The bettajive review magazine #7
Ray Collins Hot Club featured below.
Hello loyal readers, and new ones alike. The Bettajive Review magazine is a little late this month, because simply put, we are in the throes of moving house. Boxes upon boxes readers, utterly incredible. So we appreciate your patience, if you are a regular visitor, and the magazine is half finished when you've stopped by, it's because we are using a mini hub to upload. And it's a slow as molasses......
Just a few....
The Bettajive Review
Vib-er-ate We recently moved house readers, and this article and the whole magazine was put together around boxes upon boxes. I found yet another box, containing cassette tapes in my shed, and therein one more with just ‘Rock n Roll’ written on both sides. The inlay card was basically illegible due to over forty years of age, sunshine and a strange sticky blob masking what little faded handwriting was left. Remember readers, this was ‘taped’ (ask your parents kids) at a time when ‘home recording would ruin the record industry’, so even if I knew who had taped it for me, it would be best not to tell…
So, I played said tape. Whoever’s tape it was, must have been a Tommy Steel and Gene Vincent fan, which about narrows it down to most Rock n Roll people I knew in the 70’s with two eyes (see what I did there?) a nose and a mouth. ‘I Don’t Wanna Boogie Alone’ by Matchbox, that was on it, that was the B side to ‘Rockabilly Rebel’, so it was from ’79 onward, see above comment.
It was however, a track that played near the end of the tape that re-awoke a complete blank. I recalled when I’d got the tape originally, this particular song, had me foxed as to its identity. Some years ago, when I had a van with a cassette player in it and I played the song to various people to try and get it’s identity. Everyone was flummoxed, no Shazam or Soundhound back then folks. The beat was rather anomalous, and there was almost a jangling guitar throughout, which to be honest, at the time, jangled my nerves, and for the most part, as soon as it played, I hit the FF button.
Then after several plays those few years ago, I thought I’d actually try and find out what the song was. The problem was, I couldn’t work out what the performer was singing in the chorus, which was clearly the title. I know I’m not the first. How many readers have been singing a song at the top of their lungs for many years around the gigs and suddenly realised, you’ve got the wrong words altogether? *Points to self* All the time!
Vib-er-ate We recently moved house readers, and this article and the whole magazine was put together around boxes upon boxes. I found yet another box, containing cassette tapes in my shed, and therein one more with just ‘Rock n Roll’ written on both sides. The inlay card was basically illegible due to over forty years of age, sunshine and a strange sticky blob masking what little faded handwriting was left. Remember readers, this was ‘taped’ (ask your parents kids) at a time when ‘home recording would ruin the record industry’, so even if I knew who had taped it for me, it would be best not to tell…
So, I played said tape. Whoever’s tape it was, must have been a Tommy Steel and Gene Vincent fan, which about narrows it down to most Rock n Roll people I knew in the 70’s with two eyes (see what I did there?) a nose and a mouth. ‘I Don’t Wanna Boogie Alone’ by Matchbox, that was on it, that was the B side to ‘Rockabilly Rebel’, so it was from ’79 onward, see above comment.
It was however, a track that played near the end of the tape that re-awoke a complete blank. I recalled when I’d got the tape originally, this particular song, had me foxed as to its identity. Some years ago, when I had a van with a cassette player in it and I played the song to various people to try and get it’s identity. Everyone was flummoxed, no Shazam or Soundhound back then folks. The beat was rather anomalous, and there was almost a jangling guitar throughout, which to be honest, at the time, jangled my nerves, and for the most part, as soon as it played, I hit the FF button.
Then after several plays those few years ago, I thought I’d actually try and find out what the song was. The problem was, I couldn’t work out what the performer was singing in the chorus, which was clearly the title. I know I’m not the first. How many readers have been singing a song at the top of their lungs for many years around the gigs and suddenly realised, you’ve got the wrong words altogether? *Points to self* All the time!
There was something about a tree, a bed of rattlesnakes and ‘just to see you………’ AAAARRRGH, there was the title, repeated so many times, and I couldn’t work the word out. The second verse, his gal walks out in the middle of the floor, missed a bit, looks to the right, looks to the left, then my baby starts to …….. There was the flamin’ title again. I heard it only once at a gig, and couldn’t get to the DJ to ask what it was. Anyone around me was met with frantic, in their face ‘What’s this? And returned with blank glances like a waxwork at Madame Tussaud, with peeps wondering why I was so keen on the song
What was that song? I even started to play it when not driving along, my customers were dragged over to the window to try and get them to work out what the chorus and ultimately the title was. ‘Find, find, find a way?’ suggested one, as close as we’d got at the time. But you can only imagine what a pleb you’d feel trying to relate the title to the record stall holders at weekenders, with just four random words that probably aren’t even in the song! In 2007 at the Rockabilly Rave I suddenly realised someone was singing it on the stage, but just as I realised what it was, the moment had gone, along with all recollection of the song by anyone around me.
The tape, eventually went into the chasm that is the glove box in my van, and got lost among the other cassettes, a box of plasters and some peppermints that had probably been through more than one summer as they had rather lost their circular shape. Then the van got changed and it had a CD player, and the facility to play music from a phone.
So the tape came out once more, and it started all over again. In that time, the internet had come on so much, I thought I’d get some words and put them into search engines (still pre Shazam/Soundhound incidentally). With those already noted above, it came up with a match! Hooray! Jump up in the living room! Huzzah! Punch the air (replace the broken light shade). At last. Mack Self singing ‘VIBRATE’, on the blimmin Sun label as well. That word was vibrate, but sang ‘vi-vi-vib-er-ate’. I found the whole song, the lyrics and Youtube link, although I advise a little caution and restraint when entering ‘vibrate’ into a search engine, as a stand-alone word!
For me, although endlessly frustrating, that was part of the fun of my favourite music. Discovering new stuff or finally finding out who and what a track is. Another example would be a song that was suggested to me a good jive tune. It was simply sent as ‘Long Nose’ by James B. Berry. Now, what is it with internet search engines readers? Sarcastic little sods that they are. I entered the name, James B Berry, and got ‘Did you mean James Berry? Showing results for James Berry.’ Oi bloody cheek, I think I’ll be the judge of that thank you. On another day I may well need information on Jamaican poets or executioners of that name, however, James B Berry, if you please.
OK ‘a’ James B Berry was a dentist of considerable repute in San Diego, and I’d venture wasn’t a singer in the 50’s or indeed in possession of afore mentioned lengthy proboscis. Scrolling down, there was the guy I needed, and the track. But I couldn’t play it (I can now though!).
Oh, and the guy singing ‘Vibrate’ on stage at the Rave in ‘07? Well that would’ve been Mack Self. Duh! It’s on the (our own) pictured release, among many others.
Like what you see? Help us keep it free by popping a donation over using the button below. Many thanks
What was that song? I even started to play it when not driving along, my customers were dragged over to the window to try and get them to work out what the chorus and ultimately the title was. ‘Find, find, find a way?’ suggested one, as close as we’d got at the time. But you can only imagine what a pleb you’d feel trying to relate the title to the record stall holders at weekenders, with just four random words that probably aren’t even in the song! In 2007 at the Rockabilly Rave I suddenly realised someone was singing it on the stage, but just as I realised what it was, the moment had gone, along with all recollection of the song by anyone around me.
The tape, eventually went into the chasm that is the glove box in my van, and got lost among the other cassettes, a box of plasters and some peppermints that had probably been through more than one summer as they had rather lost their circular shape. Then the van got changed and it had a CD player, and the facility to play music from a phone.
So the tape came out once more, and it started all over again. In that time, the internet had come on so much, I thought I’d get some words and put them into search engines (still pre Shazam/Soundhound incidentally). With those already noted above, it came up with a match! Hooray! Jump up in the living room! Huzzah! Punch the air (replace the broken light shade). At last. Mack Self singing ‘VIBRATE’, on the blimmin Sun label as well. That word was vibrate, but sang ‘vi-vi-vib-er-ate’. I found the whole song, the lyrics and Youtube link, although I advise a little caution and restraint when entering ‘vibrate’ into a search engine, as a stand-alone word!
For me, although endlessly frustrating, that was part of the fun of my favourite music. Discovering new stuff or finally finding out who and what a track is. Another example would be a song that was suggested to me a good jive tune. It was simply sent as ‘Long Nose’ by James B. Berry. Now, what is it with internet search engines readers? Sarcastic little sods that they are. I entered the name, James B Berry, and got ‘Did you mean James Berry? Showing results for James Berry.’ Oi bloody cheek, I think I’ll be the judge of that thank you. On another day I may well need information on Jamaican poets or executioners of that name, however, James B Berry, if you please.
OK ‘a’ James B Berry was a dentist of considerable repute in San Diego, and I’d venture wasn’t a singer in the 50’s or indeed in possession of afore mentioned lengthy proboscis. Scrolling down, there was the guy I needed, and the track. But I couldn’t play it (I can now though!).
Oh, and the guy singing ‘Vibrate’ on stage at the Rave in ‘07? Well that would’ve been Mack Self. Duh! It’s on the (our own) pictured release, among many others.
Like what you see? Help us keep it free by popping a donation over using the button below. Many thanks
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KC Byrd
Two new bands you're bound to want to see in the not too distant future readers. The Western Stringbyrds, is the brainchild of former Barnstompers front man KC Byrd. A true exponent of the art of authentic Rockabilly and Western Swing, this new venture is bound to be ace. Click on the banner for details and check out a sample here https://www.youtube.com/watch?v=dU3x5gXJXpU
The Spellcasters have four very familiar musicians in their make up. John Jack Boxwell, most recently plying the trade with Jack and the Real Deals on vocals and rhythm guitar, Pete Mulvihill from the Slingshots on drums, JD England from Cooking Jack Fats and the Chimney Stacks, Lisa George and the Pedallos as well as the Slingshots on lead guitar, plus Dave Kopke Slingshots, Bridge County Rebels, occasionally Relentless, Jake Calypso, Number 9, the Mormon Tabernacle Choir et al on bass*. Club booking are coming in, so check them out on their Facebook page by clicking the banner
Dot…dot. Best tracks in the world ever ever to pump the wind into your doughnut for this month are Eddie Skelton’s ‘Gotta Keep Swingin’, The Jet Tones’ ‘Twangy’ and Bill Haley’s ‘Ida Sweet as Apple Cider’…..Note to conga-ites, don’t forget to lead everyone through the ladies and gents bogs as well as round and round the dancefloor……Purely co-incidence I’m sure, but every time we go into a café or restaurant, there’s a load of 50’s music piped through the PA…….. *At this point we welcome back those of you who have been Googling the Mormon Tabernacle Choir...….
Have you ever seen……A couple at the record stall at a weekender? I shouldn’t make this gender specific, but for the purpose of this piece, I will base it on a number of male record collectors with significant female others.
He is flipping through the vinyl 45s, while she holds his coat folded over her arm, and a few bags of shopping they’ve already done, slightly off to the left. Readers who have never been to a stall at a weekender, the usual form is to ‘flip’ through the records, ‘lift’ up a potential selection, checking both ‘A’ and ‘B’ side, ‘stack’ a definite purchase, or ‘reject’ one that doesn’t make the grade
Him *flip, flip flip, lift, stack, flip, flip, lift, reject*
Her “How long are you going to be, we’ve got a spag bol back at the chalet”
Him *flip, lift, reject, flip, lift, stack, flip, lift, stack* “Yeah”
Her “What do you mean ‘yeah’? Do you want to eat?”
Him *flip, lift, stack, flip, flip, flip, lift, reject, flip* “Whatever”
Her “Whatever?? Bloody hell *fill in your own record collector*, how long are you going to be?
Him *flip, lift, stack, flip, flip, lift, stack, flip flip* “Ten”
Her “Ten! Ten minutes, hours, days, weeks?”
Him *flip, flip, flip, lift, reject, flip, lift, stack* “Yeah”
Her “Well I’m going to take the singer of that band over there, back to our chalet and share your spag bol with him. What do you reckon to that?”
Him *flip, lift, stack, flip lift, reject, flip, flip* ‘Mmm hmm*
Her “Ooooohhhh!”
Him *flip, flip, flip, lift, stack, flip, flip, flip’ “Bless you”
Her “I’ve had enough of this, I’ll be back in a bit. I’m going to treat myself to a new dress’
Him “You don’t need a new dress, what do you want a new dress for, you’ve got loads of dresses, what do you want a new dress for?”
The Spellcasters have four very familiar musicians in their make up. John Jack Boxwell, most recently plying the trade with Jack and the Real Deals on vocals and rhythm guitar, Pete Mulvihill from the Slingshots on drums, JD England from Cooking Jack Fats and the Chimney Stacks, Lisa George and the Pedallos as well as the Slingshots on lead guitar, plus Dave Kopke Slingshots, Bridge County Rebels, occasionally Relentless, Jake Calypso, Number 9, the Mormon Tabernacle Choir et al on bass*. Club booking are coming in, so check them out on their Facebook page by clicking the banner
Dot…dot. Best tracks in the world ever ever to pump the wind into your doughnut for this month are Eddie Skelton’s ‘Gotta Keep Swingin’, The Jet Tones’ ‘Twangy’ and Bill Haley’s ‘Ida Sweet as Apple Cider’…..Note to conga-ites, don’t forget to lead everyone through the ladies and gents bogs as well as round and round the dancefloor……Purely co-incidence I’m sure, but every time we go into a café or restaurant, there’s a load of 50’s music piped through the PA…….. *At this point we welcome back those of you who have been Googling the Mormon Tabernacle Choir...….
Have you ever seen……A couple at the record stall at a weekender? I shouldn’t make this gender specific, but for the purpose of this piece, I will base it on a number of male record collectors with significant female others.
He is flipping through the vinyl 45s, while she holds his coat folded over her arm, and a few bags of shopping they’ve already done, slightly off to the left. Readers who have never been to a stall at a weekender, the usual form is to ‘flip’ through the records, ‘lift’ up a potential selection, checking both ‘A’ and ‘B’ side, ‘stack’ a definite purchase, or ‘reject’ one that doesn’t make the grade
Him *flip, flip flip, lift, stack, flip, flip, lift, reject*
Her “How long are you going to be, we’ve got a spag bol back at the chalet”
Him *flip, lift, reject, flip, lift, stack, flip, lift, stack* “Yeah”
Her “What do you mean ‘yeah’? Do you want to eat?”
Him *flip, lift, stack, flip, flip, flip, lift, reject, flip* “Whatever”
Her “Whatever?? Bloody hell *fill in your own record collector*, how long are you going to be?
Him *flip, lift, stack, flip, flip, lift, stack, flip flip* “Ten”
Her “Ten! Ten minutes, hours, days, weeks?”
Him *flip, flip, flip, lift, reject, flip, lift, stack* “Yeah”
Her “Well I’m going to take the singer of that band over there, back to our chalet and share your spag bol with him. What do you reckon to that?”
Him *flip, lift, stack, flip lift, reject, flip, flip* ‘Mmm hmm*
Her “Ooooohhhh!”
Him *flip, flip, flip, lift, stack, flip, flip, flip’ “Bless you”
Her “I’ve had enough of this, I’ll be back in a bit. I’m going to treat myself to a new dress’
Him “You don’t need a new dress, what do you want a new dress for, you’ve got loads of dresses, what do you want a new dress for?”
One of the first gigs I went to as a teenager, featured Crazy Cavan and the Rhythm Rockers. My mates were massive fans already, knew all the words to the songs, and used to stomp around the yoofie to ‘Teddy Boy Boogie’. They bought all the 70’s LPs ‘Crazy Rhythm’, ‘Rockability’ ‘Our Own Way of Rockin’ and ‘Live at the Rainbow’, and played them through one side to the other.
Watching Crazy Cavan, in later years, for many around my age, is as close as we get to nostalgia. I’ll admit, they weren’t my favourite, but their shows that I saw, never failed to electrify the audience, and many of their songs are now modern day standards. The front of the stage was always populated fans rocking back and forth, linked by arms around each other.
Even rival factions, in the days of warring subcultures, knew songs like ‘Teddy Boy Boogie’ as they used to recite it when we walked by.
On Sunday 16th February, came the news over the internet that, the enigmatic lead singer Cavan Grogan, had passed away, aged 71, and the Rock n Roll scene had lost one of it's most recognised and indeed influential figures. We send our condolences to his family and friends.
Watching Crazy Cavan, in later years, for many around my age, is as close as we get to nostalgia. I’ll admit, they weren’t my favourite, but their shows that I saw, never failed to electrify the audience, and many of their songs are now modern day standards. The front of the stage was always populated fans rocking back and forth, linked by arms around each other.
Even rival factions, in the days of warring subcultures, knew songs like ‘Teddy Boy Boogie’ as they used to recite it when we walked by.
On Sunday 16th February, came the news over the internet that, the enigmatic lead singer Cavan Grogan, had passed away, aged 71, and the Rock n Roll scene had lost one of it's most recognised and indeed influential figures. We send our condolences to his family and friends.
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Your host Eddie Gibbs, presents his second event at the Vintage Retreat venue in Northampton. A very successful debut gig with the Devils Cut Combo is followed now by Lew Lewis and his Allstar Trio. That and Miss Aloha on sounds, it's bound to be a good one . Click on the flyer for details
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Bill and Domino
Hoppin’ There’s something about record hops recently readers, we’ve been to two of them, that have been really well populated. The first took us to a regular haunt, Domino’s at Jackman Community Centre, Letchworth, Herts. This was a Hawaiian night, featuring a chunky slab of Elvis music, celebrating his birthday, and had Bill Guntrip and Domino on sounds.
A decent headcount showed up, taking in all types of R&B and Rockabilly amongst the Elvis stuff. Chatting to some in attendance, we were saying that it’s quite amazing just how much material Elvis recorded. Tunes like ‘Polk Salad Annie’ played as a stroller, well why not. It’s interesting also, just how much early sixties and indeed later material appeals to dancers, the likes of ‘Kissin Cousins’, ‘King of the Whole Wide World’ and ‘Rubberneckin’.
Then, there’s the party atmosphere of ‘Viva Las Vegas’ near the end of the night with a conga snaking round the hall. And of course, the theme to ‘2001 A Space Odyssey’ followed by ‘C C Rider’. A breathless night with both DJs on fine form, and some cracking music.
Another trip out to a hop, took us to Sprowston, near Norwich, and Rockin’ Roland from the Starfighter Club spinning the tin. A large cross section of peeps turned up, by that I mean, those into the forties sound as well as the fifties crowd and club attendees, checking out the music in their venue. Billed as ‘Rock n Roll and Rockabilly Inferno’, the music swung from the late forties, through the late 70’s and some of today’s stars.
The dance floor isn’t the largest at this venue, ten couples can get on without crashing into each other. Indeed the floor was busy from start to finish, and genuine appreciation from some that had never been to a Rock n Roll night
A decent headcount showed up, taking in all types of R&B and Rockabilly amongst the Elvis stuff. Chatting to some in attendance, we were saying that it’s quite amazing just how much material Elvis recorded. Tunes like ‘Polk Salad Annie’ played as a stroller, well why not. It’s interesting also, just how much early sixties and indeed later material appeals to dancers, the likes of ‘Kissin Cousins’, ‘King of the Whole Wide World’ and ‘Rubberneckin’.
Then, there’s the party atmosphere of ‘Viva Las Vegas’ near the end of the night with a conga snaking round the hall. And of course, the theme to ‘2001 A Space Odyssey’ followed by ‘C C Rider’. A breathless night with both DJs on fine form, and some cracking music.
Another trip out to a hop, took us to Sprowston, near Norwich, and Rockin’ Roland from the Starfighter Club spinning the tin. A large cross section of peeps turned up, by that I mean, those into the forties sound as well as the fifties crowd and club attendees, checking out the music in their venue. Billed as ‘Rock n Roll and Rockabilly Inferno’, the music swung from the late forties, through the late 70’s and some of today’s stars.
The dance floor isn’t the largest at this venue, ten couples can get on without crashing into each other. Indeed the floor was busy from start to finish, and genuine appreciation from some that had never been to a Rock n Roll night
Rev up your Caddy. February, is traditionally the month that the Revolutionaires play the Caddy Club in Milton Keynes. So for the first time in a while, we got to go and check it out. One word, ‘packed’. That just about sums up the room, by about eight o’clock readers. People just kept coming in, such is the draw of the canny lads from the North East.
Clearly there’s a large dance fraternity that frequent the Caddy, and George and Bill Guntrip saw that their needs were taken care of, mixing Solomon Burke and Jackie Wilson, with the Delta Bombers, Charlie Feathers and Fats Domino from the decks.
Have you not seen the Revolutionaires before? Many into the Rock n Roll circuit will have done so already, multiple times. The line up of Ed Stephenson on lead vocals, lead guitar, piano and harmonica (he probably makes a decent spag bol as well!), Gary Hoole on sax(s), Rich Stephenson on upright and electric bass and drummer Mark Mathews, has been consistent for many years now. With that, comes a professionalism of performance and clarity of sound, that’s a treat to hear and see.
The two sets contained what now are Rev’ standards, some of which are instrumental tracks. Hearing the Mar Keys ‘Last Night’, ‘Dick Dale’s ‘Miserlou’ and Tommy Ridgely’s ‘Jam Up Twist’, played with such accuracy is a joy. Then there’s the hopped-up blues bopper ‘Riot in Cell Block Number Nine’, Chuck’s ‘Roll Over Beethoven’ and Little Richard’s ‘Keep a Knockin’.
Clearly there’s a large dance fraternity that frequent the Caddy, and George and Bill Guntrip saw that their needs were taken care of, mixing Solomon Burke and Jackie Wilson, with the Delta Bombers, Charlie Feathers and Fats Domino from the decks.
Have you not seen the Revolutionaires before? Many into the Rock n Roll circuit will have done so already, multiple times. The line up of Ed Stephenson on lead vocals, lead guitar, piano and harmonica (he probably makes a decent spag bol as well!), Gary Hoole on sax(s), Rich Stephenson on upright and electric bass and drummer Mark Mathews, has been consistent for many years now. With that, comes a professionalism of performance and clarity of sound, that’s a treat to hear and see.
The two sets contained what now are Rev’ standards, some of which are instrumental tracks. Hearing the Mar Keys ‘Last Night’, ‘Dick Dale’s ‘Miserlou’ and Tommy Ridgely’s ‘Jam Up Twist’, played with such accuracy is a joy. Then there’s the hopped-up blues bopper ‘Riot in Cell Block Number Nine’, Chuck’s ‘Roll Over Beethoven’ and Little Richard’s ‘Keep a Knockin’.
Off comes Ed’s jacket and shirt, for ‘Eddies Blues’, a powerhouse, foot stomping, harmonica fest, that’s always a crowd pleaser, which was followed by a floor filling take on ‘Shake Rattle and Roll’. The traditional show stopper, is Slim Harpo’s ‘Shake Your Hips’ which rounded of a brace of beauties from the lads.
Yes we’re familiar with the sets, and the quality is consistent every time. It’s a gimmie when you go to a Revolutionares show. Check ‘em out folks
Click on the images for full size pics
Yes we’re familiar with the sets, and the quality is consistent every time. It’s a gimmie when you go to a Revolutionares show. Check ‘em out folks
Click on the images for full size pics
Summertime Kings
Hot Stuff. Finally, an absolute cracker in Lincolnshire, courtesy of Claire and Neil Seabrook from Boston Jive. The venue was the Community Centre in Old Leake (a town, not a bladder function of the advanced age male). The band alone, Ray Collins Hot Club would’ve been worth the admission fee alone, but adding to the value were a band new to us, the Summertime Kings, and Mister Big Feet spinning the tin.
This event was sold out several weeks in advance, and drew in people from all over the country, as well as Boston Jive locals and regulars. Not even storm Dennis whipping across the Lincolnshire fields could slow down the flow of people streaming into the community centre. Essex, Notts, Herts, Tyneside, Yorks and Lincs were all represented (among others which I’m sure will be pointed out in Facebook comments). Cool R&B sounds from the decks brought the peeps out onto the dance floor early doors, and they stayed there!
So, to the first band on, the Summertime Kings. A four-piece band, featuring two of the recently disbanded B-Sides, and utilised lead and rhythm guitar, upright bass and drums. Their style is varied and vibrant as they opened up with ‘I’m In Love With a Girl’ followed by ‘No Heart to Spare’ and Clyde McPhatter/Elvis’ ‘Such a Night’. OK tunes that have been done well and often in the past by many, however, when they took on the Capris’ ‘Morse Code of Love’ that’s when they really grabbed the attention. Harmonies like in this song, have caught many a group out, but not these lads, as they got it spot on.
‘Shoppin’ Around’, ‘Stuck on You’ and Buddy’s ‘Looking For Someone to Love’ all made the grade, before they slowed it down again to a stroll pace with ‘Midnight Blues’ and ‘Forever’s Much Too Long’. One of today’s dancefloor crackers, ‘Lookout Heart’, filled the floor again, while ‘Yes Tonight Josephine’ topped it all off. Immensely popular with the locals, they performed two well deserved encores ‘Be My Guest’ and ‘One Track Mind’. Cool beans from a group that have a diary filling up quickly.
Gallery pics, click on them for full sized images
This event was sold out several weeks in advance, and drew in people from all over the country, as well as Boston Jive locals and regulars. Not even storm Dennis whipping across the Lincolnshire fields could slow down the flow of people streaming into the community centre. Essex, Notts, Herts, Tyneside, Yorks and Lincs were all represented (among others which I’m sure will be pointed out in Facebook comments). Cool R&B sounds from the decks brought the peeps out onto the dance floor early doors, and they stayed there!
So, to the first band on, the Summertime Kings. A four-piece band, featuring two of the recently disbanded B-Sides, and utilised lead and rhythm guitar, upright bass and drums. Their style is varied and vibrant as they opened up with ‘I’m In Love With a Girl’ followed by ‘No Heart to Spare’ and Clyde McPhatter/Elvis’ ‘Such a Night’. OK tunes that have been done well and often in the past by many, however, when they took on the Capris’ ‘Morse Code of Love’ that’s when they really grabbed the attention. Harmonies like in this song, have caught many a group out, but not these lads, as they got it spot on.
‘Shoppin’ Around’, ‘Stuck on You’ and Buddy’s ‘Looking For Someone to Love’ all made the grade, before they slowed it down again to a stroll pace with ‘Midnight Blues’ and ‘Forever’s Much Too Long’. One of today’s dancefloor crackers, ‘Lookout Heart’, filled the floor again, while ‘Yes Tonight Josephine’ topped it all off. Immensely popular with the locals, they performed two well deserved encores ‘Be My Guest’ and ‘One Track Mind’. Cool beans from a group that have a diary filling up quickly.
Gallery pics, click on them for full sized images
Somehow, there’s enough time for Ray Collins Hot Club to play two sets, and still leave enough time for Ross to spin the tin too. The first of the sets brought the nine piece on with an instrumental firecracker ‘Yeah Yeah Boogie’ with the prominent instrument being…..the xylophone or some such other member of the struck idiophone sub family of instruments! Think Little Richard’s Peacock recordings (‘Little Richard’s Boogie’ for example).
So much super cool stuff followed, with the horn section providing the phattest sounds on the bouncy ‘What Was That’ and ‘Keep It Comin’ from the latest record ‘When Night Comes To Berlin’. See the same for ‘Bopland’ with the opposing trumpet and sax solos. A tune that never fails to bring a smile to the face (at least mine, because I’m still an adolescent at heart) is ‘The Shit’, looking good and smelling pretty good too. Classic.
The second set saw the sharp red jackets discarded, as the quality kept right on coming with the chunka-chunka sound of ‘Seven Years in a Coffin’, the rock-along ‘Week Party’ and the jazzy lilt of ‘1 to 5 Jive’. The rhythm of ‘Little House’ puts (me) in mind of ‘White Cliffs’, while the ghostly cadence of ‘Down in Hell’ matched the weather outside! ‘Gina’, a pacey little number tripped along, before the thumping ‘Knockout Boogie’ whipped the already excitable crowd up again, and ‘Barefoot’ ended the show (yeah, right)
‘Chicken For Two’ has an underlying riff that I just can’t place at the mo, or indeed during the show, while ‘Cutting Out’ held off the inevitable. Inevitable what? Some readers may be asking. Well, for some years, fifteen nigh on, ‘Bye Bye Paris’ has been a floor filler wherever it’s played. Suffice to say there would have been a bloodthirsty lynch mob set up, if the Hot Club didn’t finish with it. And they duly did to massive acclaim.
We’ve attended some tip top band nights at Boston Jive. This one trumped them all, great dance music, a cool surprise in the support act, and a nine-piece wonder act on grade A form. Love it
Gallery images, click on them for full sized pics
So much super cool stuff followed, with the horn section providing the phattest sounds on the bouncy ‘What Was That’ and ‘Keep It Comin’ from the latest record ‘When Night Comes To Berlin’. See the same for ‘Bopland’ with the opposing trumpet and sax solos. A tune that never fails to bring a smile to the face (at least mine, because I’m still an adolescent at heart) is ‘The Shit’, looking good and smelling pretty good too. Classic.
The second set saw the sharp red jackets discarded, as the quality kept right on coming with the chunka-chunka sound of ‘Seven Years in a Coffin’, the rock-along ‘Week Party’ and the jazzy lilt of ‘1 to 5 Jive’. The rhythm of ‘Little House’ puts (me) in mind of ‘White Cliffs’, while the ghostly cadence of ‘Down in Hell’ matched the weather outside! ‘Gina’, a pacey little number tripped along, before the thumping ‘Knockout Boogie’ whipped the already excitable crowd up again, and ‘Barefoot’ ended the show (yeah, right)
‘Chicken For Two’ has an underlying riff that I just can’t place at the mo, or indeed during the show, while ‘Cutting Out’ held off the inevitable. Inevitable what? Some readers may be asking. Well, for some years, fifteen nigh on, ‘Bye Bye Paris’ has been a floor filler wherever it’s played. Suffice to say there would have been a bloodthirsty lynch mob set up, if the Hot Club didn’t finish with it. And they duly did to massive acclaim.
We’ve attended some tip top band nights at Boston Jive. This one trumped them all, great dance music, a cool surprise in the support act, and a nine-piece wonder act on grade A form. Love it
Gallery images, click on them for full sized pics
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Here's DJ Domino's gig list for 2020, the first of which has taken place, and will be reviewed next month. There's DJ nights and band nights, with lots of variation in styles. Check them out readers
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The next Rockabilly Blowout event is selling well. As you would have read a couple of issues ago, it's quality all the way. All in memory of James Robson, (pictured, and funds go to Asthma UK
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interview with Frankie Riedel
BJR. Frankie Riedel, lead singer of the Honkabillies, rhythm guitarist and songwriter, thank you for this interview, we’ll start where we always do. How and when, did you all get into 50’s Rock n Roll?
It was our parents fault – it always is and we are grateful for that.
When that was shall however remain a secret as we really don’t want to give our age away, haha.
What binds us is that, despite liking and listening to a variety of genres of music, we never lost our enthusiasm and love for artists and styles of the late 1940’s & 50’s.
BJR. When we first met you, the band you fronted was the Doggone Honkabillies. Now the band is just the Honkabillies, are you no longer as ‘doggone’ as you once were? What prompted the original name and subsequent name change.
I think some would say that we’ve surpassed ‘doggone’ and moved straight to ‘crazy’. Way back in the day, I put together a Country Band for a festival in Berlin, Germany. Our repertoire, much like todays, included songs by artists such as Hank, Cash, Lefty, even some Walyon and of course Br5-49. We soon learned that our ‘kind of country’ wasn’t what 90% of the bands were playing anymore as everything became much more Pop orientated in those days. We wanted to make a statement in our name to ‘warn’ folk that if they’d come and see us they’d get to hear some gold old fashioned, or in other words, ‘Doggone’ Country. We were actually called the Doggone Country Band back then.
On a later tour of Europe, a promoter came up to us after we’d just finished a four hour show in a beer tent (yes, 4 hours) and said to us; ‘You’re just Rockabillies in a Cowboy hats’. Not sure if he was being complimentary or not, but what his comment struck a chord with us as we did indeed play a mix of Country, Honkytonk and Rockabilly. Before we reached the shores of the UK again we rebranded ourselves The Doggone Honkabilles.
After many years of constantly having our band name miss spelled and mispronounced, Dog- Gone was a favourite it seemed, we eventually got tired of having to make up excuses where the dog had actually gone… or why indeed he left in the first place. So, we decided life would be easier as just plain The Honkabillies. Now, having told you the story, I feel inspired to write a song about it someday.
BJR. Who are the current members of the band
Well, there’s Frankie Junior, the musical ‘professor’ of The Honkabillies and one of the founding members of the band. He’s been with me since the age of 17 and he’s worked his way through just about every position from drums, rhythm guitar and upright bass and then to his current combined job on lead guitar and lap steel player, with some backing vocals thrown in for good measure. Aside from that, Frankie recorded our last EP and he produces most of our videos. I think it’s fair to say, he’s giving his pound of flesh to The Honkabillies.
Apart from keeping the average age of the band at an acceptable level, young Claire Gipps has been on drums and glamour for over 5 years now. It’s no secret that Frankie Junior & Claire are engaged (they did so on stage whilst opening for The Bellfuries a few years back) and we couldn’t wish for a more solid no frills backbone of our rhythm section.
On doghouse bass we are lucky to have two fantastic players and top human beings taking turns in supporting The Honkabillies. First up is Emma Goss, who is a highly thought after session musician and also regularly plays for visiting artists from the USA as well as for bands such The Chord Royales, Sarah Vista, Highway 51 and The Rhythm Rats to name a few.
Sharing bass duties is Sam French, who is equally high in demand for visiting bands from overseas as well as home grown artists such as Danny & The Astrotones and Kirk Dylan & The Killers. Sam also joined us when we recorded at SUN STUDIOS in Memphis a couple of years ago. Finally, there’s myself, hollering lead vocals, writing songs and scratching a few chords on Rhythm guitar.
Gallery images below of the band
It was our parents fault – it always is and we are grateful for that.
When that was shall however remain a secret as we really don’t want to give our age away, haha.
What binds us is that, despite liking and listening to a variety of genres of music, we never lost our enthusiasm and love for artists and styles of the late 1940’s & 50’s.
BJR. When we first met you, the band you fronted was the Doggone Honkabillies. Now the band is just the Honkabillies, are you no longer as ‘doggone’ as you once were? What prompted the original name and subsequent name change.
I think some would say that we’ve surpassed ‘doggone’ and moved straight to ‘crazy’. Way back in the day, I put together a Country Band for a festival in Berlin, Germany. Our repertoire, much like todays, included songs by artists such as Hank, Cash, Lefty, even some Walyon and of course Br5-49. We soon learned that our ‘kind of country’ wasn’t what 90% of the bands were playing anymore as everything became much more Pop orientated in those days. We wanted to make a statement in our name to ‘warn’ folk that if they’d come and see us they’d get to hear some gold old fashioned, or in other words, ‘Doggone’ Country. We were actually called the Doggone Country Band back then.
On a later tour of Europe, a promoter came up to us after we’d just finished a four hour show in a beer tent (yes, 4 hours) and said to us; ‘You’re just Rockabillies in a Cowboy hats’. Not sure if he was being complimentary or not, but what his comment struck a chord with us as we did indeed play a mix of Country, Honkytonk and Rockabilly. Before we reached the shores of the UK again we rebranded ourselves The Doggone Honkabilles.
After many years of constantly having our band name miss spelled and mispronounced, Dog- Gone was a favourite it seemed, we eventually got tired of having to make up excuses where the dog had actually gone… or why indeed he left in the first place. So, we decided life would be easier as just plain The Honkabillies. Now, having told you the story, I feel inspired to write a song about it someday.
BJR. Who are the current members of the band
Well, there’s Frankie Junior, the musical ‘professor’ of The Honkabillies and one of the founding members of the band. He’s been with me since the age of 17 and he’s worked his way through just about every position from drums, rhythm guitar and upright bass and then to his current combined job on lead guitar and lap steel player, with some backing vocals thrown in for good measure. Aside from that, Frankie recorded our last EP and he produces most of our videos. I think it’s fair to say, he’s giving his pound of flesh to The Honkabillies.
Apart from keeping the average age of the band at an acceptable level, young Claire Gipps has been on drums and glamour for over 5 years now. It’s no secret that Frankie Junior & Claire are engaged (they did so on stage whilst opening for The Bellfuries a few years back) and we couldn’t wish for a more solid no frills backbone of our rhythm section.
On doghouse bass we are lucky to have two fantastic players and top human beings taking turns in supporting The Honkabillies. First up is Emma Goss, who is a highly thought after session musician and also regularly plays for visiting artists from the USA as well as for bands such The Chord Royales, Sarah Vista, Highway 51 and The Rhythm Rats to name a few.
Sharing bass duties is Sam French, who is equally high in demand for visiting bands from overseas as well as home grown artists such as Danny & The Astrotones and Kirk Dylan & The Killers. Sam also joined us when we recorded at SUN STUDIOS in Memphis a couple of years ago. Finally, there’s myself, hollering lead vocals, writing songs and scratching a few chords on Rhythm guitar.
Gallery images below of the band
BJR. Who inspires you musically (original 50’s or today’s artists)
Well, from a whole band perspective, this is quite a mixed bag.
I listened to ELVIS before I could speak English, so I guess the rhythm and the vibe of ‘that kind’ of sound entered my bones a while before it properly registered in my head or I could understand the lyrics. Meeting Johnny Cash with young Frankie sitting on my shoulders cemented that side of things and Hank Williams was always within easy reach of my record collection. In the late 80’s and early 90’s artist such as Dwight Yoakam and Br5-49 made a huge impression on me musically. Later, true Honkytonkers such as Dale Watson and Wayne ‘The Train’ Hancock and even Hank III helped me to bridge the gap from early originals to contemporary artists that never lost the the feel for what it was all about, for me anyway. Playing on stage in Nashville with Smilin’ Jay (Br5-49) and sharing another stage with Dale Watson for several hours in a post show – show in Germany, was not only a highlight, but remains a major influence for what I consider to be my kind of music.
Both Frankie and Claire were of course ‘subjected’ to good music in their respective homes from a very early age, but teenagers being what they are, will always try and take a dip into the dark side, even just for a nose around. For Frankie it was Nickleback and Green Day which later morphed into Nine Inch Nails and other similar styles. Claire has been known to sing along to Marcel Bontempi, the Spice Girls and Boogie Chillum whilst racing (within the speed limit) home from a gig at 2am, windows wide open (all of them). But in the end, we all love the songs we play – because we only play the songs we love.
BJR. Memorable gigs, do you recall many?
Oh yes, even now after all these years we still drive home buzzing and talking about the gig. Looking back, some are more memorable than others true, but this is one area where size really does not matter. I still remember playing at The FEZ in Margate, the place was no bigger than my living room (sadly mine doesn’t have a bar in it) We set up in the bay window that sported a seating area consisting of a cup and saucer ride from a local fairground that couldn’t be moved. We reduced down to one PA speaker and I was standing in the doorway, literarily. Every time someone came in or wanted to go out, I had to move my guitar up in the air to provide passage. The folks would stand so close to me that I was grateful I’d clipped my nose hair before the gig. The pavement outside was jammed and inside was cooking… an unforgettable night.
We played a beer tent in Germany for 2 hours to a crowd of 2000 American GI’s – after we’d played all we knew back then, they stood on the tables stamping their feet screaming for more, so we started over and played another 2 hours. A private show in an American Officers mess in Belgium turned into such a party (led by the hosts I might add) that we were unable to drive to our designated hotel and ended up sleeping in in filed beds on the very stage we’d played all night.
At a festival in Norway we closed the night, only to find that at the end of the gig the ‘Vikings’ (not kidding) refused to let us leave the stage and ‘demanded’ we’d play on. Around 2 am, the sound man turned off the lights and left. He did however neglect to turn off the power to the PA – so we carried on in the dark. When eventually a team of security staff arrived to provide safe passage off the stage the lights came on and we saw some crazy guys hanging from the ceiling mounted PA speakers… it was mad and we loved every second of it. I think it took days to sleep properly after that. So yes, we do remember quite a few of our gigs I guess.
BJR. What’s the largest crowd you have played to?
Definitely a CMC in Norfolk where the average attendee was around 16 stone if not more. If you are talking about numbers, possibly the CMM main stage in Berlin, a few of the aforementioned beer tent setups each must have had several thousand attendees. By default, maybe also everyone who watched a movie called ‘Man Up’ that came out a few years back. This might have also been our shortest ‘gig’ at about 5 seconds.
BJR. Is there a particular song that always makes the Honkabillies play list? I’m guessing ‘Freight Train Boogie’ or ‘Lonesome Train’ for a start. Do each of you have your own ‘must do’ track?
True, over time some folks always ask us for the tracks you just mentioned, add to that Bettie-Bettie (Br5-49) a song about Bettie Page that always get’s requested. Slowly we are getting asked to play some of our own songs too, such as Drinkin’ For Your Leavin’ and ‘Hog Wild’
From a personal perspective, I can’t ever envisage doing a gig without a Johnny Cash song, Claire loves a bit of Johnny Horton and Frankie likes letting the cat out of the bag, so to speak, with Dwight Yoakam’s ‘Guitars & Cadillacs’
BJR. You’re writing your own material and songs for other people (Rosella Scarlett immediately springs to mind) So when you start to write a song, do you start with the melody or the words?
It depends. Sometimes it’s a single line to springs to mind, sometimes based on real life topics. I then try and build a story and a song around that one line, often whilst walking to and from the train station for work. I tend to try out several types of melody, it might be a bopper, a stroller or even a waltz. Often the hardest part is to decide which one you’ll go with. I have songs I’d love to record 3 versions off. Sometimes it’s a melody or a riff we play.
Recently Frankie and myself had one of our kitchen sessions and we took an incidental riff from one song and turned it into its very own lead part for another. I don’t think there’s a steadfast rule. The biggest hazard is forgetting some seemingly great ideas for songs. Before the advent of voice recorders on my phone, I would have a great idea in the morning on my way to work… only to have completely forgotten what would have surely been a ‘Hit’ no doubt, by the time I got back home. ;)
BJR. Now you’ve signed to Wild Records, are there any new recordings coming soon?
Oh yes. We are as surprised as we are excited and grateful to be with Wild Records. We have just recorded our first 2 tracks for a single that will be out in the early summer. Being with Wild Records has encouraged us to bring forward a number of original songs that might otherwise would have remained hidden in the depths of our cloud vault of unfinished song ideas.
Our set at the VLV this year will feature no less than 50% of original material. There’ll always be a spot for some Cash and Bettie-Bettie in our sets, but we are very much aiming at bringing our own material into the light and Wild Records is really encouraging us in pursuing this direction.
BJR. What are your contact details, for promoters who would like to book you for an event?
The best way to connect is probably via Facebook messengers or email us directly on [email protected]. You can also call me on 07474 110 632. We look forward to a call. Thanks for the opportunity to being interviewed for your magazine and thanks for all the support you have given the band, whatever the name was at the time .
Well, from a whole band perspective, this is quite a mixed bag.
I listened to ELVIS before I could speak English, so I guess the rhythm and the vibe of ‘that kind’ of sound entered my bones a while before it properly registered in my head or I could understand the lyrics. Meeting Johnny Cash with young Frankie sitting on my shoulders cemented that side of things and Hank Williams was always within easy reach of my record collection. In the late 80’s and early 90’s artist such as Dwight Yoakam and Br5-49 made a huge impression on me musically. Later, true Honkytonkers such as Dale Watson and Wayne ‘The Train’ Hancock and even Hank III helped me to bridge the gap from early originals to contemporary artists that never lost the the feel for what it was all about, for me anyway. Playing on stage in Nashville with Smilin’ Jay (Br5-49) and sharing another stage with Dale Watson for several hours in a post show – show in Germany, was not only a highlight, but remains a major influence for what I consider to be my kind of music.
Both Frankie and Claire were of course ‘subjected’ to good music in their respective homes from a very early age, but teenagers being what they are, will always try and take a dip into the dark side, even just for a nose around. For Frankie it was Nickleback and Green Day which later morphed into Nine Inch Nails and other similar styles. Claire has been known to sing along to Marcel Bontempi, the Spice Girls and Boogie Chillum whilst racing (within the speed limit) home from a gig at 2am, windows wide open (all of them). But in the end, we all love the songs we play – because we only play the songs we love.
BJR. Memorable gigs, do you recall many?
Oh yes, even now after all these years we still drive home buzzing and talking about the gig. Looking back, some are more memorable than others true, but this is one area where size really does not matter. I still remember playing at The FEZ in Margate, the place was no bigger than my living room (sadly mine doesn’t have a bar in it) We set up in the bay window that sported a seating area consisting of a cup and saucer ride from a local fairground that couldn’t be moved. We reduced down to one PA speaker and I was standing in the doorway, literarily. Every time someone came in or wanted to go out, I had to move my guitar up in the air to provide passage. The folks would stand so close to me that I was grateful I’d clipped my nose hair before the gig. The pavement outside was jammed and inside was cooking… an unforgettable night.
We played a beer tent in Germany for 2 hours to a crowd of 2000 American GI’s – after we’d played all we knew back then, they stood on the tables stamping their feet screaming for more, so we started over and played another 2 hours. A private show in an American Officers mess in Belgium turned into such a party (led by the hosts I might add) that we were unable to drive to our designated hotel and ended up sleeping in in filed beds on the very stage we’d played all night.
At a festival in Norway we closed the night, only to find that at the end of the gig the ‘Vikings’ (not kidding) refused to let us leave the stage and ‘demanded’ we’d play on. Around 2 am, the sound man turned off the lights and left. He did however neglect to turn off the power to the PA – so we carried on in the dark. When eventually a team of security staff arrived to provide safe passage off the stage the lights came on and we saw some crazy guys hanging from the ceiling mounted PA speakers… it was mad and we loved every second of it. I think it took days to sleep properly after that. So yes, we do remember quite a few of our gigs I guess.
BJR. What’s the largest crowd you have played to?
Definitely a CMC in Norfolk where the average attendee was around 16 stone if not more. If you are talking about numbers, possibly the CMM main stage in Berlin, a few of the aforementioned beer tent setups each must have had several thousand attendees. By default, maybe also everyone who watched a movie called ‘Man Up’ that came out a few years back. This might have also been our shortest ‘gig’ at about 5 seconds.
BJR. Is there a particular song that always makes the Honkabillies play list? I’m guessing ‘Freight Train Boogie’ or ‘Lonesome Train’ for a start. Do each of you have your own ‘must do’ track?
True, over time some folks always ask us for the tracks you just mentioned, add to that Bettie-Bettie (Br5-49) a song about Bettie Page that always get’s requested. Slowly we are getting asked to play some of our own songs too, such as Drinkin’ For Your Leavin’ and ‘Hog Wild’
From a personal perspective, I can’t ever envisage doing a gig without a Johnny Cash song, Claire loves a bit of Johnny Horton and Frankie likes letting the cat out of the bag, so to speak, with Dwight Yoakam’s ‘Guitars & Cadillacs’
BJR. You’re writing your own material and songs for other people (Rosella Scarlett immediately springs to mind) So when you start to write a song, do you start with the melody or the words?
It depends. Sometimes it’s a single line to springs to mind, sometimes based on real life topics. I then try and build a story and a song around that one line, often whilst walking to and from the train station for work. I tend to try out several types of melody, it might be a bopper, a stroller or even a waltz. Often the hardest part is to decide which one you’ll go with. I have songs I’d love to record 3 versions off. Sometimes it’s a melody or a riff we play.
Recently Frankie and myself had one of our kitchen sessions and we took an incidental riff from one song and turned it into its very own lead part for another. I don’t think there’s a steadfast rule. The biggest hazard is forgetting some seemingly great ideas for songs. Before the advent of voice recorders on my phone, I would have a great idea in the morning on my way to work… only to have completely forgotten what would have surely been a ‘Hit’ no doubt, by the time I got back home. ;)
BJR. Now you’ve signed to Wild Records, are there any new recordings coming soon?
Oh yes. We are as surprised as we are excited and grateful to be with Wild Records. We have just recorded our first 2 tracks for a single that will be out in the early summer. Being with Wild Records has encouraged us to bring forward a number of original songs that might otherwise would have remained hidden in the depths of our cloud vault of unfinished song ideas.
Our set at the VLV this year will feature no less than 50% of original material. There’ll always be a spot for some Cash and Bettie-Bettie in our sets, but we are very much aiming at bringing our own material into the light and Wild Records is really encouraging us in pursuing this direction.
BJR. What are your contact details, for promoters who would like to book you for an event?
The best way to connect is probably via Facebook messengers or email us directly on [email protected]. You can also call me on 07474 110 632. We look forward to a call. Thanks for the opportunity to being interviewed for your magazine and thanks for all the support you have given the band, whatever the name was at the time .
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The word is that The Rockabilly Rave is getting very busy with Luxury Chalets now sold out! If you want to join the happy crowd this Summer and you're in a group of 3 to 6 people, then get online or call the booking office for a two bedroom Classic Chalet, as they will be the next to fill up!
Also there's the reunion of the Flattop Brothers, although I'm fairly certain you won't be hearing Peaches and Herb (ask your parents kids 
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an announcement from Tom Ingram
VIVA LAS VEGAS 23 IMPORTANT INFORMATION
The safety of VLV attendees and staff always comes first so as we cannot guarantee that, we have decided to cancel VLV23. I am sure that this is not a surprise to you. This is the last thing we wanted to do but we all know it is for the best. We decided not to postpone until later in the year because we do not know when it would be safe to postpone the event until, or if the date would be convenient to everyone, especially as other rockin’ weekenders are in the calendar later in the year. Myself and the other VLV staff have put a whole year of long days putting Viva Las Vegas 23 together. We have been very excited about this years line up as have been many people. What we did not see coming until recently is the current health scare in the world and the travel ban. We are sorry that it has taken a while to post this but there are a lot of parts to cancelling an event.
Below is information for those of you who have bought tickets or have a hotel reservation at The Orleans.
VLV23 TICKETS
If you bought tickets for VLV23 we will automatically carry them over to VLV in 2021 unless you instruct us otherwise. The Hi Roller ticket price will be going up by around $20 in 2021 as overheads have increased enormously. By carrying over your tickets to 2021 you will keep this years price.
If you cannot make it in 2021 we will also carry them over to 2022 instead. If you want to do that please email [email protected] stating that is what you want to do.
If you prefer a full refund please email us at [email protected] with your name and ticket order number and we will run the refund.
THE ORLEANS HOTEL & THE GOLD COAST HOTEL
If you have a hotel room booked at The Orleans Hotel & The Gold Coast Hotel, they too are offering options:
a. Cancel with a full refund (must be done at least 24hrs before your arrival date)
b. If you are still going to use your hotel room during the VLV 23 dates, they will adjust your room rate for Thursday, Friday and Saturday to $50 a night plus tax & resort fee.
c. You can also book your room for 2021 before they go on general sale. Use your booking reference number to get this and it must be done by phone. 1-800-675-3267. This must be done before March 27th2020.
The Group code for VLV in 2021 is VIVA21. This is for phone in rooms reservations for people who have rooms booked for VLV23 only.
ONLY ORLEANS RESERVATIONS CAN BOOK IN THE ORLEANS AT THIS TIME. Gold Coast reservations can only book The Gold Coast for 2021.
Before March 27th, only people who have a VLV23 reservation will be able to book rooms. Anyone who tries to book online during this time will have their 2021 reservation cancelled. Room rates for 2021 will be the same as in 2020.
Please bear with us while we deal with everything. Do not hesitate to contact us for any further information at [email protected]
TOM INGRAM
The safety of VLV attendees and staff always comes first so as we cannot guarantee that, we have decided to cancel VLV23. I am sure that this is not a surprise to you. This is the last thing we wanted to do but we all know it is for the best. We decided not to postpone until later in the year because we do not know when it would be safe to postpone the event until, or if the date would be convenient to everyone, especially as other rockin’ weekenders are in the calendar later in the year. Myself and the other VLV staff have put a whole year of long days putting Viva Las Vegas 23 together. We have been very excited about this years line up as have been many people. What we did not see coming until recently is the current health scare in the world and the travel ban. We are sorry that it has taken a while to post this but there are a lot of parts to cancelling an event.
Below is information for those of you who have bought tickets or have a hotel reservation at The Orleans.
VLV23 TICKETS
If you bought tickets for VLV23 we will automatically carry them over to VLV in 2021 unless you instruct us otherwise. The Hi Roller ticket price will be going up by around $20 in 2021 as overheads have increased enormously. By carrying over your tickets to 2021 you will keep this years price.
If you cannot make it in 2021 we will also carry them over to 2022 instead. If you want to do that please email [email protected] stating that is what you want to do.
If you prefer a full refund please email us at [email protected] with your name and ticket order number and we will run the refund.
THE ORLEANS HOTEL & THE GOLD COAST HOTEL
If you have a hotel room booked at The Orleans Hotel & The Gold Coast Hotel, they too are offering options:
a. Cancel with a full refund (must be done at least 24hrs before your arrival date)
b. If you are still going to use your hotel room during the VLV 23 dates, they will adjust your room rate for Thursday, Friday and Saturday to $50 a night plus tax & resort fee.
c. You can also book your room for 2021 before they go on general sale. Use your booking reference number to get this and it must be done by phone. 1-800-675-3267. This must be done before March 27th2020.
The Group code for VLV in 2021 is VIVA21. This is for phone in rooms reservations for people who have rooms booked for VLV23 only.
ONLY ORLEANS RESERVATIONS CAN BOOK IN THE ORLEANS AT THIS TIME. Gold Coast reservations can only book The Gold Coast for 2021.
Before March 27th, only people who have a VLV23 reservation will be able to book rooms. Anyone who tries to book online during this time will have their 2021 reservation cancelled. Room rates for 2021 will be the same as in 2020.
Please bear with us while we deal with everything. Do not hesitate to contact us for any further information at [email protected]
TOM INGRAM
album reviews
Hollywood Hunk Take Four – The Guv’ner Rides Again
CD Review
If you are one of our many regular readers, you’ll have come across the past three reviews of the Hollywood Hunk series. They feature Elvis Presley’s songs from the films he made, remixed and remastered by Flat Top Mark, and restricted to a two hundred pressing. Incidentally, chatting as we do, to people at gigs, we were in agreement that it’s quite astonishing, just how many tracks Elvis recorded, and only the most intense of purists would be able to recall them all. Such is the case with the Hollywood Hunk series, I guarantee there’s something that you’ve either not heard before, or have forgotten.
Not so, however, with the opening track, ‘King Creole’ from the film of the same name. This has film dialogue and introduction, extending the song to three and a half minutes, and is basically the stage show in the movie. The film is based on the book by Harold Robbins ‘A Stone For Danny Fisher’, differing from the book by relocating from New York, to Louisiana, without compromising the plot.
From that film also comes the ballads ‘Don’t Ask Me Why’, and the exquisite ‘As Long As I Have You’ the kicking ‘Dixieland Rock’ with it’s Beale Street sounding jazzy instrumental break, and the frantic pace of ‘Hard Headed Woman’, along with the warning for Ronnie to ‘Get out of here, and don’t come back’. Later on, we’re taken back to the misdirection of ‘Lover Doll’ in the department store, and Danny provides a distraction while the other lads shoplift. Some of Elvis’ finest film work in this 1958 film.
Big Frank breaking that pencil, and Elvis as Rusty cruising along with his mates in ‘Girl Happy’, to ‘Spring Fever’. How idyllic you’d think, it was in 1965, with the collegiate namechecking ‘Startin’ Tonite’ , and ‘Cross My Heart and Hope to Die’ making an appearance. From the previous year, 1964, ‘Do The Vega’ recorded for ‘Viva Las Vegas’ but missed the cut apparently, Also from 1964, this time from ‘Roustabout’, we have ‘It’s a Wonderful World’, conjuring up images of Elvis and Barbara Stanwyck on the Ferris Wheel at the fair. Rattling along from the same film, ‘Poison Ivy League’ ‘One Track Heart’ and ‘I’m a Roustabout’
‘Girls Girls Girls’ gives us the rousing ‘Thanks to the Rolling Sea’, only just over a minute and a quarter, but you get the feel of the fishermen in this choral chant, and the tango inspiring ‘The Walls Have Ears’. Then it’s back to ’56, and the gospel sounding ‘We’re Gonna Move’, from ‘Love Me Tender’. Elvis sings ‘Datin’ and ‘Queenie Wahini’s Papaya’ out of ‘Paradise Hawaiian Style’ from ’66. In the film, he duets with Donna Butterworth, in what was to be her last film, at just ten years old!
Keeping with the Hawaiian theme, ‘Moonlight Swim’ from ‘Blue Hawaii’, reminds us of Chad Gates driving five ladies around, with Jenny Maxwell’s character Ellie Corbett looking fed up throughout. ‘Tickle Me’ yields ‘It Feels So Right’ which has the ‘One Night’ feel, intense vocal delivery and excellent backing. ‘Elvis is in trouble’ is the announcement, yep, he’s in ‘Double Trouble’, the title song of the movie from 1967. That and ‘Old MacDonald’, a song that it transpired from a documentary we saw, Elvis disliked, and it’s not entirely surprising.
Looking to the mid-sixties film ‘Spinout’ now, the third film that Elvis played a character with the first name ‘Mike’, and from that ‘Smorgasbord’ (meaning variety). Three years earlier, it was as another ‘Mike’ character played by Elvis, opposite Ursula Andress (fresh from Dr No) singing ‘Mexico’. In ‘Clambake’ Elvis played two parts, officially I guess, Scott Hayward and his alter ego, Tom Wilson, in a film that had a similar storyline to ‘Blue Hawaii’. ‘Hey Hey Hey’ is a classic sixties romp from that production.
Younger readers might well recall the Paul Oakenfull remix of the 1969 tune, ‘Rubberneckin’ from ‘A Change of Habit’. This is a more ‘original’ version, like the one that appeared on the flip of ‘Don’t Cry Daddy’ in ’69 & ’70. ‘You Gotta Stop’ is out of ‘Easy Come Easy Go’ (1966), a typical song from the era.
That’s followed by true class in the shape of ‘Don’t Leave Me Now’, from the 1957 movie, ‘Jailhouse Rock’. It features the classic line ups of Elvis’ trusted musicians, Scotty, Bill and DJ, and supreme backing vocals from the Jordinares, and co-writer of the song, Jerry Lieber, on piano in the film. This song was performed three times in the movie by Elvis.
One of the best known bits of trivia about ‘It Happened at the World’s Fair’ is that a young Kurt Russel was paid by Elvis to kick him in the shin. That is referred to at the start of ‘A World Of Our Own’ from 1963. There’s some rip roaring tempo from ‘Speedway’ as Elvis teams up with Nancy Sinatra (Susan Jacks) on ‘There Ain’t Nothing Like a Song’.
It seems as you work through the songs on this particular CD, that FTM has dipped into virtually every film sound track, and here we have from Kid Galahad ‘I Got Lucky’ and ‘Riding the Rainbow’. A particular favourite film of mine is ‘Loving You’, and ‘Hot Dog’ is up there with the best. In 1968, Elvis played a half breed Native American in a musical comedy that pretty much polarises opinions among fans. One of the four songs in the film, ‘Stay Away’ is here.
Five years after she starred in her first film, the now iconic ‘Rock Rock Rock’, Tuesday Weld was co-starring alongside Elvis in ‘Wild In The Country’, the title track of which is here too.
Thirty six tracks, from a variety of films, from the fifties and sixties, mixed and mastered by Dave Flattop, with Mark, to coin a phrase, takin’ care of business. Like I said at the top of the article, I’m sure there’s material here, you might not have heard for the longest time. Make sure you complete your set
CD Review
If you are one of our many regular readers, you’ll have come across the past three reviews of the Hollywood Hunk series. They feature Elvis Presley’s songs from the films he made, remixed and remastered by Flat Top Mark, and restricted to a two hundred pressing. Incidentally, chatting as we do, to people at gigs, we were in agreement that it’s quite astonishing, just how many tracks Elvis recorded, and only the most intense of purists would be able to recall them all. Such is the case with the Hollywood Hunk series, I guarantee there’s something that you’ve either not heard before, or have forgotten.
Not so, however, with the opening track, ‘King Creole’ from the film of the same name. This has film dialogue and introduction, extending the song to three and a half minutes, and is basically the stage show in the movie. The film is based on the book by Harold Robbins ‘A Stone For Danny Fisher’, differing from the book by relocating from New York, to Louisiana, without compromising the plot.
From that film also comes the ballads ‘Don’t Ask Me Why’, and the exquisite ‘As Long As I Have You’ the kicking ‘Dixieland Rock’ with it’s Beale Street sounding jazzy instrumental break, and the frantic pace of ‘Hard Headed Woman’, along with the warning for Ronnie to ‘Get out of here, and don’t come back’. Later on, we’re taken back to the misdirection of ‘Lover Doll’ in the department store, and Danny provides a distraction while the other lads shoplift. Some of Elvis’ finest film work in this 1958 film.
Big Frank breaking that pencil, and Elvis as Rusty cruising along with his mates in ‘Girl Happy’, to ‘Spring Fever’. How idyllic you’d think, it was in 1965, with the collegiate namechecking ‘Startin’ Tonite’ , and ‘Cross My Heart and Hope to Die’ making an appearance. From the previous year, 1964, ‘Do The Vega’ recorded for ‘Viva Las Vegas’ but missed the cut apparently, Also from 1964, this time from ‘Roustabout’, we have ‘It’s a Wonderful World’, conjuring up images of Elvis and Barbara Stanwyck on the Ferris Wheel at the fair. Rattling along from the same film, ‘Poison Ivy League’ ‘One Track Heart’ and ‘I’m a Roustabout’
‘Girls Girls Girls’ gives us the rousing ‘Thanks to the Rolling Sea’, only just over a minute and a quarter, but you get the feel of the fishermen in this choral chant, and the tango inspiring ‘The Walls Have Ears’. Then it’s back to ’56, and the gospel sounding ‘We’re Gonna Move’, from ‘Love Me Tender’. Elvis sings ‘Datin’ and ‘Queenie Wahini’s Papaya’ out of ‘Paradise Hawaiian Style’ from ’66. In the film, he duets with Donna Butterworth, in what was to be her last film, at just ten years old!
Keeping with the Hawaiian theme, ‘Moonlight Swim’ from ‘Blue Hawaii’, reminds us of Chad Gates driving five ladies around, with Jenny Maxwell’s character Ellie Corbett looking fed up throughout. ‘Tickle Me’ yields ‘It Feels So Right’ which has the ‘One Night’ feel, intense vocal delivery and excellent backing. ‘Elvis is in trouble’ is the announcement, yep, he’s in ‘Double Trouble’, the title song of the movie from 1967. That and ‘Old MacDonald’, a song that it transpired from a documentary we saw, Elvis disliked, and it’s not entirely surprising.
Looking to the mid-sixties film ‘Spinout’ now, the third film that Elvis played a character with the first name ‘Mike’, and from that ‘Smorgasbord’ (meaning variety). Three years earlier, it was as another ‘Mike’ character played by Elvis, opposite Ursula Andress (fresh from Dr No) singing ‘Mexico’. In ‘Clambake’ Elvis played two parts, officially I guess, Scott Hayward and his alter ego, Tom Wilson, in a film that had a similar storyline to ‘Blue Hawaii’. ‘Hey Hey Hey’ is a classic sixties romp from that production.
Younger readers might well recall the Paul Oakenfull remix of the 1969 tune, ‘Rubberneckin’ from ‘A Change of Habit’. This is a more ‘original’ version, like the one that appeared on the flip of ‘Don’t Cry Daddy’ in ’69 & ’70. ‘You Gotta Stop’ is out of ‘Easy Come Easy Go’ (1966), a typical song from the era.
That’s followed by true class in the shape of ‘Don’t Leave Me Now’, from the 1957 movie, ‘Jailhouse Rock’. It features the classic line ups of Elvis’ trusted musicians, Scotty, Bill and DJ, and supreme backing vocals from the Jordinares, and co-writer of the song, Jerry Lieber, on piano in the film. This song was performed three times in the movie by Elvis.
One of the best known bits of trivia about ‘It Happened at the World’s Fair’ is that a young Kurt Russel was paid by Elvis to kick him in the shin. That is referred to at the start of ‘A World Of Our Own’ from 1963. There’s some rip roaring tempo from ‘Speedway’ as Elvis teams up with Nancy Sinatra (Susan Jacks) on ‘There Ain’t Nothing Like a Song’.
It seems as you work through the songs on this particular CD, that FTM has dipped into virtually every film sound track, and here we have from Kid Galahad ‘I Got Lucky’ and ‘Riding the Rainbow’. A particular favourite film of mine is ‘Loving You’, and ‘Hot Dog’ is up there with the best. In 1968, Elvis played a half breed Native American in a musical comedy that pretty much polarises opinions among fans. One of the four songs in the film, ‘Stay Away’ is here.
Five years after she starred in her first film, the now iconic ‘Rock Rock Rock’, Tuesday Weld was co-starring alongside Elvis in ‘Wild In The Country’, the title track of which is here too.
Thirty six tracks, from a variety of films, from the fifties and sixties, mixed and mastered by Dave Flattop, with Mark, to coin a phrase, takin’ care of business. Like I said at the top of the article, I’m sure there’s material here, you might not have heard for the longest time. Make sure you complete your set
Broken Bottle Broken Heart – The Country Side of Harmonica Sam
Sometime, around four years ago, a record hit the decks that had the whole Rock n Roll circuit sit up, stand up, and dance. It was a cover of Coy Jackson’s ‘Lookout Heart’, written by Lila Duncan, from 1966. That was many Rock n Rollers introduction to this Swedish Honky Tonk and Country five piece, with a kind of blues sounding name that didn’t have any harmonicas. Ok, we’ve got the picture.
Since then, we’ve seen them melting in the summer heat of the downstairs room at the Rockabilly Rave in their sharp, but somewhat heavy, stage garb, and play the blue chip spot upstairs a year or so later. This year, 2020, they will grace the Rhythm Riot stage too. A testament to their across-the-board appeal style, showcased in this exquisite collection of songs on the latest release on El Toro Records.
So, what is that style that has such an appeal? If you’re a fan of the vocal delivery of artists akin to Faron Young, or Ray Price and the Cherokee Cowboys, George Jones and I can’t help but think of Jimmy Jones’ range in places, this is for you. The lead vocals are supplied by Harmonica Sam, with Johan Bandling Melin joinging on back-up vocals and lad guitar. Ulrik Jansen and Patrik Malmos are keeping the beat on bass and drums respectively. Prominent on most of the tracks, is Peter Anderson on steel guitar, for me a highlight of the band’s musical delivery.
To elucidate almost immediately, track one ‘My First Broken Heart (since My Last Broken Heart), features sumptuous sliding, accompanying Sam’s vocals recounting melancholy lyrics, against a rambling beat. Up next, ‘How Can I Love You’, an up-tempo romp, with the coolest Western Swing vibe. That particular timbre is maintained with ‘I’ve Been Draggin’ Since You’ve Gone’, and this vocally is one of the most varied, with Sam effortlessly hitting higher notes (see Jimmy Jones reference above). This a track originally written by Marcel Riesco, and folks, it’s a corker.
There must be dispatch mentions for the additional musicians who add to the exceptional musical ambience of this release. Johan Malmberg on fiddle, supplies as an authentic sound as you are likely to hear, while the deft piano accompaniment by Peter Barrelid, is a delight.
A heartbreaker of a track next, ‘Losing a Girl You Never Had’ as it slows down for three and a quarter minutes, reciting a tale not so much of lost love, but a love never yours in the first place. Something from the mid-sixties next, and a cover of Mr & Mrs Country Music, Johnny and Jonie Mosby’s ‘I’ll Leave The Front Door Open’, originally with Ralph Mooney. Does the name of the couple ring a bell readers? Yes it’s the same Johnny and Jonie that recorded the dancefloor smash, ‘Kee Ro Ryin’ in 1958. This version is note-for-note perfection, compared to the ’65 original.
The Bill Phillips’ composition, ‘Steppin’ Out’ trots along nicely, as does ‘Cry Baby’, which was written by Domestic Bumblebee, Tobias Einestad. The title track ‘Broken Bottle Broken Heart’, is another Dan Englund composition ( one of four on this release), and has not only the catchiest of rhythms, but the vocal delivery reminds us of a classic country song, but at the time of writing, do you think we can think of it?!! (Addenda, maybe ‘Early Morning Rain’?) Whatever, it’s definitely worthy of title track status. More of the coolest slide sound, accompanies the characteristic Country combination of alcohol and emotive love, on ‘I Drink Because I Care’.
Picking up the pace a bit is, ‘If That’s The Way I Gotta Be’, written by Don Hill, whose writing credentials also include Bobbie Gentry. A cool wandering example of class Country music, as is Dan Englund’s ‘Empty House’. The prolific songwriter and Country Music Hall of Famer, Hank Cochran, is responsible for ‘Why Me’, a gorgeous vocal and steel guitar, somewhat melancholy, treat of a song.
Miika Siira, known to many of us as Mike Bell, composed the penultimate track on the LP, ‘Waitin’ For a Sunny Day’ a more upbeat sentiment, with an air of positivity, set to a beguiling timbre. Topping of the track listing, a cover of Sonny Burns’ 1961 beauty ‘Patches on My Heart’. The original was heavily reliant on fiddle sounds for the accompaniment, whereas this reworking by Sam, as with a lot of the songs on the LP, utilises the steel guitar to it’s fullest. A fitting conclusion.
This band appeals to people into Rock n Roll, Rockabilly and Country music alike, as will this CD/LP or whatever medium you chose to listen to it on. The modus operandi of the group’s sound is consistent with their other material, which is outstanding. So take our word that you need this in your life!
Sometime, around four years ago, a record hit the decks that had the whole Rock n Roll circuit sit up, stand up, and dance. It was a cover of Coy Jackson’s ‘Lookout Heart’, written by Lila Duncan, from 1966. That was many Rock n Rollers introduction to this Swedish Honky Tonk and Country five piece, with a kind of blues sounding name that didn’t have any harmonicas. Ok, we’ve got the picture.
Since then, we’ve seen them melting in the summer heat of the downstairs room at the Rockabilly Rave in their sharp, but somewhat heavy, stage garb, and play the blue chip spot upstairs a year or so later. This year, 2020, they will grace the Rhythm Riot stage too. A testament to their across-the-board appeal style, showcased in this exquisite collection of songs on the latest release on El Toro Records.
So, what is that style that has such an appeal? If you’re a fan of the vocal delivery of artists akin to Faron Young, or Ray Price and the Cherokee Cowboys, George Jones and I can’t help but think of Jimmy Jones’ range in places, this is for you. The lead vocals are supplied by Harmonica Sam, with Johan Bandling Melin joinging on back-up vocals and lad guitar. Ulrik Jansen and Patrik Malmos are keeping the beat on bass and drums respectively. Prominent on most of the tracks, is Peter Anderson on steel guitar, for me a highlight of the band’s musical delivery.
To elucidate almost immediately, track one ‘My First Broken Heart (since My Last Broken Heart), features sumptuous sliding, accompanying Sam’s vocals recounting melancholy lyrics, against a rambling beat. Up next, ‘How Can I Love You’, an up-tempo romp, with the coolest Western Swing vibe. That particular timbre is maintained with ‘I’ve Been Draggin’ Since You’ve Gone’, and this vocally is one of the most varied, with Sam effortlessly hitting higher notes (see Jimmy Jones reference above). This a track originally written by Marcel Riesco, and folks, it’s a corker.
There must be dispatch mentions for the additional musicians who add to the exceptional musical ambience of this release. Johan Malmberg on fiddle, supplies as an authentic sound as you are likely to hear, while the deft piano accompaniment by Peter Barrelid, is a delight.
A heartbreaker of a track next, ‘Losing a Girl You Never Had’ as it slows down for three and a quarter minutes, reciting a tale not so much of lost love, but a love never yours in the first place. Something from the mid-sixties next, and a cover of Mr & Mrs Country Music, Johnny and Jonie Mosby’s ‘I’ll Leave The Front Door Open’, originally with Ralph Mooney. Does the name of the couple ring a bell readers? Yes it’s the same Johnny and Jonie that recorded the dancefloor smash, ‘Kee Ro Ryin’ in 1958. This version is note-for-note perfection, compared to the ’65 original.
The Bill Phillips’ composition, ‘Steppin’ Out’ trots along nicely, as does ‘Cry Baby’, which was written by Domestic Bumblebee, Tobias Einestad. The title track ‘Broken Bottle Broken Heart’, is another Dan Englund composition ( one of four on this release), and has not only the catchiest of rhythms, but the vocal delivery reminds us of a classic country song, but at the time of writing, do you think we can think of it?!! (Addenda, maybe ‘Early Morning Rain’?) Whatever, it’s definitely worthy of title track status. More of the coolest slide sound, accompanies the characteristic Country combination of alcohol and emotive love, on ‘I Drink Because I Care’.
Picking up the pace a bit is, ‘If That’s The Way I Gotta Be’, written by Don Hill, whose writing credentials also include Bobbie Gentry. A cool wandering example of class Country music, as is Dan Englund’s ‘Empty House’. The prolific songwriter and Country Music Hall of Famer, Hank Cochran, is responsible for ‘Why Me’, a gorgeous vocal and steel guitar, somewhat melancholy, treat of a song.
Miika Siira, known to many of us as Mike Bell, composed the penultimate track on the LP, ‘Waitin’ For a Sunny Day’ a more upbeat sentiment, with an air of positivity, set to a beguiling timbre. Topping of the track listing, a cover of Sonny Burns’ 1961 beauty ‘Patches on My Heart’. The original was heavily reliant on fiddle sounds for the accompaniment, whereas this reworking by Sam, as with a lot of the songs on the LP, utilises the steel guitar to it’s fullest. A fitting conclusion.
This band appeals to people into Rock n Roll, Rockabilly and Country music alike, as will this CD/LP or whatever medium you chose to listen to it on. The modus operandi of the group’s sound is consistent with their other material, which is outstanding. So take our word that you need this in your life!
FTM v/s The Preacher – 20 Smokin’ Club Hits
CD review
There’s the singles, and now here’s the CD, twenty stomping club floor fillers from the combined forces of nature that are Simon Preacher and Flat Top Mark. This compilation includes all seven of the FTM v/s the Preacher single releases, starting with…..
Bobby Comstock’s ‘Right Hand Man’. Bobby Comstock was a Rock n Roll singer who performed mainly in the (very) late fifties into the early 60’s. His first success came with Pee Wee King & Redd Stewart’s ‘Tennessee Waltz’ in 1959 with his band, the Counts. ‘Right Hand Man’ is from 1964 on the Ascot record label. Here it’s a noticeable shift in style to the sixties beat with a shoutback chorus, though retaining a thumping rockin’ tempo and, the sax break is a delight.
The Tramps’ Mahardja’ apart from our spellcheck throwing a wobbler at the spelling, is a classic early sixties example of the surf sound. Cracking drum beat and electric bass on this instrumental cracker from ’61. On the flip of that 45 was The Catalinas ‘Cha Cha Joe’. Already well established as a go to dance hall jiver, this is the, what we of a certain age called ‘the twelve inch version’, which has caught us out before now! The band were officially an instrumental combo from Oklahoma, and this track is one of four that (I can find) they laid down in ‘63
A couple of today’s bands have recently been taking on ‘Secret Agent Man’, the title song from the TV series ‘Danger Man’ (UK) and ‘Secret Agent Man’ US, performed by Johnny Rivers, and also by the Ventures. This version is Mel Torme, that has all the smoothness and cool vibes of the other versions.
The Texabilly Rockets were formed in ’94 and have always produced an intense and rocking sound. This offering ‘Gonna Get Myself a Woman’ is a classically themed Rockabilly bopper, and already making waves on the dancefloors. Thundering back beat and searing guitar solos, it’s a beauty. Corporate Image, I’ll be honest I know nothing about, other than this reworking of Buddy Holly’s ‘Not Fade Away’ from 1966 on MGM Records. It certainly is different, heavier and of course has that mid-sixties vibe, benefitting from Mark’s mastering and remixing.
The Shindigs ‘Thunder Reef’ lives up to it’s name. Hearing it through headphones, as I did, you’ll be taken over by the relentless drumbeat that makes this track so brilliant. It’s fast and furious, and just listening makes you breathless. Moving directly on to ‘Miserlou X’. Dick Dale v/s Flat Top Mark on this version, which heavily relies on commentary from Pulp Fiction. In particular Pumpkin and Honeybunny during the opening scene, with Tim Roth and Amanda Plummer’s characters holding up a restaurant, and threatening the rest of the diners. Not for the faint hearted this, but hugely effective, also including Samuel L Jackson’s, Jules’ ‘My name is the law’ speech.
Steve King, wrote ‘Satan is Her Name’, which appeared on a ‘B’ side in ’62. With his band, The Echelons, this appears to be their sole output on the Mercury label. That was one side of an FTM vinyl 45rpm from 2018, with the following track ‘I’ve Got My Eyes On You’ on the flip. The Idols, had an almost novelty sound, a bit like the Coasters, and that is showcased on ‘The Prowler’ from 1958. The Blockbusters’ ‘Sweet Tequila’ is one of those Mexican beat instrumentals, akin to the Champs and Chuck Del Rio tunes of that ilk. Surprised that this isn’t played a bit more, as it’s got that thing folks.
The Rondels were an instrumental band from Boston, Massachusetts in the late 50’s and early 60’s. The recorded a handful of singes and charted just once with ‘Back Beat No1’. ‘Caldonia’ was the follow up, and it’s that track that makes the compilation here. Next up, Frantic Freddie’s ‘Charmaine’. Backed by his band the Pro-Teens, Allentown, Pennsylvania native Freddie Milander wrote this song, which was released in 1965 (although there were suggestions of a release in 1961) on the White Rock Record label. This track relies heavily on the sax and tambourine in the percussion section. A solid hand-clapper with a stinging guitar solo.
The next two tracks, are from ‘Round Eight’, in the single series. The imaginatively named All The Marbles, weigh in with ‘I’m Gonna Lock You Up’, I presume from the mid-60’s judging by the timbre. More than that I can’t add, I drew a blank during the research other than this track on Oliver Records. Dennis Turner is his career, has recorded ‘Rockin’ Little Angel’ and ‘Lover Please’. Here he is showcasing ‘Little Miss Heartbreak’ from 1962, and it’s one of the best tracks on the release for me. Love the guitar riff and the sax and guitar mimicking each other throughout, as well as Turner’s vocal delivery. It’s a beauty readers.
When this CD was freshly released, one of the promotional tunes, is one of four bonus tracks on this release. Billy Fury’s 1963 cut ‘What Do You Think You’re Doing Of’ on Decca, is one of those records that could be a rockin’ stroller or a mod dancer. Whichever camp you pitch your tent in, you’ll hear this a lot. Even with my dislike of organ music, I can’t help but love this. ‘Green Town Girl’
Los Angeles Doo Wop outfit, the Travelers, are up next with a catchy jiver ‘Green Town Girl’ which was a 1957 ‘B’ side to ‘He’s Got the Whole World in His Hands’. ‘Cousin’ Leroy Rozier, offers some foot stomping blues next, with ‘Goin’ Back Home’. He’d performed with Champion Jack Dupree in his recording career, before passing away in 2008, and this breathy harmonica driven track is true class.
So who are the Dirty Stones then? Certainly their song ‘Hate To See You Go’ is a fitting conclusion to the CD, and sounds remarkably like another ‘Stones’ band that performed the same song in Paris and on a ‘Blue and Lonesome’ album. I wonder….
Readers. They’ve done it again, FTM and the Preacher have dished up a fine menu for your delectation and enjoyment. A real bill topper
CD review
There’s the singles, and now here’s the CD, twenty stomping club floor fillers from the combined forces of nature that are Simon Preacher and Flat Top Mark. This compilation includes all seven of the FTM v/s the Preacher single releases, starting with…..
Bobby Comstock’s ‘Right Hand Man’. Bobby Comstock was a Rock n Roll singer who performed mainly in the (very) late fifties into the early 60’s. His first success came with Pee Wee King & Redd Stewart’s ‘Tennessee Waltz’ in 1959 with his band, the Counts. ‘Right Hand Man’ is from 1964 on the Ascot record label. Here it’s a noticeable shift in style to the sixties beat with a shoutback chorus, though retaining a thumping rockin’ tempo and, the sax break is a delight.
The Tramps’ Mahardja’ apart from our spellcheck throwing a wobbler at the spelling, is a classic early sixties example of the surf sound. Cracking drum beat and electric bass on this instrumental cracker from ’61. On the flip of that 45 was The Catalinas ‘Cha Cha Joe’. Already well established as a go to dance hall jiver, this is the, what we of a certain age called ‘the twelve inch version’, which has caught us out before now! The band were officially an instrumental combo from Oklahoma, and this track is one of four that (I can find) they laid down in ‘63
A couple of today’s bands have recently been taking on ‘Secret Agent Man’, the title song from the TV series ‘Danger Man’ (UK) and ‘Secret Agent Man’ US, performed by Johnny Rivers, and also by the Ventures. This version is Mel Torme, that has all the smoothness and cool vibes of the other versions.
The Texabilly Rockets were formed in ’94 and have always produced an intense and rocking sound. This offering ‘Gonna Get Myself a Woman’ is a classically themed Rockabilly bopper, and already making waves on the dancefloors. Thundering back beat and searing guitar solos, it’s a beauty. Corporate Image, I’ll be honest I know nothing about, other than this reworking of Buddy Holly’s ‘Not Fade Away’ from 1966 on MGM Records. It certainly is different, heavier and of course has that mid-sixties vibe, benefitting from Mark’s mastering and remixing.
The Shindigs ‘Thunder Reef’ lives up to it’s name. Hearing it through headphones, as I did, you’ll be taken over by the relentless drumbeat that makes this track so brilliant. It’s fast and furious, and just listening makes you breathless. Moving directly on to ‘Miserlou X’. Dick Dale v/s Flat Top Mark on this version, which heavily relies on commentary from Pulp Fiction. In particular Pumpkin and Honeybunny during the opening scene, with Tim Roth and Amanda Plummer’s characters holding up a restaurant, and threatening the rest of the diners. Not for the faint hearted this, but hugely effective, also including Samuel L Jackson’s, Jules’ ‘My name is the law’ speech.
Steve King, wrote ‘Satan is Her Name’, which appeared on a ‘B’ side in ’62. With his band, The Echelons, this appears to be their sole output on the Mercury label. That was one side of an FTM vinyl 45rpm from 2018, with the following track ‘I’ve Got My Eyes On You’ on the flip. The Idols, had an almost novelty sound, a bit like the Coasters, and that is showcased on ‘The Prowler’ from 1958. The Blockbusters’ ‘Sweet Tequila’ is one of those Mexican beat instrumentals, akin to the Champs and Chuck Del Rio tunes of that ilk. Surprised that this isn’t played a bit more, as it’s got that thing folks.
The Rondels were an instrumental band from Boston, Massachusetts in the late 50’s and early 60’s. The recorded a handful of singes and charted just once with ‘Back Beat No1’. ‘Caldonia’ was the follow up, and it’s that track that makes the compilation here. Next up, Frantic Freddie’s ‘Charmaine’. Backed by his band the Pro-Teens, Allentown, Pennsylvania native Freddie Milander wrote this song, which was released in 1965 (although there were suggestions of a release in 1961) on the White Rock Record label. This track relies heavily on the sax and tambourine in the percussion section. A solid hand-clapper with a stinging guitar solo.
The next two tracks, are from ‘Round Eight’, in the single series. The imaginatively named All The Marbles, weigh in with ‘I’m Gonna Lock You Up’, I presume from the mid-60’s judging by the timbre. More than that I can’t add, I drew a blank during the research other than this track on Oliver Records. Dennis Turner is his career, has recorded ‘Rockin’ Little Angel’ and ‘Lover Please’. Here he is showcasing ‘Little Miss Heartbreak’ from 1962, and it’s one of the best tracks on the release for me. Love the guitar riff and the sax and guitar mimicking each other throughout, as well as Turner’s vocal delivery. It’s a beauty readers.
When this CD was freshly released, one of the promotional tunes, is one of four bonus tracks on this release. Billy Fury’s 1963 cut ‘What Do You Think You’re Doing Of’ on Decca, is one of those records that could be a rockin’ stroller or a mod dancer. Whichever camp you pitch your tent in, you’ll hear this a lot. Even with my dislike of organ music, I can’t help but love this. ‘Green Town Girl’
Los Angeles Doo Wop outfit, the Travelers, are up next with a catchy jiver ‘Green Town Girl’ which was a 1957 ‘B’ side to ‘He’s Got the Whole World in His Hands’. ‘Cousin’ Leroy Rozier, offers some foot stomping blues next, with ‘Goin’ Back Home’. He’d performed with Champion Jack Dupree in his recording career, before passing away in 2008, and this breathy harmonica driven track is true class.
So who are the Dirty Stones then? Certainly their song ‘Hate To See You Go’ is a fitting conclusion to the CD, and sounds remarkably like another ‘Stones’ band that performed the same song in Paris and on a ‘Blue and Lonesome’ album. I wonder….
Readers. They’ve done it again, FTM and the Preacher have dished up a fine menu for your delectation and enjoyment. A real bill topper
Right Time – The Ventons
CD review
The Ventons, we must admit, we weren’t familiar with until we joined Instagram and saw that they were due to release this album in early 2020, on Get Rhythm Records. The band hail from Mexico City, and are made up of vocalist Danielle G, Lead guitarist Frank Venton, Mario Venton on upright bass and drummer Rulo VB. Not only are they talented musicians, but they write a good song too, and not in their mother tongue too. The songs are good value as well, with all of them exceeding three minutes duration.
They open up this eleven track release, with the title song ‘Right Time’, a surf meets Rockabilly rocker with Danielle’s vocals well pitched without being overpowered by the thumping rhythm. Yes readers, this is a super cool way to start a record. Slowing down slightly to more of a stroll pace is ‘That Night’, ace drum beat on this one.
There’s a really enjoyable, if haunting melody in ‘Let It Go’, before we up rocking at full speed again with the superb ‘I Just Got a Pain’. An out and out rocker that’s a breathless four minutes long, that’s a true delight. ‘Same Love’ also has a cracking late night, bop beat, and the vocals are delivered with fervour, against a rattling drum beat and searing guitar solos.
Next up, a stick-on strolling winner, ‘I’m So Scared’, which has a Johnny Kidd feel about the rhythm and guitar riff. Some heavily reverb on the guitar heralds the arrival of ‘Love Me’, which is not to be confused with other tunes of that name. This proclaims undying love, as you might expect by the title, to a heavy beat. ‘My Life With You’ is a top drawer Rockabilly track with some thumping bass in the rhythm section. Hot on the heels in a similar vein is ‘Don’t Make It Hard’.
Back in the stroll beat again, this time it’s ‘Turn Around’, nudging this listener for best song on the CD, before we end in a similar way to how we started, with a kickin’ rocker, in the shape of ‘C’mon Baby’.
It would be wrong to try and pigeon hole the Ventons’ musical style to an exact type, there’s Rockabilly, mixed with Surf and Blues, all set to a full sounding beat. The whole package has been presented very well, with artwork by Henrique San Art of Brazil, and mixing and mastering by Pike Cavalero.
A super introduction to Mexican rockin’ music readers.
CD review
The Ventons, we must admit, we weren’t familiar with until we joined Instagram and saw that they were due to release this album in early 2020, on Get Rhythm Records. The band hail from Mexico City, and are made up of vocalist Danielle G, Lead guitarist Frank Venton, Mario Venton on upright bass and drummer Rulo VB. Not only are they talented musicians, but they write a good song too, and not in their mother tongue too. The songs are good value as well, with all of them exceeding three minutes duration.
They open up this eleven track release, with the title song ‘Right Time’, a surf meets Rockabilly rocker with Danielle’s vocals well pitched without being overpowered by the thumping rhythm. Yes readers, this is a super cool way to start a record. Slowing down slightly to more of a stroll pace is ‘That Night’, ace drum beat on this one.
There’s a really enjoyable, if haunting melody in ‘Let It Go’, before we up rocking at full speed again with the superb ‘I Just Got a Pain’. An out and out rocker that’s a breathless four minutes long, that’s a true delight. ‘Same Love’ also has a cracking late night, bop beat, and the vocals are delivered with fervour, against a rattling drum beat and searing guitar solos.
Next up, a stick-on strolling winner, ‘I’m So Scared’, which has a Johnny Kidd feel about the rhythm and guitar riff. Some heavily reverb on the guitar heralds the arrival of ‘Love Me’, which is not to be confused with other tunes of that name. This proclaims undying love, as you might expect by the title, to a heavy beat. ‘My Life With You’ is a top drawer Rockabilly track with some thumping bass in the rhythm section. Hot on the heels in a similar vein is ‘Don’t Make It Hard’.
Back in the stroll beat again, this time it’s ‘Turn Around’, nudging this listener for best song on the CD, before we end in a similar way to how we started, with a kickin’ rocker, in the shape of ‘C’mon Baby’.
It would be wrong to try and pigeon hole the Ventons’ musical style to an exact type, there’s Rockabilly, mixed with Surf and Blues, all set to a full sounding beat. The whole package has been presented very well, with artwork by Henrique San Art of Brazil, and mixing and mastering by Pike Cavalero.
A super introduction to Mexican rockin’ music readers.
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Your hosts for the Hot Rock n Boogie weekender in 2020 are Neil and Claire Seabrook, of Boston Jive. Next year is the third event, and boasts an excellent line up.
Each year, there are different features to help improve the event, the venue and the experience for attendees. It's gonna be another good one folks! 
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Check this line up out readers, for just forty of your English pounds, you get this varied and intriguing mix of artists and acts, all at one event.
You have the house rocking blues of the Revolutionaires, jump blues with JG and the Ultimates (below) with the super smooth vocals of Tammi Savoy and exquisite guitar skills of Chris Casello among others 
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Your hosts for Hemsby nowadays are Bill Guntrip and his family. Following May 2019's event, Bill has announced a super line up for 2020. And indeed has a ‘save the date’ for 16th to 19th October 2020. In the meantime, check out the website for further details, and get booking, it’s going to be a good one.
Word is that there has been a lot of repeat bookings from this May, and in the regenerated camp site and new ownership, has reinforced the fact that the longest running Rock n Roll Weekender, is still going strong 
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45rpm vinyl reviews
Bobby Lonero and Dick Banks – 45rpm review
On it’s way for release soon, is a two sider featuring two well established rockers, on the one Liberty vinyl repro 7”.
Louisiana Hall of Fame musician, Bobby Lonero (1943-2013), cut this guitar and sax driven rocker in 1958. It’s interesting that ‘Little Bit’ is listed second to ‘The Girl That I Marry’, suggesting it was a ‘B’ side that rock n rollers grabbed. Whichever, it’s a guaranteed floor filler wherever it’s played.
On the other side, another winner, Dick Banks’ ‘Dirty Dog’. The piano and guitar based jiver, has Dick recounting Jack Bozeman’s lyrics in a kind of Elvis Presley style. Recorded in 1958, ‘Dirty Dog’ is a staple DJ go-to track, and complements the ‘A’ side perfectly
On it’s way for release soon, is a two sider featuring two well established rockers, on the one Liberty vinyl repro 7”.
Louisiana Hall of Fame musician, Bobby Lonero (1943-2013), cut this guitar and sax driven rocker in 1958. It’s interesting that ‘Little Bit’ is listed second to ‘The Girl That I Marry’, suggesting it was a ‘B’ side that rock n rollers grabbed. Whichever, it’s a guaranteed floor filler wherever it’s played.
On the other side, another winner, Dick Banks’ ‘Dirty Dog’. The piano and guitar based jiver, has Dick recounting Jack Bozeman’s lyrics in a kind of Elvis Presley style. Recorded in 1958, ‘Dirty Dog’ is a staple DJ go-to track, and complements the ‘A’ side perfectly
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Rock n Roll Star – Danny McVey Trio
45rpm review
The Danny McVey Trio were formed nearing the end of 2015, with Danny taking lead vocals and strumming the rhythm on guitar, Wayne Harrison on upright bass and Morgan Willis on lead guitar. Yep, no drums readers, and it doesn’t matter, as they produce a truly authentic and traditional Rockabilly sound.
Two cracking examples of the above description starts with the ‘A’ side, written by Danny himself. It’s set to an infectious bopping beat, with Danny’s vocal delivery rasping and raw, complemented by some serious guitar work from Morgan
The ‘B’ side, is a Don Cavalli composition, a pacy and punchy bass driven rocker with just the right amount of reverb to the vocals, and the perfect ‘slap ‘n’ tick’ from Wayne on the dawghouse.
Two fine examples of today’s Rockabilly played with yesterday’s class. There was a pink vinyl version of this single, whether it’s still available in that colour I’m unsure. Whatever the colour, be sure you get one!
45rpm review
The Danny McVey Trio were formed nearing the end of 2015, with Danny taking lead vocals and strumming the rhythm on guitar, Wayne Harrison on upright bass and Morgan Willis on lead guitar. Yep, no drums readers, and it doesn’t matter, as they produce a truly authentic and traditional Rockabilly sound.
Two cracking examples of the above description starts with the ‘A’ side, written by Danny himself. It’s set to an infectious bopping beat, with Danny’s vocal delivery rasping and raw, complemented by some serious guitar work from Morgan
The ‘B’ side, is a Don Cavalli composition, a pacy and punchy bass driven rocker with just the right amount of reverb to the vocals, and the perfect ‘slap ‘n’ tick’ from Wayne on the dawghouse.
Two fine examples of today’s Rockabilly played with yesterday’s class. There was a pink vinyl version of this single, whether it’s still available in that colour I’m unsure. Whatever the colour, be sure you get one!
Donna Dameron – 45rpm review
Scheduled for release in March, a brace of songs written by J.P. (Big Bopper) Richardson, performed Donna Dameron. During 1958, ‘Chantilly Lace’ was one of the most popular songs around, and Bopper had already composed a kind of answer record, expected to be performed by a female artist. There was a rumour that Donna Dameron was actually Bopper’s mum, Elsie, although as a Bettajive Review disclaimer, ‘citation needed’….
The result was ‘Bopper 486609’, which was recorded in December ’58, with plenty of references to ‘Chantilly Lace’ throughout, and Bopper’s joyous voice at the end of the record. Release of this gem was withheld for a while after the Bopper’s death in February ’59. Here it is now in all it’s glory, set to a jive vibe on a repro Dart 45.
On the ‘B’ side, is ‘Big Love’, that opens with a kind of gospel chorus of ‘Oh yayaaa’, before the now familiar ‘Bopper’ tempo starts. It’s a really cool jiver, lively harmonies and sax break so hopefully will get some more DJ play now it’s on 7” vinyl
Great to see and hear this again, and so will you
Scheduled for release in March, a brace of songs written by J.P. (Big Bopper) Richardson, performed Donna Dameron. During 1958, ‘Chantilly Lace’ was one of the most popular songs around, and Bopper had already composed a kind of answer record, expected to be performed by a female artist. There was a rumour that Donna Dameron was actually Bopper’s mum, Elsie, although as a Bettajive Review disclaimer, ‘citation needed’….
The result was ‘Bopper 486609’, which was recorded in December ’58, with plenty of references to ‘Chantilly Lace’ throughout, and Bopper’s joyous voice at the end of the record. Release of this gem was withheld for a while after the Bopper’s death in February ’59. Here it is now in all it’s glory, set to a jive vibe on a repro Dart 45.
On the ‘B’ side, is ‘Big Love’, that opens with a kind of gospel chorus of ‘Oh yayaaa’, before the now familiar ‘Bopper’ tempo starts. It’s a really cool jiver, lively harmonies and sax break so hopefully will get some more DJ play now it’s on 7” vinyl
Great to see and hear this again, and so will you
Hound Dog Taylor - 45rpm review
Theodore Roosevelt ‘Hound Dog’ Taylor is a Blues Hall of Famer, having been inducted in 1984, nine years after he passed away from lung cancer aged 60. He was well known for having six fingers on each hand, and playing raw and raucous slide guitar, in a similar vein to Elmore James, and being the first artist to be recorded by Bruce Iglauer’s Alligator Records. His style was hip and spontaneous, and backed by the Houserockers, Brewer Phillips and Ted Harvey, could often be heard cracking up laughing during recordings
Not the case on these two recordings, on a repro 45rpm on Bea & Baby Records. The ‘A’ side is a classic Blues bopper that has been filling late night floors since I can recall. ‘Take Five’ has everything, a thumping back beat and Taylor’s trademark sliding on his Japanese Teisco guitar.
The ‘B’ side is a slightly slower tempo, following a similar formula, but also incorporates piano, and Taylor’s voice has a bit more echo, to the greatest effect.
Two awesome examples of the rawest sounding lead slide guitar work in the genre on a top drawer release
Theodore Roosevelt ‘Hound Dog’ Taylor is a Blues Hall of Famer, having been inducted in 1984, nine years after he passed away from lung cancer aged 60. He was well known for having six fingers on each hand, and playing raw and raucous slide guitar, in a similar vein to Elmore James, and being the first artist to be recorded by Bruce Iglauer’s Alligator Records. His style was hip and spontaneous, and backed by the Houserockers, Brewer Phillips and Ted Harvey, could often be heard cracking up laughing during recordings
Not the case on these two recordings, on a repro 45rpm on Bea & Baby Records. The ‘A’ side is a classic Blues bopper that has been filling late night floors since I can recall. ‘Take Five’ has everything, a thumping back beat and Taylor’s trademark sliding on his Japanese Teisco guitar.
The ‘B’ side is a slightly slower tempo, following a similar formula, but also incorporates piano, and Taylor’s voice has a bit more echo, to the greatest effect.
Two awesome examples of the rawest sounding lead slide guitar work in the genre on a top drawer release
Kokomo Kings – 45rpm review
How good are the Kokomo Kings? Well this combination of Swedish and Danish musicians have been nominated for an Ameripolitan Award and won the blues lounge radios show ‘band of the year, 2018’ award. Guitarist Ronni Boysen was Danish Blues artist of the year” 2013. That’s what we are dealing with here readers, on this ace 45rpm with two tracks from ‘Fighting Fire With Gasoline’ on Rhythm Bomb Records.
The personnel are Martin Abrahamsson: vocals and guitar Magnus Lanshammar on bass and guitar with the afore mentioned Ronni Boysen on guitar, with Daniel Winerö keeping it real on drums.
The ‘A’ side ‘Fooled by the City Lights’, is a killer foot stomper, at two and a half minutes long. This has dancefloor stamped all over it, some searing guitar work driven along by a catchy drum beat. Flip it over, and we have a cracking bopper, ‘I Thought I Was a Patient Man’, about a guy waiting for his lady to make up her mind about him, ‘Before my hair turns to silver, before my teeth turn to gold’. What a brilliant line.
It’s in the shops and on the stalls readers, don’t hang about
How good are the Kokomo Kings? Well this combination of Swedish and Danish musicians have been nominated for an Ameripolitan Award and won the blues lounge radios show ‘band of the year, 2018’ award. Guitarist Ronni Boysen was Danish Blues artist of the year” 2013. That’s what we are dealing with here readers, on this ace 45rpm with two tracks from ‘Fighting Fire With Gasoline’ on Rhythm Bomb Records.
The personnel are Martin Abrahamsson: vocals and guitar Magnus Lanshammar on bass and guitar with the afore mentioned Ronni Boysen on guitar, with Daniel Winerö keeping it real on drums.
The ‘A’ side ‘Fooled by the City Lights’, is a killer foot stomper, at two and a half minutes long. This has dancefloor stamped all over it, some searing guitar work driven along by a catchy drum beat. Flip it over, and we have a cracking bopper, ‘I Thought I Was a Patient Man’, about a guy waiting for his lady to make up her mind about him, ‘Before my hair turns to silver, before my teeth turn to gold’. What a brilliant line.
It’s in the shops and on the stalls readers, don’t hang about
The Chants -Dick Tracy b/w Jewel Akens – Around the Corner
45 rpm review
There’s a new 45rpm from Ponderosa Records that has paired two of the hottest current dancefloor tracks together on one 7” single.
The Chants, were an American band active in the early sixties, also known as the Tremonts featuring on Mickey Lee Lane on bass at one time. Dick Tracy, is a cartoon strip detective, created by Chester Gould debuting in 1931. How innovative his two way wrist watch radio was, which is referred to in this catchy tempo stroller.
Jewel Akens (1933-2013) recorded with Eddie Daniels and Eddie Cochran. Here he is on the flip of the 45, with a release from 1965. ‘Around the Corner’ was originally a ‘B’ side to the novelty track ‘Georgy Porgy’. It’s an up tempo dance track in that mid sixties groove.
45 rpm review
There’s a new 45rpm from Ponderosa Records that has paired two of the hottest current dancefloor tracks together on one 7” single.
The Chants, were an American band active in the early sixties, also known as the Tremonts featuring on Mickey Lee Lane on bass at one time. Dick Tracy, is a cartoon strip detective, created by Chester Gould debuting in 1931. How innovative his two way wrist watch radio was, which is referred to in this catchy tempo stroller.
Jewel Akens (1933-2013) recorded with Eddie Daniels and Eddie Cochran. Here he is on the flip of the 45, with a release from 1965. ‘Around the Corner’ was originally a ‘B’ side to the novelty track ‘Georgy Porgy’. It’s an up tempo dance track in that mid sixties groove.
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Racketeer Radio will be launched Jan. 1st 2020. Beginning then Racketeer Radio will be playing the best music and programs from the golden age along with the best radio shows of today, featuring music inspired from the sounds of the 1930s-1960s. Programs of true crime, noir, Hollywoodland, Gangsters, Vintage Lifestlye and so much more. Connecting you with todays favorite bands their news, tours, and updates. Sharing with you the best vintage inspired brands, events, news and everything in between. Racketeer Radio is your central station for the vintage life style, the Nostalgic Culture.
keep up to date before the launch www.RacketeerRadio.com www.instagram.com/Racketeer_Radio |
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Once again, your hosts for the Rhythm Riot 2020 are Robin and Colette Weathersbee.
Rhythm Riot 2020 will feature another huge international line up and a one-off All-Star Winter Dance Party Show, featuring Lil Mo, Marcel Riesco, Charlie Thompson, David & Gordon Doel, and the Dynaflos, conjuring up a flavour of the 1959 tour of Buddy Holly, Ritchie Valens, The Big Bopper and Dion & The Belmonts.
Here's another announcement from the organisers:-
We’re delighted to announce another Thursday Nite R&B Rent Party at the Rhythm Riot.
Five hours of non-stop dance music, all on vintage vinyl, and all played through the most amazing vintage-style valve sound system.
It’s a truly unique experience... Don’t miss out!
Rhythm Riot 2020 will feature another huge international line up and a one-off All-Star Winter Dance Party Show, featuring Lil Mo, Marcel Riesco, Charlie Thompson, David & Gordon Doel, and the Dynaflos, conjuring up a flavour of the 1959 tour of Buddy Holly, Ritchie Valens, The Big Bopper and Dion & The Belmonts.
Here's another announcement from the organisers:-
We’re delighted to announce another Thursday Nite R&B Rent Party at the Rhythm Riot.
Five hours of non-stop dance music, all on vintage vinyl, and all played through the most amazing vintage-style valve sound system.
It’s a truly unique experience... Don’t miss out!
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 open to our 25,000 + viewers per month, drop us a line to [email protected] for details. If you have a company that makes and sells clothing or accessories, or you run a record label or shop, you can advertise with us as well. Anything associated with our music scene, or 1940’s, 1950’s related. We will include a brief article on your company and services as well with your advert. We will be emailing many of you in this regard too.
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the button. Many thanks
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.
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please do not copy and paste articles or parts of articles to your websites without asking us first. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome. We do not share links to adult sites here. Keep up to date with us here, or on our various platforms:-
Facebook https://www.facebook.com/The-Bettajive-Review-569161136474404/
Instagram https://www.instagram.com/bettajivereview/
Twitter https://twitter.com/AndrewBettajive
email [email protected]
Cheers 'til next month
Andrew and June
Next time, our big interview will be with Rusti Steel, one of the most recognisable frontmen and voices on the Rock n Roll circuit. More CD and record have come in for reviews, thank you to those who have entrusted their hard work to us. We hope to be back out and about soon, stepping over the boxes, to visit Wreningham, Hopetown, and other places in between.
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the button. Many thanks
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.
Please note that all material on this website is (c) Andrew Smith, June Smith, The Bettajive Review. Please do not copy and paste articles or parts of articles to your websites without asking us first. Thank you for reading our online magazine. Comments, remarks, suggestions and yes, even gentle criticism, all welcome. We do not share links to adult sites here. Keep up to date with us here, or on our various platforms:-
Facebook https://www.facebook.com/The-Bettajive-Review-569161136474404/
Instagram https://www.instagram.com/bettajivereview/
Twitter https://twitter.com/AndrewBettajive
email [email protected]
Cheers 'til next month
Andrew and June
Next time, our big interview will be with Rusti Steel, one of the most recognisable frontmen and voices on the Rock n Roll circuit. More CD and record have come in for reviews, thank you to those who have entrusted their hard work to us. We hope to be back out and about soon, stepping over the boxes, to visit Wreningham, Hopetown, and other places in between.
