The Reno Rockabilly Riot, Reno’s First Ever Rockabilly Event.

There’s a lot going on here at the Reno Rockabilly Riot

From the website:

“Cruise into Reno Nevada May 13th through the 15th 2011 for The West’s Best Rockabilly Fest™.  Hot rods, pinup girls, tattoo artistry, gear and culture vendors, competitions, and of course three days of rockabilly sound.  The inaugural RENO ROCKABILLY RIOT 2011, presented by A-Bomb Entertainment, takes place at the Grand Sierra Resort and Casino, and will feature dozens of bands, more than a hundred tattoo artists, top notch pinstripe artists, Car Shows and as many hot rods as can be squeezed into and around the Grand Sierra.

A-Bomb Entertainment, LLC is proud to present the first annual Reno Rockabilly Riot at the Grand Sierra Resort hotel and Casino in Reno Nevada May 13 – 15, 2011.

You and your family can do and see it all at one location!
Reno Rockabilly Riot

Band Lineup and Attendance:

The Chop Tops

Hillbilly Hellcats

James Hunnicutt

Hellbound Hayride

Drift Alley Lobos

Angie and The Car Wrecks

Cowbelleros

The Darlins

Crazy Rocket Fuel

The Vintage Vandals

The Pyronauts

Voodoo Swing

Reno Rockabilly Riot

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The So Cal Hellbilly Fest & Car Show II

Part of the Show Proceeds Benefits St. Judes Children’s Research Hospital
Thanks to Gretsch Guitars for Donating a brand new Gretsch hollow body for the St Jude Children Hospital silent auction. This guitar will be signed by Wanda Jackson , Junior Brown and more, along a picture of each person that signs it for authentication . Read more about WHY St. Judes, HERE.

This year will be at the Del Mar Fair Grounds & Horse Race Track
Down in SUNNY San Diego,only 1 mile from the beach.
We have a Grand show planned for you this year with 2 stages and 16 bands.
100’s of pre 1965 rods & this year we are having pre 1971 bikes and plenty of vendors.
This show is all Ages and gates open at 11am bands Start at 12, end at 11pm
There will be Beer & Alcohol sold there with proper ID

Rat Rod TV will also be there shooting the show

MOJO NIXON will be the MC for the whole day.
MAIN STAGE LINE UP
Graceland Mafia
Chris “Sugar Balls” Sprague & his 18 Wheelers
The Palominos
Cash’d Out
The Rocketz
Three Bad Jacks
Big Sandy and his Flyrite Boys
Junior Brown
And the Queen of Rockabilly herself
WANDA JACKSON !!!!

CAR SHOW STAGE
Willie Psycho
Moonlight Howlers,
Johnny Deadly & the Rattle Rockers
Cactus Jacks
Dawn Shipley
HOT ROD TRIO
Roy Rapid & The Rhythm Rock Trio

This IS An All ages show
There will be Beer & Alcohol sold there with proper ID
AND YES YOU CAN WALK AROUND WITH YOUR DRINKS
( NO BEER GARDEN ! )

Tickets will be $30 advance & $40 at the door

Hotel Accomodations:
The Hilton Hotel right across the street from the show!
Room rates are normally $189+ tx and We  got them down to $99 a Room and they will go fast!
Go Here to reserve your room.

Way more info go HERE: www.socalhellbillyfest.com

More ticket outlets:

Tickets now on Sale at all Ticket Master Locations or online HERE.
Or:
In San Diego East County go to:
Guitar & Bass Land
172 East Main Street
…El Cajon, CA 92020-3910
(619) 334-9505

In Ocean Beach Ca. go to:
Temptress Fashions
1918 Bacon Street
San Diego, CA 92107-2806
(619) 224-2284

In Carlsbad Ca. go to:
SPIN RECORDS
370 Grand Avenue
Carlsbad, CA 92008-2925
(760) 434-0807

2011 Hellbilly Fest Band Lineup

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Rockabilly Lifestyle is having it’s first Tattoo Contest. Winners will receive The Sailor Jerry DVD: Hori Smoku For more information on entering please see this post in the forum HERE. Good Luck!

Rockabilly Tattoo Contest

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Just wanted to update that the new rockabilly forum is up and running. please take a moment and register and post a quick note.There used to be a forum but it was not very cooperative. I removed it and installed this one which is a better fit.

The last one people couldn’t figure out how to join. This one’s pretty straight forward.

Enjoy.

Darkman

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Ink-n-Iron 2010 is just around the corner again and this years line-up looks even better than last years music line-up. The list of bands is incredible and looks to be an event not to be missed. This is one year you will want to get the all weekend pass and not miss a single note of music.

Held at the Queen Mary in Long Beach California, Ink-n-Iron has been running now for 6 years now, NOT including the start of it as the Long Beach Tattoo Convention held in 2003. The second one and the start of Ink-n-Iron being held on the Queen Mary in 2004, it’s been a here-to-stay event ever since.

The Ink-n-Iron Pinup Pageant show being held on Sunday at 4:30, last years left a little to be desired and uneventful, but a quick look at this years contestants, it could be a real tight vote. The ladies will hopefully put on a show that will surpass last years. This year the ladies entering the show have great images, and some experience in Modeling and Pinup.

As well there’s another Ink-n-Iron Car Show, and a Fashion Show Sponsored by Stop Staring Clothing.

This years event looks to be one of the better ones of the past few years and will definitely be worth your money.

Get Your Tickets for Ink-n-Iron HERE

Line-up below this video:

Rockabilly experience

Psychobilly Freakout

Americana

The Rock Show

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Bettie Page was an American model who became famous in the 50s for her fetish modeling, movie shorts  and pin-up photos. Often been called the “Queen of pinups”, her look, including her jet black hair and trademark bangs, has influenced many artists and aspiring pin-up models alike.

Bettie was one of the earliest Playmates of the Month for Playboy magazine, Hugh Hefner, founder of Playboy once said “I think that she was a remarkable lady, an iconic figure in pop culture who influenced sexuality, taste in fashion, someone who had a tremendous impact on our society”.

In 1959, she converted to Christianity, and worked for Billy Graham. In 1979 Bettie moved to California and this is where a lot of the dark troubles that plagued Bettie Page started to surface. After moving to California and renting an apartment she had an episode, was arrested and had several criminal charges brought against her for the stabbing of her landlords in 1979. She was diagnosed with schizophrenia and spent several years in a state psychiatric hospital.

Bettie’s life, after her brief career as a model,  was marked by depression and violent mood swings.  After years of obscurity, she experienced a resurgence of popularity in the 1980s and has a significant cult following. Olivia, (Olivia de Berardinis, The Olivia) an American Painter of Pinup Art and Erotic Art, helped to popularize and bring back Bettie Pages image, in her paintings. Another incident that helped to propel her back into the spotlight was a likeness of her in the movie Sky Captain. This movie also helped to propel her back into the public’s eye and launch a comic book of her adventures.

While many people may not want to see or hear about this, there is a dark side to the happy and smiling Bettie Page as we know her. Her Official Biography talks about some things but the un-official biography by Richard Foster who tell’s the real story. Much to what people want to think, he is a man who really likes and admires Bettie Page, he just thought the people should know the real story behind the real Bettie Page. For those of you who asked for it, here is an exclusive interview with Bettie Page, before she died, asking only to be remembered how she was, not wanting people to see her how she is in the interview. There’s also a few pictures of Bettie in 1980 at the Playboy 50th Anniversary Party, and one of her mugshots, and a couple of recommended reading books on Bettie Page, including the one by Richard Foster, the Un-Official Tell-All Biography of Bettie Page.

For some really nice images of Bettie in her heyday, please see this Bettie Page Nude Gallery.

Bettie Page Mugshot

Bettie Page with Olivia the Artist, and Hugh Hefner of Playboy, Playboys 50th

Bettie Page at Playboys 50th with Anna Nicole Smith and Pamela Anderson

Bettie Page 1980

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Vintage Hairstyles How To’s, Vintage Hair Style Definitions and Vintage Hair Style History

I’ve been looking around for more information on hairstyles, how to’s and vintage hairstyle books, and have some juicy info for you ladies today.

Please also see our Rockabilly Hairstyles Video Tutorials HERE.

Rolls
Hair rolls are what most people think of when they think of vintage 1940s hair-dos. If you have at least shoulder length hair, you can do rolls! Give it a shot – it takes a bit of time to dry your hair once it’s in curlers, so leave yourself plenty of time between starting your hair and walking out the door, or invest in a bonnet dryer from a beauty supply store or thrift shop.

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Rockabilly, Pinup and Burlesque Hairstyles to Fit YOUR Face

A facial guide to choosing the right Rockabilly, Pinup or Burlesque Hair Style for your face.

The woman who is fortunately blessed with an oval face can wear any style with ease and flattery. But her less fortunate sisters who happen to have a long, thin face or a short, full face have a much more difficult problem on their hands.

The girl with a long face usually finds one style which is becoming and sticks to it because it does so much more for her than any other style she has ever worn. But being a woman, even a flattering style becomes boring after awhile, and she will long to wear a pompadour or a pompadour band or something new and different.

It is possible for the girl with the long face to wear a pompadour and have it flattering just so long as it is styled for her facial contour. It wouldn’t be the same pompadour that I would work out for her full-faced sister, but one that must out of necessity be individually styled.

Be sure to check out the downloadable eBooks we have on 1940’s hair styling

1. The Pompadour for long, thin face

The style designed for the long thin face, the hair is brought out at the sides to give the illusion of width. The pompadour is higher on the sides, dipping down in a diagonal wave in the center. The back of the hair is dressed in a full chignon(pronounced “sheen-yon,”) which hides a long neck and gives flattering fullness to the lower part of the face.

Pompadour for long, thin face

2. Pompadour for short, full face

The hair is swept up close to the head on either side. The height of the pompadour is concentraded in the center – tapering off on either side. The back hair is cut short, and combed into casual curls that are placed well up on the neck. These curls should bluster close to the head behind the ears to give a soft profile line, but should not show from the front, as a general rule, because with the full face additional width at the jaw line is not desirable.

Pompadour for short, full face

The same principles can be applied to pompadour bangs for the long face and the full face:

3. Pompadour bang for long, thin face

Pompadour bang for long, thin face

4. Pompadour bang for short, full face

Pompadour bang for short, full face

The feather cut.

Sketches 5 and 6 show two versions of the feather cut.
In each case the style for the long face gives fullness at the sides and at the neckline, while the style for the full face emphasizes height and as little fullness at the sides as possible.

5. Feather cut for long, thin face

Feather cut for long, thin face

6. Feather cut for short, full face

Feather cut for short, full face

7. Flat-top for long, thin face

The newest(in the 1940s-50s) trend in hairstyles is the flat-top. Sketch 7 shows a flattering version of this style for the long, thin face. The hair is combed smooth across the top and the sides are combed out in vertical waves that stand away from the head to give the desired fullness.

Flat-top for long, thin face

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ROBERT GORDON – LIVE FAST, LOVE HARD!

Guest Post by Arjan Deelen

http://www.robertgordon.dk

Some of you probably remember hearing the Robert Gordon & Link Wray versions of “Red Hot” and “Flying Saucer Rock & Roll” on the radio in the late 70s. Most rockabilly purists preferred the originals by SUN rocker Billy Lee Riley (indeed Riley himself called Gordon’s version ‘wooden’ and ‘stiff’), but it was good to see that rockabilly was finally getting some airplay.

Which brings me to this release on the Fuel 2000 label, which claims to contain two unreleased concerts from Gordon’s heyday, one with the legendary Link Wray and the other with ace U.K. guitarist Chris Spedding  (who had a UK-hit in ’75 with “Motorbikin’”). The packaging is rather basic, with no information whatsoever about these two shows. Rather odd, as it was fairly easy for me to find most of the info after a bit of research on the net. The text by one Bill Dahl is basically a career overview, and the information in it is clearly sourced from Wikipedia and other internet bios.  There are several errors in the text, including the wrong year for the reunion with Spedding (which took place in 2005, not 2007), and somehow Dahl even gets Robert’s year of birth wrong – Gordon was born in 1947, not ’46! Sloppy that, methinks. While putting the discs in the player, I noticed that the playing time on both discs is fairly short – both discs could have fitted onto one CD. In that case, we could have had an early 80s concert featuring guitarist Danny Gatton on disc 2, thus giving an effective overview of Gordon’s collaboration with the three most important guitarists that he has worked with. But there’s little point in discussing what could have been, let’s focus on what is actually there on the discs.

No doubt about it – the March 14, 1978 WHMS radio-broadcast from The Cellar Door in Washington D.C. on disc 1 captures both Gordon and Wray at their best; the band is phenomenal, and Robert’s vocals are immaculate. Sure, in parts the bassplaying does sound a bit too ‘seventies’, and at times Link also overdoes the guitar hero bit a little much, but the pure excitement and drive of the music override any such reservations.  Robert Gordon never sang better than on this recording. A menacing “The Way I Walk” is a real highlight: the band is cooking (check out the amazing bassplaying on this), Wray’s tremolo-filled licks hit you like a stiletto blade, and Gordon just rides the song. He owns it. Another track that really stands out is Gene Vincent’s “I Sure Miss You”. Robert’s singing on this is majestic, but Link snatches the song away from him with a blistering guitar solo that really captures the man’s essence. Gordon is quick to recognize Wray’s brilliance, and shouts “Link Wray, Link Wray!” with genuine admiration. That moment really captures the magic of their collaboration. Amazing.

In fact, the whole concert is so good that it really strikes me as odd that Fuel 2000 did not release it in its entirety. There’s certainly enough room left on disc 1, which has a rather meager playing time of 39’58. Much of the dialogue has been edited out (including a charming message from Link to “all my guys who’s down in prison”),  the band introductions (for the record:  Jon Paris plays bass and Anton Fig is on drums) and even “Endless Sleep”.  There are edits between most tracks, which in my view destroy some of the live concert feel. There’s one duet between Link and his brother Doug, “There’ll Be No Other”, but strangely enough the introduction of Doug has been edited out, and the fact that he is singing on this is not mentioned anywhere on the packaging either. Are they trying to pass this off as a duet between Robert and Link?  Very strange.  One final point about this show: Fuel 2000 claims that it’s unreleased, but that’s not correct. The entire show has been out on bootleg for years, and a large chunk of it was released back in early 2007 on LOTTA LOVIN’ (C.C. 003),  on Robert’s own label Climate Change.

On disc 2, we fast-forward 30 years and catch up with Robert at a recent gig together with Chris Spedding. I wish I could be as enthusiastic about this as I was about the live-recordings on Disc 1, but in all honesty I have to say that it’s depressing to listen to this show. As a fan of the man’s music it hurts me to say this, but Gordon simply sounds like he’s not up to the task anymore;  his voice sounds worn and tired, and some of the performances display a very poor breathing control. Moreover, there’s no real spark in his singing, and for the most part his vocals are strained and rather stiff. He does a number of Presley songs, with varying degrees of success. “I’m Left, You’re Right, She’s Gone” and “Suspicion” are decent performances, but tracks like “Don’t Be Cruel”, “Little Sister” and “A Mess O’ Blues” are below par.  Just listen to that line ‘Whoops, there goes a teardrop…’ in the latter song; whereas Presley’s voice is glorious, Gordon sounds like he’s in desperate  need of an oxygen tank. Sad.

The band is not much help either. Spedding’s guitar is very loud in the mix, and unfortunately it’s rather shrill-sounding and unpleasant to the ear. The backing with Todd Glass on drums and Greasy Carlisi on bass is heavy-handed and crude;  in my view it’s more ‘Jethro Tull’ than rockabilly. One of the songs that really would have benefitted from a slightly more subtle approach is “Hello Walls”, which almost sounds like a parody of a honky tonk song. Again Gordon does not appear to be in control, and he’s clearly struggling on lines like ‘We must all stick together…’ (at 2’27 into the song), with his phrasing sounding rather awkward, possibly due to the aforementioned breathing issues. On most songs he appears to be having difficulty keeping up with the band, and especially on the faster songs it’s a losing battle. This is painfully obvious on “Rockbilly Boogie” and “Red Hot”, both performed with the band on auto-pilot and Gordon sounding like he’s about to croak on stage. These two performances in particular are just parodies of earlier versions, and Spedding ends them both with some ‘guitar farting’, perhaps a reflection of his own assessment on these performances?

Generally, I’d say that this release is not without merit, but nevertheless it’s clearly flawed on a number of levels, which is why I would only recommend it to the hardcore Robert Gordon fan. When you look at the great work that labels like Bear Family of Germany have done with archive material, then this release clearly falls short. The packaging could have been much better, and a booklet with detailed background info on both shows and relevant photos would have been essential to put this material into perspective. Moreover, the various edits on the 1978 performance are a real letdown; most fans will want to own the unedited recording of this electrifying concert, so it’s baffling that Fuel 2000 decided to edit out more than 15 minutes from the show. Finally, I think it was a judgement error on the part of the label to release the ’78 concert together with the recent live-recordings in one package. It’s disheartening to listen to Robert Gordon in such diminished state after having just digested the brilliance of the 1978 show. One really has to wonder why they decided to include this recording, as it certainly doesn’t do him any favours. Perhaps it would have been a better idea to combine the ’78 show together with the March 22, 1979 concert at the Paradise Theater in Boston, Mass., since RG fans have been clamoring for the release of that FM broadcast for ages. Now that would have been an amazing package!

As it is, I would call this release “The Alpha and the Omega of Robert Gordon”, as it really captures the artist at his best – but also at his worst. For those wanting to sample Robert Gordon’s finest recordings, the first Bear Family compilation “Robert Gordon is Red Hot!” is a good starting point (be warned though: their two follow-up releases contain a lot of substandard material), and as far as RG live-releases go, the stunning  “The Humbler” on NRG Records remains unparalleled.

Arjan Deelen is a guest author for Rockabilly Lifestyle and runs a website dedicated to Robert Gordon fans and can be reach there at http://www.robertgordon.dk

YouTube Robert Gordon video:

Chris Spedding, Slim Jim Phantom (Stray Cats), Robert Gordon and Glen Matlock (Sex Pistols)

Robert Gordon

Robert Gordon

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Get Wrecking with the Meteors

Guest Post by Elana Kluner

Paul Fenech

Psychobilly music was their claim to fame and they weren’t afraid to show it. These people are no one else but the legendary band; The Meteors. Soft Rockabilly music wasn’t daring enough for these rebellious musicians so they decided to start a genre of their own. Their music drew fans from every scene; punk, rockabillies, bikers, and alternatives. With this amount of admiration, their popularity grew quickly and they were under the limelight in no time. The Meteors, also known as the kings of Psychobilly, got their inspiration for their music from their fascinations with perversion, death and horror. This darkness shows through in their music, way of dress, hairstyles and overall appearance.

The men of The Meteors are the purest punks around. Their skins are decorated with extravagant tattoos and they dye or shave their hair. They started a trend that gained follower from all walks of life. No matter where they preformed, whether it was United States, Israel, Japan or around Europe, they always had a loyal crowd. The Meteors were known to put out wild shows with mosh pits and dancing, but would always host a good vibe. They would also guarantee that their shows were free from religious and political views. As long as you were down to have a good time, you were invited to The Meteors’ show.

The Meteors were formed as group of extremely talented musicians who all had the same vision; to do something different. Paul Fenech started the group in 1980 with his vocals and guitar. He then brought together an upright and electric bassist by the name of Nigel Lewis and a drummer by the name of Mark Robertson. Together they weened away from their comfortable Rockabilly bands that they had once been a part of and decided to focus on their making of the still living Psychobilly music. Do to their dangerous ways, The Meteors had some tiffs with their performance venues along the way, preventing them from performing at popular Rockabilly clubs. They refused to give up, and starting wrecking house at more alternative bars, alongside bands such as The Clash and The Damned. Although throughout their years, they had gone through a couple of line up changes, The Meteors will always be remembered by “OTMAPP – Only The Meteors are Pure Psychobilly” (The World Wide Wrecking Crew).

Meteors Music:

The Meteors and Photographer Darkman

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