Friday 21 March 2014

Rockabilly: One Music, Many Dances

Cool Cats Rock ‘n’ Roll has had numerous queries over the years as to what Rockabilly dancing is and what the differences are between it and other styles like Swing, Rock ‘n’ Roll, or Jive. In this regard it should be understood that Rockabilly had no set style or structure ‘back in the day’;it was still formative and mixed many different musical and dance influences. These days it would seem that almost anything could be Rockabilly dancing (so long as you wear the right clothes), while everyone has an opinion.

Rockabilly dancing has been interpreted in diverse ways in countries around the world. There are three general forms of Rockabilly that may be identified: Strollin’, Boppin’, and Jivin’. (More information can be found at http://havinsomerockinfun.blogspot.com.au/2010/11/rockabilly-dancingfor-uneducated.html )
  •            Strollin’: Rockabilly line dancing, typically performed today in a group but without a partner. However, take a look at this footage for an example of the original stroll – a flirtation dance:  https://www.youtube.com/watch?v=UrGLNtZ0rEg
  •        Boppin’: Solo Rockabilly dance that is quite liberal in structure, with a focus on individual footwork typically using heel-toe tapping variations. In many respects this is not greatly different from social boppin’ to any other music since the 50s: https://www.youtube.com/watch?v=_E6H0zynJ8o
  •        Jivin’: Is another term used for the partnered dancing of Rockabilly and is often used in synonymous terms to Rock ‘n’ Roll. However, there are distinct differences in style, culture, and footwork to what is recognised as Latin (Ballroom), Swing, or International Jive: https://www.youtube.com/watch?v=V7QploMFDLo  

While these descriptions provide a useful framework, what this means in different countries can be remarkably different. While the modern Stroll is fairly universal as a Rockabilly line dance (e.g. compare US: https://www.youtube.com/watch?v=OPr12v7LhFY; Spain: https://www.youtube.com/watch?v=PdVgRf8KFqc; AU: https://www.youtube.com/watch?v=nyGuFhd_4R0), other forms of Rockabilly dancing do not conform to a globally accepted norm.

Boppin’ is very much about the look AND feel of the dance, which can result in extremes in style and personal interpretation. An almost infamous example are the Harajuku Rockabilly dancers (Japan): https://www.youtube.com/watch?v=i1Tn2FCvBPA. Less well remembered may be the ‘old school’ Boppin’ footwork in partnered Rockabilly that was evident during the 90s revival (not great footage, but well worth watching: https://www.youtube.com/watch?v=Xj-tbGafWfA&index=26&list=PLD6BDD9C3E2128050).

Today, partnered Rockabilly dancing draws from many influences and ‘revisions’ that have accrued through the decades. Though Jivin’ is one ‘dance language’, there are as many dialects as there are parts of the world. In many countries it is difficult to extract Rockabilly (as a dance) from Rock ‘n’ Roll and it’s Swing ancestry. This should be no surprise as the dance, like the music, is a mixture of Rock ‘n’ Roll and Hillbilly influences. Consequently, it might be taught with a back step, go up to 6 steps, and move clockwise – though it remains distinctly Rockabilly (i.e. footwork reminiscent of solo Boppin’, typically circular movement, ‘Rockabilly’ style and presentation: https://www.youtube.com/watch?v=l005SuEiRkQ). Such dance styles are closer to the Swing end of the spectrum and thus bear many resemblances. However, it is not merely a simplified (some may perhaps consider lesser) form of Swing. The “Hillbilly” component should not be forgotten. Rockabilly works in many respects similar to barn dancing or a country two-step, dominated by arm driven figures, and simplified stepping footwork. Such actions are more dominant in the partnered Rockabilly dancing of Australia and parts of Europe (e.g. compare UK: https://www.youtube.com/watch?v=NEab3v47m0Y; Holland: https://www.youtube.com/watch?v=cTCchBQGDP4; AU: https://www.youtube.com/watch?v=w1E-D6_srYs&list=PL27AD5B87050F0EDF). There is no singular ‘Rockabilly’ dance style.

In Australia, distinctions have been kept between the styles of Rockabilly, Swing, & Rock ‘n’ Roll. As such, Rockabilly has an individual look when compared with other styles: there is no back-step, it moves in an anti-clockwise direction, and is a 4-beat based dance. While the footwork movements may vary between regions, the arm movements, motion, and characterisation of the dance remain consistent. Those who have been dancing and teaching Rockabilly in Australia for years will recognise it as a distinct style from its predecessors, with critical differences in both technique and form. Rockabilly, for all of the different names and descriptions attached to it, is clearly not just Swing or Rock ‘n’ Roll of a different flavor. That’s what makes it great - and so much fun to do!

For more information on Rockabilly in Australia, the different styles, and some more examples of dancing around the world, please visit http://www.coolcatsrocknroll.com/Rockabilly.php.

Nathan Major is principal of Cool Cats Rock ‘n’ Roll [est. 2003] and a qualified Rockabilly, Rock ‘n’ Roll, and Swing dance instructor as recognised by the national sporting body: The ARRDC [Australian Rock ‘n’ Roll Dance Council]. He is also a state and national Swing and Rock ‘n’ Roll dance competition adjudicator, and former champion competitor, having the privilege to observe Rockabilly performed at the top level across the country for more than a decade.





















Nathan keeping an eye on two of his early Rockabilly students, Lou and Erica.


Thursday 28 February 2013

West Coast Lowdown


The West Coast Lowdown (16th & 17th Feb) brought together rockabilly music, tattoos, cars, women and merchandise in a weekend long event split in two locations. Saturday was held at the Civic Hotel, while their Sunday Session was held at Newport Hotel in Fremantle. As a Kustom Kulture event, it may have struck the right chord; however, for Rockabilly lovers it was perhaps less than satisfying...

Due to previous commitments, we only attended the Sunday Session. Nonetheless, Saturday night was touted as a success with Matsumi Max titillating the audience with 2 salacious performances and the Fireballs exciting the crowd with an energetic performance.

Newport Hotel was a good choice for the Sunday Session. It had a great atmosphere, particularly the Tiki Beat bar where you could retract from the hustle and bustle of the main room (and enjoy a Hawaiian inspired cocktail or two!).  As you went through to the main bar area there were the vendors’ stalls and the stage area where the bands were playing. Ideally, there would have been more vendors in the event, but for lack of space, there had to be a limited number. However, the absence was distinct.







The cars and motorcycles, parked at the back of the Hotel, were impressive in both design and upkeep. The cars arrived throughout the course of the event, though it was a shame that they had to be parked with the common street machines... Unfortunately, due to space, only a limited number of cars were presented. At some point, it would be great to see a large turnout of vintage and Kustom cars for a Rockabilly music event, similar to that regularly seen at car events such as the Poker Run and the Armadale Auto Parts Car Show.  




















The bands started with Johnny Groove and the Deadbeats, from Albany, a hard and fast Rockabilly band with a fresh neo/punk sound (check out the video on Facebook!). They were followed by the electric blues stylings of Dux N Downtown, though hunger caught up with us before hearing much of their set. As there was no food that we could find at the venue (where were the tacos?! :D), a trip to one of the nearby eating establishments was required. We returned just in time to catch the end of Shotdown in Sugartown, Rusty Pinto's new line-up. From the little we got to hear, they were awesome. Rocket to Memphis followed, sizzling and swampy as usual (check out the video on Facebook!). The main act for the night, The Fireballs, were then fashionably late with the interim proceedings including burlesque frolics and a lingerie 'show' (3 minutes of women in underwear) that seemed both out of place and rather forced. Entertaining perhaps for those enjoying a bawdy distraction, but otherwise filling material for those keen to listen to music. Finally the Fireballs came on stage to release a psychobilly frenzy - and the crowd loved it!


 

Overall, the event had great music, a good venue, and was professionally run. Yet somehow didn't seem to gel. The mixture of musical styles, bawdiness, and  limited selection vendors was interesting. However, the music was too loud for relaxed enjoyment, those who wanted to dance had little space to do so, while the lack of activities meant there was not much to keep you amused if you were not interested in the current band or filler act. In this respect the Tiki bar provided a great place to chill out, though it was a shame that it was not utilised better. It was also disappointing that members of the Rockabilly and Kustom Kulture scene, who supported the event early by purchasing their tickets online, had to pay $25. Meanwhile tickets at the door only cost $20... a great reward for those members of the general public who came in late in the day to disrupt proceedings. 

It is difficult to bring such an event together, particularly in Perth where the access to interstate bands and performers is significantly restricted. It’s great to see the increasing number of Rockabilly related events in Perth, though somewhat disheartening to observe the lack of support they often receive. Kudos to the Westcoast Lowdown! Here's hoping that it will happen again next year, with more community engagement, more Rockabilly, and more to enjoy :) 

by Wild Cat

Wednesday 14 November 2012

Pin-Ups


Pin-Ups are HOT...

If you haven't noticed, Pin-Ups and vintage glamour is experiencing a surge of interest and popularity at the moment. And why not? Pin-Ups are classy, sexy, and inspiring. But what is Pin-Up? According to the common wisdom, the term 'pin-up' was coined in the early 1940s to refer to the mass-produced photographs, paintings, and other illustrations intended to appeal to popular culture. Generally the model was female, attractive, and often a celebrity. Female pin-ups were commonly referred to as "cheesecake". Male models were know as "beefcake". You can read more about Pin-Ups and get some great example art/photos on our website (just scroll down the page a little!): 

Gil Elvgren: Classic drawn Pin-Up

Personally I'm a big fan of the drawn Pin-Ups, but there really is something for everybody out there today. If you take just a quick look around the country, without even considering modelling and photo studio options, there are plenty of ways for you to explore Pin-Up:

Miss Pinup Australia

Miss Kustom Kulture SA

Greazefest 2013: Pinup Sessions

PinupSkool Magazine

PinupSkool are certainly providing a great option for the discerning enthusiast of talented Aussie Pin-Up. For the lovely ladies who would like to show the world why they love the art, PinupSkool wants you:
We need you retro lovelies... ALWAYS
This is the best part, we want to showcase what talent we have, right here in Australia. If you have always wanted to see yourself in a magazine, if you are an enthusiast Pin-Up girl with photos from a shoot, if you are a photographer...
A good Pin-Up photo really doesn't take too much effort or require extravagant settings, so why not check out PinupSkools modelling requirements: http://www.pinupskoolmagazine.com.au/model-for-us

Pin-Ups can be very simple. Dayna Delux may certainly borrow my guitar any time...

Western Australia is also getting hot under the collar for Pin-Ups:

Miss Pinup Australia: WA

There are lots of gorgeous WA gals who are entered in the many different categories of Pin-Up offered in the Miss Pinup Australia competition. Why not check out the website/facebook and support your favourite?

Perth Rockabilly Rampage: Pin-Up Competition

Where Miss Pinup Australia targets the more avid/professional Pin-Up girl, Perth Rockabilly would like to recognise the gorgeous ladies who grace our Rockabilly events and venues each week. The Pin-Up competition held in conjunction with the Rampage will provide an opportunity for the Perth Pin-Up enthusiast to look great (and win some great prizes!) and get their pic in PinupSkool Magazine. Yep! Here's what's on offer (UPDATED!):
Submissions – Digital photos to be received via email to Perth Rockabilly (perthrockabilly@perthrockabilly.com); a limit of one photo submission per category. You don't need to be at the Rampage to participate, but to support all of our sponsors and to cover administration costs, you will need to purchase a ticket to the Rampage. 

To help you get your Pin-Up photos taken, as a strictly limited offer, Viva Photography Balcatta is giving away 10 Complimentary Photography Studio Sessions. To enter, SMS your Name, Phone Number and “ROCK” to 0412 708 151

If you miss out on their special offer, you may also take advantage of a Viva Photography Studio Photo Session with one image on facebook for only $50 (Normally $250!!!) - simply present your Perth Rockabilly Rampage ticket before December 1st.





Saturday 20 October 2012

International Flavours

October and November are bringing some great international Rockabilly acts to Perth. If you're not already in the know, here's the low down on who, what, and when...

Nekromantix - 2nd October @ Rosemount Hotel

Supported by local greats Blazin' Entrails, all reports are that this was an awesome gig. For the full blurb you can check out: http://www.rosemounthotel.com.au/events/201210/nekromantix

Nekromantix has been around for a while now and if you want the full history, read on here: http://en.wikipedia.org/wiki/Nekromantix

Their latest album What Happen's in Hell, Stays in Hell  offers their usual (amusing & interesting) psychobilly mix of horror and monster themed tunes. With song titles like "Monsterbait" and "Bats In My Pants" you can draw your own conclusions! I personally enjoy "I Kissed a Ghoul" for a bit of fun... sorry Katy Perry...

Past favourites include Last Night I Saved an Angel [Demons Are a Girl's Best Friend], Monster Movie Fan [Brought Back to Life], and Trick or Treat [Return of the Loving Dead].

Get some more Nekromantix in your playlist! http://www.youtube.com/artist/nekromantix



The Go Getters - 2nd November @ Deville's Pad

Supported by Perth favourites The Continentals, The Go Getters head out to spice up Dia del los Muertos (http://en.wikipedia.org/wiki/Day_of_the_Dead) at Deville's!

Swedish rockabilly trio The Go Getters have a classic, high energy rockabilly sound with a heavy infusion of blues. Releasing albums since the early '90s the band has an impressive biography, which is best read (and listened to) here: http://www.myspace.com/thegogetters.
For the latest information, of course, where would we be without Facebook:
http://www.facebook.com/gogetters.official?fref=ts

For a look and listen to The Go Getters, check out this video of a slightly naughtier version of Hip Shakin' Baby:
http://www.youtube.com/watch?v=AnQa0ybtCTY

To get a feel for their 'blues infused' sound, check out this cover of Sugar Sweethttp://www.youtube.com/watch?v=I78Alb7rz_c
... enjoy the Pinups too, guys!


If you can't make it along for Deville's on the Friday night, you also have the chance to catch The Go Getters @ The Mustang Bar on Thursday November 1st (http://members.optusnet.com.au/perthrocks/#Whats_On).


Amber Foxx - 9th November @ Deville's Pad

Supported by Perth's best guys with guns Johnny Law and the Pistol Packin' Daddies, Amber Foxx is set to bring her Southern California Rockabilly stylings to delight with harmonies and a bit of twang. Amber Foxx has played the Viva Las Vegas, Greenbay Rockin' 50s Fest, and Rockabilly Rave music festivals. Amber and her band currently have 2 CDs Restless and Wild and HiFi Party.

For more information on Amber Foxx, check out her biography and videos at Reverb Nation:
http://www.reverbnation.com/amberfoxx
Or Myspace:
http://www.myspace.com/amberfoxx
Or Facebook:
http://www.facebook.com/amberfoxxfanclub 





So get out there this month to enjoy some great international acts, right here in Perth - just before enjoying our great home-grown talent at the Perth Rockabilly Rampage!
http://www.perthrockabilly.info
http://www.facebook.com/events/132796423529542/

Wednesday 8 August 2012

Greazefest 2012

As promoted by the organisers, Greazefest (Brisbane, QLD) is "the 'must-do' event for kustom kulture devotees in the Southern Hemisphere ... a crankin' weekend of cool cars, Rockabilly music and fashion, vintage bikes, lowrider cycles, low brow art, pinstripers, tattoos, markets and more". It is certainly one of the key events  in Australia and, unsurprisingly, there were more than a few people from Perth there to enjoy it. 

For those who couldn't make it, the following review provides a slice of the action :)

Friday

The first hot rockin' night of the festival was (relatively) subdued, with plenty of space and a relaxed atmosphere to enjoy the bands, dancing, and initial vendors. Most patrons took the opportunity to dress up for the opening night and the atmosphere was convivial. A great night for fun, photos, and socialising with friends.

All of the bands on the Friday night line-up were enjoyable and well-paced for those interested in dancing. However, from a personal perspective, stand-out act for the evening (indeed, of the Festival) was Sonyta and the Incinerators [left]. Just 17 years old, Sonyta did a great job delivering on songs from Wanda Jackson, Janis Martin, and Imelda May. If you want to get a taste for the band: http://www.youtube.com/watch?v=4W5hAk51PRk

The only down-side for the evening was the weather, which was cold.  As the bands were performing on an outdoor stage, if you weren't dancing you definitely wanted to stay rugged up or retreat indoors for a bit of warmth.

Saturday

The ReChords - Felix (ex. Salt Flat Trio) rockin' it out on guitar!
Saturday had a great line-up of bands, though it was disappointing that Perth favourite Rusty Pinto had to cancel his performance at the last moment. While replacement act Scotty Baker delivered a fine show, those of us who know how good Rusty can be certainly noticed his absence. Headline international band for the evening, The Planet Rockers, also put on a great set. However, while recognising the greater time allocation warranted for an international act, the delivery was drawn out in several places. Several songs just dragged on, while "less talk - more music" is always good IMHO. In contrast, The Rechords played a tight and energetic set that anyone with twitchy feet just had to dance to. 

Unfortunately the space for dancing Saturday night was practically non-existent, with the dance floor consumed by those eager to simply watch the bands. Though this would not frustrate many Greazefest patrons, the issue highlighted the less successful elements of festival organisation. Saturday night was a fully populated event, including many apparent casual [and often less than considerate] participants, and space was at a premium. Understandably, the front of stage was prime viewing area. However, this placed the crowd not only on the dance floor, but also in front of the Hula Lounge. Drinks (and drunks) in transition from bar to stage were a hazard for all in attendance. Dancers and non-dancers alike were observed slipping in spilled drinks and/or knocked over by other patrons on several occasions.

Sunday

Cars, cars, and more cars... A motor enthusiasts dream day.
No doubt about it, Sunday was all about the cars and shopping. The huge numbers of stalls provided plenty of opportunities to help empty your wallet, while the creativity and artistry of the cars on display would make even those most disinterested in automotive pursuits pause to appreciate and respect the work. Of course, while you wandered there was a variety of food and drink to enjoy and a full selection of bands playing on multiple stages. Unfortunately there is simply no way to be everywhere at once!

With the departure of the stalls and cars (not to mention the unruly children) later in the day, the Festival wound down to a very relaxed atmosphere of dedicated and enthusiastic participants. Sunday evening saw many of the same faces as Friday and Saturday night, the dance floor cleared for those so inclined, while others chilled out near the bar. Having been  a warm afternoon, the atmosphere was certainly conducive to a few quite drinks with friends. Not that the party stopped: Psychobilly band The Sin & Tonics delivered a hard and fast set in the evening to help wrap up a great day. Those whose feet were not yet too tired from a day of walking and dancing got the chance to burn up whatever fuel was left in the tank - and many did.

The Sin & Tonics - hitting it full-on Sunday evening for the die-hards!

For Rockabilly fans wanting a great weekend away, the Lucky 13th Greazefest should certainly be on your calendar for 2013. If you want the best accommodation we suggest booking now :)

Thursday 12 July 2012

The Twang Heard 'Round the World...

The Perfect Coffee Table Book?


Ever had trouble introducing your less enlightened friends and family to what makes Rockabilly so great? Then this illustrated history may be just the thing you're looking for. For both the uninitiated and the enthusiast alike, this visually engaging and easy to read book offers something to truly appreciate. Encompassing the music, artists, history, and fashion, the book contains interviews with many significant figures from the world of Rockabilly and is a great addition to your collection. 

It is also very, very pretty. 

Consider it pin-up material for your library.


The narrative is established around the conventional wisdom that Rockabilly began with Elvis: "It's arrival can be pinpointed: July 5, 1954, the night Elvis Presley, Scotty Moore, and Bill Black recorded That's All Right Mama in Memphis' Sun Studios". While those interested in a more developed perspective are encouraged to consider the broader history (e.g. http://en.wikipedia.org/wiki/Rockabilly), this premise does provide a useful framework around which the remainder of the book is built upon. However, rockabilly roots and the background of Sun Studios are not overlooked and there is certainly enough depth in this regard to satisfy most. Meanwhile, to ensure that the attention is not lost while reading, every page is accompanied by fabulous photography. I may have personally fallen in love with 5 or 6 different guitars... 



You Can't Cover Everything...

While it would certainly be difficult to address the full scope of the topic, there does feel to be some distinct imbalance in what is and is not discussed. Most notably to my mind is the limited consideration provided to the female singers of the original Rockabilly era. Though Wanda Jackson is given significant treatment, other greats such as Janis Martin and Brenda Lee are left aside. In contrast a number of relatively minor male artists are given quite a lot of column space. However, this does serve to better portray the mix of artists and convergence of musical styles that, at least initially, was loosely brought together and termed - often derisively - Rockabilly.


'Round the World

Minor gripes aside the book does live up to it's name, giving a global perspective on Rockabilly and how regional influences both interpreted and influenced the sound and, hence, modern Rockabilly fashion and culture. For those accustomed to the US centric portrayal of Rockabilly the sections on European Rockabilly may be very rewarding. Particularly compelling is the discussion of how the European scene allowed Rockabilly music and style to remain vibrant during the 1960s and 1970s, while Rockabilly in the US all but disappeared due to the pressures of the shifting pop-music industry. This exploration bridges the gap from the traditional Rockabilly era to the Rockabilly Revival, at which point the interviews with modern greats such as Brian Setzer grab your attention.


And More...

The last section of the book takes a look at how Rockabilly has both morphed and stayed the same. From musicians such as Sleepy LaBeef, producing new, yet traditional, Rockabilly music well into the 1990s, to Roots and Revival musicians such as Big Sandy and Imelda May, and Psychobilly juggernauts like The Meteors and The Reverend Horton Heat. If you want to get a feel for where Rockabilly music is going, as energetic and dynamic as the day it began, you will undoubtedly find yourself turning yet one more page through the broad selection of photographs and commentary.



The perfect coffee table book? Perhaps not - but readily the best one I've encountered for some time. 
Find a copy and enjoy!

Sunday 10 June 2012

Rocket to WAMI & DeVille's

New Sounds from Rocket to Memphis

Rocket to Memphis have been keeping themselves busy. Apart from their gigs about Perth, a suite of new songs have just been introduced to the RtM mix. These new numbers were introduced last week at the WAMI festival, with second helpings Friday night at DeVille's. I'll be looking forward to the new album!

There was plenty of good music on offer about Perth during the WAMI festival and fortunately the weather was fantastic. Those who had the chance to wander and investigate certainly would have been rewarded with something new and/or different. I personally was quite impressed with new young group Sisters Doll and will be interested to see how they develop in the next few years. Some great rockin' numbers for those with itchy dance feet...

However, RtM were the draw card for many in attendance at the Arts Centre Swampland Stage. They certainly did not disappoint, opening proceedings with their usual flare and groovin' swamp vibe. Traditional favourites included "Walking the Plank", "Zombie Rumble", and "Bad Girl" - the last being dedicated to the two youngsters at the front of the stage :) Particularly impressive was the performance of "Wolfman", with Voodoo Viv providing the sound FX for all to enjoy.

Without overlooking the traditional favourites, the highlight of the afternoon for most RtM fans would have been the new content. Some numbers fit very comfortably within the format of existing songs, such as "Ride to the Stars" - which has a similar feel and rhythm to "Walking the Plank". Another that I expect to become popular is the jaunty and smoky "Slapback". It was clearly enjoyed by the crowd on the day, and once again at DeVille's on Friday night.


I suspect that some other offerings may take longer to warm to as RtM stretch their style and play with some new sounds. I found "Swamp Guy" to be one such song, feeling a little disjointed at first as some of the rhythms became familiar. Other numbers such as "Roll On" may have suffered from the acoustics of the setting, feeling somewhat flat despite solid rockin'  beats and signature guitar work from Razor Jack. I expect the studio versions shall provide a much fuller sound that will make it hard to resist bopping away to. The atmosphere at DeVille's Friday night certainly provided a much better forum for all the new songs to be performed and hook you in.

Thanks RtM for keeping it interesting!

*Please note that all song titles listed here have been taken from stage announcements. My apologies to RtM and the reader if I've not gotten things exactly right!