the bettajive review magazine #9
Dave Brown, our interviewee for this month
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Onto more happy things
Onto more happy things
The Bettajive Review
By Andrew Smith
Fool ‘em, and School ‘em. How about a bit of advice for and from the over 50’s? How do those over 50’s keep dancin’ all night long and never seem to tire? Why do they not need a team of paramedics with oxygen masks after the exertion of a night on the floor. How do we keep going in those Lockdown videos on Facebook? Well, I’ll let you into a secret, as we advance in years, so does our ability to fool you onlookers, whipper snappers, knockers and nay-sayers and definitely, Penn and Teller. +
Jiving, you know, can be pretty high impact. It’s as fast and as energetic as you want to make it. LaVern’s ‘Jim Dandy Got Married’ is quite a bouncy pace, while Smiley Lewis’ ‘Hook Line and Sinker’ is much quicker, and Johnny and the Hurricanes’ ‘Crossfire’ forget about it!. Indeed, there are those couples doing three or four on the trot. So, here’s how the smoke and mirrors world of the wily rockin’ dancer unfolds.
Take jive tunes like Jackie Wilson’s ‘Etcetera’, the song that launched a thousand dancefloors and a mere 2.26 minutes duration. Now, that doesn’t seem that long, however if you’re dancing to it full pelt, it can be like an eternity! So, allowing for the first twenty-six seconds for recognition, between fifteen and thirty seconds to alert your partner, stop them nattering/drinking/texting/eating Dortios/getting back from the toilets/trying to read flyer without glasses, and battle through the throng near the floor.
By Andrew Smith
Fool ‘em, and School ‘em. How about a bit of advice for and from the over 50’s? How do those over 50’s keep dancin’ all night long and never seem to tire? Why do they not need a team of paramedics with oxygen masks after the exertion of a night on the floor. How do we keep going in those Lockdown videos on Facebook? Well, I’ll let you into a secret, as we advance in years, so does our ability to fool you onlookers, whipper snappers, knockers and nay-sayers and definitely, Penn and Teller. +
Jiving, you know, can be pretty high impact. It’s as fast and as energetic as you want to make it. LaVern’s ‘Jim Dandy Got Married’ is quite a bouncy pace, while Smiley Lewis’ ‘Hook Line and Sinker’ is much quicker, and Johnny and the Hurricanes’ ‘Crossfire’ forget about it!. Indeed, there are those couples doing three or four on the trot. So, here’s how the smoke and mirrors world of the wily rockin’ dancer unfolds.
Take jive tunes like Jackie Wilson’s ‘Etcetera’, the song that launched a thousand dancefloors and a mere 2.26 minutes duration. Now, that doesn’t seem that long, however if you’re dancing to it full pelt, it can be like an eternity! So, allowing for the first twenty-six seconds for recognition, between fifteen and thirty seconds to alert your partner, stop them nattering/drinking/texting/eating Dortios/getting back from the toilets/trying to read flyer without glasses, and battle through the throng near the floor.
Us during the Lockdown DJ sessions
Observing floor etiquette, that is no soppy modern jive moves, or throwing your partner up among the bats into the roof trusses, no ploughing through, scything down couples like Boadicea’s* chariot, and tuck your key chain away so you’re not a human strimmer, all takes another few seconds. Wipe hands on appropriate garment and start the dance, by which time, both you and Jackie, are ‘No Professor but don’t think that I’m a fool’.
Avoid throwing yourself too enthusiastically into the first few moves, and looking like you’ve been poked by a cattle prod, as it’s easy to end up a complete nimrod when you run out of gas. Note those wise souls that adopt the ballroom and waltzing moves. As well as looking accomplished, you can also use it to get your breath back.
You might also want to steer clear of dancing to the group’s last song of their second set. Any such tune usually involves each member of the band being introduced, allowed to perform a brief, or not so brief solo, and the drummer will have the longest. At this point, you could be there sometime with the endless ‘dumdadadumdadadumdadam tsst tsst tsttssttss dumdadadum’ and you have to temper your future ability to actually walk, to looking uncool by leaving the floor early. And if it’s someone like Ray Collins Hot Club, there’s rather a lot of musician’s solos to get through.
Beware the group that performs Ersel Hickey’s ‘Going Down That Road’. Lazy ones tend to stretch out the ‘Boom Chicka Boom Bop Bop’ bit out ad nauseum. Similarly ‘What’d I Say’ can go on a bit. I saw a couple at a theatre show some years ago get up to jive to a Jerry Lee Lewis impersonator, who sang ‘What’d I Say’. They got slower and slower until with a defeated wave of the hands, they gave up.
Save on expensive rounds of drink, by wearing reading glasses while jiving. Take it from me readers, that’ll make your head spin!!
Oh, just a word about strollers. It’s not as energetic as the other two dances, in fact some ladies actually look bored sometime. However, this Charleston stroll piffle, is a little more energetic, so if you want some hints on how to last through the nine minute version of ‘Sing Sing Sing’, don’t ask me. If you’re dim enough to do it….tough!
Boppers now. If you hear the blues riff of a song you don’t know, chances are it sounds roughly dunnut dun da da da dadada, there’s probably a harmonica in there somewhere. Now blues boppers folks, not your frantic Rockabilly two minute jobbies, these are over three minutes long, and in many cases, fast. There was a guy who ran/runs a club, erm, somewhere shall we say, that always throws himself headlong into a bop tune. So much so, that we know he’s not got the fuel in the tank to keep the ‘itching-powder-in-bottom-cleavage’ moves going. He’s got the get out method to a ‘t’. As the fuel gauge gets low, he ensures he see someone in the crowd off the floor that it’s essential he communicate with…. right then!
How many times have you seen the air guitar employed? It’s not just posing readers, it’s an essential way of regaining your breath, but still maintaining the mystique. It’s better than ear cupping, that can look a little flakey or folk singer-y, and Elvis hip thrusts are really reserved for pub singers. Then there’s the triangle steps, walk round in steps making a three pointed object which doesn’t have to be equilateral, it can be isosceles, or even push the boat out and go full scalene (personal geometric preferences) during stops and slow parts. If you recognise a song like Gene’s ‘Tush Hog’, walk around, look empowered and sure, then join the throng after about a minute or two. Trust me, the kids will be flagging, and the fifty-something barely breaks a sweat.
Cooler than liquid nitrogen! Up here for thinking, so we retain down there for dancing
Avoid throwing yourself too enthusiastically into the first few moves, and looking like you’ve been poked by a cattle prod, as it’s easy to end up a complete nimrod when you run out of gas. Note those wise souls that adopt the ballroom and waltzing moves. As well as looking accomplished, you can also use it to get your breath back.
You might also want to steer clear of dancing to the group’s last song of their second set. Any such tune usually involves each member of the band being introduced, allowed to perform a brief, or not so brief solo, and the drummer will have the longest. At this point, you could be there sometime with the endless ‘dumdadadumdadadumdadam tsst tsst tsttssttss dumdadadum’ and you have to temper your future ability to actually walk, to looking uncool by leaving the floor early. And if it’s someone like Ray Collins Hot Club, there’s rather a lot of musician’s solos to get through.
Beware the group that performs Ersel Hickey’s ‘Going Down That Road’. Lazy ones tend to stretch out the ‘Boom Chicka Boom Bop Bop’ bit out ad nauseum. Similarly ‘What’d I Say’ can go on a bit. I saw a couple at a theatre show some years ago get up to jive to a Jerry Lee Lewis impersonator, who sang ‘What’d I Say’. They got slower and slower until with a defeated wave of the hands, they gave up.
Save on expensive rounds of drink, by wearing reading glasses while jiving. Take it from me readers, that’ll make your head spin!!
Oh, just a word about strollers. It’s not as energetic as the other two dances, in fact some ladies actually look bored sometime. However, this Charleston stroll piffle, is a little more energetic, so if you want some hints on how to last through the nine minute version of ‘Sing Sing Sing’, don’t ask me. If you’re dim enough to do it….tough!
Boppers now. If you hear the blues riff of a song you don’t know, chances are it sounds roughly dunnut dun da da da dadada, there’s probably a harmonica in there somewhere. Now blues boppers folks, not your frantic Rockabilly two minute jobbies, these are over three minutes long, and in many cases, fast. There was a guy who ran/runs a club, erm, somewhere shall we say, that always throws himself headlong into a bop tune. So much so, that we know he’s not got the fuel in the tank to keep the ‘itching-powder-in-bottom-cleavage’ moves going. He’s got the get out method to a ‘t’. As the fuel gauge gets low, he ensures he see someone in the crowd off the floor that it’s essential he communicate with…. right then!
How many times have you seen the air guitar employed? It’s not just posing readers, it’s an essential way of regaining your breath, but still maintaining the mystique. It’s better than ear cupping, that can look a little flakey or folk singer-y, and Elvis hip thrusts are really reserved for pub singers. Then there’s the triangle steps, walk round in steps making a three pointed object which doesn’t have to be equilateral, it can be isosceles, or even push the boat out and go full scalene (personal geometric preferences) during stops and slow parts. If you recognise a song like Gene’s ‘Tush Hog’, walk around, look empowered and sure, then join the throng after about a minute or two. Trust me, the kids will be flagging, and the fifty-something barely breaks a sweat.
Cooler than liquid nitrogen! Up here for thinking, so we retain down there for dancing
Is this me with Lockdown hair, bearing a resemblance to Jethro Tull circa 1970...
Dot…dot. Best tracks in the world ever ever to pluck your strings for this month are ‘A Dime at a Time’ by Charley Crockett, Curtis Gordon’s ‘So Tired of Cryin’ and ‘That Old Black Magic’ by the Clovers……Picking up on the many live shows we have seen on the internet this month, some of the standouts for you to check out in the future (if we are still stuck indoors for a while!!) Rockin’ Roland, Dave Willis, Jay Cee, Andy Garner, Andy Munday, Dave Flat Top Phillips with Vanessa, Simon Flintstone, Cat Talk Lee, Flat Top Mark, Gary Denton, the Bradford Dude as well as live music sets and songs from the great Charlie Gracie, Matt and his Peabody Ducks, Scotty Baker’s Elvis set, Sonny West and Dave Brown………..*For the completists, or pedants, Boudica, Boudicca or Buddug. I thank you…….Scotty Baker, showcasing his newest song on a live feed. Look out for ‘Kelsie’ sometime soon, might be the next ‘Pop The Question’ in the DJ box…….Don’t think for one moment we’ve been monging out on the sofa for the past month, watching music performances and DJs. Sometimes we move to the dining room…….Who is still rocking the lockdown hair length? *points to self*. As I write we’ve got another seven weeks to go potentially, anyone got a spare scrunchy for me ponytail DA?..........
The Pandemic Blues
Everyone knows that Rock n Roll music owes a lot to the Blues, the music and it’s performers. The Blues often involved getting up in the morning, dusting brooms, dying and being named after fruit. We thought we should pay homage to the Blues, here are some ‘First lines of Blues songs yet to be recorded’ starting with ‘Corpse Blues’ and the opening line ‘I Didn’t Wake Up This Morning’. ‘Apathetic Blues’ with ‘I Woke Up……..Whenever’. ‘Broken Alarm Clock Blues’ starting with ‘I woke up this afternoon’, ‘Deer Birthing Blues’ -‘I woke up this fawning’, the camping based ‘Lean-to Tent Blues’ - ‘I woke up this awning’, ‘Tadpole Blues’- ‘I woke up this spawning’ ‘Norfolk Broads Village Blues’ with ‘I woke up in Horning’
How about ‘Surrealist Blues’ with ‘I Woke Up a Fish’ the saucy ‘Bare Bottom Blues’ with ‘I Woke Up This Mooning’ or ‘The Dyslexic Blues’ with ‘I Wkoe Tihs Pu Morzoninplatz’ (and before I get complaints, this condition does exist in the Smith household!). Some modern day blues and ‘Text Message Blues’ with ‘I Wk Up Ths Mnng…LOL’ Chancing my arm here with ‘PMS Blues’ and ‘I woke up this morning, not that I slept anyway, but does anyone care, do they hell, and look at the state of this place, that’s it, just leave it to me, as always (etc etc)’ (I’m so not going to get away with that one!) The squelchy ‘Incontinence Blues’ with ‘I woke up this…..eeeeeeeeeeeww!’ ‘Learning Latin Blues’ with ‘Ego expergefactus hoc mane’ ‘Gansta Rap Blues’ with ‘I Woke Up This Mutha ****in’ Mornin’, Hoe’ and finally for now ‘No More Ideas Blues’ with ‘I Woke Up-------Errrrrmmm,’
The Pandemic Blues
Everyone knows that Rock n Roll music owes a lot to the Blues, the music and it’s performers. The Blues often involved getting up in the morning, dusting brooms, dying and being named after fruit. We thought we should pay homage to the Blues, here are some ‘First lines of Blues songs yet to be recorded’ starting with ‘Corpse Blues’ and the opening line ‘I Didn’t Wake Up This Morning’. ‘Apathetic Blues’ with ‘I Woke Up……..Whenever’. ‘Broken Alarm Clock Blues’ starting with ‘I woke up this afternoon’, ‘Deer Birthing Blues’ -‘I woke up this fawning’, the camping based ‘Lean-to Tent Blues’ - ‘I woke up this awning’, ‘Tadpole Blues’- ‘I woke up this spawning’ ‘Norfolk Broads Village Blues’ with ‘I woke up in Horning’
How about ‘Surrealist Blues’ with ‘I Woke Up a Fish’ the saucy ‘Bare Bottom Blues’ with ‘I Woke Up This Mooning’ or ‘The Dyslexic Blues’ with ‘I Wkoe Tihs Pu Morzoninplatz’ (and before I get complaints, this condition does exist in the Smith household!). Some modern day blues and ‘Text Message Blues’ with ‘I Wk Up Ths Mnng…LOL’ Chancing my arm here with ‘PMS Blues’ and ‘I woke up this morning, not that I slept anyway, but does anyone care, do they hell, and look at the state of this place, that’s it, just leave it to me, as always (etc etc)’ (I’m so not going to get away with that one!) The squelchy ‘Incontinence Blues’ with ‘I woke up this…..eeeeeeeeeeeww!’ ‘Learning Latin Blues’ with ‘Ego expergefactus hoc mane’ ‘Gansta Rap Blues’ with ‘I Woke Up This Mutha ****in’ Mornin’, Hoe’ and finally for now ‘No More Ideas Blues’ with ‘I Woke Up-------Errrrrmmm,’
Mischief (library picture!)
The Bettajive Lockdown Diaries
Live Stream mit Misschief. That was what it said readers, as we scanned for some more live rockin’ from our front room. Well that can only be one band, the three lads from Utrecht in the Netherlands, playing at an underground music venue DB’s in that town, what’s not to like? A few records either side of the live show from DJ Peggy Lee and it almost felt like you were there.
No street clothes from Daze, Pat and Richard, attention to detail is the name of the game with Mischief, as they looked sharp in the subdued lighting of the club. All the Mischief favourites were there, like ‘Sweet Lovin’ Kind’ from 2002, which drew the enthusiastic stage gyrations on guitar by Daze. Cracking song that one folks. Loving the harmonies on ‘This Little Girl of Mine’ Rusty and Doug’s ‘Hey Mae’ Guy Mitchell’s ‘Heartaches by the Number and Don & Dewey’s ‘Leaving it all Up To You’.
Rockin’ it out as well, we had Keith Coverdale’s ‘Trapped Love’ and Al Ferrier’s ‘Blues Stop Knocking at My Door’. There was even time for a bit of ‘Marie Marie’, Daze’s laugh-out-loud ‘Grow Up’ and to top it all off ‘Let’s Dance’.
A super way to spend an evening watching from the armchair among a sea of tea and wall of cow biscuits (though of course we’d rather have been there
Live Stream mit Misschief. That was what it said readers, as we scanned for some more live rockin’ from our front room. Well that can only be one band, the three lads from Utrecht in the Netherlands, playing at an underground music venue DB’s in that town, what’s not to like? A few records either side of the live show from DJ Peggy Lee and it almost felt like you were there.
No street clothes from Daze, Pat and Richard, attention to detail is the name of the game with Mischief, as they looked sharp in the subdued lighting of the club. All the Mischief favourites were there, like ‘Sweet Lovin’ Kind’ from 2002, which drew the enthusiastic stage gyrations on guitar by Daze. Cracking song that one folks. Loving the harmonies on ‘This Little Girl of Mine’ Rusty and Doug’s ‘Hey Mae’ Guy Mitchell’s ‘Heartaches by the Number and Don & Dewey’s ‘Leaving it all Up To You’.
Rockin’ it out as well, we had Keith Coverdale’s ‘Trapped Love’ and Al Ferrier’s ‘Blues Stop Knocking at My Door’. There was even time for a bit of ‘Marie Marie’, Daze’s laugh-out-loud ‘Grow Up’ and to top it all off ‘Let’s Dance’.
A super way to spend an evening watching from the armchair among a sea of tea and wall of cow biscuits (though of course we’d rather have been there
Rockin’ Disinfection Party. Toward the end of April Danny Brown put on an evening of live music, DJs and videos from the extensive Bopflix catalogue. Now I’m a bit of a luddite when it comes to computing, I know I know you’d think with a website I’d be a little bit savvy. This site is as simple as ‘do you want this picture here yes/no’. So to set up an evening of live feeds is quite something.
We got to see the Brown family, Dave, Sharna-Mae and Scott play a varied set, Dylan Kirk’s wizardry of the eighty eight keys, with John Macleod, The Marizanos (Sal and Carrie), Jungle Jim in Sweden and Craig Simpson spinning some top tunes.
These types of parties online just highlight the talent we have on the Rock n Roll music circuit (I’m sure it’s the case among other music styles!!). Stripped down and acoustic sounds, just guitars or piano.
Next time we will relate the recent Hemsby weekender, which of course took place online. Also, check out this event upcoming. The Keith Turner Revue, virtually taking place this year. It's gonna be a good one. Click the flyer for details
We got to see the Brown family, Dave, Sharna-Mae and Scott play a varied set, Dylan Kirk’s wizardry of the eighty eight keys, with John Macleod, The Marizanos (Sal and Carrie), Jungle Jim in Sweden and Craig Simpson spinning some top tunes.
These types of parties online just highlight the talent we have on the Rock n Roll music circuit (I’m sure it’s the case among other music styles!!). Stripped down and acoustic sounds, just guitars or piano.
Next time we will relate the recent Hemsby weekender, which of course took place online. Also, check out this event upcoming. The Keith Turner Revue, virtually taking place this year. It's gonna be a good one. Click the flyer for details
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The next Rockabilly Blowout event is selling well. As you would have read a couple of issues ago, it's quality all the way. All in memory of James Robson, (pictured, and funds go to Asthma UK
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interview with Dave Brown
Dave Brown, singer, songwriter, guitarist and vocalist in bands like the Hicksville Bombers, The Hadacol Hotshots and Country Cattin’, has been a stalwart of the Rock n Roll circuit for many years. Probably more than he’d like to put into actual numbers! In between that, there’s the day job too, he’s a postie, and carp fishing. And occasionally he breathes!
We’ve lost count of the number of times we’ve seen Dave on stage, but it’s rare that we actually get to have a conversation without yelling over music. So we decided it was about time, we got our man to take part in our interview section. We start as we do by asking the ‘obvious’ question
So where did it all start for the young Dave Brown? How did you get into Rock n Roll music and the style?
DB- Hi Andy and June, I hope your keeping well in all these mad times.
Right, I think I was about 8 or 9 I saw Sid Vicious from the Sex Pistols riding a motor bike without a helmet singing a song called ‘C’mon everybody’ and I thought WOW, around about the same time Elvis died and I wondered what all the fuss was about so I got into Elvis, I also had a massive crush on Blondie and I soon found out Sid and Debbie where doing covers of Eddie Cochran and Buddy Holly.
I was about 14 when my best mate at school took me with his parents to see his uncle play guitar in a local band called Memphis, then the following week the band took us both to Horncastle to see Crazy Cavan, Jets Ronnie Dawson and we were hooked.
We started to go to local rockabilly nights and followed Memphis and regularly got up to do the backing on ‘Teenage Boogie’ and ‘I’m Coming Home’. We both got ‘Billy haircuts’ and would actively defend and preach our new religion to everyone. Once in the sixth form we ended up doing psychobilly and next day the head master told us to stop playing the ‘Shagabilly music as its dangerous’ we howled while sitting cross legged on the floor with our aluminous socks, baseball boots, Billy Haircts and flick combs.
Great times lol.
BJR Who influenced you to first pick up a guitar, and are you self-taught?
DB- I was 15 sat with my rockin’ mate in the library, when he announced Memphis were splitting up. We were gutted, so I said, right we will start a band, neither of us could play or knew if we could sing. But my mate Mark said he’d get guitar lessons of his uncle, and I’d borrow my dad’s guitar, we would practice every night and we even started going to school to get registered then sneak out the back gate to practice our playing. This worked for a while until the school caught on. They threatened to expel us, until our eyes lit up and we said, ‘great we can practice more’, they changed their minds and put us on report instead lol.
Still fifteen, after only a few months practising Mark’s uncle offered us our first gig at The Nags Head in Boston. We called ourselves the Rockin’ Imps and we played everything we knew from ‘Flying Saucers Rock’n’roll’, Red Hot, to Bill Haley, Eddie Cochran, Gene etc.,
I’ve never had a guitar lesson, but I would watch everything Mark learnt of his uncle and my dad helped me with a few chords the rest was books and practice.
We’ve lost count of the number of times we’ve seen Dave on stage, but it’s rare that we actually get to have a conversation without yelling over music. So we decided it was about time, we got our man to take part in our interview section. We start as we do by asking the ‘obvious’ question
So where did it all start for the young Dave Brown? How did you get into Rock n Roll music and the style?
DB- Hi Andy and June, I hope your keeping well in all these mad times.
Right, I think I was about 8 or 9 I saw Sid Vicious from the Sex Pistols riding a motor bike without a helmet singing a song called ‘C’mon everybody’ and I thought WOW, around about the same time Elvis died and I wondered what all the fuss was about so I got into Elvis, I also had a massive crush on Blondie and I soon found out Sid and Debbie where doing covers of Eddie Cochran and Buddy Holly.
I was about 14 when my best mate at school took me with his parents to see his uncle play guitar in a local band called Memphis, then the following week the band took us both to Horncastle to see Crazy Cavan, Jets Ronnie Dawson and we were hooked.
We started to go to local rockabilly nights and followed Memphis and regularly got up to do the backing on ‘Teenage Boogie’ and ‘I’m Coming Home’. We both got ‘Billy haircuts’ and would actively defend and preach our new religion to everyone. Once in the sixth form we ended up doing psychobilly and next day the head master told us to stop playing the ‘Shagabilly music as its dangerous’ we howled while sitting cross legged on the floor with our aluminous socks, baseball boots, Billy Haircts and flick combs.
Great times lol.
BJR Who influenced you to first pick up a guitar, and are you self-taught?
DB- I was 15 sat with my rockin’ mate in the library, when he announced Memphis were splitting up. We were gutted, so I said, right we will start a band, neither of us could play or knew if we could sing. But my mate Mark said he’d get guitar lessons of his uncle, and I’d borrow my dad’s guitar, we would practice every night and we even started going to school to get registered then sneak out the back gate to practice our playing. This worked for a while until the school caught on. They threatened to expel us, until our eyes lit up and we said, ‘great we can practice more’, they changed their minds and put us on report instead lol.
Still fifteen, after only a few months practising Mark’s uncle offered us our first gig at The Nags Head in Boston. We called ourselves the Rockin’ Imps and we played everything we knew from ‘Flying Saucers Rock’n’roll’, Red Hot, to Bill Haley, Eddie Cochran, Gene etc.,
I’ve never had a guitar lesson, but I would watch everything Mark learnt of his uncle and my dad helped me with a few chords the rest was books and practice.
BJR What influenced your choice of guitar, taking your orange Gretsch as your Hicksville Bombers’ go-to?
DB – I’ve always been an Eddie Cochran fan (who isn’t?), but my first guitar was an Antoria Les Paul, then a Fender Strat, then a Gretsch double anniversary that got stolen and although I had it insured and got the money, I couldn’t find a good playable Gretsch. I used a Gibson ES135 till the Gretsch 6120WEC model came out, my tongue hit the floor and I had to have it, this was the Eddie Cochran Gretsch before they did the signature series and it never lets me down, stays in tune and very rarely breaks a string.
BJR Other than acoustic and electric guitar do you play any other instruments?
DB- I do have a double bass, 2 banjo’ a mandolin and a resonator guitar.
BJR Now to your favourite artists, singers, players. Can you narrow it down, whether they are from the past or today?
DB – I am a big music lover, I love rockabilly, blues, hillbilly, RnR, country, western swing, these have the best sound to me. I also love neo, early psycho, bit of new wave punk. I love songs that are well written and I’m well into song-writing, if a song can change your mood or really make you listen then its great.
BJR When did you form the Hicksville Bombers, and who or what influenced the name choice?
DB – I just came back from a 3 month tour of Dubai with a club cabaret band and I walked into the local job centre. On the board, was a job listing for a guitarist to join Cottie & The Allycats. I got in touch but they had just took someone on, and gave my number to Pete O’Brien (Geordie). We got together with Bryn Jones, they had been doing a band called Amboy Jukes at the time. We hit it off great, and went around every pub/club in Lincoln giving our card out. We played 4/5 gigs week on the coast and everywhere, we played the local night clubs giving us celebrity status in our home town, great memories lol.
The Hicksville Bombers came about Pete had a postcard the said ‘This place is so ‘Hicksville’ meaning out in the sticks like Lincoln and Lincoln is famous for its wartime Bomber planes so ‘The Hicksville Bombers’
BJR And naturally we need background on your other two current bands, the Hadacol Hotshots and Country Cattin’. Where do those influences come from?
DB - I have always been a massive fan of Hillbilly music and the early Elvis’ Sun sound. One day a young lad, Nathan Young, came to my house and said could I teach him guitar. We had a jam, but he was already an awesome player so I suggested we get together with Paul Chambers (Blue Dots) as he loves Hillbilly too and we’ll give it a go. We called the band Country Cattin’ after my favourite song by Jimmy Swan. I wrote a few songs and recorded an album with Vampirella records. This got us a few gigs abroad and some Country festivals.
A few years later Chris Cummings who played in Country Cattin’ also played in the Del Rio Ramblers but one night their singer left the band and Chris asked if I could help them out with the booked gigs, We did it as Country Cattin’ with Paul on fiddle and Ray on bass, we carried it on and called us The Hadacol Hotshots,
BJR You also write your own material for the band, what’s your process with song-writing? Do you take influence from everyday stuff or get ideas whilst out on the day job or carp fishing 😊
DB - I love song writing, listening as well as writing, I am always searching for a word or a phrase, sometimes a story, but I’ve woken up in the middle of the night writing a song. I written a song on the back of an envelope whilst out delivering and asking for the envelope back, have just written a sad country song, got the word Fake whiskey in my head and wrote about being drunk but its fake whiskey as I still hurt. I’ve sent it to Cody Wickline after we did a tour with him in Norway, and yes I have written songs while fishing especially when they ‘re not biting lol, checkout The Hadacol Hotshots ‘Fishing at the Fishing Lake’
BJR Is there any one song that you always include in your sets, (I’m thinking ‘Playboy’ being one we always hear) and indeed the band members, do they pitch ideas?
DB- Ive always loved ‘Playboy’ it’s a great song as well as ‘I’m Coming Home’, ‘C’mon Everybody’, but there is nothing better than being on stage singing a song you have written and the audience shouting back to the words to you. The last Hicksville Bombers album ‘Danger Road’ was a huge success, with Landon and Paul giving suggestions and ideas to the songs. I would write a song and Paul would say how a about a cowbell put here then Landon would suggest a bass riff, then suddenly the song is way different to what I thought and so much better. The album got us to Number 1in the rockin’ charts.
DB – I’ve always been an Eddie Cochran fan (who isn’t?), but my first guitar was an Antoria Les Paul, then a Fender Strat, then a Gretsch double anniversary that got stolen and although I had it insured and got the money, I couldn’t find a good playable Gretsch. I used a Gibson ES135 till the Gretsch 6120WEC model came out, my tongue hit the floor and I had to have it, this was the Eddie Cochran Gretsch before they did the signature series and it never lets me down, stays in tune and very rarely breaks a string.
BJR Other than acoustic and electric guitar do you play any other instruments?
DB- I do have a double bass, 2 banjo’ a mandolin and a resonator guitar.
BJR Now to your favourite artists, singers, players. Can you narrow it down, whether they are from the past or today?
DB – I am a big music lover, I love rockabilly, blues, hillbilly, RnR, country, western swing, these have the best sound to me. I also love neo, early psycho, bit of new wave punk. I love songs that are well written and I’m well into song-writing, if a song can change your mood or really make you listen then its great.
BJR When did you form the Hicksville Bombers, and who or what influenced the name choice?
DB – I just came back from a 3 month tour of Dubai with a club cabaret band and I walked into the local job centre. On the board, was a job listing for a guitarist to join Cottie & The Allycats. I got in touch but they had just took someone on, and gave my number to Pete O’Brien (Geordie). We got together with Bryn Jones, they had been doing a band called Amboy Jukes at the time. We hit it off great, and went around every pub/club in Lincoln giving our card out. We played 4/5 gigs week on the coast and everywhere, we played the local night clubs giving us celebrity status in our home town, great memories lol.
The Hicksville Bombers came about Pete had a postcard the said ‘This place is so ‘Hicksville’ meaning out in the sticks like Lincoln and Lincoln is famous for its wartime Bomber planes so ‘The Hicksville Bombers’
BJR And naturally we need background on your other two current bands, the Hadacol Hotshots and Country Cattin’. Where do those influences come from?
DB - I have always been a massive fan of Hillbilly music and the early Elvis’ Sun sound. One day a young lad, Nathan Young, came to my house and said could I teach him guitar. We had a jam, but he was already an awesome player so I suggested we get together with Paul Chambers (Blue Dots) as he loves Hillbilly too and we’ll give it a go. We called the band Country Cattin’ after my favourite song by Jimmy Swan. I wrote a few songs and recorded an album with Vampirella records. This got us a few gigs abroad and some Country festivals.
A few years later Chris Cummings who played in Country Cattin’ also played in the Del Rio Ramblers but one night their singer left the band and Chris asked if I could help them out with the booked gigs, We did it as Country Cattin’ with Paul on fiddle and Ray on bass, we carried it on and called us The Hadacol Hotshots,
BJR You also write your own material for the band, what’s your process with song-writing? Do you take influence from everyday stuff or get ideas whilst out on the day job or carp fishing 😊
DB - I love song writing, listening as well as writing, I am always searching for a word or a phrase, sometimes a story, but I’ve woken up in the middle of the night writing a song. I written a song on the back of an envelope whilst out delivering and asking for the envelope back, have just written a sad country song, got the word Fake whiskey in my head and wrote about being drunk but its fake whiskey as I still hurt. I’ve sent it to Cody Wickline after we did a tour with him in Norway, and yes I have written songs while fishing especially when they ‘re not biting lol, checkout The Hadacol Hotshots ‘Fishing at the Fishing Lake’
BJR Is there any one song that you always include in your sets, (I’m thinking ‘Playboy’ being one we always hear) and indeed the band members, do they pitch ideas?
DB- Ive always loved ‘Playboy’ it’s a great song as well as ‘I’m Coming Home’, ‘C’mon Everybody’, but there is nothing better than being on stage singing a song you have written and the audience shouting back to the words to you. The last Hicksville Bombers album ‘Danger Road’ was a huge success, with Landon and Paul giving suggestions and ideas to the songs. I would write a song and Paul would say how a about a cowbell put here then Landon would suggest a bass riff, then suddenly the song is way different to what I thought and so much better. The album got us to Number 1in the rockin’ charts.
BJR Today of course, you have the next generation of the Brown family coming through on the circuit. Naturally your children would have been exposed to your music style while growing up. Did you as parents let Sharna Mae and Scott find their own musical path?
DB- Of course Sharna-mae and Scott have been brought up on Rockin’ and country music, I have never forced anything on them but they have both had guitars and music in their bedrooms. One day, Sharna-mae said to me ‘Dad I’m trying to do a band at school and they just mess around’, so I said ‘Learn a few of our type songs and do them with us’. She did a couple of gigs, but then I had a Country Cattin’ gig at The Rockabilly Rave so I took her, and she was converted to rockabilly on the spot. A few weeks later Stacey and I got called into parents evening and they tried to tell us to tell Sharna-mae off for not singing Adele and wanting to sing someone called Wanda Jackson. I said that is brilliant I don’t want her to sing Adele either lol.
Scott one Christmas day was playing a plastic guitar on the X-Box, so I got my real guitar out and sat next to him playing it for real. He said ‘WOW that’s great’, and he hasn’t put it down since.
BJR With all the restrictions (NB this interview was conducted during the national UK lockdown during the Covid-19 crisis) in place, what does a musician ‘do’ with the time that they’d usually be rehearsing or playing?
DB – These are really strange times and this April I was booked for The Good Rockin’ tonight festival in France with The Hadacol Hotshots, I was really looking forward to as it would have been our first gig abroad with Scott on guitar and we would be seeing our friend Hayden Thompson again.
The week after, again in France with The Hicksville Bombers. We have just had Holland cancelled for the Hotshots in June, as well as loads of normal gigs, money is bad because although in really busy being a postman I still have to pay a van loan and an accountant every month with no income from the gigs so I’m £350 down from my day job.
But with every cloud there is a silver lining and as Sharna-mae, Scott and myself are at home and no gigs, we have researched and teaching ourselves to record and film at home We have called ourselves The Brownsville Lockdowners and have already done a few live stream and videos. It’s a massive learning curve, but we are getting there and we have started to get tips and donations from fans and followers, it all helps with buying equipment and streaming subscriptions, and we are managing to keep people entertained in these dark times.
BJR So are there any projects in the pipeline, hot to trot once we get the green light to carry on again?
DB- The Hicksville Bombers have just released a single and I’m sure the DJ’s will be playing it at the hops. The Hadacol Hotshots are halfway through an album. The Brownsville Lockdowners will be releasing an album very soon, most of this years big festivals have moved us to next year. The Bombers will have a CD released later in the year as well.
As I’m getting better at the Live streaming a can’t wait to do it with Landon and Paul as the Bombers and with Chris Cummings, Ray Walmsley, Gaynor Sutcliffe and Scott with The Hadacol Hotshots
BJR What are your details for anyone who would like to contact you?
DB- all contacts on facebook go to me or
dave@hicksvillebombers.com
countrycattin@ntlworld.com
brownsvillelockdowners@gmail.com
07846546320
BJR Thank you Dave for doing this for us
It’s a pleasure and a big thank-you to you both (Andy & June) for all you do with the rockin’ scene. I know we all do it for the love of it and it is hard work and you both do your share.but what else would we do? Apart from fishing lol.
DB- Of course Sharna-mae and Scott have been brought up on Rockin’ and country music, I have never forced anything on them but they have both had guitars and music in their bedrooms. One day, Sharna-mae said to me ‘Dad I’m trying to do a band at school and they just mess around’, so I said ‘Learn a few of our type songs and do them with us’. She did a couple of gigs, but then I had a Country Cattin’ gig at The Rockabilly Rave so I took her, and she was converted to rockabilly on the spot. A few weeks later Stacey and I got called into parents evening and they tried to tell us to tell Sharna-mae off for not singing Adele and wanting to sing someone called Wanda Jackson. I said that is brilliant I don’t want her to sing Adele either lol.
Scott one Christmas day was playing a plastic guitar on the X-Box, so I got my real guitar out and sat next to him playing it for real. He said ‘WOW that’s great’, and he hasn’t put it down since.
BJR With all the restrictions (NB this interview was conducted during the national UK lockdown during the Covid-19 crisis) in place, what does a musician ‘do’ with the time that they’d usually be rehearsing or playing?
DB – These are really strange times and this April I was booked for The Good Rockin’ tonight festival in France with The Hadacol Hotshots, I was really looking forward to as it would have been our first gig abroad with Scott on guitar and we would be seeing our friend Hayden Thompson again.
The week after, again in France with The Hicksville Bombers. We have just had Holland cancelled for the Hotshots in June, as well as loads of normal gigs, money is bad because although in really busy being a postman I still have to pay a van loan and an accountant every month with no income from the gigs so I’m £350 down from my day job.
But with every cloud there is a silver lining and as Sharna-mae, Scott and myself are at home and no gigs, we have researched and teaching ourselves to record and film at home We have called ourselves The Brownsville Lockdowners and have already done a few live stream and videos. It’s a massive learning curve, but we are getting there and we have started to get tips and donations from fans and followers, it all helps with buying equipment and streaming subscriptions, and we are managing to keep people entertained in these dark times.
BJR So are there any projects in the pipeline, hot to trot once we get the green light to carry on again?
DB- The Hicksville Bombers have just released a single and I’m sure the DJ’s will be playing it at the hops. The Hadacol Hotshots are halfway through an album. The Brownsville Lockdowners will be releasing an album very soon, most of this years big festivals have moved us to next year. The Bombers will have a CD released later in the year as well.
As I’m getting better at the Live streaming a can’t wait to do it with Landon and Paul as the Bombers and with Chris Cummings, Ray Walmsley, Gaynor Sutcliffe and Scott with The Hadacol Hotshots
BJR What are your details for anyone who would like to contact you?
DB- all contacts on facebook go to me or
dave@hicksvillebombers.com
countrycattin@ntlworld.com
brownsvillelockdowners@gmail.com
07846546320
BJR Thank you Dave for doing this for us
It’s a pleasure and a big thank-you to you both (Andy & June) for all you do with the rockin’ scene. I know we all do it for the love of it and it is hard work and you both do your share.but what else would we do? Apart from fishing lol.
Boston Jive event announcements
**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
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
Claire and Neil Seabrook, your hosts for Hot Rock n Boogie
Dear All,
As I’m sure many of you expected, with truly heavy hearts and due to the current COVID-19 pandemic we postponed 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 were beyond gutted, as we have spent a whole year planning this weekender and poured 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 was 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.
As I’m sure many of you expected, with truly heavy hearts and due to the current COVID-19 pandemic we postponed 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 were beyond gutted, as we have spent a whole year planning this weekender and poured 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 was 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.
The Rockabilly rave
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
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Racketeer Radio launched Jan. 1st 2020. Beginning then Racketeer Radio played 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 here www.RacketeerRadio.com www.instagram.com/Racketeer_Radio |
Obituaries
Young Jessie at the Rhythm Riot
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Young Jessie
Obediah Donnell "Obie" Jessie (December 28, 1936 – April 27, 2020) was a massively popular artist with fans in Europe, and indeed the world. Performances at UK festivals like the Rhythm Riot remain fondly in the memory for us. He was a genial character that always looked sharp, see our picture taken at his final Rhythm Riot show. Jessie recorded with the Flairs before signing as a solo act with legendary writers/producers Jerry Lieber and Mike Stoller, when he changed his name from Obie Jessie to Young Jessie. He wrote and recorded ‘Mary Lou’, which was covered widely over the years, and the following year, co-wrote ‘Hit, Git & Split’, viewed with furrowed brows due to its (possible) risqué connotations. A short association with the Coasters in ’57 was also followed by his own record, the classic ‘Shuffle in the Gravel’. Whether it was his first recording on Modern in 1954 of ‘I Smell a Rat’ or the later Jazz recordings and performances, Jessie was one of music’s most robust characters, with a career spanning seven decades |
A seminal classic!
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Little Richard in 'The Girl Can't Help It'
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Little Richard
The music world set goodbye to one of the last remaining pioneers of Rock n Roll, Little Richard, on May 20th, aged 87. Richard Wayne Penniman was born on December 5th 1932 in Macon, Georgia. He had a variety of The Innovator, The Architect of Rock n Roll, The Originator and the Georgia Peach. He referred to himself as the King and Queen of Rock n Roll.
My first memory was on a compilation album ‘Story of Pop’, when suddenly this vocal blast of "A-wop-bop-a-loo-bop-a-wop-bam-boom!" rattled out of the speakers. Yes ‘Tutti Frutti’ was the first Little Richard song for me. His recording and performing career spanned seven decades, and his songs are etched onto the playlists of fans and DJs alike. ‘Good Golly Miss Molly’, ‘She’s Got It’, ‘The Girl Can’t Help It’, ‘Lucille’, ‘Long Tall Sally’, ‘Little Richard Boogie’, ‘Jenny Jenny’, ‘Ooh My Soul’, ‘Get Rich Quick’, ‘Baby Face’, ‘Hey Hey Hey Hey’, ‘I Got It’, ‘Rip It Up’ and ‘Keep a’ Knockin’. Just a few that immediately spring to mind from the gold mine of Richard’s immense catalogue.
He was inducted into the Rock n Roll Hall of Fame in 1986, but was unable to attend due to his broken leg and ribs, sustained in a road accident after taping an episode of Miami Vice. Many will recall those early film appearances in iconic Rock n Roll films ‘The Girl Can’t Help It’, ‘Don’t Knock The Rock’ and ‘Mister Rock n Roll’. He has a star on the Hollywood Walk of Fame, and has a Lifetime Achievement Award from the Rhythm and Blues Foundation, along with a number of other prestigious awards.
An immense talent, that influenced so many artists that followed, and was adored by fans all over the world
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. Many thanks
The music world set goodbye to one of the last remaining pioneers of Rock n Roll, Little Richard, on May 20th, aged 87. Richard Wayne Penniman was born on December 5th 1932 in Macon, Georgia. He had a variety of The Innovator, The Architect of Rock n Roll, The Originator and the Georgia Peach. He referred to himself as the King and Queen of Rock n Roll.
My first memory was on a compilation album ‘Story of Pop’, when suddenly this vocal blast of "A-wop-bop-a-loo-bop-a-wop-bam-boom!" rattled out of the speakers. Yes ‘Tutti Frutti’ was the first Little Richard song for me. His recording and performing career spanned seven decades, and his songs are etched onto the playlists of fans and DJs alike. ‘Good Golly Miss Molly’, ‘She’s Got It’, ‘The Girl Can’t Help It’, ‘Lucille’, ‘Long Tall Sally’, ‘Little Richard Boogie’, ‘Jenny Jenny’, ‘Ooh My Soul’, ‘Get Rich Quick’, ‘Baby Face’, ‘Hey Hey Hey Hey’, ‘I Got It’, ‘Rip It Up’ and ‘Keep a’ Knockin’. Just a few that immediately spring to mind from the gold mine of Richard’s immense catalogue.
He was inducted into the Rock n Roll Hall of Fame in 1986, but was unable to attend due to his broken leg and ribs, sustained in a road accident after taping an episode of Miami Vice. Many will recall those early film appearances in iconic Rock n Roll films ‘The Girl Can’t Help It’, ‘Don’t Knock The Rock’ and ‘Mister Rock n Roll’. He has a star on the Hollywood Walk of Fame, and has a Lifetime Achievement Award from the Rhythm and Blues Foundation, along with a number of other prestigious awards.
An immense talent, that influenced so many artists that followed, and was adored by fans all over the world
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. Many thanks
Record reviews
Contact Bob at Bim Bam, click on the flyer
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Contact Gary at Bittertwisted Records click on the flyer
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Razor Holler – CD review
Eddie Cochran sang ‘I’m gonna raise a fuss, I’m gonna raise a holler’ and the last part of that statement from ‘Summertime Blues’ influenced Razor Holler’s name. Their musical influences are varied, from Webb Pierce to Carl Perkins, the classic Sun sound and a lot of points in between.
Our introduction to the band was in the summer of 2019, and we get to see them three times in quick succession, in three different venues. Each show had you stop, listen and spontaneously toe tap, such was the quality of the live set. Rusty Williams on lead vocals and rhythm guitar, has the engaging stage presence, vocal delivery and dryness of humour, with the six string skills of Danny Ibson on lead guitar, Helen Blank on upright bass and drummer Alan Bentley. So how would that live show style, transfer to the recorded work then?
Well when they open up with a Bettajive Review favourite, Carl Perkins’ ’57 Sun cut ‘Lend Me Your Comb’, presented in this fashion, you know you’re onto a winner. A bit of Webb Pierce honky tonk next with ‘I’m Walking the Dog’, originally a fiddle soaked ‘A’ side from ’53. Razor Holler, have lifted the tempo slightly, and included the coolest guitar riff and solo. It works superbly folks.
A couple of original compositions follow, both with that ‘think-I’ve-heard-somewhere-before’ sound. ‘Don’t Be So Picky’. The lyrics are well crafted and the acoustic guitar solo is a delight, set to a bouncy, almost jazz sound. If you combine the Sun sound of Alton and Jimmy with the Carl Perkins style of songwriting, you have Danny Ibson’s ‘Rheumatism Boogie’. The lyrics in this rocker are laugh out loud in some places, taking ‘I’m jumping from to six to five past six’ as a for instance. A real corker that one readers.
The Stanley Brothers (Carter and Ralph) were a bluegrass act, whose activity spanned some twenty years from the 40’s to the 60’s. Here the band take on one of their pacey tunes ‘If I Lose’, originally a guitar and banjo picker. They’ve given it a more Rockabilly feel while retaining the foot stomping, beat and shout-back chorus. It’s a breathless minute and three quarters.
Another original Williams/Ibson song next ‘Country Music’. I listened to this with a wry smile, as will anyone who is into a particular musical genre, and gets asked questions about it, by those who aren’t. Love it. A fifties favourite next, Ersel Hickey’s ‘Goin’ Down That Road’, featuring some cool acca pella vocals. ‘Gotta Travel On’ follows, a take on the original 1959 Billy Grammer hit. Now there are so many versions of this from the 50’s and early 60’s, from a rather sedate one by the Kingston Trio to a pacey take by the Seekers (Lord help me!). This version by Razor Holler has that Rockabilly back beat to it and the zip that they breathe into their songs.
We end with ‘Razor Holler’, an instrumental rocker with surf undertones, a rolling drum beat and super cool guitar work. You’d think it came out of a band like the Ventures or Surfaris back catalog.
Yes folks, this ten tracker is that good. Recorded just before the world went nuts, at Mad Jack’s Home Studio, this is a must for those who are unfamiliar with the band’s work. And if you’ve seen them already, you won’t be disappointed!
Eddie Cochran sang ‘I’m gonna raise a fuss, I’m gonna raise a holler’ and the last part of that statement from ‘Summertime Blues’ influenced Razor Holler’s name. Their musical influences are varied, from Webb Pierce to Carl Perkins, the classic Sun sound and a lot of points in between.
Our introduction to the band was in the summer of 2019, and we get to see them three times in quick succession, in three different venues. Each show had you stop, listen and spontaneously toe tap, such was the quality of the live set. Rusty Williams on lead vocals and rhythm guitar, has the engaging stage presence, vocal delivery and dryness of humour, with the six string skills of Danny Ibson on lead guitar, Helen Blank on upright bass and drummer Alan Bentley. So how would that live show style, transfer to the recorded work then?
Well when they open up with a Bettajive Review favourite, Carl Perkins’ ’57 Sun cut ‘Lend Me Your Comb’, presented in this fashion, you know you’re onto a winner. A bit of Webb Pierce honky tonk next with ‘I’m Walking the Dog’, originally a fiddle soaked ‘A’ side from ’53. Razor Holler, have lifted the tempo slightly, and included the coolest guitar riff and solo. It works superbly folks.
A couple of original compositions follow, both with that ‘think-I’ve-heard-somewhere-before’ sound. ‘Don’t Be So Picky’. The lyrics are well crafted and the acoustic guitar solo is a delight, set to a bouncy, almost jazz sound. If you combine the Sun sound of Alton and Jimmy with the Carl Perkins style of songwriting, you have Danny Ibson’s ‘Rheumatism Boogie’. The lyrics in this rocker are laugh out loud in some places, taking ‘I’m jumping from to six to five past six’ as a for instance. A real corker that one readers.
The Stanley Brothers (Carter and Ralph) were a bluegrass act, whose activity spanned some twenty years from the 40’s to the 60’s. Here the band take on one of their pacey tunes ‘If I Lose’, originally a guitar and banjo picker. They’ve given it a more Rockabilly feel while retaining the foot stomping, beat and shout-back chorus. It’s a breathless minute and three quarters.
Another original Williams/Ibson song next ‘Country Music’. I listened to this with a wry smile, as will anyone who is into a particular musical genre, and gets asked questions about it, by those who aren’t. Love it. A fifties favourite next, Ersel Hickey’s ‘Goin’ Down That Road’, featuring some cool acca pella vocals. ‘Gotta Travel On’ follows, a take on the original 1959 Billy Grammer hit. Now there are so many versions of this from the 50’s and early 60’s, from a rather sedate one by the Kingston Trio to a pacey take by the Seekers (Lord help me!). This version by Razor Holler has that Rockabilly back beat to it and the zip that they breathe into their songs.
We end with ‘Razor Holler’, an instrumental rocker with surf undertones, a rolling drum beat and super cool guitar work. You’d think it came out of a band like the Ventures or Surfaris back catalog.
Yes folks, this ten tracker is that good. Recorded just before the world went nuts, at Mad Jack’s Home Studio, this is a must for those who are unfamiliar with the band’s work. And if you’ve seen them already, you won’t be disappointed!
When Night Comes to Berlin – Ray Collins Hot Club
CD review
It seems like an eon ago when Ray Collins Hot Club from Germany last graced stages in the UK, at Boston Jive’s Old Leake hall and the 100 club. Sure it was only February when we could all get together, and as I write this for you, the very thought of a hall full of people has to be confined to the memory. Even this band couldn’t social distance, given the number of personnel. They are:- Baritone Saxophone – Thomas Pospiech Double Bass – Sascha Haack Drummer – Tom Greed lead guitar – Tilmann Schneider Piano – Edgar Renner , Tenor saxophone – Doc Puky and Martin Störkmann, Trumpet – Lars Kuklinski and Ray Collins on vocals.It’s that number, that give out such a phat sound, featuring saxes, trumpet, piano, bass, drums or members of the struck idiophone sub family of instruments. Together, they produce a swinging, authentic, jumping and jiving, jazzy Rock n Roll sound, reliant on their own skills as musicians and songwriter Andreas Kollenbroich (wonder who that is….. 😊 ) . Many bands don’t transfer well from stage show to record, or indeed vice versa, but as you will gather, these guys do.
This CD represents their ninth such release, and opens up with the simply sublime ‘Week Party’, with it’s ‘chunk-a-chunk’ beat. Set to this beat, is a description of a party time utopia lasting every day of the week. Not only does the principle sound good, so does the song! Hopping the tempo up slightly next, is a joyous love song ‘Is This Love’, the missing ‘?’ suggesting it’s a rhetorical question.
‘Nobody But You’ is a duet with Ray and Scarlett Fagan from the Hawkmen, a story of devotion between two people set to the smoothest jazz lilt. Followers of this band, might consider they have a knack of romanticising excrement (‘The Shit, ‘Chicken Shit for example) ‘Watch Your Step’ provides handy hints on avoiding it on the street, and when you think about the lyrics, it is indeed a great leveller, regardless of social standing. All set to a ‘foot scraping’ beat I guess.
Back up bouncing again, as we hit the floor with ‘What Was That?’, three minutes of brass led gorgeousness. The title track, ‘When Night Comes To Berlin’, I tell you what readers, if you don’t immediately think ‘Cab Calloway’ I’d be very surprised, as the cadence has a heady mix of jazz and vaudeville. Super cool. Upping the tempo next is the curiously titled ‘7 Years in a Coffin’, an oddity basically about missing a loved one, because, well, you’re dead!
There’s some deft guitar work to introduce us to ‘Keep ‘em Coming’, is a bit of a lament, being drowned by a perpetual supply of drink in a bar, and despite it’s melancholy undertone, it’s set to a lively beat. Slowing down again, and some smooth vocal delivery on ‘Just Plain’, before the breathless ‘Young and Wild’. This tune builds and builds throughout, set to a thumping drum beat. Liking the vibraphone along with the brass in the instrumental break too.
On now to the rather sinister subject contained in ‘Burn In Hell’. This could have come out of the Screamin’ Jay Hawkins back catalogue (it’s not by the way!), the lyrics are dark and macabre, and the musical accompaniment first class. A little more joy is injected next with ‘July’, a snappy tune about the band’s favourite month, although I take issue with the line that says it’s better than June (not in this house! 😊 ). We finish with four minutes of the coolest vibe, letting the listener down gently with ‘Recall it All’, a dreamy instrumental that you could float away on.
This band set the bar very high with their earliest releases, and are also responsible for some of today’s modern classics. They have appeal across the board, and never fail to enthral an audience. I think ‘Seven Years in a Coffin’ is one of those ‘Knockout/Barefoot/Bye Bye Paris’ tracks that will be at the top of the DJ stack for years to come. Another accomplished and polished collection of tunes performed with the ease and dexterity we’ve all come to know and love.
Sublime
CD review
It seems like an eon ago when Ray Collins Hot Club from Germany last graced stages in the UK, at Boston Jive’s Old Leake hall and the 100 club. Sure it was only February when we could all get together, and as I write this for you, the very thought of a hall full of people has to be confined to the memory. Even this band couldn’t social distance, given the number of personnel. They are:- Baritone Saxophone – Thomas Pospiech Double Bass – Sascha Haack Drummer – Tom Greed lead guitar – Tilmann Schneider Piano – Edgar Renner , Tenor saxophone – Doc Puky and Martin Störkmann, Trumpet – Lars Kuklinski and Ray Collins on vocals.It’s that number, that give out such a phat sound, featuring saxes, trumpet, piano, bass, drums or members of the struck idiophone sub family of instruments. Together, they produce a swinging, authentic, jumping and jiving, jazzy Rock n Roll sound, reliant on their own skills as musicians and songwriter Andreas Kollenbroich (wonder who that is….. 😊 ) . Many bands don’t transfer well from stage show to record, or indeed vice versa, but as you will gather, these guys do.
This CD represents their ninth such release, and opens up with the simply sublime ‘Week Party’, with it’s ‘chunk-a-chunk’ beat. Set to this beat, is a description of a party time utopia lasting every day of the week. Not only does the principle sound good, so does the song! Hopping the tempo up slightly next, is a joyous love song ‘Is This Love’, the missing ‘?’ suggesting it’s a rhetorical question.
‘Nobody But You’ is a duet with Ray and Scarlett Fagan from the Hawkmen, a story of devotion between two people set to the smoothest jazz lilt. Followers of this band, might consider they have a knack of romanticising excrement (‘The Shit, ‘Chicken Shit for example) ‘Watch Your Step’ provides handy hints on avoiding it on the street, and when you think about the lyrics, it is indeed a great leveller, regardless of social standing. All set to a ‘foot scraping’ beat I guess.
Back up bouncing again, as we hit the floor with ‘What Was That?’, three minutes of brass led gorgeousness. The title track, ‘When Night Comes To Berlin’, I tell you what readers, if you don’t immediately think ‘Cab Calloway’ I’d be very surprised, as the cadence has a heady mix of jazz and vaudeville. Super cool. Upping the tempo next is the curiously titled ‘7 Years in a Coffin’, an oddity basically about missing a loved one, because, well, you’re dead!
There’s some deft guitar work to introduce us to ‘Keep ‘em Coming’, is a bit of a lament, being drowned by a perpetual supply of drink in a bar, and despite it’s melancholy undertone, it’s set to a lively beat. Slowing down again, and some smooth vocal delivery on ‘Just Plain’, before the breathless ‘Young and Wild’. This tune builds and builds throughout, set to a thumping drum beat. Liking the vibraphone along with the brass in the instrumental break too.
On now to the rather sinister subject contained in ‘Burn In Hell’. This could have come out of the Screamin’ Jay Hawkins back catalogue (it’s not by the way!), the lyrics are dark and macabre, and the musical accompaniment first class. A little more joy is injected next with ‘July’, a snappy tune about the band’s favourite month, although I take issue with the line that says it’s better than June (not in this house! 😊 ). We finish with four minutes of the coolest vibe, letting the listener down gently with ‘Recall it All’, a dreamy instrumental that you could float away on.
This band set the bar very high with their earliest releases, and are also responsible for some of today’s modern classics. They have appeal across the board, and never fail to enthral an audience. I think ‘Seven Years in a Coffin’ is one of those ‘Knockout/Barefoot/Bye Bye Paris’ tracks that will be at the top of the DJ stack for years to come. Another accomplished and polished collection of tunes performed with the ease and dexterity we’ve all come to know and love.
Sublime
The Boozinstoke Bop – 45rpm review
Many of the Hampshire based Boozinstoke Fraternity have frequented the Rock n Roll scene since the 80’s. Now they have their own tribute in record form by Darrel Higham, who also plays all the instruments on both tracks.
‘Boozinstoke Bop’ is a biographical bopper, and if you don’t think such a thing could exist well check this out. The lyrics will explain it all, either side of some serious guitar work.
That track is coupled with a cover of ‘How Low Do You Feel’, originally recorded by Jimmy Skinner as ‘How Low Can You Feel’, a bluegrass fiddling sound, taken by Ray Campi and given a thumping Rockabilly beat. Here Darrel retains the hard hitting sound that you can almost hear the foot stomping in the clubs and pubs
This single is limited to 500 copies, don’t miss out.
Many of the Hampshire based Boozinstoke Fraternity have frequented the Rock n Roll scene since the 80’s. Now they have their own tribute in record form by Darrel Higham, who also plays all the instruments on both tracks.
‘Boozinstoke Bop’ is a biographical bopper, and if you don’t think such a thing could exist well check this out. The lyrics will explain it all, either side of some serious guitar work.
That track is coupled with a cover of ‘How Low Do You Feel’, originally recorded by Jimmy Skinner as ‘How Low Can You Feel’, a bluegrass fiddling sound, taken by Ray Campi and given a thumping Rockabilly beat. Here Darrel retains the hard hitting sound that you can almost hear the foot stomping in the clubs and pubs
This single is limited to 500 copies, don’t miss out.
Buddy Miller and his Rockin’ Ramblers – 45rpm
Another repro 45 that is showing up in numbers at dealers, is Buddy Miller and his Rockin’ Ramblers killer double sider, originally on the Security Records label of Mount Pleasant, Texas.
Both sides are a treat, however I think ‘Rock and Roll Irene’ was initially the ‘A’ side. It’s a tribute to a pretty little girl of that name, who is held in similar regard to other familiar named girls of the era, Bony Maronie and Peggy Sue for example. This is all set to a stomping mid-tempo beat.
Turn it over and you have a kickin’ bopper in ‘I Got me a Woman’. You’ll love the bump-thump of the bass on this, complemented by two searing guitar breaks, accompanying the angsty vocals, about an unfaithful partner.
Rockabilly lovers, get yourself one!
Another repro 45 that is showing up in numbers at dealers, is Buddy Miller and his Rockin’ Ramblers killer double sider, originally on the Security Records label of Mount Pleasant, Texas.
Both sides are a treat, however I think ‘Rock and Roll Irene’ was initially the ‘A’ side. It’s a tribute to a pretty little girl of that name, who is held in similar regard to other familiar named girls of the era, Bony Maronie and Peggy Sue for example. This is all set to a stomping mid-tempo beat.
Turn it over and you have a kickin’ bopper in ‘I Got me a Woman’. You’ll love the bump-thump of the bass on this, complemented by two searing guitar breaks, accompanying the angsty vocals, about an unfaithful partner.
Rockabilly lovers, get yourself one!
Glen Glenn -45rpm review
American Rockabilly singer Glen Glenn (born Orin Glenn Troutman in 1934), had a short musical career in the 1950’s, which was brought to an abrupt end by him being drafted into the army. The revival in the 1980’s also re-energized interest in his recordings. Here are two of the best, on a reproduction 45rpm from 1958 on Hollywood’s Era record label.
‘One Cup of Coffee and a Cigarette’ is a mid tempo, acoustic guitar driven jive beat, with lyrics about a guy waiting for his love to arrive. Cool guitar solo on this one folks
‘Laurie Ann’ on the flip, is a gorgeous love song, with some pitch perfect harmonies backing Glen’s lead vocal.
Who knows what the recording industry would have held for Glen Glenn, had it not been for the call of Uncle Sam?
American Rockabilly singer Glen Glenn (born Orin Glenn Troutman in 1934), had a short musical career in the 1950’s, which was brought to an abrupt end by him being drafted into the army. The revival in the 1980’s also re-energized interest in his recordings. Here are two of the best, on a reproduction 45rpm from 1958 on Hollywood’s Era record label.
‘One Cup of Coffee and a Cigarette’ is a mid tempo, acoustic guitar driven jive beat, with lyrics about a guy waiting for his love to arrive. Cool guitar solo on this one folks
‘Laurie Ann’ on the flip, is a gorgeous love song, with some pitch perfect harmonies backing Glen’s lead vocal.
Who knows what the recording industry would have held for Glen Glenn, had it not been for the call of Uncle Sam?
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Dorsey Burnette / Mike Sheridan 45rpm review
This single, from the FTM Record label, is limited to 270 hand numbered copies. Our copy is on the coolest white vinyl, however I’m unsure how many are white or the traditional black, as it comes in both. This is another cracking double sider from Flat Top Mark.
Dorsey Burnette, 1932-1979, often known as Johnny’s brother or Billy’s dad, although the man was an immense talent, both as a singer and songwriter. Here is a later recording, inspired from his 1964 single on Mel-o-dy Records, a short-lived subsidiary of Motown. It was actually a ‘B’ side originally, and has a Johnny Cash style guitar riff throughout. Dorsey’s vocals are en pointe too
On the flip, ‘In Love’ by Mike Sheridan and the Nightriders, from 1963. This Birmingham band are significant in music history as the line up included future Rock giants Roy Wood and Jeff Lynne. For this track however, they have the definite sound from the era, heavily guitar based and a call-and-answer chorus and like the Dorsey song, it was initially a ‘B’ side (to Please Mister Postman). Good stroll beat this one folks
This single, from the FTM Record label, is limited to 270 hand numbered copies. Our copy is on the coolest white vinyl, however I’m unsure how many are white or the traditional black, as it comes in both. This is another cracking double sider from Flat Top Mark.
Dorsey Burnette, 1932-1979, often known as Johnny’s brother or Billy’s dad, although the man was an immense talent, both as a singer and songwriter. Here is a later recording, inspired from his 1964 single on Mel-o-dy Records, a short-lived subsidiary of Motown. It was actually a ‘B’ side originally, and has a Johnny Cash style guitar riff throughout. Dorsey’s vocals are en pointe too
On the flip, ‘In Love’ by Mike Sheridan and the Nightriders, from 1963. This Birmingham band are significant in music history as the line up included future Rock giants Roy Wood and Jeff Lynne. For this track however, they have the definite sound from the era, heavily guitar based and a call-and-answer chorus and like the Dorsey song, it was initially a ‘B’ side (to Please Mister Postman). Good stroll beat this one folks
Jimmy Dee and the Offbeats – EP review
A cuckoo clock heralds the opening track on this EP by San Antonio musician Jimmy Dee, and the Offbeats. The track ‘Rock Tick Tock’, was originally the flip side to ‘I Feel Like Rockin’ from 1959, and is a full sounding up tempo jiver.
Probably his best known track, ‘Henrietta’, which charted in 1957 at #47 (Billboard) features. This has a growling sax and guitar beat with punchy and raucous vocal delivery, making it a dance floor stroll standard. ‘You’re Late Miss Kate’ on Dot Records, from ’58, was credited just to Jimmy Dee. The sound is just excellent, full and ballsy, with Penniman-esque piano and thundering sax and bass.
Finally, ‘Here I Come’, which was on the flip to ‘Miss Kate’, and indeed there are notable similarities, musically and vocally. Loving the sax break on this as well.
Four 50’s delights on the TNT label
A cuckoo clock heralds the opening track on this EP by San Antonio musician Jimmy Dee, and the Offbeats. The track ‘Rock Tick Tock’, was originally the flip side to ‘I Feel Like Rockin’ from 1959, and is a full sounding up tempo jiver.
Probably his best known track, ‘Henrietta’, which charted in 1957 at #47 (Billboard) features. This has a growling sax and guitar beat with punchy and raucous vocal delivery, making it a dance floor stroll standard. ‘You’re Late Miss Kate’ on Dot Records, from ’58, was credited just to Jimmy Dee. The sound is just excellent, full and ballsy, with Penniman-esque piano and thundering sax and bass.
Finally, ‘Here I Come’, which was on the flip to ‘Miss Kate’, and indeed there are notable similarities, musically and vocally. Loving the sax break on this as well.
Four 50’s delights on the TNT label
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Miserlou / Thunder Reef 45rpm review
Two instrumentals on this limited edition 45rpm from FTM records. The run is limited to 220 copies, and ours is on a cream marble effect vinyl, which was limited to eighty copies.
Miserlou X’. Dick Dale v/s Flat Top Mark on this version, which heavily relies on commentary from the film Pulp Fiction. In particular Pumpkin and Honeybunny during the opening scene, with Tim Roth and Amanda Plummer’s characters holding up a restaurant, and threatening the rest of the diners. Not for the faint hearted this, but hugely effective, also including Samuel L Jackson’s, Jules’ ‘My name is the law’ speech.
On the other side, is a contribution from Simon Preacher, ‘Thunder Reef’ by the Shindigs, whose mainstay was Bobby ‘I Fought the Law’ Fuller. This track was a ‘B’ side to the 1964 Mustang Records release that had the howling ‘Wolfman’ on the ‘A’ side. ‘Thunder Reef’ itself is a superior tune in our opinion, with it’s rolling surf sound and guitar riffs.
Two more corkers from FTM
Two instrumentals on this limited edition 45rpm from FTM records. The run is limited to 220 copies, and ours is on a cream marble effect vinyl, which was limited to eighty copies.
Miserlou X’. Dick Dale v/s Flat Top Mark on this version, which heavily relies on commentary from the film Pulp Fiction. In particular Pumpkin and Honeybunny during the opening scene, with Tim Roth and Amanda Plummer’s characters holding up a restaurant, and threatening the rest of the diners. Not for the faint hearted this, but hugely effective, also including Samuel L Jackson’s, Jules’ ‘My name is the law’ speech.
On the other side, is a contribution from Simon Preacher, ‘Thunder Reef’ by the Shindigs, whose mainstay was Bobby ‘I Fought the Law’ Fuller. This track was a ‘B’ side to the 1964 Mustang Records release that had the howling ‘Wolfman’ on the ‘A’ side. ‘Thunder Reef’ itself is a superior tune in our opinion, with it’s rolling surf sound and guitar riffs.
Two more corkers from FTM
Johnny Jano & Rusty Kershaw – 45rpm review
Copies of a reissue 45, are arriving in numbers at record vendors again. It features a track each by Johnny Jano and Rusty Kershaw.
Johnny Janot (note the ‘t’) 1933-1984, has been dubbed the King of Louisiana Rockabilly. He dropped the ‘t’ for recording purposes apparently. This track ‘Rock-A-Me Lulu’ is Rockabilly in it’s purest form, a shiver in the vocal delivery, frantic acoustic strumming and a cookin’ guitar solo, with a real gone gal as the subject.
You’re probably used to Rusty and Doug Kershaw’s recordings as a duet and with Wiley Barkdull. It was unusual for Rusty to take vocals on his own, however here’s a fine example ‘Carry On’. Many will be familiar with the Jimmy C Newman version from 1958, however this one differs. It has a raw and rugged edge to it, both musically and vocally, with rhythmic handclapping accompaniment.
Two cracking rockers
Copies of a reissue 45, are arriving in numbers at record vendors again. It features a track each by Johnny Jano and Rusty Kershaw.
Johnny Janot (note the ‘t’) 1933-1984, has been dubbed the King of Louisiana Rockabilly. He dropped the ‘t’ for recording purposes apparently. This track ‘Rock-A-Me Lulu’ is Rockabilly in it’s purest form, a shiver in the vocal delivery, frantic acoustic strumming and a cookin’ guitar solo, with a real gone gal as the subject.
You’re probably used to Rusty and Doug Kershaw’s recordings as a duet and with Wiley Barkdull. It was unusual for Rusty to take vocals on his own, however here’s a fine example ‘Carry On’. Many will be familiar with the Jimmy C Newman version from 1958, however this one differs. It has a raw and rugged edge to it, both musically and vocally, with rhythmic handclapping accompaniment.
Two cracking rockers
Marti Brom - EP Review
Marti Brom originally from St Louis, latterly of Austin, Texas, is one of those artists that appeals to fans of a number of genres of music. We reviewed her most recent LP ‘Midnight Bus’ with the Rancho Notorious a couple of issues ago, and recently became aware via Instagram, that a new EP was in the offing. Backing Marti on these four tracks, we have the immense talent of Tjarko Jeen on guitar, Brad Fordham on bass and Lisa Pankratz on drums. Billy Horton at Fort Horton Studios of Wyldwood, Texas, not only instigated the project, but produced and engineered it too.
‘Damn Those Little Demons’ opens up, a cool and catchy tune, with a beguiling guitar riff throughout. That’s followed by a gorgeous ballad ‘You Broke The Rules’, the theme of which, unsurprisingly is about infidelity in love. This has a country feel to it, with Marti’s vocal heavy on the echo, which is really effective.
Next up, ‘Hurry Home’, dips toward an R&B rhythm, with a stroll beat. Simply have to flag up the guitar solo on this one, as the lyrics promise a night to remember. Rounding off the release we have ‘Get in the Car Loretta’, an up tempo rocker in a Rockabilly style and the guitar licks have an early Johnny Burnette Trio resonance.
So far as we know, this isn’t on vinyl yet, you can check it out and purchase here www.forthorton.bandcamp.com.
There’s some natural bias at the Bettajive Review, where Marti Brom is concerned, ‘Blue Tattoo’ (yikes over twenty years ago that was!) and Get a Little Goner’ are just two of her tracks that are always on playlists. Her voice has the Midas touch, gracing any style, and this release is up there with the best.
Marti Brom originally from St Louis, latterly of Austin, Texas, is one of those artists that appeals to fans of a number of genres of music. We reviewed her most recent LP ‘Midnight Bus’ with the Rancho Notorious a couple of issues ago, and recently became aware via Instagram, that a new EP was in the offing. Backing Marti on these four tracks, we have the immense talent of Tjarko Jeen on guitar, Brad Fordham on bass and Lisa Pankratz on drums. Billy Horton at Fort Horton Studios of Wyldwood, Texas, not only instigated the project, but produced and engineered it too.
‘Damn Those Little Demons’ opens up, a cool and catchy tune, with a beguiling guitar riff throughout. That’s followed by a gorgeous ballad ‘You Broke The Rules’, the theme of which, unsurprisingly is about infidelity in love. This has a country feel to it, with Marti’s vocal heavy on the echo, which is really effective.
Next up, ‘Hurry Home’, dips toward an R&B rhythm, with a stroll beat. Simply have to flag up the guitar solo on this one, as the lyrics promise a night to remember. Rounding off the release we have ‘Get in the Car Loretta’, an up tempo rocker in a Rockabilly style and the guitar licks have an early Johnny Burnette Trio resonance.
So far as we know, this isn’t on vinyl yet, you can check it out and purchase here www.forthorton.bandcamp.com.
There’s some natural bias at the Bettajive Review, where Marti Brom is concerned, ‘Blue Tattoo’ (yikes over twenty years ago that was!) and Get a Little Goner’ are just two of her tracks that are always on playlists. Her voice has the Midas touch, gracing any style, and this release is up there with the best.
Nat Couty and the Braves – 45rpm
Ok readers, for those of you in the know, the two tracks on this repro 45rpm aren’t going to be a surprise. One has been the mainstay of the late night boppers for many years now, and these two represent the entirety of the recordings of Nat Couty and the Braves, released in 1958.
The ‘A’ side, ‘Woodpecker Rock’, takes the vocal inflection from Walter Lantz’s cartoon creation from 1940, Woody Woodpecker, narrated by some rather screwball lyrics, set against a cracking bop beat.
The ‘B’ side, isn’t that dissimilar to the ‘A’. ‘Won’t You Came Along With Me’ is a series of nursery rhyme type lyrics and characters, put together in rhyming couplets for twenty two minutes of odd-ballery, over a bop beat.
Ok readers, for those of you in the know, the two tracks on this repro 45rpm aren’t going to be a surprise. One has been the mainstay of the late night boppers for many years now, and these two represent the entirety of the recordings of Nat Couty and the Braves, released in 1958.
The ‘A’ side, ‘Woodpecker Rock’, takes the vocal inflection from Walter Lantz’s cartoon creation from 1940, Woody Woodpecker, narrated by some rather screwball lyrics, set against a cracking bop beat.
The ‘B’ side, isn’t that dissimilar to the ‘A’. ‘Won’t You Came Along With Me’ is a series of nursery rhyme type lyrics and characters, put together in rhyming couplets for twenty two minutes of odd-ballery, over a bop beat.
Pat Capocci live on stage
Pat Capocci – 45rpm review
Pat Capocci is the real deal, a classy guitarist and consummate performer on stage. The dynamics of the stage show also translate well onto recordings. Here is a new 45rpm from Sleazy Records, featuring two tunes originally released in 2018. The sleeve has a pretty cool monochrome photo of our lad surfing, and backing Pat are Ronnie James Weber and Jason Smay.
The ‘A’ side ‘Coast to Coast’, is a peach of a song, with a catchy guitar riff set against a pulsating bass beat. The guitar solo is a delight, in a tune that sounds like it came straight out of 1958.
The ‘B’ side, ‘Pharaoh of Love’ has dancefloor stroller stamped all over it. There’s a slight jazz and blues feel to it, and once again, a seemingly effortlessly exquisite guitar solo.
Top 45 folks
Pat Capocci is the real deal, a classy guitarist and consummate performer on stage. The dynamics of the stage show also translate well onto recordings. Here is a new 45rpm from Sleazy Records, featuring two tunes originally released in 2018. The sleeve has a pretty cool monochrome photo of our lad surfing, and backing Pat are Ronnie James Weber and Jason Smay.
The ‘A’ side ‘Coast to Coast’, is a peach of a song, with a catchy guitar riff set against a pulsating bass beat. The guitar solo is a delight, in a tune that sounds like it came straight out of 1958.
The ‘B’ side, ‘Pharaoh of Love’ has dancefloor stroller stamped all over it. There’s a slight jazz and blues feel to it, and once again, a seemingly effortlessly exquisite guitar solo.
Top 45 folks
TT Syndicate – 45rpm review
This band, TT Syndicate, were formed around eight years ago and the personnel reads like a who’s who of Portugal’s finest R&B and rockin’ musicians. Pedro Serra on lead vocals Manuel Oliveira on bass, Nuno Riviera lead guitar, drummer Nuno Gomez, Lúcio de Jesus – tenor sax, Joel Rocha baritone sax and Bruno Rocha on trumpet. This Sleazy Records release represents Vol 5 of six that are in the series. Their style suggests influences from Rhythm and Blues and early sixties beat, with more than a dash of gas. The sound is full and proud.
The title track, ‘Catch That Train’ on the ‘A’ side, is a shouter that has a pacey timbre with a shout-back chorus, wailing sax break, all set to a jangling beat and catchy brass riffs throughout.
On the ‘B’ side, ‘Shimmy, Shake & Shout’ has a soulful, rhythm and blues lilt, and unsurprisingly conjures up images of early sixties shakin’ dancers.
Two cool grooves
This band, TT Syndicate, were formed around eight years ago and the personnel reads like a who’s who of Portugal’s finest R&B and rockin’ musicians. Pedro Serra on lead vocals Manuel Oliveira on bass, Nuno Riviera lead guitar, drummer Nuno Gomez, Lúcio de Jesus – tenor sax, Joel Rocha baritone sax and Bruno Rocha on trumpet. This Sleazy Records release represents Vol 5 of six that are in the series. Their style suggests influences from Rhythm and Blues and early sixties beat, with more than a dash of gas. The sound is full and proud.
The title track, ‘Catch That Train’ on the ‘A’ side, is a shouter that has a pacey timbre with a shout-back chorus, wailing sax break, all set to a jangling beat and catchy brass riffs throughout.
On the ‘B’ side, ‘Shimmy, Shake & Shout’ has a soulful, rhythm and blues lilt, and unsurprisingly conjures up images of early sixties shakin’ dancers.
Two cool grooves
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Your hosts for Hemsby nowadays are Bill Guntrip and his family. Following the cancellation of May 2020's event, Bill has announced a super line up for October 2020 from the 16th to 19th. In the meantime, check out the website for further details, and get booking, it’s going to be a good one.
Word is that there has been a lot of repeat bookings from last May, and in the regenerated camp site and new ownership, has reinforced the fact that the longest running Rock n Roll Weekender, is still going strong |
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 bettajive@aol.com 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.
In these strange times, everyone is suffering, however the last people to be allowed to return to 'normal' are likely to be in the entertainment industry. If you have enjoyed the artists performing online, subscribe to their YouTube channels (John Lewis, Chris Magee from Bopflix etc), buy a CD, 45rpm, LP, download or merchandise to help them ride the storm out.
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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 our big interview is with top R&B vocalist, Lil Miss Mary
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. Many thanks
We want to keep this magazine free to read, so rely on advertisers and donations. If you like what you see, help us keep it free by popping us a donation using the button. Many thanks
Bands and artists who would like their music or latest record release reviewed. We listen to records several times before writing a word about them. We research songs if they are covers, credit writers, performers and musicians. In effect, we pay true reverence to your recordings, not relying in on merely describing a song as a bopper, jiver or stroller.
In these strange times, everyone is suffering, however the last people to be allowed to return to 'normal' are likely to be in the entertainment industry. If you have enjoyed the artists performing online, subscribe to their YouTube channels (John Lewis, Chris Magee from Bopflix etc), buy a CD, 45rpm, LP, download or merchandise to help them ride the storm out.
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 our big interview is with top R&B vocalist, Lil Miss Mary
To keep this magazine free we rely upon donations and advertising. We would ask if you could drop us a donation of whatever you can by using our Paypal.me account here. The smallest contributions all add up so we can keep our monthly publication going. Many thanks
