ever ever……Even attention has been given to the quality of the traders at HR&B. No stalls that look like they are carrying the results of a ram-raid at the Pound Shop (other fixed price, discount stores, are available)……*if you know of other Rock n Roll songs containing ‘cogitate’, by all means, don’t worry about not telling us…. Vic Collins playing alongside Jackson Sloan. Once of the band, The Kursaal Flyers (pertaining to the amusement park of that name in Southend-on-Sea), who charted with ‘Little Does She Know’ in ’76, with the classic line ‘Her escape was so urgent, she forgot her detergent’ 😊.....It was definitely '76, as in '74, 'Everybody was Kung Fu Fighting' (HUH!) ........
On the backing vocals you have Michael ‘Humpty’ Kirscht and Ike Stoye, who are on guitar and sax respectively, and clearly enjoy themselves, with a mischievous air, looking like they’ve put a mousetrap in a Lucky Dip, and awaiting the hilarious results. The barn-burner sound of ‘All Night Long’ from their 2006 album, ‘Let’s Play Around’ announced themselves. Yes readers, this and some of the other tracks in the set, are twenty years old now, including ‘You’re Too High For Me’. ‘My Baby Calls Me on the Phone’ slows it down a little, setting up a couple of pure gold covers, ‘Rebecca’, ‘Love Roller Coaster and ‘Call Me Shorty’ (big cigar, Cadillac car etc). This is Rhythm and Blues at it’s very best readers.
A cool stroller, ‘Loo-Le-Loo-Le-Loo’ filled the dancefloor, as did their own track titled ‘Midnight Blues’ not to be confused with any other song of that name(!) Again, the saucy ‘Kiss Me’ isn’t the Marvin and Johnny number, and ‘Fat Mama’s Daughter’, has a slightly, un-PC thread to the lyrics. And Big John Greer’s ‘Bottle it up and Go’ was a fitting encore to a superb set.
Hot Rock n Dot….dot. Best tracks in the world ever ever to sizzle up your sausage for this event were Frankie Miller’s ‘Poppin Johnny’, ‘Hey Elvis’ by Boots Randolph and ‘Rockin’ Horse’ by the Pearls…….Take a bow, DJs Mark Kickin the Boogie, Air Monkey, Slimboy, Carrie Hope, exclusively in the Boogie Lounge, Pagan and Tone Deaf. Also take a bigger bow, Mister Big Feet for not only DJing, but MCing and sharing out jelly teddies by air mail!........Oi, Cherry Casino, let’s have ‘Did You Hear the Door Slam’ back in the show, best track you’ve recorded in the world ever ever……Even attention has been given to the quality of the traders at HR&B. No stalls that look like they are carrying the results of a ram-raid at the Pound Shop (other fixed price, discount stores, are available)……*if you know of other Rock n Roll songs containing ‘cogitate’, by all means, don’t worry about not telling us…. Vic Collins playing alongside Jackson Sloan. Once of the band, The Kursaal Flyers (pertaining to the amusement park of that name in Southend-on-Sea), who charted with ‘Little Does She Know’ in ’76, with the classic line ‘Her escape was so urgent, she forgot her detergent’ 😊.....It was definitely '76, as in '74, 'Everybody was Kung Fu Fighting' (HUH!) ........
Jenny Lee
Jenny Lee and her Band opened up proceedings in the Boogie Lounge on Sunday morning. Regular readers would most likely have read about the show she put on at the Rockabilly Rave this year. Here she was, almost local-act-done-good, on the HR&B stage ready to deliver another fine set of female Rockabilly tunes.
With an uncanny vocal likeness, certainly there’s a heavy lean, to Wanda Jackson’s repertoire, which is never a bad thing is it (rhetorical question). A sound hobgoblin was eliminated early doors, and we were off with ‘Mean Mean Man’ and the explosive stroller ‘Fujiyama Mama’. With Harry Chappel on lead guitar, Luke Nichols on bass and Danny Brown behind the skins, the sound was both tight, authentic and cool throughout.
The cautionary lyrics of ‘Hard Headed Woman’ along with the regretful feel of ‘Lost Weekend’ hit the spot, while the band’s own ‘Said Too Much’ sat very well with the covers. It wasn’t all Wanda, we had some Janis Martin as well with ‘Bang Bang’ and Brenda Lee’s nuptial ‘Let’s Jump The Broomstick’. Another highly accomplished show from Jenny Lee, presented to a delighted crowd.
With an uncanny vocal likeness, certainly there’s a heavy lean, to Wanda Jackson’s repertoire, which is never a bad thing is it (rhetorical question). A sound hobgoblin was eliminated early doors, and we were off with ‘Mean Mean Man’ and the explosive stroller ‘Fujiyama Mama’. With Harry Chappel on lead guitar, Luke Nichols on bass and Danny Brown behind the skins, the sound was both tight, authentic and cool throughout.
The cautionary lyrics of ‘Hard Headed Woman’ along with the regretful feel of ‘Lost Weekend’ hit the spot, while the band’s own ‘Said Too Much’ sat very well with the covers. It wasn’t all Wanda, we had some Janis Martin as well with ‘Bang Bang’ and Brenda Lee’s nuptial ‘Let’s Jump The Broomstick’. Another highly accomplished show from Jenny Lee, presented to a delighted crowd.
The Summertime Kings
In the main hall, Boston Jive/Hot Rock n Boogie favourites and local combo, the Summertime Kings. Seriously folks, this band heralded the return to ‘going out’ after Covid at the Drive In Jive In event at Hubbert’s Bridge, even playing through a passing thunderstorm. From trying not to get electrocuted under a gazebo, to regular events and weekenders, and a harmonious vocal sound that’s an absolute joy.
The Summertime Kings are a four-piece band from the King’s Lynn area. We have Craig Brown on drums and backing vocals, Pete Cuss on lead guitar and backing vocals, Stephen Barrett on double bass and backing vocals and Adam Tucker on lead vocals and acoustic guitar. The set was a smashing selection of vocal Rock n Roll, with ‘Dance Girl Dance’ impressing early doors. The cover of Norman Fox and the Rob Roys vocal delight from 1957, had the ‘Kings stamp on it, with a responsive dancefloor.
If there’s a favourite among this show with the Bettajive Review, it would be their take of the Capris’ ‘Morse Code of Love’. This song wasn’t released until 1982, even though Nick Santo had started writing it in 1961. The ‘Kings version is just superb. An even more recent song they also cover, is Bo Walton’s ‘This Little Car of Mine’, a rousing jiver that clearly fired the starting pistol of the dancers once again. Slowing it down a bit, Go Cat Go’s ‘Forever’s Much Too Long’ from ’99, and a stick-on stroller ‘Midnight Blues’ (Charlie Rich).
Musically it was spot on, and vocally, extremely well delivered, as well as a big hit with the crowd.
The Summertime Kings are a four-piece band from the King’s Lynn area. We have Craig Brown on drums and backing vocals, Pete Cuss on lead guitar and backing vocals, Stephen Barrett on double bass and backing vocals and Adam Tucker on lead vocals and acoustic guitar. The set was a smashing selection of vocal Rock n Roll, with ‘Dance Girl Dance’ impressing early doors. The cover of Norman Fox and the Rob Roys vocal delight from 1957, had the ‘Kings stamp on it, with a responsive dancefloor.
If there’s a favourite among this show with the Bettajive Review, it would be their take of the Capris’ ‘Morse Code of Love’. This song wasn’t released until 1982, even though Nick Santo had started writing it in 1961. The ‘Kings version is just superb. An even more recent song they also cover, is Bo Walton’s ‘This Little Car of Mine’, a rousing jiver that clearly fired the starting pistol of the dancers once again. Slowing it down a bit, Go Cat Go’s ‘Forever’s Much Too Long’ from ’99, and a stick-on stroller ‘Midnight Blues’ (Charlie Rich).
Musically it was spot on, and vocally, extremely well delivered, as well as a big hit with the crowd.
Lady Luck Lexy and the Riverside Boys
As soon as the Summertime Kings left the main stage, it was a whizz over to the Boogie Lounge to catch up with Lady Luck Lexy and the Riverside Boys. Lexy is in command of the cocktail drum set and vocals, with Nick Bayford on lead guitar and bassist Brandon Hoadley. Their own ‘Scream and Shout’, was a super tune to open with, pacy and intricate in guitar riffs. Some familiar covers in with the original material, included Patsy Cline’s, first major hit ‘Walking After Midnight’ from 1957 and from 1953, Joe Turner’s ‘Honey Hush’.
‘Hope You’re Feeling it Too’ is a maraca-tastic mid-tempo rocker, from the band’s own catalogue. Also, us of the TOTP generation, might recall Tony Orlando and Dawn’s #1 hit ‘Knock Three Times’, also covered in a country stylie by Billy Crash Craddock. Although it’s quite lightweight, as a potential rocker, however, Lexy’s is not a direct cover, although some of the lyrics make the cut. Liking the version of Ella Mae Morse’s ‘House of Blue Lights’ and massive flag-up for their take of Sonny Starnes’ geographical tribute to ‘Tangi Paho’.
With (for me anyway) one of their best-known tracks, ‘Roulette Baby’ and the frantic ‘Tear It Up’ concluding a great show, the live acts were done in the Boogie Lounge. A real treat to end with it was too.
‘Hope You’re Feeling it Too’ is a maraca-tastic mid-tempo rocker, from the band’s own catalogue. Also, us of the TOTP generation, might recall Tony Orlando and Dawn’s #1 hit ‘Knock Three Times’, also covered in a country stylie by Billy Crash Craddock. Although it’s quite lightweight, as a potential rocker, however, Lexy’s is not a direct cover, although some of the lyrics make the cut. Liking the version of Ella Mae Morse’s ‘House of Blue Lights’ and massive flag-up for their take of Sonny Starnes’ geographical tribute to ‘Tangi Paho’.
With (for me anyway) one of their best-known tracks, ‘Roulette Baby’ and the frantic ‘Tear It Up’ concluding a great show, the live acts were done in the Boogie Lounge. A real treat to end with it was too.
Laura B
Back over to the main hall, for the final afternoon band of the weekender, Laura B and Her Band. As one of the top female Rhythm and Blues singers on the circuit, you know that you’re going to get a top drawer show when she takes the stage. Jumping straight in with an original, the rousing beat and resonance of ‘While the Going’s Good’ filled the floor, to the mid-tempo gem. A similar rhythm was had with the piano driven ‘Louella’, quite the subject matter in the lyrics of this one, readers.
House-rockin’ it up, was ‘Gonna Find Me a Good Man’. This is an absolute beauty folks, the guitar riff has the Bo Diddley ‘Shave and a Haircut, two bits’ sound to it, with a thumping drum beat. Laura’s vocals, had the scolding delivery that was complemented perfectly by the band on this bopping three-minute diamond. ‘Just a Little Love’ was the title of Laura’s last but one album. It was written by BB King who had a minor hit with the song in 1969. Laura belted out the vocals on this with the ‘call and answer’ from the band, paying due reverence to the original recording.
Her own ‘Mercy Me’ gave way to a bit of Gospel, with the rousing lyrics to ‘Let the Lord Have Access to your Heart’. There are monster songs that only a few acts can take on, like Etta James’ ‘Good Rockin’ Daddy’, ‘W.O.M.A.N’ and ‘Tough Lover’. Well later in the set that’s what Laura B did with some considerable accomplishment.
Initially they ended with ‘Too Tired’ but it certainly wasn’t going to be enough for this crowd, or this scribe. Back they came for (my) favourite song that Laura B covers. The soul-stirring beat and vocals on LaVern Baker’s ‘Saved’ are something else. Written by prolific hitmakers, Lieber and Stoller, this immense 1961, throw-your-hands-in-the-air wonder, was a perfect end to an absolute peach of a show.
House-rockin’ it up, was ‘Gonna Find Me a Good Man’. This is an absolute beauty folks, the guitar riff has the Bo Diddley ‘Shave and a Haircut, two bits’ sound to it, with a thumping drum beat. Laura’s vocals, had the scolding delivery that was complemented perfectly by the band on this bopping three-minute diamond. ‘Just a Little Love’ was the title of Laura’s last but one album. It was written by BB King who had a minor hit with the song in 1969. Laura belted out the vocals on this with the ‘call and answer’ from the band, paying due reverence to the original recording.
Her own ‘Mercy Me’ gave way to a bit of Gospel, with the rousing lyrics to ‘Let the Lord Have Access to your Heart’. There are monster songs that only a few acts can take on, like Etta James’ ‘Good Rockin’ Daddy’, ‘W.O.M.A.N’ and ‘Tough Lover’. Well later in the set that’s what Laura B did with some considerable accomplishment.
Initially they ended with ‘Too Tired’ but it certainly wasn’t going to be enough for this crowd, or this scribe. Back they came for (my) favourite song that Laura B covers. The soul-stirring beat and vocals on LaVern Baker’s ‘Saved’ are something else. Written by prolific hitmakers, Lieber and Stoller, this immense 1961, throw-your-hands-in-the-air wonder, was a perfect end to an absolute peach of a show.
The Round Up Boys
With everyone, sustained, shaven and showered, and any other activity beginning with ‘s’, the main hall filled again to take in the Round Up Boys. For the pedants among the crowd, yes it was Cherry Casino and the Gamblers in a different guise, well spotted (if that sounds sarcastic, it’s supposed to). Michael ‘Humpty’ Kirscht take the lead vocals and lead guitar in this formation, and it can be a little odd seeing Axel Praefke on drums, but there it is people. These lads have far too much talent!
The sound, is more of a straight-ahead Rockabilly and Rock n Roll sound, mixing up some well-known songs and a smattering of original material. One such original, opened the show, ‘Juke Box Baby’. This bop sound was written by Axel (not the Perry Como song of that name) and has a catchy guitar driven rhythm. That set up the likes of instantly recognisable songs like the Sun sound of Roy Orbison on ‘Mean Little Mama’, the thigh slapping and foot-stomping ‘Thirty Days’ with Humpty visually paying tribute to Chuck Berry, if you catch the drift. Thomas Wayne’s ‘You’re the one that done it’ slowed it down a bit, while Humpty compositions ‘Lift Off’ and ‘Kiss Me Now’ sparked it all off again.
With Rockabilly songs notoriously lasting a couple of minutes or so, twenty songs were crammed into the show, which ended with a kicking version of Rusty York’s ‘Sugaree’ and their own, ‘A Little Clock Rock’, with a shout-back chorus. A simply sublime set
The sound, is more of a straight-ahead Rockabilly and Rock n Roll sound, mixing up some well-known songs and a smattering of original material. One such original, opened the show, ‘Juke Box Baby’. This bop sound was written by Axel (not the Perry Como song of that name) and has a catchy guitar driven rhythm. That set up the likes of instantly recognisable songs like the Sun sound of Roy Orbison on ‘Mean Little Mama’, the thigh slapping and foot-stomping ‘Thirty Days’ with Humpty visually paying tribute to Chuck Berry, if you catch the drift. Thomas Wayne’s ‘You’re the one that done it’ slowed it down a bit, while Humpty compositions ‘Lift Off’ and ‘Kiss Me Now’ sparked it all off again.
With Rockabilly songs notoriously lasting a couple of minutes or so, twenty songs were crammed into the show, which ended with a kicking version of Rusty York’s ‘Sugaree’ and their own, ‘A Little Clock Rock’, with a shout-back chorus. A simply sublime set
Jackson Sloan
From the sublime, to the sublime-r, if such a term exists, with the towering presence of Jackson Sloan and the Rhythm Tones. When you have the talent of the likes of Zac Zdravkovic on lead guitar, bassist Markus Feldman and Al Bland on sax, you already have the bedrock for a quality show. On top of that, Jackson’s vocals and song choices, which were announced by ‘Reelin’ and Rockin’, with Smiley Lewis’ ‘Real Gone Lover’ hot on the heels, with Big Joe Turner’s styled ‘Corrina Corrina’ setting the stall out.
One of his own, with a super stroll beat, ‘Don’t Let me be the Last to Know’ followed Big Joe’s ‘Lipstick, Powder and Paint’ and Fats’ invitation to ‘Be My Guest’. The intriguingly titled ‘Why Don’t You Eat Where You Slept Last Night’ also got the strollers out in force, and ‘I Ain’t Mad at You’ is always a winner.
There are singers and bands that have their ‘most popular’ songs. With Jackson Sloan, there are three such songs, and the expectation from the crowd grew through the show. People were looking at their watches, time’s running out you know. A collective sigh of initial relief was almost palpable as ‘Big Talk’ rang out.
The applause, soon became rhythmic clapping to begin ‘Rollercoaster’ which ratcheted up the dancefloor again. And then the modern-day classic that is ‘Kicking up the Dust’, which probably filled the floor up as much as any song over the weekender. Make no bones about it folks, this was a set with more polish than a Pledge factory (other spray-based cleaning products are available). Jackson was on the finest form and the Rhythmtones backing, were en pointe.
One of his own, with a super stroll beat, ‘Don’t Let me be the Last to Know’ followed Big Joe’s ‘Lipstick, Powder and Paint’ and Fats’ invitation to ‘Be My Guest’. The intriguingly titled ‘Why Don’t You Eat Where You Slept Last Night’ also got the strollers out in force, and ‘I Ain’t Mad at You’ is always a winner.
There are singers and bands that have their ‘most popular’ songs. With Jackson Sloan, there are three such songs, and the expectation from the crowd grew through the show. People were looking at their watches, time’s running out you know. A collective sigh of initial relief was almost palpable as ‘Big Talk’ rang out.
The applause, soon became rhythmic clapping to begin ‘Rollercoaster’ which ratcheted up the dancefloor again. And then the modern-day classic that is ‘Kicking up the Dust’, which probably filled the floor up as much as any song over the weekender. Make no bones about it folks, this was a set with more polish than a Pledge factory (other spray-based cleaning products are available). Jackson was on the finest form and the Rhythmtones backing, were en pointe.
Alan Power and the Aftershocks
The final live act for HR&B this year, were Alan Power and the Aftershocks, performing at the event for the third time. The first, if you recall, they arrived, literally with seconds to go before the show started, the second time, they made sure they were there for the day, and this event, they were there all weekend, digging the sounds. Alan Power takes the vocal duties as well as strumming the bejesus out of his acoustic guitar. He’s backed by Michael McGill on bass, guitarist Jimmy Shields and drummer Liam Ascott.
Their musical style is very much on the Rockabilly side, with more than a generous helping of variety from all aspects of Rock n Roll. The variety is no better demonstrated than between ‘Minnie the Moocher’ and ‘Crazy Crazy Love’. ‘Minnie’ was written and performed by jazz performer, Cab Calloway in 1931, while ‘Crazy’ is a frantic Rockabilly number from 1956, by Johnny Caroll. Both tunes were showcased with real expertise.
From the country side we had Hank Williams’ ‘Your Cheatin’ Heart’ and from the Sun label, Ray Smith’s ‘Right Behind You Baby’. Fans of so named Spaghetti Westerns were treated to a smashing instrumental, with a nod to Clint Eastwood films from the mid-sixties, aptly titled ‘Song With No Name’. Have to mention in a dispatch stylie, ‘Fools Gold’ which was an awesome chunk of Rockabilly. Many an Alan Power set ends with ‘Dirty Old Town’, indeed we have made mention of it before now. The song is about Salford, and a favourite version of mine is by the Pogues, and many associate the song with an as yet undisclosed town in Ireland. Alan Power, plays the verses with a certain restraint and serenity, before exploding into the chorus. A fitting end to a brilliant weekender
The sound, the vibe and the occasion, has elevated Hot Rock n Boogie, to one of the brightest weekenders on the circuit, as it keeps going from strength to strength. Your organisers, especially Claire, have years of experience as punters, dancers and organisers, which shows in the acts they book for their events. The team is actually quite small in numbers, but big on providing a super weekender for South Lincs. Number 8 is already booked, see the flyer elsewhere for details. Gallery images below, click on them for full sized pic.
Like what you've seen so far? Help us keep it free by popping over a donation, using the button below. Many thanks
Their musical style is very much on the Rockabilly side, with more than a generous helping of variety from all aspects of Rock n Roll. The variety is no better demonstrated than between ‘Minnie the Moocher’ and ‘Crazy Crazy Love’. ‘Minnie’ was written and performed by jazz performer, Cab Calloway in 1931, while ‘Crazy’ is a frantic Rockabilly number from 1956, by Johnny Caroll. Both tunes were showcased with real expertise.
From the country side we had Hank Williams’ ‘Your Cheatin’ Heart’ and from the Sun label, Ray Smith’s ‘Right Behind You Baby’. Fans of so named Spaghetti Westerns were treated to a smashing instrumental, with a nod to Clint Eastwood films from the mid-sixties, aptly titled ‘Song With No Name’. Have to mention in a dispatch stylie, ‘Fools Gold’ which was an awesome chunk of Rockabilly. Many an Alan Power set ends with ‘Dirty Old Town’, indeed we have made mention of it before now. The song is about Salford, and a favourite version of mine is by the Pogues, and many associate the song with an as yet undisclosed town in Ireland. Alan Power, plays the verses with a certain restraint and serenity, before exploding into the chorus. A fitting end to a brilliant weekender
The sound, the vibe and the occasion, has elevated Hot Rock n Boogie, to one of the brightest weekenders on the circuit, as it keeps going from strength to strength. Your organisers, especially Claire, have years of experience as punters, dancers and organisers, which shows in the acts they book for their events. The team is actually quite small in numbers, but big on providing a super weekender for South Lincs. Number 8 is already booked, see the flyer elsewhere for details. Gallery images below, click on them for full sized pic.
Like what you've seen so far? Help us keep it free by popping over a donation, using the button below. Many thanks
FTM REcord Releases
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FTM Records presents a twin spin, featuring two tracks that have a foot in more than one camp shall we say. Side A is ‘Misery Street’ by Jimmy Gilford from 1965. The production and general feel to the song has more than a nod to the Jackie Wilson style of that era. Jimmy Gilford’s voice is excellent on this track written by Don Davis.
Nate Nelson was the lead singer of the Flamingos. Here he is on the ‘B’ side of the FTM single, with another Wilson-esque sounding dancer from 1961. Excellent orchestral production and the vocals are superb.
Nate Nelson was the lead singer of the Flamingos. Here he is on the ‘B’ side of the FTM single, with another Wilson-esque sounding dancer from 1961. Excellent orchestral production and the vocals are superb.
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Those two heavy hitters, Flat Top Mark and the Preacher, have been slugging it out for many years now on the FTM label. Here’s another one-two punch for Round 13.
Side A is Mark’s offering, Jose Feliciano’s ‘Everybody do the Click’. The Puerto Rican singer, was born blind, but is virtuosic on the guitar. This is one of his many compositions that take influence from Jazz, Latin and Rock. The ‘tick’ you will hear is very catchy as is this song from 1964.
Not being familiar with ‘Secret Agent 006’, the Preacher’s choice, I immediately thought this would be an instrumental track (given the band’s debut single ‘Machine Gun’ was a rip-roaring sax-soaked instro track). It has a Garage meets Surf vibe from 1965, and the guitar work is the making of the track, which has a spontaneous ‘plug-in-and-play’ feel to it, without the mega label production. And it works
Side A is Mark’s offering, Jose Feliciano’s ‘Everybody do the Click’. The Puerto Rican singer, was born blind, but is virtuosic on the guitar. This is one of his many compositions that take influence from Jazz, Latin and Rock. The ‘tick’ you will hear is very catchy as is this song from 1964.
Not being familiar with ‘Secret Agent 006’, the Preacher’s choice, I immediately thought this would be an instrumental track (given the band’s debut single ‘Machine Gun’ was a rip-roaring sax-soaked instro track). It has a Garage meets Surf vibe from 1965, and the guitar work is the making of the track, which has a spontaneous ‘plug-in-and-play’ feel to it, without the mega label production. And it works
After a storming #7, here's Hot Rock n Boogie #8 for you. Click flyer for details
Another ace line up at Hemsby in the Autumn. Click the 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, 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:-
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email:- [email protected]
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Cheers 'til next month
Andrew and June
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. This is the way we can continue beyond 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
