the bettajive review magazine #8
Rusti Steel, our big interview this issue
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Covid-19 announcement
We are currently living through times that many have had no experience of before, allowing for my mum saying ‘during the war…..’. The Coronavirus Covid-19, has taken over everyone’s lives, restrictions on movements and gatherings. Below is a graphic from the UK government, which you should all make yourselves aware of, and act upon it. Listen to the announcements from our government and base your lives upon them and we will get through this
To our friends all over the world, many of whom we have been in direct contact with over the internet, we wish you well and hope that you and your families are well, and your countries continue to heal
As for the Bettajive Review magazine, we will keep going, and are pleased to present this month’s magazine for you all. This is not, as one rather churlish comment recently suggested it would be, ‘cobbled together’. Missing are gig reviews, naturally. The last one we went to was Rockin Roland’s birthday bash at the Starfighter club, just before the dung hit the propeller, and naturally I’m not about to review someone’s birthday party!!
Yes there have been a few online gigs, and we will touch on those during the course of the review, but across the board, events have been cancelled or postponed. So when you see adverts for events below, these are the ones that are currently still ‘on’. Please note:- We accept no responsibility for any that are postponed or cancelled, please check with organisers and listings.
The gig economy has been hit hard by Covid-19. So check out the bands and labels highlighted here and purchase their merchandise, records CDs downloads, or whatever you can. To produce this magazine, for free to you to read, we rely on advertisers and donations. So if you like what you read and see here, pop us a donation over by using the button please (a tip jar if you will). Many thanks, let’s keep going, we can’t stop the storm, but the storm will pass.
Now the fun stuff
We are currently living through times that many have had no experience of before, allowing for my mum saying ‘during the war…..’. The Coronavirus Covid-19, has taken over everyone’s lives, restrictions on movements and gatherings. Below is a graphic from the UK government, which you should all make yourselves aware of, and act upon it. Listen to the announcements from our government and base your lives upon them and we will get through this
To our friends all over the world, many of whom we have been in direct contact with over the internet, we wish you well and hope that you and your families are well, and your countries continue to heal
As for the Bettajive Review magazine, we will keep going, and are pleased to present this month’s magazine for you all. This is not, as one rather churlish comment recently suggested it would be, ‘cobbled together’. Missing are gig reviews, naturally. The last one we went to was Rockin Roland’s birthday bash at the Starfighter club, just before the dung hit the propeller, and naturally I’m not about to review someone’s birthday party!!
Yes there have been a few online gigs, and we will touch on those during the course of the review, but across the board, events have been cancelled or postponed. So when you see adverts for events below, these are the ones that are currently still ‘on’. Please note:- We accept no responsibility for any that are postponed or cancelled, please check with organisers and listings.
The gig economy has been hit hard by Covid-19. So check out the bands and labels highlighted here and purchase their merchandise, records CDs downloads, or whatever you can. To produce this magazine, for free to you to read, we rely on advertisers and donations. So if you like what you read and see here, pop us a donation over by using the button please (a tip jar if you will). Many thanks, let’s keep going, we can’t stop the storm, but the storm will pass.
Now the fun stuff
The Bettajive Review
By Andrew Smith
Well documented. With so many TV channels available now, we get a chance to see documentaries of many of our heroes and favourite performers right from the start of their careers, and lives for that matter, through to the present day. Sadly though, the ‘present day’ exists only for us, as many of them have long since gone. Watching this type of program though can take you through many emotions, and sometimes even be uncomfortably voyeuristic, if surviving relatives have to recount stories of their brother/sister/dad/mum addictions and breakdowns.
Have you ever found yourselves watching though, and as soon as the archive footage goes from fifties black and white, to sixties and seventies grainy colour, so your interest wanes? Here’s the Bettajive left field guide to documentary, featuring a fictitious artist who bears no resemblance, other than co-incidental to anyone living or dead….
We’ll call our subject, Jimmy H-Bone. The program starts, for many years he was a-top of the Rock n Roll tree. His recordings are the very soundtrack of a generation (cue music in the background, consisting of his best-known recordings). He walked the walk, he talked the talk and above all, he rolled the rock from the humblest of beginnings. Jimmy was born James Haribo Boinknell in the tiny village of Klutzgabe, Calathumpia (cue background music of mournful Dobro bottleneck guitar, and tumbledown shack sepia images). His dad was a sharecropper and his ‘mom’ scrubbed floors for the gentry to put food on the table for their fourteen children. Their parents barely saw each other (though, thinks I, their paths clearly crossed now and again), and Jimmy’s dad left when Jimmy was five. We are not sure where our guy was age wise within the family, heck he may have been the last straw for his dad!
Jimmy learnt to sing in church (show picture of wooden church, and another of dirt poor, grubby kids in their Sunday best, outside, looking miserable), and soon one of his ‘uncles’, of which there were many, not necessarily all related to his family(!) bought Jimmy his first guitar. Cut to early teenage years where the music changes to fast pickin’ bluegrass banjos and the screen is blurred by buildings flashing by, depicting ‘travel’ in case you hadn’t worked it out for yourself. Jimmy had joined the Calathumpia Clutterbucket Band originally as a guitarist, but when the lead singer choked on a slice of cactus, and lost his voice, fate dictated he took over on vocals. At this point the first of the ‘talking heads’ offer up facts from way back, usually saying how poor they all were, but how happy the times were, no food, hand me down clothes from their sister and regular ass whoopins….ahem, yeah, I should coco!
In a chance encounter, a swarthy, plus-sized fellow in a Stetson hat and a car the length of most streets, sees them at a local sock hop, and invites Jimmy to record at his studio, much to the chagrin of the remainder of the Clutterbucket Band. His first record goes bananas, so do the fans, depicted by spinning newspapers, also says a grey haired guy who was a session musician on the first recordings, pictured with some guitars in the background. That’s essential to ensure you know this chap was an integral part of the music scene back then. Photos of Jimmy are overlaid on the screen as his first hits are played, images of a lean and hungry rocker, guitar on his back and girlie-whirlies hanging off his clothes. Cut to a wheezy grey haired and bearded bloke, wearing sunglasses with a guitar on his knee stating the blindingly obvious ‘Dem kids went nuts’.
Jimmy’s career takes off, and soon record execs wanted a more cleaned up version of him. So gone was the sharp gab, replaced by woolly Fair Isle jumper, touched up photographic, inordinately white teeth (what we would now call ‘photoshopped’ I guess) as he strikes a pose of head resting on one hand looking into the middle distance. After his stint in the Army, the songs have lost their edge as the 50’s become the early sixties. The documentary turns from black and white to colour, and suddenly here comes four mop top fellows invading his patch (cue ‘Love Me Do’ in the background and airports full of screaming girls). There’s rarely a documentary on a fifties star without footage of the Beatles, at which time in our house, there’s a collective eye-rolling sound.
Tommy Gazunder, Jimmy’s biographer, states that Jimmy was worried by this and wondered if his career was over as he was turning thirty, which I’m sure I wouldn’t be alone thinking ‘No s**t Sherlock’.
A disastrous attempt at a Twist sounding record follows, and Jimmy hits a low. The charts are full of four piece bands with animal names like the Beatles, the Monkees* and for that matter, the Animals. Jimmy tries Country music, acting in low budget cowboy films and comeback tours, appropriating mild interest, usually as he has a tendency in the films, to be the one to get shot at the start. As the sixties slide into flower power (cut to tape of quagmire-y outdoor festivals, drug fuelled, hairy twerps with flowers in every orifice, swaying from side to side like kelp in the tide), Jimmy’s first wife recounts his slide into deep depression. Publicity photos tell a story a thousand words cannot, and grainy footage of Jimmy’s shambolic performance onstage at a village show is viewed with pathos by the audience.
At this time readers, it can become rather uncomfortable viewing, you could almost view it behind the sofa, through the gaps in your fingers. The records and CDs you have, are probably of the youthful Jimmy, and his fiery guitar licks, and now, here’s your hero, shadow of his former self, covered in facial hair and rambling through novelty Country songs. His ex wives, the taxman and unscrupulous management (swarthy fellow mentioned earlier) leave him penniless and alone in a bedsit somewhere in the deep South. As a viewer, if the guy is still around in the 1970’s I tend to will for him to hold on until the revival so he can get work again. Sadly, it’s usually to no avail and their eventual demise is little than a footnote.
Occasionally they’ve been picked up by a young band and make sporadic, but highly appreciated appearances, and their twilight years are spent in relatively comfortable semi-retirement. Others though, are paid posthumous tributes, as the fickle world of ‘popular’ music, chewed young kids up and spat them out as disillusioned adults. Cripes, a bit of a depressing end isn’t it? But that can be what watching the ‘truth’ about those whom we have held in such high regard can feel like.
So what happened to Jimmy? I’d like to think he’d have played Hemsby, the Rave and the Riot and is still about, doin’ his thang on the guitar…:)
Dot…dot. Best tracks in the world ever ever to put the creamy split into your bananas for this month are ‘People Will Say We’re In Love’ by The Spaniels, ‘Alabama Jailhouse’ by Rod Morris and ‘Twangy’ by the Jet Tones, ……. *Incidentally readers, the Monkees. If you are around my age, you probably recall their show was on weekdays after school. ‘So you better get ready, we may be coming to your town’, they used to sing. Four years I waited for them to turn up. Did they? Did they s**te!.... How many of us are looking in our wardrobes at the finery within and thinking, when will I wear that again?.....Seen some good online gigs lately, the Honkabillies at the start of this, playing their best stuff in a 45 minute set, Dylan Kirk on piano in his parents house, Rosella Scarlett, the Jive Aces, and a host of DJs. Liking stuff from the Preacher, Danny Brown, Ross Pickwell-Smart, Jimmy Taylor, Danny, The Nobster Little Carl, Simon Flintstone, Lord Fatkat, and many others. If we’ve missed you out, sorry, but keep up the good work
The Bettajive Review
By Andrew Smith
Well documented. With so many TV channels available now, we get a chance to see documentaries of many of our heroes and favourite performers right from the start of their careers, and lives for that matter, through to the present day. Sadly though, the ‘present day’ exists only for us, as many of them have long since gone. Watching this type of program though can take you through many emotions, and sometimes even be uncomfortably voyeuristic, if surviving relatives have to recount stories of their brother/sister/dad/mum addictions and breakdowns.
Have you ever found yourselves watching though, and as soon as the archive footage goes from fifties black and white, to sixties and seventies grainy colour, so your interest wanes? Here’s the Bettajive left field guide to documentary, featuring a fictitious artist who bears no resemblance, other than co-incidental to anyone living or dead….
We’ll call our subject, Jimmy H-Bone. The program starts, for many years he was a-top of the Rock n Roll tree. His recordings are the very soundtrack of a generation (cue music in the background, consisting of his best-known recordings). He walked the walk, he talked the talk and above all, he rolled the rock from the humblest of beginnings. Jimmy was born James Haribo Boinknell in the tiny village of Klutzgabe, Calathumpia (cue background music of mournful Dobro bottleneck guitar, and tumbledown shack sepia images). His dad was a sharecropper and his ‘mom’ scrubbed floors for the gentry to put food on the table for their fourteen children. Their parents barely saw each other (though, thinks I, their paths clearly crossed now and again), and Jimmy’s dad left when Jimmy was five. We are not sure where our guy was age wise within the family, heck he may have been the last straw for his dad!
Jimmy learnt to sing in church (show picture of wooden church, and another of dirt poor, grubby kids in their Sunday best, outside, looking miserable), and soon one of his ‘uncles’, of which there were many, not necessarily all related to his family(!) bought Jimmy his first guitar. Cut to early teenage years where the music changes to fast pickin’ bluegrass banjos and the screen is blurred by buildings flashing by, depicting ‘travel’ in case you hadn’t worked it out for yourself. Jimmy had joined the Calathumpia Clutterbucket Band originally as a guitarist, but when the lead singer choked on a slice of cactus, and lost his voice, fate dictated he took over on vocals. At this point the first of the ‘talking heads’ offer up facts from way back, usually saying how poor they all were, but how happy the times were, no food, hand me down clothes from their sister and regular ass whoopins….ahem, yeah, I should coco!
In a chance encounter, a swarthy, plus-sized fellow in a Stetson hat and a car the length of most streets, sees them at a local sock hop, and invites Jimmy to record at his studio, much to the chagrin of the remainder of the Clutterbucket Band. His first record goes bananas, so do the fans, depicted by spinning newspapers, also says a grey haired guy who was a session musician on the first recordings, pictured with some guitars in the background. That’s essential to ensure you know this chap was an integral part of the music scene back then. Photos of Jimmy are overlaid on the screen as his first hits are played, images of a lean and hungry rocker, guitar on his back and girlie-whirlies hanging off his clothes. Cut to a wheezy grey haired and bearded bloke, wearing sunglasses with a guitar on his knee stating the blindingly obvious ‘Dem kids went nuts’.
Jimmy’s career takes off, and soon record execs wanted a more cleaned up version of him. So gone was the sharp gab, replaced by woolly Fair Isle jumper, touched up photographic, inordinately white teeth (what we would now call ‘photoshopped’ I guess) as he strikes a pose of head resting on one hand looking into the middle distance. After his stint in the Army, the songs have lost their edge as the 50’s become the early sixties. The documentary turns from black and white to colour, and suddenly here comes four mop top fellows invading his patch (cue ‘Love Me Do’ in the background and airports full of screaming girls). There’s rarely a documentary on a fifties star without footage of the Beatles, at which time in our house, there’s a collective eye-rolling sound.
Tommy Gazunder, Jimmy’s biographer, states that Jimmy was worried by this and wondered if his career was over as he was turning thirty, which I’m sure I wouldn’t be alone thinking ‘No s**t Sherlock’.
A disastrous attempt at a Twist sounding record follows, and Jimmy hits a low. The charts are full of four piece bands with animal names like the Beatles, the Monkees* and for that matter, the Animals. Jimmy tries Country music, acting in low budget cowboy films and comeback tours, appropriating mild interest, usually as he has a tendency in the films, to be the one to get shot at the start. As the sixties slide into flower power (cut to tape of quagmire-y outdoor festivals, drug fuelled, hairy twerps with flowers in every orifice, swaying from side to side like kelp in the tide), Jimmy’s first wife recounts his slide into deep depression. Publicity photos tell a story a thousand words cannot, and grainy footage of Jimmy’s shambolic performance onstage at a village show is viewed with pathos by the audience.
At this time readers, it can become rather uncomfortable viewing, you could almost view it behind the sofa, through the gaps in your fingers. The records and CDs you have, are probably of the youthful Jimmy, and his fiery guitar licks, and now, here’s your hero, shadow of his former self, covered in facial hair and rambling through novelty Country songs. His ex wives, the taxman and unscrupulous management (swarthy fellow mentioned earlier) leave him penniless and alone in a bedsit somewhere in the deep South. As a viewer, if the guy is still around in the 1970’s I tend to will for him to hold on until the revival so he can get work again. Sadly, it’s usually to no avail and their eventual demise is little than a footnote.
Occasionally they’ve been picked up by a young band and make sporadic, but highly appreciated appearances, and their twilight years are spent in relatively comfortable semi-retirement. Others though, are paid posthumous tributes, as the fickle world of ‘popular’ music, chewed young kids up and spat them out as disillusioned adults. Cripes, a bit of a depressing end isn’t it? But that can be what watching the ‘truth’ about those whom we have held in such high regard can feel like.
So what happened to Jimmy? I’d like to think he’d have played Hemsby, the Rave and the Riot and is still about, doin’ his thang on the guitar…:)
Dot…dot. Best tracks in the world ever ever to put the creamy split into your bananas for this month are ‘People Will Say We’re In Love’ by The Spaniels, ‘Alabama Jailhouse’ by Rod Morris and ‘Twangy’ by the Jet Tones, ……. *Incidentally readers, the Monkees. If you are around my age, you probably recall their show was on weekdays after school. ‘So you better get ready, we may be coming to your town’, they used to sing. Four years I waited for them to turn up. Did they? Did they s**te!.... How many of us are looking in our wardrobes at the finery within and thinking, when will I wear that again?.....Seen some good online gigs lately, the Honkabillies at the start of this, playing their best stuff in a 45 minute set, Dylan Kirk on piano in his parents house, Rosella Scarlett, the Jive Aces, and a host of DJs. Liking stuff from the Preacher, Danny Brown, Ross Pickwell-Smart, Jimmy Taylor, Danny, The Nobster Little Carl, Simon Flintstone, Lord Fatkat, and many others. If we’ve missed you out, sorry, but keep up the good work
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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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online jive classes from Boston Jive
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***THEY'RE READY!!! *** This weeks lessons for beginners, intermediates and advanced jivers as well as a stroll class and.... beginners ROCK N ROLL LESSON 😁.
Just go to our website www.bostonjive.co.uk and click on the Video Store tab at the top. All at very reasonable prices and although we cannot physically be with you to help with one to one advice or the odd untangling, there is still lots of content to get you dancing 😊. Thank you so much for your support. Please support us where/when you can so that Boston Jive can keep going for years to come. Hope you enjoy them 🤩 xxx |
cd reviews
Upside Down - The Sparks Boys
CD review
From Moscow, comes a band recently signed to Wild Records of California, the Sparks Boys, and their album ‘Upside Down’. They consist of Marat Gizatullin (Marty) on vocals, with Vladimir Khoruzhiy guitar, Dmitriy Kryuchkov blowing up a storm on tenor sax, keeping rhythm Vasily Lavrov on double bass and drummer Alex Saveliev. Their style is very much wild rock n roll from the late fifties as you will see.
The title track, ‘Upside Down’ is also the opening tune, a pacey and punchy rocker where the sax mimics the guitar. The opening guitar notes of ‘Hobo Bop Oh Bop’ immediately put me in mind of Chris Isaak’s ‘Baby Did a Bad Thing’, but that’s really where any similarity ends as this song is a pretty cool bopper in the blues bop ilk.
‘You Say That You Love Me’ follows, which is a mid-tempo rocker with a smashing brass and guitar instrumental break. They then take on Billy Harlan’s ‘I Wanna Bop’ from 1958, and a darn good version it is too readers. The bass is ballsy and drives along the song accompanied by a gutsy sax break. ‘Don’t Cry’ which has a hefty bop beat, reminds me of a western movie theme. ‘Keep On Trying’, a song about relationship perseverance, is heavy on the guitar, as is ‘So Close’ which has a blues bop feel in its tempo, ace echo use on the vocals. Loving the atmospheric way the vocals are performed during ‘I Love You So’, offset by the loud and proud chorus and raucous guitar solo
With all the effort that goes into compiling lyrics, it might seem a little churlish of me to suggest the best track on the release is an instrumental, however ‘Dead Valley’ is simply sublime. It has a feel of being a cross between the Ventures, and a whole host of top drawer surf bands, all meeting on this one brilliantly executed track. I mean it folks, it doesn’t get better than this guitar wonder, with the Mexican sounding trumpet adding to the resonance.
Plenty of foot stomping to be had hearing ‘Crazy Music In My Head’, a rip roaring rocker with a wild guitar solo and sax break. Some respite from kicking rockers, with a stroll beat, with the 80’s rocking sound of ‘The Thrill Is Gone’, for some reason I couldn’t help but think of the Stray Cats on this one, which is by no means a bad thing readers. Some Mexican flavours next folks, with ‘Hey Tequila’, a beauty that once again has guitar and sax in harmony, set against the familiar rhythm structure of the Champs song of a similar title.
We conclude with a corking chunk of straight ahead Rockabilly, ‘Rainy Day’, motivated by a cool rhythm set by the slap bass. I think you’ll like the change of pace within this song, and it’s a fitting end to a really good collection of songs.
Another ace from the team at Wild Records
CD review
From Moscow, comes a band recently signed to Wild Records of California, the Sparks Boys, and their album ‘Upside Down’. They consist of Marat Gizatullin (Marty) on vocals, with Vladimir Khoruzhiy guitar, Dmitriy Kryuchkov blowing up a storm on tenor sax, keeping rhythm Vasily Lavrov on double bass and drummer Alex Saveliev. Their style is very much wild rock n roll from the late fifties as you will see.
The title track, ‘Upside Down’ is also the opening tune, a pacey and punchy rocker where the sax mimics the guitar. The opening guitar notes of ‘Hobo Bop Oh Bop’ immediately put me in mind of Chris Isaak’s ‘Baby Did a Bad Thing’, but that’s really where any similarity ends as this song is a pretty cool bopper in the blues bop ilk.
‘You Say That You Love Me’ follows, which is a mid-tempo rocker with a smashing brass and guitar instrumental break. They then take on Billy Harlan’s ‘I Wanna Bop’ from 1958, and a darn good version it is too readers. The bass is ballsy and drives along the song accompanied by a gutsy sax break. ‘Don’t Cry’ which has a hefty bop beat, reminds me of a western movie theme. ‘Keep On Trying’, a song about relationship perseverance, is heavy on the guitar, as is ‘So Close’ which has a blues bop feel in its tempo, ace echo use on the vocals. Loving the atmospheric way the vocals are performed during ‘I Love You So’, offset by the loud and proud chorus and raucous guitar solo
With all the effort that goes into compiling lyrics, it might seem a little churlish of me to suggest the best track on the release is an instrumental, however ‘Dead Valley’ is simply sublime. It has a feel of being a cross between the Ventures, and a whole host of top drawer surf bands, all meeting on this one brilliantly executed track. I mean it folks, it doesn’t get better than this guitar wonder, with the Mexican sounding trumpet adding to the resonance.
Plenty of foot stomping to be had hearing ‘Crazy Music In My Head’, a rip roaring rocker with a wild guitar solo and sax break. Some respite from kicking rockers, with a stroll beat, with the 80’s rocking sound of ‘The Thrill Is Gone’, for some reason I couldn’t help but think of the Stray Cats on this one, which is by no means a bad thing readers. Some Mexican flavours next folks, with ‘Hey Tequila’, a beauty that once again has guitar and sax in harmony, set against the familiar rhythm structure of the Champs song of a similar title.
We conclude with a corking chunk of straight ahead Rockabilly, ‘Rainy Day’, motivated by a cool rhythm set by the slap bass. I think you’ll like the change of pace within this song, and it’s a fitting end to a really good collection of songs.
Another ace from the team at Wild Records
12 Original Scorchers – Mike Sanchez
CD review
You want versatility, dynamism and quality readers? Look no further than this latest CD from Mike Sanchez, where he has taken twelve of his original masterpieces from albums in the past, remastered them and presented them here. Often associated with the piano, Mike also plays guitar, and indeed double bass, on a number of tracks.
Opening up we have two tracks from the ‘Just Can’t Afford It’ album, which astonishingly is twenty years old now. The first ‘Ramblin’ Boogie’ is a boogie woogie beauty, heavy on the whammy bar, soaked in sax and a rolling piano beat, with an Amos Milburn styled lyric and beat. Slowing down a bit is a bluesy lament ‘Three Months, Three Weeks, Three Days’, a real ‘lover come back’ theme in this one.
From ‘Blue Boy’ comes a rattling train song in a Rockabilly stylie ‘Fast Train’. The pace of this is relentless, in line with the theme of the lyrics, rhythmically pounding drums and bass with a guitar break akin to Scotty Moore. Some more blues next, from ‘Women and Cadillacs’ and ‘You Gonna Win’ has more than a modicum of Little Walter/Junior Wells/Slim Harpo influence to it. Cracking blues stomper this one readers, and nearly four and a half minutes of harp masterclass from Greger ‘Knock Out Greg’ Andersson.
The second in the trio of songs from ‘Women and Cadillacs’ is ‘Let This Loving Begin’. This has a Fats Domino or Ike Turner feel about it, as well as some cool whammy guitar a la Billy Gayles, set to a stroll beat. Last of the three, ‘Poor Boy’, a growling guitar song again with some ace harmonica sound. The vocal delivery is very Slim Harpo, which is a good thing folks!
From ‘Babes and Buicks’ we have ‘Everybody’s Got a Buick’, a sax-y delight as Jakob Norgren and Tobbe Elliasson duel on tenor and baritone saxophones and Anders Lewen’s awesome guitar solo joins in. This, if you’ve ever seen Mike Sanchez, is a typically wide eyed and wild rocker of a song.
Now if you like both boogie, country and a consummate demonstration of finger pickin’ guitar, then the combination of Mike and Albert Lee would be what you’re looking for. Here they both are on ‘I Don’t Stand a Chance’, which is a bouncy rock-along delight of a tune. From the same album, ‘Mike Sanchez featuring Albert Lee – So Many Routes’ ‘Ain’t Gonna Let Nothing’, which (dare I suggest) nods toward the Northern Soul style. Well it does suggest that on the title of the album.
When I first heard ‘Your Mama’s Got a Crush On Me’, it put me in mind of Tony Joe White in both style and vocal delivery. Albert Lee’s guitar work on this is exemplary, subtle and massively effective. Time to take a seat and soak up the quality on ‘Messed with an Angel’ a somewhat melancholy heartbreaker, really powerfully delivered vocally by Mike. Topping off the release, ‘Help Me Find My Way’, a country influenced sound, which you can enjoy on so many levels, both vocally and musically.
You get it readers? How many different styles have you spotted amongst this review? Well that’s the resourcefulness and adaptability of Mike Sanchez. I defy you not to enjoy this
CD review
You want versatility, dynamism and quality readers? Look no further than this latest CD from Mike Sanchez, where he has taken twelve of his original masterpieces from albums in the past, remastered them and presented them here. Often associated with the piano, Mike also plays guitar, and indeed double bass, on a number of tracks.
Opening up we have two tracks from the ‘Just Can’t Afford It’ album, which astonishingly is twenty years old now. The first ‘Ramblin’ Boogie’ is a boogie woogie beauty, heavy on the whammy bar, soaked in sax and a rolling piano beat, with an Amos Milburn styled lyric and beat. Slowing down a bit is a bluesy lament ‘Three Months, Three Weeks, Three Days’, a real ‘lover come back’ theme in this one.
From ‘Blue Boy’ comes a rattling train song in a Rockabilly stylie ‘Fast Train’. The pace of this is relentless, in line with the theme of the lyrics, rhythmically pounding drums and bass with a guitar break akin to Scotty Moore. Some more blues next, from ‘Women and Cadillacs’ and ‘You Gonna Win’ has more than a modicum of Little Walter/Junior Wells/Slim Harpo influence to it. Cracking blues stomper this one readers, and nearly four and a half minutes of harp masterclass from Greger ‘Knock Out Greg’ Andersson.
The second in the trio of songs from ‘Women and Cadillacs’ is ‘Let This Loving Begin’. This has a Fats Domino or Ike Turner feel about it, as well as some cool whammy guitar a la Billy Gayles, set to a stroll beat. Last of the three, ‘Poor Boy’, a growling guitar song again with some ace harmonica sound. The vocal delivery is very Slim Harpo, which is a good thing folks!
From ‘Babes and Buicks’ we have ‘Everybody’s Got a Buick’, a sax-y delight as Jakob Norgren and Tobbe Elliasson duel on tenor and baritone saxophones and Anders Lewen’s awesome guitar solo joins in. This, if you’ve ever seen Mike Sanchez, is a typically wide eyed and wild rocker of a song.
Now if you like both boogie, country and a consummate demonstration of finger pickin’ guitar, then the combination of Mike and Albert Lee would be what you’re looking for. Here they both are on ‘I Don’t Stand a Chance’, which is a bouncy rock-along delight of a tune. From the same album, ‘Mike Sanchez featuring Albert Lee – So Many Routes’ ‘Ain’t Gonna Let Nothing’, which (dare I suggest) nods toward the Northern Soul style. Well it does suggest that on the title of the album.
When I first heard ‘Your Mama’s Got a Crush On Me’, it put me in mind of Tony Joe White in both style and vocal delivery. Albert Lee’s guitar work on this is exemplary, subtle and massively effective. Time to take a seat and soak up the quality on ‘Messed with an Angel’ a somewhat melancholy heartbreaker, really powerfully delivered vocally by Mike. Topping off the release, ‘Help Me Find My Way’, a country influenced sound, which you can enjoy on so many levels, both vocally and musically.
You get it readers? How many different styles have you spotted amongst this review? Well that’s the resourcefulness and adaptability of Mike Sanchez. I defy you not to enjoy this
Eddie Martin – Flyin’ Solo
CD review
A couple of years ago, we reviewed shows and a CD by Eddie Martin and the Rhythm Cruisers. Eddie recently got in touch and mentioned he was releasing a solo CD, and here it is ‘Flyin’ Solo’, ten very varied tracks, showcasing what you might expect when you see his live show.
The majority of the musical accompaniment, and production, is down to the wizardry of Dragan Zac Zdravkovic (Jive Romeros Intelli-Gents etc). Nine of the ten tunes are covers, however we open up with one of Eddie’s own compositions ‘Don’t Trick Me Baby’, which is a steel guitar driven jiver, with a Billy Haley and the Saddlemen feel to it. Cool track that one readers.
Do you recall Elvis in King Creole, singing in the department store while the ne’er do wells pinched stuff? The song he was singing there, ‘Lover Doll’, is given the Eddie Martin treatment here, with a zippy tempo and choral vocal harmonies. Sonny James’ 1957 cut on Capitol ‘Uh Huh Mm’, has been a dance floor classic for many years now. Eddie reproduces it very well on this release.
A bit of Tennessee Ernie? Why not, and here we are with ‘Blackberry Boogie’ that Ernie recorded with the Cliffie Stone Orchestra in 1952. An accomplished venture into western swing by Eddie. A complete switch next with the King Brothers ‘Mais Oui’. This 1960 vocal harmony swinger, might have produced a problem for a solo tune, but with Zac’s vocal harmonies backing up Eddie’s lead, this makes for a really good sound.
From a British vocal trio, to one of Rockabilly’s true giants, Charlie Feathers. ‘One Hand Loose’ has to be one of many DJ’s go to bop tunes, and Eddie’s version is a good one too. A cover of another Charlie song next, this time it’s Charlie Rich’s ‘Midnight Blues’, one of the stroll tunes of the past few years, which is followed by a solid take on Buddy Holly’s ‘Modern Don Juan’ from 1957.
There’s lots of echo on Eddie’s vocals on the extra-terrestrial ‘Flyin’ Saucers Rock n Roll’, a pacey rocker, upping the tempo again. We end with a second Charlie Rich track, the ever-popular jiver, ‘Rebound’.
The production and presentation of this CD is very good and the selection of tunes are varied and ideal for dancefloors. Liking the artwork as well!
CD review
A couple of years ago, we reviewed shows and a CD by Eddie Martin and the Rhythm Cruisers. Eddie recently got in touch and mentioned he was releasing a solo CD, and here it is ‘Flyin’ Solo’, ten very varied tracks, showcasing what you might expect when you see his live show.
The majority of the musical accompaniment, and production, is down to the wizardry of Dragan Zac Zdravkovic (Jive Romeros Intelli-Gents etc). Nine of the ten tunes are covers, however we open up with one of Eddie’s own compositions ‘Don’t Trick Me Baby’, which is a steel guitar driven jiver, with a Billy Haley and the Saddlemen feel to it. Cool track that one readers.
Do you recall Elvis in King Creole, singing in the department store while the ne’er do wells pinched stuff? The song he was singing there, ‘Lover Doll’, is given the Eddie Martin treatment here, with a zippy tempo and choral vocal harmonies. Sonny James’ 1957 cut on Capitol ‘Uh Huh Mm’, has been a dance floor classic for many years now. Eddie reproduces it very well on this release.
A bit of Tennessee Ernie? Why not, and here we are with ‘Blackberry Boogie’ that Ernie recorded with the Cliffie Stone Orchestra in 1952. An accomplished venture into western swing by Eddie. A complete switch next with the King Brothers ‘Mais Oui’. This 1960 vocal harmony swinger, might have produced a problem for a solo tune, but with Zac’s vocal harmonies backing up Eddie’s lead, this makes for a really good sound.
From a British vocal trio, to one of Rockabilly’s true giants, Charlie Feathers. ‘One Hand Loose’ has to be one of many DJ’s go to bop tunes, and Eddie’s version is a good one too. A cover of another Charlie song next, this time it’s Charlie Rich’s ‘Midnight Blues’, one of the stroll tunes of the past few years, which is followed by a solid take on Buddy Holly’s ‘Modern Don Juan’ from 1957.
There’s lots of echo on Eddie’s vocals on the extra-terrestrial ‘Flyin’ Saucers Rock n Roll’, a pacey rocker, upping the tempo again. We end with a second Charlie Rich track, the ever-popular jiver, ‘Rebound’.
The production and presentation of this CD is very good and the selection of tunes are varied and ideal for dancefloors. Liking the artwork as well!
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The above CDs and vinyl records (reviewed below) can be purchased at the two record dealers advertised, by mail order. Click on the images to take you to their sites. Other vendors who would like to run an ad please get in touch
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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! Please note: We accept no responsibility for any events that are postponed or cancelled, please check with organisers and listings. |
vinyl reviews
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FTM v/s The Preacher round Five
With a ‘ding-ding’ we have the fifth single in the Flat Top Mark versus Simon The Preacher DJ dust up.
Side A is Simon’s contribution, and is ‘Satan is Her Name’, by Steve King and the Echelons. This was a ‘B’ side in itself, to the Mercury Records ‘A’, ‘Long Lonely Road’ from 1963. It seems like this was the band’s only single release, and the song has an atmospheric stroll beat.
The ‘B’ side is Mark’s offering, Clive Parsons and the Reps’ ‘I’ve Got My Eyes On You’, about whom, I know nothing, I must admit. This sounds like a mid-sixties band that would like to have been the Kinks. The song itself is a steady tempo stroll beat, with a couple of unusual organ solos, that will appeal to both fifties and sixties music lovers.
The issue is limited readers, each unit has a hand written number on it. Don’t hang about
With a ‘ding-ding’ we have the fifth single in the Flat Top Mark versus Simon The Preacher DJ dust up.
Side A is Simon’s contribution, and is ‘Satan is Her Name’, by Steve King and the Echelons. This was a ‘B’ side in itself, to the Mercury Records ‘A’, ‘Long Lonely Road’ from 1963. It seems like this was the band’s only single release, and the song has an atmospheric stroll beat.
The ‘B’ side is Mark’s offering, Clive Parsons and the Reps’ ‘I’ve Got My Eyes On You’, about whom, I know nothing, I must admit. This sounds like a mid-sixties band that would like to have been the Kinks. The song itself is a steady tempo stroll beat, with a couple of unusual organ solos, that will appeal to both fifties and sixties music lovers.
The issue is limited readers, each unit has a hand written number on it. Don’t hang about
The Fuzillis – 45rpm review
Sunglasses, electric guitars, a wailing saxophone and it’s music a go-go with London based band the Fuzillis. An energetic four piece, their shows have been roundly celebrated on the Rock n Roll circuit. They are, Dan Martin Jr: Guitar & Vocals, Frankie Fuzilli, Sr: Bass T-Mag Maguire Tenor Sax & Vocals and drummer Toby Ungless. Both these tracks are taken from the album ‘Grind a-Go-Go’, released a couple of years ago.
A lot of their output is late fifties, early sixties garage-y, surfy, twisty, instrumental stuff, however the ‘A’ side, on this eye catching yellow vinyl 45, is a vocal. Listening to ‘Fireball Twist’, you have to remind yourselves that there are only four lads in the band, so full is the sound. The ‘B’ side is a Champ-tastic sounding ‘Dos Chupitos’ which translates as ‘Two Shots’. Loving the sax energy on this instrumental jive cracker, readers.
Looks and sounds great.
Sunglasses, electric guitars, a wailing saxophone and it’s music a go-go with London based band the Fuzillis. An energetic four piece, their shows have been roundly celebrated on the Rock n Roll circuit. They are, Dan Martin Jr: Guitar & Vocals, Frankie Fuzilli, Sr: Bass T-Mag Maguire Tenor Sax & Vocals and drummer Toby Ungless. Both these tracks are taken from the album ‘Grind a-Go-Go’, released a couple of years ago.
A lot of their output is late fifties, early sixties garage-y, surfy, twisty, instrumental stuff, however the ‘A’ side, on this eye catching yellow vinyl 45, is a vocal. Listening to ‘Fireball Twist’, you have to remind yourselves that there are only four lads in the band, so full is the sound. The ‘B’ side is a Champ-tastic sounding ‘Dos Chupitos’ which translates as ‘Two Shots’. Loving the sax energy on this instrumental jive cracker, readers.
Looks and sounds great.
Jackie Wilson – The New Breed
45rpm EP review
Jack Leroy Wilson, 1934-1984, was blessed with an incredible tenor voice that covered four octaves. Here are four tip top examples of that on one EP on the Koko Mojo label.
First up is a gospel rocker duet featuring Linda Hopkins (1924-2017) ‘Do Lord’ from the early sixties, which immediately demonstrates the vocal ranges of both performers. Track two was a ‘B’ side from 1959 ‘I’ll Always Be In Love With You’ (the ‘A’ was ‘Night’)
Flip it over for the ‘brrrrrr-illiant’ ‘So Much’, a smashing jiver from 1959, and the artwork from that picture sleeve is similar to this new release. That’s followed by ‘New Breed’, a classic stroll beat from 1963, which was originally the ‘B’ side to ‘Baby Get It’ (another gem maybe for the furture??).
All four of these songs are stick on dancefloor winners, from one of R&B’s giants
45rpm EP review
Jack Leroy Wilson, 1934-1984, was blessed with an incredible tenor voice that covered four octaves. Here are four tip top examples of that on one EP on the Koko Mojo label.
First up is a gospel rocker duet featuring Linda Hopkins (1924-2017) ‘Do Lord’ from the early sixties, which immediately demonstrates the vocal ranges of both performers. Track two was a ‘B’ side from 1959 ‘I’ll Always Be In Love With You’ (the ‘A’ was ‘Night’)
Flip it over for the ‘brrrrrr-illiant’ ‘So Much’, a smashing jiver from 1959, and the artwork from that picture sleeve is similar to this new release. That’s followed by ‘New Breed’, a classic stroll beat from 1963, which was originally the ‘B’ side to ‘Baby Get It’ (another gem maybe for the furture??).
All four of these songs are stick on dancefloor winners, from one of R&B’s giants
Restless – Ice Cold/Long Black Shiny Car
45rpm review
Restless, yes anyone of a certain vintage will have a memory of seeing this trio, mine being at the Embassy Suite in Colchester in nineteen hundred and frozen-to-death, on the same bill as the Rockin’ Shades. Since then, their name and style has become synonymous with the Neo-Rockabilly sound of the 1980’s. Here on the Fury label, we have two tracks that can also be found on the Nervous Records LP ‘Why Don’t You Just Rock’ from ’82, featuring the line up of Mark Harman on guitar and vocals, Paul Harman on bass and Ben Cooper on drums.
I’m guessing that this is a double ‘A’ side, given the quality and popularity of the two songs, so I’ll start with ‘Long Black Shiny Car’. This song was originally written and performed by Mike Page in 1960, on the Royce Record label from Kentucky. It was a ‘B’ side and had a dark and moody tempo. Restless took a similar vocal approach, but ratcheted up the pace, with added thump on the bass and Mark Harman’s searing guitar solo.
I often wonder if when he wrote it, Mark Harman knew that ‘Ice Cold’ would become one of the most instantly recognisable tracks on the Rock n Roll circuit. Covered so many times by so many bands (often badly!) this latter-day classic has it all. Three and a quarter minutes of dancefloor utopia with the most infectious beat and two uber-cool guitar solos.
Yes readers, whether you’re new to this music or a seasoned collector, you’ll want this
45rpm review
Restless, yes anyone of a certain vintage will have a memory of seeing this trio, mine being at the Embassy Suite in Colchester in nineteen hundred and frozen-to-death, on the same bill as the Rockin’ Shades. Since then, their name and style has become synonymous with the Neo-Rockabilly sound of the 1980’s. Here on the Fury label, we have two tracks that can also be found on the Nervous Records LP ‘Why Don’t You Just Rock’ from ’82, featuring the line up of Mark Harman on guitar and vocals, Paul Harman on bass and Ben Cooper on drums.
I’m guessing that this is a double ‘A’ side, given the quality and popularity of the two songs, so I’ll start with ‘Long Black Shiny Car’. This song was originally written and performed by Mike Page in 1960, on the Royce Record label from Kentucky. It was a ‘B’ side and had a dark and moody tempo. Restless took a similar vocal approach, but ratcheted up the pace, with added thump on the bass and Mark Harman’s searing guitar solo.
I often wonder if when he wrote it, Mark Harman knew that ‘Ice Cold’ would become one of the most instantly recognisable tracks on the Rock n Roll circuit. Covered so many times by so many bands (often badly!) this latter-day classic has it all. Three and a quarter minutes of dancefloor utopia with the most infectious beat and two uber-cool guitar solos.
Yes readers, whether you’re new to this music or a seasoned collector, you’ll want this
Rhythm and Blues House Party – VA
45rpm review
This EP has ‘Vol 1’ as a teasing suffix, suggesting lots more to come. Hearing these four gems, you’ll be glad of future issues, starting with Dakota Staton’s version of ‘My Babe’
Dakota Staton was an American Jazz singer from Pennsylvania. Here she is covering Willie Dixon’s ‘My Babe’ with Eddie Wilcox and his Orchestra from a Capitol single from 1960. This version is a perfect mid-tempo jiver, full sounding and perfectly delivered vocally.
Screamin’ Jay Hawkins, famed for his semi operatic vocal style and somewhat macabre stage props, follows with ‘Take Me Back To My Boots and Saddle’. This songs has it’s roots much further back than when Screamin’ recorded it, even before Gene Autry’s version. It was a cowboy song from the 30’s, (eg John Charles Thomas) a rambling tune that Hawkins has jished up in his own style to a mid tempo jive.
Flip it over and here’s a top stroller with the Pearls version of Hank Williams’ ‘Your Cheatin’ Heart’. Here they’ve taken the country lament and gave it a doo wop spin on this original A side from 1957.
Finally, ‘Ain’t Got no Home’ by the The Starr’s (yes with the apostrophe). Already a winner with it’s originator, Clarence ‘Frogman’ Henry, this 1961 reworking, has an early soulful beat to it. It comes from the A side of the one single (I can find) from 1960.
This is where it’s at folks, grab yourselves one of these!
45rpm review
This EP has ‘Vol 1’ as a teasing suffix, suggesting lots more to come. Hearing these four gems, you’ll be glad of future issues, starting with Dakota Staton’s version of ‘My Babe’
Dakota Staton was an American Jazz singer from Pennsylvania. Here she is covering Willie Dixon’s ‘My Babe’ with Eddie Wilcox and his Orchestra from a Capitol single from 1960. This version is a perfect mid-tempo jiver, full sounding and perfectly delivered vocally.
Screamin’ Jay Hawkins, famed for his semi operatic vocal style and somewhat macabre stage props, follows with ‘Take Me Back To My Boots and Saddle’. This songs has it’s roots much further back than when Screamin’ recorded it, even before Gene Autry’s version. It was a cowboy song from the 30’s, (eg John Charles Thomas) a rambling tune that Hawkins has jished up in his own style to a mid tempo jive.
Flip it over and here’s a top stroller with the Pearls version of Hank Williams’ ‘Your Cheatin’ Heart’. Here they’ve taken the country lament and gave it a doo wop spin on this original A side from 1957.
Finally, ‘Ain’t Got no Home’ by the The Starr’s (yes with the apostrophe). Already a winner with it’s originator, Clarence ‘Frogman’ Henry, this 1961 reworking, has an early soulful beat to it. It comes from the A side of the one single (I can find) from 1960.
This is where it’s at folks, grab yourselves one of these!
Rockin With Dave ‘Baby’ Cortez – 45rpm EP
Years ago I had a compilation album of sixty ‘rock n roll’ songs, about forty of which were dire. One of the standouts was a track called ‘Happy Organ’ by Dave ‘Baby’ Cortez (released in 1959). From then, he kind of fell off my radar, other than the above-named track, although hearing these songs, they are familiar to us without knowing who was performing. Here is a Koko-Mojo EP of four tracks, that ably demonstrate what a versatile performer he was.
Both songs on the ‘A’ side were from Cortez’s debut 45 on Okeh records. First track, You Give Me Heebie Jeebies’ from 1958, is a super smooth vocal stroll beat, and not to be confused with the Little Richard frantic rocker of a similar name. ‘Honey Baby’, was originally the ‘A’ side, and also has an ace stroll bounce to it.
On the ‘B’ side, ‘Eeny Meeny Minie Mo, a hand clapping stroller with echoey vocals and some smashing baritone sax in the break. We finish off with an instrumental jiver, the piano driven ‘Movin’ ‘n’ Groovin’.
Four really good examples of his work on this one folks
Years ago I had a compilation album of sixty ‘rock n roll’ songs, about forty of which were dire. One of the standouts was a track called ‘Happy Organ’ by Dave ‘Baby’ Cortez (released in 1959). From then, he kind of fell off my radar, other than the above-named track, although hearing these songs, they are familiar to us without knowing who was performing. Here is a Koko-Mojo EP of four tracks, that ably demonstrate what a versatile performer he was.
Both songs on the ‘A’ side were from Cortez’s debut 45 on Okeh records. First track, You Give Me Heebie Jeebies’ from 1958, is a super smooth vocal stroll beat, and not to be confused with the Little Richard frantic rocker of a similar name. ‘Honey Baby’, was originally the ‘A’ side, and also has an ace stroll bounce to it.
On the ‘B’ side, ‘Eeny Meeny Minie Mo, a hand clapping stroller with echoey vocals and some smashing baritone sax in the break. We finish off with an instrumental jiver, the piano driven ‘Movin’ ‘n’ Groovin’.
Four really good examples of his work on this one folks
Stomper Time Rockabillies Vol 1
Vinyl review
Reissue label Stomper Time Records present this four track 45rpm, containing four cracking tunes.
Ramsey Kearney who recorded sessions for Hickory Records, opens up with a top bopper, ‘The Cat Bug Bit’, which has a super cool rhythm, and backing vocal harmony. Loving the guitar solos on this. Short and sweet, that’s how I’d describe Merdell Floyd’s ‘Juke Box Mama’. At under a minute and a half, this rocker from Erwin Records of Memphis Tennessee, was originally a flip side to ‘I Got The Blues From Waitin’ from 1960.
Travis Wammack sounds incredibly young (think his career started at twelve years old) on ‘I’m Gonna Rock’, a mid tempo piano driven stroller, from Fernwood Records, also of Memphis. Rounding off, a classic winner, Marlon Grisham’s ‘Ain’t That a Dilly’. This corker from 1959, has everything a rocker would want in a song. Excellent beat, great guitar work, and ‘who-cares-what-it-means’ lyrics.
A top drawer release
Vinyl review
Reissue label Stomper Time Records present this four track 45rpm, containing four cracking tunes.
Ramsey Kearney who recorded sessions for Hickory Records, opens up with a top bopper, ‘The Cat Bug Bit’, which has a super cool rhythm, and backing vocal harmony. Loving the guitar solos on this. Short and sweet, that’s how I’d describe Merdell Floyd’s ‘Juke Box Mama’. At under a minute and a half, this rocker from Erwin Records of Memphis Tennessee, was originally a flip side to ‘I Got The Blues From Waitin’ from 1960.
Travis Wammack sounds incredibly young (think his career started at twelve years old) on ‘I’m Gonna Rock’, a mid tempo piano driven stroller, from Fernwood Records, also of Memphis. Rounding off, a classic winner, Marlon Grisham’s ‘Ain’t That a Dilly’. This corker from 1959, has everything a rocker would want in a song. Excellent beat, great guitar work, and ‘who-cares-what-it-means’ lyrics.
A top drawer release
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Sock-it 45rpm review
Two tracks on a Sock-It Records vinyl 7”, mastered by Flat Top Mark, both covers that you’ll most likely be familiar with.
Colin Hicks, often a footnote to his brother Tommy Steele’s story, had a few years as a recording artist in his own right. Here he takes on Vince Taylor’s ‘Brand New Cadillac’, which was originally a ‘B’ side to Taylor’s 1959 ‘Pledgin’ My Love’. Colin Hicks with his band, The Cabin Boys, released this with ‘Tallahassee Lassie’ on the Broadway International label in 1959. This version has the rawness and youthful joi-de-vivre you’d expect from a young band making their mark on the music scene, and stands up well against the original song.
Neil Sedaka, the American singer, pianist and songwriter was active from as early as 1957. In ’59 he released ‘I Go Ape’, on both sides of the pond. Since then, there has been a number of covers, Wee Willie Harris, The Rocking Vickers and Crazy Cavan among them. On this record we have the Outlaws’ take on the song, from 1963, and indeed it does have that ‘beat’ feel to it. Solid version folks
Two top tunes
Two tracks on a Sock-It Records vinyl 7”, mastered by Flat Top Mark, both covers that you’ll most likely be familiar with.
Colin Hicks, often a footnote to his brother Tommy Steele’s story, had a few years as a recording artist in his own right. Here he takes on Vince Taylor’s ‘Brand New Cadillac’, which was originally a ‘B’ side to Taylor’s 1959 ‘Pledgin’ My Love’. Colin Hicks with his band, The Cabin Boys, released this with ‘Tallahassee Lassie’ on the Broadway International label in 1959. This version has the rawness and youthful joi-de-vivre you’d expect from a young band making their mark on the music scene, and stands up well against the original song.
Neil Sedaka, the American singer, pianist and songwriter was active from as early as 1957. In ’59 he released ‘I Go Ape’, on both sides of the pond. Since then, there has been a number of covers, Wee Willie Harris, The Rocking Vickers and Crazy Cavan among them. On this record we have the Outlaws’ take on the song, from 1963, and indeed it does have that ‘beat’ feel to it. Solid version folks
Two top tunes
The Dynamic Rudy Ray Moore
45rpm EP
Rudy Ray Moore had done it all in his 81 years. Actor, comedian, producer and singer, Moore, born Rudolph Frank Moore in 1927 in Fort Smith Arkansas, had massive acclaim for his character ‘Dolemite’ in the 70’s. He has been given the title of the God father of Rap, here though, is four excellent examples of his musical output from the 1950’s
Side A, opens up with the catchy rhythm that is ‘Step It Up and Go’, just an exquisite slice of sax blasting Rhythm and Blues, and a cool jive vibe too. That was from his second single release on Federal Records in 1956. ‘Ring a La Ling Dong’ also from ’56, is a stop-start jive tune, about marriage wedding bells, something Moore never heard in is own life incidentally.
The ‘B’ side starts with ‘Rally in the Valley’ from 1959, a more guitar based song and slightly off the wall, maybe even novelty, lyrics. Cool beans. Finally, it’s another bouncy tune with an alliterative title, ‘Robbie Dobbie’, which was Moore’s first single release on Federal Records in 1956, which he also wrote.
Four fantastic jive tunes on one ‘A’ grade EP
45rpm EP
Rudy Ray Moore had done it all in his 81 years. Actor, comedian, producer and singer, Moore, born Rudolph Frank Moore in 1927 in Fort Smith Arkansas, had massive acclaim for his character ‘Dolemite’ in the 70’s. He has been given the title of the God father of Rap, here though, is four excellent examples of his musical output from the 1950’s
Side A, opens up with the catchy rhythm that is ‘Step It Up and Go’, just an exquisite slice of sax blasting Rhythm and Blues, and a cool jive vibe too. That was from his second single release on Federal Records in 1956. ‘Ring a La Ling Dong’ also from ’56, is a stop-start jive tune, about marriage wedding bells, something Moore never heard in is own life incidentally.
The ‘B’ side starts with ‘Rally in the Valley’ from 1959, a more guitar based song and slightly off the wall, maybe even novelty, lyrics. Cool beans. Finally, it’s another bouncy tune with an alliterative title, ‘Robbie Dobbie’, which was Moore’s first single release on Federal Records in 1956, which he also wrote.
Four fantastic jive tunes on one ‘A’ grade EP
Hot Rock n Boogie announcement
Dear All,
As I’m sure many of you were expecting, with truly heavy hearts and due to the current COVID-19 pandemic we are having to postpone Hot Rock n Boogie this May. Your safety and the safety of all the wonderful artists, dance teachers and DJs is of the upmost importance to us and as such this was the only option.
We are beyond gutted, as we have spent a whole year planning this weekender and pour our heart and soul into it for you all. Over this last week I have been working tirelessly to come up with a plan to keep Lincolnshire well and truly rockin’ this year and I truly thank you for your patience in allowing me/us this time in organising things. To organise something on this scale is not an overnight task and we wanted to get everything in place before giving you all half a story!
Please note it is POSTPONED only! We have new dates of 10th/11th October 2020 at a new venue for this year, Princess Royal Sports Arena, Boston, Lincolnshire. Thankfully there are very few changes to the line up and this will be posted out once we have firm times/days of performance for each band. For any band unable to join us this year we are working hard to get them involved in next year’s HRB#4!
We are aware that, unfortunately, we will clash with dates for another weekender but we hope you appreciate that we are doing our best to accommodate everyone and new dates later in the year are now few and far between, as everyone is rebooking in the hope this will then be over, so this was the only available weekend that would allow us to continue.
Dear All,
As I’m sure many of you were expecting, with truly heavy hearts and due to the current COVID-19 pandemic we are having to postpone Hot Rock n Boogie this May. Your safety and the safety of all the wonderful artists, dance teachers and DJs is of the upmost importance to us and as such this was the only option.
We are beyond gutted, as we have spent a whole year planning this weekender and pour our heart and soul into it for you all. Over this last week I have been working tirelessly to come up with a plan to keep Lincolnshire well and truly rockin’ this year and I truly thank you for your patience in allowing me/us this time in organising things. To organise something on this scale is not an overnight task and we wanted to get everything in place before giving you all half a story!
Please note it is POSTPONED only! We have new dates of 10th/11th October 2020 at a new venue for this year, Princess Royal Sports Arena, Boston, Lincolnshire. Thankfully there are very few changes to the line up and this will be posted out once we have firm times/days of performance for each band. For any band unable to join us this year we are working hard to get them involved in next year’s HRB#4!
We are aware that, unfortunately, we will clash with dates for another weekender but we hope you appreciate that we are doing our best to accommodate everyone and new dates later in the year are now few and far between, as everyone is rebooking in the hope this will then be over, so this was the only available weekend that would allow us to continue.
ROCKABILLY RAVE 24 POSTPONED DUE TO ACTION TO PREVENT CORONAVIRUS
Sadly this year’s Rockabilly Rave has had to be postponed to 17th – 21st June 2021 due to action being taken this summer to prevent the spread of the Coronavirus. We are incredibly disappointed but of course we must put the safety of our customers first.
The good news is that if you have already booked for this year’s Rave you may roll over your booking to next year and make sure of your place now, for a show which will be sure to sell out in record time – featuring many of the same bands and DJs plus a few extra surprises! This applies to full or Half Now Half Later payments. You do not need to contact us, we will keep your existing booking details and send you out a confirmation with the new dates on, later in the year.
If you cannot attend in June 2021, you can get a full refund on this year’s booking. Please do not call the office but email us your name and booking reference number, together with your bank Sort Code and Account Number (IBAN and BIC if from Europe) and your refund will be paid directly by bank transfer.
Alternatively, please provide us with your PayPal account email if you would like to be refunded via PayPal. Or the name of the account holder if you would like to be refunded by Cheque.
It would help us greatly if you are able to roll over bookings and that will speed up the whole process. Remember you do not need to contact us to do this. As you can appreciate we have many hundreds of bookings to get through and we are only a small business and my typing is about as fast as a short sighted tortoise… but we will deal with all roll overs and refunds for you… as we always do!
In the meantime please all stay as safe as you can and stock up on the essentials such as beer and Carl Perkins records to see you through this difficult time.
Jerry Chatabox
Sadly this year’s Rockabilly Rave has had to be postponed to 17th – 21st June 2021 due to action being taken this summer to prevent the spread of the Coronavirus. We are incredibly disappointed but of course we must put the safety of our customers first.
The good news is that if you have already booked for this year’s Rave you may roll over your booking to next year and make sure of your place now, for a show which will be sure to sell out in record time – featuring many of the same bands and DJs plus a few extra surprises! This applies to full or Half Now Half Later payments. You do not need to contact us, we will keep your existing booking details and send you out a confirmation with the new dates on, later in the year.
If you cannot attend in June 2021, you can get a full refund on this year’s booking. Please do not call the office but email us your name and booking reference number, together with your bank Sort Code and Account Number (IBAN and BIC if from Europe) and your refund will be paid directly by bank transfer.
Alternatively, please provide us with your PayPal account email if you would like to be refunded via PayPal. Or the name of the account holder if you would like to be refunded by Cheque.
It would help us greatly if you are able to roll over bookings and that will speed up the whole process. Remember you do not need to contact us to do this. As you can appreciate we have many hundreds of bookings to get through and we are only a small business and my typing is about as fast as a short sighted tortoise… but we will deal with all roll overs and refunds for you… as we always do!
In the meantime please all stay as safe as you can and stock up on the essentials such as beer and Carl Perkins records to see you through this difficult time.
Jerry Chatabox
interview with Rusti Steel
Interview with Rusti Steel
BJR. It’s with a mahoosive Yeeeehaw, that we present to you our latest interview, with one of the most recognisable performers on the Rock n Roll circuit. And we don’t think he’ll mind, when we say that he’s not a newcomer, being the veteran of several albums and singles with his bands, the Tin Tax and more recently, the Star Tones.
So where did it all start for Rusti Steel?
RS Back in August/September 1977, a fella who went to the same church as me (who used to sing in bands in the early 60s), wanted to start up a band again. He knew I played guitar and he asked me to join him in forming a band. We picked up a lead guitarist, bass player and drummer, all from various different backgrounds and influences (the lead guitarist was influenced by Jimi Hendrix, Peter Frampton and the like, the first bass player was actually a drummer from the waterfront clubs in Hong Kong, and the drummer was in college, studying to be a classical composer … and the singer was into rock’n’roll but more into 70s Elvis).
This all contributed to a great diversity but certainly didn’t contribute to a good authentic rock’n’roll band! Still, it was a start and taught me the rudiments of playing live in the clubs … the hard way! Around 1979, I saw an ad in the paper for a country band looking for a singer and went for an audition … it turned out to actually be a dance band but their repertoire was based on country music … they wouldn’t let me play my guitar but I joined anyway as it was preferable to the first band. I left after a little while (when they asked me to stop shaking my legs and walk around the stage with my hand out instead … that just wasn’t me so I quit), and I started up my own Rockabilly band.
At last I was doing what I actually felt inside! After several changes of band name and members, it was getting to the stage where the rest of the band were going in a different direction from me … they were getting together and rehearsing Psycho type music, which was a far cry from the authentic Rockin’ stuff that I live for. So I told them I was quitting and I bought an old 4-track reel-to-reel tape recorder and a bass and was going to just record at home and stop playing live. At our penultimate gig, I met one of the bass players from an earlier version of the band, Stew (who is still playing bass for me now in the Star Tones). Stew had brought his friend, Ian Speller, with him. Ian asked if he could play my Gibson guitar after the gig and I let him but kept close as I am very careful who plays my Gibson. Wow! I remember he played “Just Because”… note for note perfect … and much more than that – FEEL perfect! That was how the Tin Tax started … I thought hard and fast, asked Ian and Stew there and then if they fancied starting a band up, they brought in John on drums … and Rusti Steel & the Tin Tax was borned. That was late 1985 … I’ve never looked back since…
BJR Who influenced you to first pick up a guitar, and are you self taught?
RS My dad was a preacher and he bought a guitar, intending to learn to play it and use it to sing gospel songs at the church. He didn’t get on with it very well, so it just stood there forlornly in the corner of our living room. I was 11 years old and well into Elvis … I wanted to sing like he did and be able to accompany myself on guitar like he did, so I picked up a couple of guitar books that my dad had bought to learn guitar, and taught myself just to flail chords to accompany my hollerin’ … I was happy but I’m not so sure the rest of my family was! I did have a few lessons on Blues guitar, just for a short while, but other than that, I have taught myself from listening to the rock’n’roll greats on records and radio.
BJR. It’s with a mahoosive Yeeeehaw, that we present to you our latest interview, with one of the most recognisable performers on the Rock n Roll circuit. And we don’t think he’ll mind, when we say that he’s not a newcomer, being the veteran of several albums and singles with his bands, the Tin Tax and more recently, the Star Tones.
So where did it all start for Rusti Steel?
RS Back in August/September 1977, a fella who went to the same church as me (who used to sing in bands in the early 60s), wanted to start up a band again. He knew I played guitar and he asked me to join him in forming a band. We picked up a lead guitarist, bass player and drummer, all from various different backgrounds and influences (the lead guitarist was influenced by Jimi Hendrix, Peter Frampton and the like, the first bass player was actually a drummer from the waterfront clubs in Hong Kong, and the drummer was in college, studying to be a classical composer … and the singer was into rock’n’roll but more into 70s Elvis).
This all contributed to a great diversity but certainly didn’t contribute to a good authentic rock’n’roll band! Still, it was a start and taught me the rudiments of playing live in the clubs … the hard way! Around 1979, I saw an ad in the paper for a country band looking for a singer and went for an audition … it turned out to actually be a dance band but their repertoire was based on country music … they wouldn’t let me play my guitar but I joined anyway as it was preferable to the first band. I left after a little while (when they asked me to stop shaking my legs and walk around the stage with my hand out instead … that just wasn’t me so I quit), and I started up my own Rockabilly band.
At last I was doing what I actually felt inside! After several changes of band name and members, it was getting to the stage where the rest of the band were going in a different direction from me … they were getting together and rehearsing Psycho type music, which was a far cry from the authentic Rockin’ stuff that I live for. So I told them I was quitting and I bought an old 4-track reel-to-reel tape recorder and a bass and was going to just record at home and stop playing live. At our penultimate gig, I met one of the bass players from an earlier version of the band, Stew (who is still playing bass for me now in the Star Tones). Stew had brought his friend, Ian Speller, with him. Ian asked if he could play my Gibson guitar after the gig and I let him but kept close as I am very careful who plays my Gibson. Wow! I remember he played “Just Because”… note for note perfect … and much more than that – FEEL perfect! That was how the Tin Tax started … I thought hard and fast, asked Ian and Stew there and then if they fancied starting a band up, they brought in John on drums … and Rusti Steel & the Tin Tax was borned. That was late 1985 … I’ve never looked back since…
BJR Who influenced you to first pick up a guitar, and are you self taught?
RS My dad was a preacher and he bought a guitar, intending to learn to play it and use it to sing gospel songs at the church. He didn’t get on with it very well, so it just stood there forlornly in the corner of our living room. I was 11 years old and well into Elvis … I wanted to sing like he did and be able to accompany myself on guitar like he did, so I picked up a couple of guitar books that my dad had bought to learn guitar, and taught myself just to flail chords to accompany my hollerin’ … I was happy but I’m not so sure the rest of my family was! I did have a few lessons on Blues guitar, just for a short while, but other than that, I have taught myself from listening to the rock’n’roll greats on records and radio.
BJR And how about the old ironing board (steel guitar)?
RS I originally played bottleneck blues guitar … I got a book and tuned my guitar to an open E and was happy makin’ a racket doin’ that as I dig the blues. Then I heard Hank Williams … and especially Don Helms on the steel guitar and fell headlong in love with lap or non-pedal steel. I had heard pedal steel before on Jim Reeves records and the like … and, to be honest, I couldn’t stand it … but, as soon as I heard Don Helms on those Hank records and the acoustic steel on Jimmie Rodgers records, I was hooked. I HAD to learn to play like that. So I tuned my guitar from open E to an E7 on the bass end with a 6th note added by tuning up the 2nd string 2 frets …
I didn’t know anything about proper steel tunings back then so I just made up something that sounded Hawaiian. Then I laid the guitar on its back across my knees and attempted to copy the 40s/early 50s non-pedal steel players. It was really hard to make it flow as I had to move all over the fretboard as I didn’t have the right tuning but I played like that for quite a while (the early Tin Tax recordings, including “Railroading Rhythm”, were all played in that tuning). Eventually I found the C6 and E6/E13 tunings and realized what a difference they made! I still use those tunings today.
BJR Do you play any other instruments?
RS I can make a few train sounds on the harmonica and play a few chords on the piano, but I’m mainly a guitar and steel fella.
BJR Where did the name Rusti Steel come from?
RS In one of our earlier bands, we all decided to have nicknames. At the time, I was tickled by the name of an original 50s rockabilly singer called Rusty Wellington, so I took “Rusty” as my nickname, but changed the “y” to an “i” just to be different. Then I simply added the surname “Steel” as I played steel guitar.
BJR Your favourite artists, singers, players. Can you narrow it down, whether they are from the past or today
RS There are some truly great players out there today, but my influences are all from the 30s, 40s and 50s ... there is such a “feel” in those old recordings that can never really be recaptured, though some do a real fine job in recreating that sound today! I know everyone must tell you this, but it truly is impossible to actually narrow it down. There are so many influences and so many fine musicians who have brought rock’n’roll to us. I guess if I really had to narrow it down, it would have to be Elvis primarily, as Elvis is the cat who got me into music in the first place, followed by Hank Williams because he got me first into Hillbilly music and the beautiful sound of “real steel”. But all the other classic rock’n’rollers, and the Rockabilly cats such as Johnny Burnette, Carl Perkins and all the other Sun cats, Sonny Fisher and the Starday boys, the other Hillbillies like Jimmie Rodgers, early Hank Snow, Ernest Tubb, etc., and the blues boys like Big Boy Crudup, Muddy Waters, Robert Nighthawk …. and then there's the players: Scotty Moore, Jimmy Bryant, Cliff Gallup, Grady Martin, etc. on guitar; Don Helms, Joaquin Murphey, Speedy West, etc. on steel... Y’see what I mean? … just can’t narrow it down really … they all have their own great, unique sound and, most importantly, TRUE FEEL … and all are such a great influence.
RS I originally played bottleneck blues guitar … I got a book and tuned my guitar to an open E and was happy makin’ a racket doin’ that as I dig the blues. Then I heard Hank Williams … and especially Don Helms on the steel guitar and fell headlong in love with lap or non-pedal steel. I had heard pedal steel before on Jim Reeves records and the like … and, to be honest, I couldn’t stand it … but, as soon as I heard Don Helms on those Hank records and the acoustic steel on Jimmie Rodgers records, I was hooked. I HAD to learn to play like that. So I tuned my guitar from open E to an E7 on the bass end with a 6th note added by tuning up the 2nd string 2 frets …
I didn’t know anything about proper steel tunings back then so I just made up something that sounded Hawaiian. Then I laid the guitar on its back across my knees and attempted to copy the 40s/early 50s non-pedal steel players. It was really hard to make it flow as I had to move all over the fretboard as I didn’t have the right tuning but I played like that for quite a while (the early Tin Tax recordings, including “Railroading Rhythm”, were all played in that tuning). Eventually I found the C6 and E6/E13 tunings and realized what a difference they made! I still use those tunings today.
BJR Do you play any other instruments?
RS I can make a few train sounds on the harmonica and play a few chords on the piano, but I’m mainly a guitar and steel fella.
BJR Where did the name Rusti Steel come from?
RS In one of our earlier bands, we all decided to have nicknames. At the time, I was tickled by the name of an original 50s rockabilly singer called Rusty Wellington, so I took “Rusty” as my nickname, but changed the “y” to an “i” just to be different. Then I simply added the surname “Steel” as I played steel guitar.
BJR Your favourite artists, singers, players. Can you narrow it down, whether they are from the past or today
RS There are some truly great players out there today, but my influences are all from the 30s, 40s and 50s ... there is such a “feel” in those old recordings that can never really be recaptured, though some do a real fine job in recreating that sound today! I know everyone must tell you this, but it truly is impossible to actually narrow it down. There are so many influences and so many fine musicians who have brought rock’n’roll to us. I guess if I really had to narrow it down, it would have to be Elvis primarily, as Elvis is the cat who got me into music in the first place, followed by Hank Williams because he got me first into Hillbilly music and the beautiful sound of “real steel”. But all the other classic rock’n’rollers, and the Rockabilly cats such as Johnny Burnette, Carl Perkins and all the other Sun cats, Sonny Fisher and the Starday boys, the other Hillbillies like Jimmie Rodgers, early Hank Snow, Ernest Tubb, etc., and the blues boys like Big Boy Crudup, Muddy Waters, Robert Nighthawk …. and then there's the players: Scotty Moore, Jimmy Bryant, Cliff Gallup, Grady Martin, etc. on guitar; Don Helms, Joaquin Murphey, Speedy West, etc. on steel... Y’see what I mean? … just can’t narrow it down really … they all have their own great, unique sound and, most importantly, TRUE FEEL … and all are such a great influence.
BJR Do you recall your first band and the first show or performance you put on?
RS My first band was called “Bloo Swayed” .. not the best of bands as I mentioned in the first question. We played our first show in February 1978 … we played for free in a club as payment for the club letting us rehearse there. I remember we only played 4 songs and then they asked us to play just one more and finish (we were bad!). The song we finished on was, ironically, “Don’t Leave Me Now”. I hasten to say I wasn’t the singer … just the rhythm guitarist.
After we came off stage, I just sat in the changing room and wouldn’t come out into the club room for fear I’d be lynched! It’s so stupid, looking back at it, as folks there didn’t care … they just wanted to see the main band, but I really was convinced they hated us that much. Eventually, I came out to pack away my kit … I tried to be as inconspicuous as possible but failed miserably when I unplugged the DJ’s mains power plug instead of my amp’s! I’m surprised I didn’t give up there and then but I knew there had to be better times…
BJR You also write your own material, are you a ‘sit down and write’ type of songwriter, or one that finds influence from out of the blue and takes it on from there?
RS I definitely have to wait for inspiration. I have tried sitting down and writing a song without inspiration and it doesn’t work for me … they always sound too contrived, don’t flow right, and certainly don’t have the “feel” that I have to have in a song to be happy with it … if it don’t move me, it just don’t cut it for me. Inspiration comes two ways to me … either by overhearing someone say a phrase that just hits me or by finding either a riff or chord progression that stands out to me. I have a guitar on a stand near me in my living room and I grab it any spare moment I have and fiddle about with it … sometimes something happens that inspires a new song …if it don’t, I still have fun just hittin’ the strings.
BJR Is there any one song that you always include in your sets, and indeed the band members, do they pitch ideas?
RS There’s a lot of songs that we just love so much that we have to include them … I tell ya, trying to cut down a set (if we’re just playing a short set at a festival, for example), is a real chore for me … I just find it so hard to omit some of the songs we play. The band members often come up with songs they’d like to do, especially when we’re listening to the DJ spinning tracks in between our sets … the DJ’ll play something and we’ll say, “we should put this in the set” … trouble is, more often than not, I’ve forgotten by the time I’m home. The band members all have slightly different influences so it gives us a more varied set when we all come up with songs we’d like to do.
BJR Do you find that occasionally you revisit a song that has been left out for a while, and kind of fall in love with it all over again
RS Yes, that does happen. A couple of prime examples are Pat Cupp’s “Long Gone Daddy” and Wayne Walker’s “All I Can Do Is Cry” … and, some of our own songs that we’ve recorded … after a while, we put in a new song and a song has to go, of course, to make room for it … but it’s great to meet up with them again somewhere farther down the road. Actually, that’s reminded me … I’ll have to get them back in the set!
BJR Lately you have been out and about doing a one-man-show. How did that come about, and what does it feel like being the solitary figure on stage?
RS I started the one-man show when I started singing and playing as a living … with the band (3piece and 4piece), the one-man show and a little bit of teaching, it’s just about do-able. I don’t mind being alone on stage … I don’t get too lonesome … I got the folks out there to share the evening with, especially when they get up on the dancefloor and keep me company. Anyhow, I recorded a fair few of the backing tracks myself with Stew playing the bass, so I have Stew’s company (at least virtually) on some of the songs.
BJR Any new projects or recordings in the future we should know bout?
RS We are booked in at Western Star for next January to record a new album … I’m busy writing songs at the moment for it and I know Stew and Andy are working on some songs .. and there’s a song that a fella in the US has offered to me to record, so I’m very much looking forward to cutting some new tracks. I am working on an acoustic solo set, without any backing tracks – just me and my ol’ guitar (as Jimmie Rodgers once sang) but I haven’t started gigging with it yet. I am also thinking of setting up a Hank Williams show with some top musicians but I’m not sure how much demand there will be for that in the Rockin’ clubs … just an idea at the moment but it’ll be SO cool if it comes off!
BJR What are your details for anyone who would like to contact you?
RS You can get me by telephone on 07826 312237 or by email, which is [email protected]. Or, you can message me via Facebook, of course; best on my own profile, which is under Paul Crosby … or my solo page, Rusti Steel, or band page, Rusti Steel and The Star Tones (but I see messages quicker on my own profile). If you’d like to book my band or my one-man show, please do get in touch as I’d love to hear from you … I love to play – I LIVE to play!
BJR Thank you for doing this interview for us. Y’all come back again now y’hear.
Thanks for asking me … and for all your great reviews … it really is much appreciated!
And thank you, everyone who has read this far, just thanks for reading this far … that is also really appreciated …see ya around!
RS My first band was called “Bloo Swayed” .. not the best of bands as I mentioned in the first question. We played our first show in February 1978 … we played for free in a club as payment for the club letting us rehearse there. I remember we only played 4 songs and then they asked us to play just one more and finish (we were bad!). The song we finished on was, ironically, “Don’t Leave Me Now”. I hasten to say I wasn’t the singer … just the rhythm guitarist.
After we came off stage, I just sat in the changing room and wouldn’t come out into the club room for fear I’d be lynched! It’s so stupid, looking back at it, as folks there didn’t care … they just wanted to see the main band, but I really was convinced they hated us that much. Eventually, I came out to pack away my kit … I tried to be as inconspicuous as possible but failed miserably when I unplugged the DJ’s mains power plug instead of my amp’s! I’m surprised I didn’t give up there and then but I knew there had to be better times…
BJR You also write your own material, are you a ‘sit down and write’ type of songwriter, or one that finds influence from out of the blue and takes it on from there?
RS I definitely have to wait for inspiration. I have tried sitting down and writing a song without inspiration and it doesn’t work for me … they always sound too contrived, don’t flow right, and certainly don’t have the “feel” that I have to have in a song to be happy with it … if it don’t move me, it just don’t cut it for me. Inspiration comes two ways to me … either by overhearing someone say a phrase that just hits me or by finding either a riff or chord progression that stands out to me. I have a guitar on a stand near me in my living room and I grab it any spare moment I have and fiddle about with it … sometimes something happens that inspires a new song …if it don’t, I still have fun just hittin’ the strings.
BJR Is there any one song that you always include in your sets, and indeed the band members, do they pitch ideas?
RS There’s a lot of songs that we just love so much that we have to include them … I tell ya, trying to cut down a set (if we’re just playing a short set at a festival, for example), is a real chore for me … I just find it so hard to omit some of the songs we play. The band members often come up with songs they’d like to do, especially when we’re listening to the DJ spinning tracks in between our sets … the DJ’ll play something and we’ll say, “we should put this in the set” … trouble is, more often than not, I’ve forgotten by the time I’m home. The band members all have slightly different influences so it gives us a more varied set when we all come up with songs we’d like to do.
BJR Do you find that occasionally you revisit a song that has been left out for a while, and kind of fall in love with it all over again
RS Yes, that does happen. A couple of prime examples are Pat Cupp’s “Long Gone Daddy” and Wayne Walker’s “All I Can Do Is Cry” … and, some of our own songs that we’ve recorded … after a while, we put in a new song and a song has to go, of course, to make room for it … but it’s great to meet up with them again somewhere farther down the road. Actually, that’s reminded me … I’ll have to get them back in the set!
BJR Lately you have been out and about doing a one-man-show. How did that come about, and what does it feel like being the solitary figure on stage?
RS I started the one-man show when I started singing and playing as a living … with the band (3piece and 4piece), the one-man show and a little bit of teaching, it’s just about do-able. I don’t mind being alone on stage … I don’t get too lonesome … I got the folks out there to share the evening with, especially when they get up on the dancefloor and keep me company. Anyhow, I recorded a fair few of the backing tracks myself with Stew playing the bass, so I have Stew’s company (at least virtually) on some of the songs.
BJR Any new projects or recordings in the future we should know bout?
RS We are booked in at Western Star for next January to record a new album … I’m busy writing songs at the moment for it and I know Stew and Andy are working on some songs .. and there’s a song that a fella in the US has offered to me to record, so I’m very much looking forward to cutting some new tracks. I am working on an acoustic solo set, without any backing tracks – just me and my ol’ guitar (as Jimmie Rodgers once sang) but I haven’t started gigging with it yet. I am also thinking of setting up a Hank Williams show with some top musicians but I’m not sure how much demand there will be for that in the Rockin’ clubs … just an idea at the moment but it’ll be SO cool if it comes off!
BJR What are your details for anyone who would like to contact you?
RS You can get me by telephone on 07826 312237 or by email, which is [email protected]. Or, you can message me via Facebook, of course; best on my own profile, which is under Paul Crosby … or my solo page, Rusti Steel, or band page, Rusti Steel and The Star Tones (but I see messages quicker on my own profile). If you’d like to book my band or my one-man show, please do get in touch as I’d love to hear from you … I love to play – I LIVE to play!
BJR Thank you for doing this interview for us. Y’all come back again now y’hear.
Thanks for asking me … and for all your great reviews … it really is much appreciated!
And thank you, everyone who has read this far, just thanks for reading this far … that is also really appreciated …see ya around!
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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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 Darrel Higham
Check out this line up for later in the year readers at the Rockabilly Ball in Camberly Surrey. If the name of the venue sounds familiar, yep, it's the place where the World Darts Championship is held. For the past couple of years, this has been the venue for the Eddie Cochran celebration gig, this year it's the Rockabilly Ball.
Email:- [email protected] Please note:- We accept no responsibility for any that are postponed or cancelled, please check with organisers and listings. |
remembering
Polo on stage at Lowestoft's Fireball Club
Mark ‘Polo’ Page
On the 11th March, the Rock n Roll circuit lost one of its true characters, Mark ‘Polo’ Page. He was a stalwart of the music scene in Norfolk and Norwich specifically in bands like the Smalltown Giants, the Leopard Trio and most recently, the Hal Wrayzor Combo.
We met him first around fifteen years ago, at the Starfighter club, and he soon latched on to our propensity to rub hand on our clothes before going out for a dance. That was the way he greeted us from then on, with a semi maniacal look on his face. He was always up for a joke, taking the mick out of the Bettajive Review, and suggesting he didn’t want a bad review in it. I told him that it would never happen as you had to be good to get in the Bettajive Review, which was met with pseudo-offence.
The world needs more Polos, not just as musicians and rock n rollers, but as human beings. The last time we saw him was playing with the Hal Wrayzor Combo at Kev and Tracey Starie’s wedding last summer, and we like many, had no idea he was unwell. He was just ‘Polo’, same hand rubs, same wide eyed look.
Our sincere condolences to his family and indeed close friends, many of whom have been lifelong friends.
A couple of other tribute we must pay this month. Keith Pinnell, best known as Fifties Flash recently passed away. So many people would have heard of and indeed been influenced by, Flash. He used to play regularly at the Queens Hotel in Southend Essex, and introduced loads of ‘new’ records to us youngsters. As daft as it sounds today, he was the first I heard play ‘Big Bounce’ by Shirley Caddell and ‘Beach Party’ by Bob Jaxon.
We offer our sincere condolences to his family and friends
We would also like to offer condolences to the family and friends of Catherine Gammon. Here was a lady who personified the joy that Rock n Roll music gives to people, especially when the Jets were playing. A fixture of many clubs in Kent, it was rare you saw her without a smile, and a Kent stage wasn’t complete without her and her mates accompanying the Jets to ‘Fine Fine Fine’
On the 11th March, the Rock n Roll circuit lost one of its true characters, Mark ‘Polo’ Page. He was a stalwart of the music scene in Norfolk and Norwich specifically in bands like the Smalltown Giants, the Leopard Trio and most recently, the Hal Wrayzor Combo.
We met him first around fifteen years ago, at the Starfighter club, and he soon latched on to our propensity to rub hand on our clothes before going out for a dance. That was the way he greeted us from then on, with a semi maniacal look on his face. He was always up for a joke, taking the mick out of the Bettajive Review, and suggesting he didn’t want a bad review in it. I told him that it would never happen as you had to be good to get in the Bettajive Review, which was met with pseudo-offence.
The world needs more Polos, not just as musicians and rock n rollers, but as human beings. The last time we saw him was playing with the Hal Wrayzor Combo at Kev and Tracey Starie’s wedding last summer, and we like many, had no idea he was unwell. He was just ‘Polo’, same hand rubs, same wide eyed look.
Our sincere condolences to his family and indeed close friends, many of whom have been lifelong friends.
A couple of other tribute we must pay this month. Keith Pinnell, best known as Fifties Flash recently passed away. So many people would have heard of and indeed been influenced by, Flash. He used to play regularly at the Queens Hotel in Southend Essex, and introduced loads of ‘new’ records to us youngsters. As daft as it sounds today, he was the first I heard play ‘Big Bounce’ by Shirley Caddell and ‘Beach Party’ by Bob Jaxon.
We offer our sincere condolences to his family and friends
We would also like to offer condolences to the family and friends of Catherine Gammon. Here was a lady who personified the joy that Rock n Roll music gives to people, especially when the Jets were playing. A fixture of many clubs in Kent, it was rare you saw her without a smile, and a Kent stage wasn’t complete without her and her mates accompanying the Jets to ‘Fine Fine Fine’
a bit of fun
During the Lockdown when most of this issue was put together we found a fun piece of kit on the internet. Google an animal, like panda, alligator or dog for example and if it is available, you can view it in 3D. Consequently, we had a panda crunching bamboo in our front room as well as an alligator, lion and dog.
How long before you can have your favourite singers in the lounge with you?
How long before you can have your favourite singers in the lounge with you?
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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:-
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Cheers 'til next month
Andrew and June
It's unlikely we will have any gigs to go to as the retsrictions on travel and gatherings are probably going to be still in place by then. We will continue to bring you CD and record reviews and aour big interview is with Hicksville Bomber, Dave Brown
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.
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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.
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Cheers 'til next month
Andrew and June
It's unlikely we will have any gigs to go to as the retsrictions on travel and gatherings are probably going to be still in place by then. We will continue to bring you CD and record reviews and aour big interview is with Hicksville Bomber, Dave Brown
