Podcast appearances and mentions of alan freeman

Jim reflects back on an anthology film from Amicus that greatly influenced him early on - Freddie Francis' "Dr. Terror's House Of Horrors," starring Peter Cushing, Christopher Lee, Max Adrian, Ann Bell, Peter Madden, Donald Sutherland, Roy Castle, Ursula Howells, Katy Wild, Bernard Lee, Alan Freeman, Jeremy Kemp, Kenny Lynch, Thomas Baptiste, Michael Gough, and Jennifer Jayne. This tale involves five men riding on a train with a strange doctor who tells their fortunes using Tarot cards. Find out more on this episode of MONSTER ATTACK!, The Podcast Dedicted To Old Monster Movies.

Jim reflects back on an anthology film from Amicus that greatly influenced him early on – Freddie Francis’ “Dr. Terror’s House Of Horrors,” starring Peter Cushing, Christopher Lee, Max Adrian, Ann Bell, Peter Madden, Donald Sutherland, Roy Castle, Ursula Howells, Katy Wild, Bernard Lee, Alan Freeman, Jeremy Kemp, Kenny Lynch, Thomas Baptiste, Michael Gough, and […] The post Dr. Terror’s House Of Horrors | Episode 455 appeared first on The ESO Network.

Tonight, Wednesday, October 9th, at 6 pm on The Brian Crombie Hour I interview Alan Freeman. Watch full episode: https://youtu.be/5CSRnQ2kXIE. ALL my podcasts and videocasts can be accessed any time on my web site www.briancrombie.com which holds repository of all my shows. Alan Freeman talks about writing obituaries and some of the people he has profiled. Alan is a graduate of McGill University and Columbia University, where he received a Master's degree in Journalism. He worked at Canada's Department of Finance, where he served as Assistant Deputy Minister of Consultations and Communications. Alan joined the Public Service in 2008 after a distinguished career in journalism as a parliamentary reporter and business journalist for The Canadian Press, The Wall Street Journal and The Globe and Mail. At The Globe, he spent more than 10 years as a foreign correspondent based in Berlin, London and Washington. The Brian Crombie Hour airs 6:00 pm nightly. Please subscribe to my YouTube channel: https://bit.ly/2Oioec8

Comedian and actor Langston Kerman joins Scott to talk about his new Netflix comedy special Bad Poetry, how John Mulaney got involved to direct it, and what role he would play in John Wick. Then, Sci-Fi writer Alan Freeman stops by to talk about his new series of books. Plus, Kilgorious Van Helsing drops by to talk about his synthetic blood business. Get tickets for the Comedy Bang! Bang! Into Your Mouth Tour 2024 over at https://CBBWorld.com/tour

In 1961 Alan 'Fluff' Freeman took over as the host of the BBC Radio's 'Pick of the Pops' and changed music broadcasting forever. From the opening "Greetings pop pickers" Alan would count down the hottest records of the week punctuating the end of each track with minimal detail before introducing the next. It was exhilarating radio and his staccato delivery and catchphrases of "Right, all right, stay bright" and "Not 'Arf" he influenced a generation of broadcasters. Simon Mayo was a DJ at Radio 1 at the same time as 'Fluff' and says his broadcasting hero coming came into his studio and said "Simon, darling" before kissing the back of his own hand that he'd placed over Simon's mouth. Simon remembers the end of Fluff's time at Radio 1 and speaks openly about his own departure from the BBC in 2018. He tells Matthew Parris that it was Fluff's economy of words that impressed him when sometimes he'd simply say "and" to link two records, and how Freeman gave once gave him a notebook full of opera and classical music recommendations.Behind-the-scenes Alan was generous, kind and encouraging, but he was also a deeply private man who few got to know well. But one person who did was producer Phil Swern who worked with Alan for many years.Presenter: Matthew Parris Guest: Simon Mayo Guest: Phil SwernProducer: Toby Field for BBC Audio Bristol

Pauline Murray kept a diary when she and Penetration were on the punk rock frontline and her vivid and emotional memories appear in a new memoir, Life's A Gamble, beautifully illustrated with personal photos, press cuttings, late ‘70s gig listings and other lovingly archived memorabilia. It teleports you back to a time when pop music made daily headlines and battles were lost and won in fragrant dancehalls and knackered vans on motorways. As does this podcast, recorded with an audience at London's 21Soho club in late November. Aged 14 she was travelling to London from County Durham and sleeping in railway stations to see the Pistols and the Clash. She formed Penetration in ‘76 and for two hectic years they were caught up in the whirlwind. This account of it all includes Alan Freeman, Gilbert O'Sullivan, Jonathan Richman, Tim Curry (as Dr Frank-N-Furter), why the deaths of Sid and Nancy has such symbolic significance, the female punk ‘sisterhood' giving her the cold shoulder, her unwise marriage, and the profit and loss statement of the debt she still owes Virgin (the annual reminders have never stopped). And she talks movingly about the experience every group endures when their first flush of mutual love and enthusiasm turns to bitter inter-personal fall-out. One of her kids was in the audience. As was Gaye Advert! Order ‘Life's A Gamble' here: https://www.amazon.co.uk/Lifes-Gamble-Penetration-Invisible-Stories/dp/191317270821Soho: https://www.21-soho.com/Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Pauline Murray kept a diary when she and Penetration were on the punk rock frontline and her vivid and emotional memories appear in a new memoir, Life's A Gamble, beautifully illustrated with personal photos, press cuttings, late ‘70s gig listings and other lovingly archived memorabilia. It teleports you back to a time when pop music made daily headlines and battles were lost and won in fragrant dancehalls and knackered vans on motorways. As does this podcast, recorded with an audience at London's 21Soho club in late November. Aged 14 she was travelling to London from County Durham and sleeping in railway stations to see the Pistols and the Clash. She formed Penetration in ‘76 and for two hectic years they were caught up in the whirlwind. This account of it all includes Alan Freeman, Gilbert O'Sullivan, Jonathan Richman, Tim Curry (as Dr Frank-N-Furter), why the deaths of Sid and Nancy has such symbolic significance, the female punk ‘sisterhood' giving her the cold shoulder, her unwise marriage, and the profit and loss statement of the debt she still owes Virgin (the annual reminders have never stopped). And she talks movingly about the experience every group endures when their first flush of mutual love and enthusiasm turns to bitter inter-personal fall-out. One of her kids was in the audience. As was Gaye Advert! Order ‘Life's A Gamble' here: https://www.amazon.co.uk/Lifes-Gamble-Penetration-Invisible-Stories/dp/191317270821Soho: https://www.21-soho.com/Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Pauline Murray kept a diary when she and Penetration were on the punk rock frontline and her vivid and emotional memories appear in a new memoir, Life's A Gamble, beautifully illustrated with personal photos, press cuttings, late ‘70s gig listings and other lovingly archived memorabilia. It teleports you back to a time when pop music made daily headlines and battles were lost and won in fragrant dancehalls and knackered vans on motorways. As does this podcast, recorded with an audience at London's 21Soho club in late November. Aged 14 she was travelling to London from County Durham and sleeping in railway stations to see the Pistols and the Clash. She formed Penetration in ‘76 and for two hectic years they were caught up in the whirlwind. This account of it all includes Alan Freeman, Gilbert O'Sullivan, Jonathan Richman, Tim Curry (as Dr Frank-N-Furter), why the deaths of Sid and Nancy has such symbolic significance, the female punk ‘sisterhood' giving her the cold shoulder, her unwise marriage, and the profit and loss statement of the debt she still owes Virgin (the annual reminders have never stopped). And she talks movingly about the experience every group endures when their first flush of mutual love and enthusiasm turns to bitter inter-personal fall-out. One of her kids was in the audience. As was Gaye Advert! Order ‘Life's A Gamble' here: https://www.amazon.co.uk/Lifes-Gamble-Penetration-Invisible-Stories/dp/191317270821Soho: https://www.21-soho.com/Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Wow! What a legend!!! Jim Gellatly is the next guest on the podcast, a proper hero, Jim has championed new music in his career as a radio presenter that has spanned four decades!Former presenter of XFM Scotland's Drivetime show, and hosting a weekly unsigned showcase on Amazing Radio (Digital Radio in Dublin and London & online) and also hosts Breakfast on BFBS Radio, Jim's a well-known face (for the radio?) in the Scottish music scene and beyond.Dundee-born Jim Gellatly started his presenting career at MFR in Inverness over 20 years ago. Also working for Northsound 1, Beat 106, BBC Radio Scotland and the networked New Music show In:Demand Uncut (Bauer Radio), Jim's played a role in uncovering many of the most important bands around, including Oasis, Snow Patrol and Coldplay.The first person to play the likes of Biffy Clyro, The Fratellis, Twin Atlantic, Amy Macdonald and KT Tunstall on the radio, Coventry's The Enemy have also credited Jim on several occasions for picking up on them while still unsigned.In April 2008, at the O2 in London, he was presented with the Radio Academy's ‘John Peel Award for contribution to Music Radio'. Previous winners include Kenny Everett, Richard Park, Alan Freeman, Tony Blackburn, Steve Wright, Pete Tong, Chris Tarrant and John Peel himself (the award was renamed after his death).His regular ‘Jim Gellatly's NEW MUSIC' podcast was nominated as “Best Podcast or Radio Show” at the 2010 BT Digital Music Awards. In 2012 he was nominated at the prestigious Music Week Awards for his In:Demand Uncut show.Get in touch with Jim here:FacebookJim Gellatly (@jimgellatly) • Instagram photos and videosJim Gellatly (@JimGellatly) / X (twitter.com)Jim Gellatly – New Music in ScotlandAnd you can get in touch with me here:https://www.facebook.com/timeforheroespodcastTimeforheroespodcast (@Timeforheroesp1) / Twitterhttps://www.instagram.com/timetimeforheroespod@gmail.comTime For Heroes is written, produced and presented by Martin MorelArtwork courtesy of Rowan McDonagh Rowan McDonagh (@rowan_mcdonagh_design) • Instagram photos and videosMusic by The Young Hips, check them out here:https://open.spotify.com/artist/0wnBIA2KIwgNjCQPB6RY6h?si=Rd3wMJl5TImhlNDr9Wt3Yw Hosted on Acast. See acast.com/privacy for more information.

Alan Freeman is a Sales rep for Global Machinery. In this episode i catch up with a former co-worker about what he's currently into and where the industry is at today. We chat about the difference from selling to the Public sector vs the private sector and all it entails. Give the show a listen and remember to thank your local Public Works Professionals

We've ALL used broadcast automation/playout systems, but have you met the BRAINS behind their designs and software? Today we're meeting Alan Freeman, author of several Radio and TV automation systems including Digital DJ, AXS, EZ DJ Pro, Virtual Cart Machine, and Voice Tracking on Scott Studios automation systems. Plus, Alan helped design audio and relay cards for PCs, making integration possible between these PC-based audio systems and hardware of the day. From controlling satellite-delivered music formats, to mega-CD-changers, to music on hard drive, Alan has written software and user interfaces for them. Show Notes:Alan’s Business website is CDControl.comChris & Kirk like Alan’s Funk Logic rack panel - here’s the Funk Logic web store Guest:Alan Freeman - Senior Software Consultant / Software Developer / Owner: Wintek Software Inc. Hosts:Chris Tarr - Group Director of Engineering at Magnum.MediaKirk Harnack, The Telos Alliance, Delta Radio, Star94.3, & South Seas BroadcastingFollow TWiRT on Twitter and on FacebookTWiRT is brought to you by:Nautel brings you Transmission Talk Tuesday Discussions. Easy, free registration is here.Broadcasters General Store, with outstanding service, saving, and support. Online at BGS.cc. Broadcast Bionics - making radio smarter with Bionic Studio, visual radio, and social media tools at Bionic.radio.Angry Audio - with StudioHub cables and adapters. Audio problems disappear when you get Angry at AngryAudio.com. And MaxxKonnectWireless - Prioritized High Speed Internet Service designed for Transmitter Sites and Remote Broadcasts. Subscribe to Audio:iTunesRSSStitcherTuneInSubscribe to Video:iTunesRSSYouTube

We've ALL used broadcast automation/playout systems, but have you met the BRAINS behind their designs and software? Today we're meeting Alan Freeman, author of several Radio and TV automation systems including Digital DJ, AXS, EZ DJ Pro, Virtual Cart Machine, and Voice Tracking on Scott Studios automation systems. Plus, Alan helped design audio and relay cards for PCs, making integration possible between these PC-based audio systems and hardware of the day. From controlling satellite-delivered music formats, to mega-CD-changers, to music on hard driver, Alan has written software and user interfaces for them.

We've ALL used broadcast automation/playout systems, but have you met the BRAINS behind their designs and software? Today we're meeting Alan Freeman, author of several Radio and TV automation systems including Digital DJ, AXS, EZ DJ Pro, Virtual Cart Machine, and Voice Tracking on Scott Studios automation systems. Plus, Alan helped design audio and relay cards for PCs, making integration possible between these PC-based audio systems and hardware of the day. From controlling satellite-delivered music formats, to mega-CD-changers, to music on hard driver, Alan has written software and user interfaces for them.

From inside Russia, economists Radhika Desai and Alan Freeman report on the impact of Western sanctions and the Ukraine war. They discuss Moscow's integration with Asia and move away from neoliberal economics. VIDEO: https://youtube.com/watch?v=lxgiJj5FyYg Radhika and Alan are directors of the Geopolitical Economy Research Group: https://geopoliticaleconomy.org

Shaun Tilley celebrates 70 years of the UK's official singles chart and remembers the days when the BBC's countdown of best selling hits was the listening event of the week! From the Tuesday lunchtime reveal to the Sunday evening recap, this is The Story Of The Radio 1 Chart Show. The programme features archive and exclusive interviews with Alan Freeman, Dave Lee Travis, Tom Browne, Johnnie Walker, Paul Burnett, Simon Bates, Andy Peebles, Tony Blackburn, Tommy Vance, Gary Davies, Richard Skinner and Bruno Brookes!!

On episode 4 of #AnInsideViewPodcast we have former Mayo GAA star and current Dubai Celts star - Alan Freeman.   Some points we discuss:  

In this episode, I am joined by Robin George who since the 1980s has built up a name for himself as a guitar player, musician, producer, songwriter and solo artist. You may know Robin from his classic 1985 album Dangerous Music which contained the global hit Heartline which both Tommy Vance and Alan Freeman declared their record of the year.Robin talks about his latest album and looks back at his career so far which has seen him play and record with Glenn Hughes, Phil Lynott, Magnum, Climax Blues Band, Pete Way, Waysted, Roy Wood, Diamond Head, Marshall Law, Wrathchild, Witchfinder General, The David Byron Band and many more.A big thank you to my Robin George for being on the show and to all my subscribers. To find out more about Robin George and where you can buy his latest album and his other CDs please visit https://www.robingeorge.co.uk Phil AstonNow Spinning Magazinewww.nowspinning.co.ukNow Spinning Membershiphttps://nowspinning.co.uk/membership/

Critical race theory (CRT) is an academic movement of civil rights scholars and activists in the United States who seek to critically examine the law as it intersects with issues of race and to challenge mainstream liberal approaches to racial justice.[1] Critical race theory examines social, cultural and legal issues as they relate to race and racism.[2][3] Critical race theory originated in the mid-1970s in the writings of several American legal scholars including Derrick Bell, Alan Freeman, Kimberlé Crenshaw, Richard Delgado, Cheryl Harris, Charles R. Lawrence III, Mari Matsuda, and Patricia J. Williams.[1] It emerged as a movement by the 1980s, reworking theories of critical legal studies (CLS) with more focus on race.[4] Both critical race theory and critical legal studies are rooted in critical theory, which argues that social problems are influenced and created more by societal structures and cultural assumptions than by individual and psychological factors.[5] Critical race theory is loosely unified by two common themes: first, that white supremacy, i.e. societal or structural racism, exists and maintains power through the law;[6] and second, that transforming the relationship between law and racial power, and also achieving racial emancipation and anti-subordination more broadly, is possible.[7] Critics of critical race theory argue that it relies on social constructionism, elevates storytelling over evidence and reason, rejects the concepts of truth and merit, and opposes liberalism.[8][9][10] --- Send in a voice message: https://anchor.fm/chicano/message

Critical race theory (CRT) is an academic movement of civil rights scholars and activists in the United States who seek to critically examine the law as it intersects with issues of race and to challenge mainstream liberal approaches to racial justice.[1] Critical race theory examines social, cultural and legal issues as they relate to race and racism.[2][3] Critical race theory originated in the mid-1970s in the writings of several American legal scholars including Derrick Bell, Alan Freeman, Kimberlé Crenshaw, Richard Delgado, Cheryl Harris, Charles R. Lawrence III, Mari Matsuda, and Patricia J. Williams.[1] It emerged as a movement by the 1980s, reworking theories of critical legal studies (CLS) with more focus on race.[4] Both critical race theory and critical legal studies are rooted in critical theory, which argues that social problems are influenced and created more by societal structures and cultural assumptions than by individual and psychological factors.[5] Critical race theory is loosely unified by two common themes: first, that white supremacy, i.e. societal or structural racism, exists and maintains power through the law;[6] and second, that transforming the relationship between law and racial power, and also achieving racial emancipation and anti-subordination more broadly, is possible.[7] Critics of critical race theory argue that it relies on social constructionism, elevates storytelling over evidence and reason, rejects the concepts of truth and merit, and opposes liberalism.[8][9][10]

Critical race theory sprang up in the mid-1970s, as a number of lawyers, activists, and legal scholars across the country realized, more or less simultaneously, that the heady advances of the civil rights era of the 1960s had stalled and, in many respects, were being rolled back. Realizing that new theories and strategies were needed to combat the subtler forms of racism that were gaining ground, early writers such as Derrick Bell, Alan Freeman, and Richard Delgado (coauthor of this primer) put their minds to the task. They were soon joined by others, and the group held its first conference at a convent outside Madison, Wisconsin, in the summer of 1989. Legislating Morality https://www.youtube.com/watch?v=T4auzSh420g   Leo Terrell discusses critical race theory, 1619 Project https://www.youtube.com/watch?v=8NyZ9Hce7HM   Hillsdale College Critical Race Theory: What It Is and How to Fight It https://imprimis.hillsdale.edu/critical-race-theory-fight/   The Roots And Reach Of Critical Race Theory The American Conservative https://www.theamericanconservative.com/articles/the-roots-and-reach-of-critical-race-theory/  

The complete review of Critical Race Theory: An Introduction

What a wonderful culture clash - with Alan Freeman at his peak hosting Pick of the Pops and hitting a Radio 2 junction.

A story like no other, at 25 years old, Alan Freeman found himself still eligible to play collegiate football for another 3 years and took full advantage at a time where he needed his love of football the most! Alan Freeman has seen defeat, success, high moments, and low moments, but it was people like his big brother, his late father, and Dr. Umar Johnson that helped Alan get back on track and pursue his love of football by getting an opportunity to play at Arizona Christian and giving back to the game of football through speed and agility training with FreeWrld Fitness. He has completely transformed himself since he has been out in Arizona and his story is one definitely worth shining light on because he chose to not give up on the one thing that makes him happy, football! Appreciate your time again my brotha and hope you all enjoy! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/inthafieldpodcast/support

Episode eighty-four of A History of Rock Music in Five Hundred Songs looks at “Shakin’ All Over” by Johnny Kidd and the Pirates, and how the first great British R&B band interacted with the entertainment industry. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode, on “Under Your Spell Again” by Buck Owens. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources   As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. Only one biography of Kidd has been written, and that’s been out of print for nearly a quarter of a century and goes for ridiculous prices. Luckily Adie Barrett’s site http://www.johnnykidd.co.uk/ is everything a fan-site should be, and has a detailed biographical section which I used for the broad-strokes outline. Clem Cattini: My Life, Through the Eye of a Tornado is somewhere between authorised biography and autobiography. It’s not the best-written book ever, but it contains a lot of information about Clem’s life. Spike & Co by Graham McCann gives a very full account of Associated London Scripts. Pete Frame’s The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though — his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. Billy Bragg’s Roots, Radicals, and Rockers: How Skiffle Changed the World is one of the best books I’ve read on music at all, and gives far more detail about the historical background. And a fair chunk of the background information here also comes from the extended edition of Mark Lewisohn’s Tune In, which is essential reading for anyone who is interested in the Beatles, British post-war culture, and British post-war music.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript As we get more into this story, we’re going to see a lot more British acts becoming part of it. We’ve already looked at Lonnie Donegan, Cliff Richard, Tommy Steele, and Vince Taylor, but without spoiling anything I think most of you can guess that over the next year or so we’re going to see a few guitar bands from the UK enter the narrative. Today we’re going to look at one of the most important British bands of the early sixties — a band who are now mostly known for one hit and a gimmick, but who made a massive contribution to the sound of rock music. We’re going to look at Johnny Kidd and the Pirates: [Excerpt: Johnny Kidd and the Pirates, “Shakin’ All Over”] Our story starts during the skiffle boom of 1957. If you don’t remember the episodes we did on skiffle and early British rock and roll, it was a musical craze that swept Britain after Lonnie Donegan’s surprise hit with “Rock Island Line”. For about eighteen months, nearly every teenage boy in Britain was in a group playing a weird mix of Leadbelly and Woody Guthrie songs, old folk tunes, and music-hall numbers, with a lineup usually consisting of guitar, banjo, someone using a washboard as percussion, and a homemade double bass made out of a teachest, a broom handle, and a single string. The skiffle craze died away as quickly as it started out, but it left a legacy — thousands of young kids who’d learned at least three chords, who’d performed in public, and who knew that it was possible to make music without having gone through the homogenising star-making process. That would have repercussions throughout the length of this story, and to this day. But while almost everyone in a skiffle group was a kid, not everyone was. Obviously the big stars of the genre — Lonnie Donegan, Chas McDevitt, the Vipers — were all in their twenties when they became famous, and so were some of the amateurs who tried to jump on the bandwagon. In particular, there was Fred Heath. Heath was twenty-one when skiffle hit, and was already married — while twenty-one might seem young now, at the time, it was an age when people were meant to have settled down and found a career. But Heath wasn’t the career sort. There were rumours about him which attest to the kind of person he was perceived as being — that he was a bookie’s runner, that he’d not been drafted because he was thought to be completely impossible to discipline, that he had been working as a painter in a warehouse and urinated on the warehouse floor from the scaffolding he was on — and he was clearly not someone who was *ever* going to settle down. The first skiffle band Heath formed was called Bats Heath and the Vampires, and featured Heath on vocals and rhythm guitar, Brian Englund on banjo, Frank Rouledge on lead guitar, and Clive Lazell on washboard. The group went through a variety of names, at one point naming themselves the Frantic Four in what seems to have been an attempt to confuse people into thinking they were seeing Don Lang’s Frantic Five, the group who often appeared on Six-Five Special: [Excerpt: Don Lang and his Frantic Five, “Six-Five Hand Jivel”] The group went through the standard lineup and name changes that almost every amateur group went through, and they ended up as a five-piece group called the Five Nutters. And it was as the Five Nutters that they made their first attempts at becoming stars, when they auditioned for Carroll Levis. Levis was one of the most important people in showbusiness in the UK at this time. He’d just started a TV series, but for years before that his show had been on Radio Luxembourg, which was for many teenagers in the UK the most important radio station in the world. At the time, the BBC had a legal monopoly on radio broadcasting in the UK, but they had a couple of problems when it came to attracting a teenage audience. The first was that they had to provide entertainment for *everyone*, and so they couldn’t play much music that only appealed to teenagers but was detested by adults. But there was a much bigger problem for the BBC when it came to recorded music. In the 1950s, the BBC ran three national radio stations — the Light Programme, the Home Service, and the Third Programme — along with one national TV channel. The Musicians’ Union were worried that playing recorded music on these would lead to their members losing work, and so there was an agreement called “needletime”, which allowed the BBC to use recorded music for twenty-two hours a week, total, across all three radio stations, plus another three hours for the TV. That had to cover every style of music from Little Richard through to Doris Day through to Beethoven. The rest of the time, if they had music, it had to be performed by live musicians, and so you’d be more likely to hear “Rock Around the Clock” as performed by the Northern Dance Orchestra than Bill Haley’s version, and much of the BBC’s youth programming had middle-aged British session musicians trying to replicate the sound of American records and failing miserably. But Luxembourg didn’t have a needle-time rule, and so a commercial English-language station had been set up there, using transmitters powerful enough to reach most of Britain and Ireland. The station was owned and run in Britain, and most of the shows were recorded in London by British DJs like Brian Matthew, Jimmy Savile, and Alan Freeman, although there were also recordings of Alan Freed’s show broadcast on it. The shows were mostly sponsored by record companies, who would make the DJs play just half of the record, so they could promote more songs in their twenty-minute slot, and this was the main way that any teenager in Britain would actually be able to hear rock and roll music. Oddly, even though he spent many years on Radio Luxembourg, Levis’ show, which had originally been on the BBC before the War, was not a music show, but a talent show. Whether on his original BBC radio show, the Radio Luxembourg one, or his new TV show, the format was the same. He would alternate weeks between broadcasting and talent scouting. In talent scouting weeks he would go to a different city each week, where for five nights in a row he would put on talent shows featuring up to twenty different local amateur acts doing their party pieces — without payment, of course, just for the exposure. At the end of the show, the audience would get a chance to clap for each act, and the act that got the loudest applause would go through to a final on the Saturday night. This of course meant that acts that wanted to win would get a lot of their friends and family to come along and cheer for them. The Saturday night would then have the winning acts — which is to say, those who brought along the most paying customers — compete against each other. The most popular of *those* acts would then get to appear on Levis’ TV show the next week. It was, as you can imagine, an extremely lucrative business. When the Five Nutters appeared on Levis’ Discoveries show, they were fairly sure that the audience clapped loudest for them, but they came third. Being the type of person he was, Fred Heath didn’t take this lying down, and remonstrated with Levis, who eventually promised to get the Nutters some better gigs, one suspects just to shut Heath up. As a result of Levis putting in a good word for them, they got a few appearances at places like the 2Is, and made an appearance on the BBC’s one concession to youth culture on the radio — a new show called Saturday Skiffle Club. Around this time, the Five Nutters also recorded a demo disc. The first side was a skiffled-up version of “Shake, Rattle and Roll”, with some extremely good jazzy lead guitar: [Excerpt: Fred Heath and the Five Nutters, “Shake, Rattle, and Roll”] I’ve heard quite a few records of skiffle groups, mostly by professionals, and it’s clear that the Five Nutters were far more musical, and far more interesting, than most of them, even despite the audible sloppiness here. The point of skiffle was meant to be that it was do-it-yourself music that required no particular level of skill — but in this case the Nutters’ guitarist Frank Rouledge was clearly quite a bit more proficient than the run-of-the-mill skiffle guitarist. What was even more interesting about that recording, though, was the B-side, which was a song written by the group. It seems to have been mostly written by Heath, and it’s called “Blood-Red Beauty” because Heath’s wife was a redhead: [Excerpt: Fred Heath and the Five Nutters, “Blood Red Beauty”] The song itself is fairly unexceptional — it’s a standard Hank Williams style hillbilly boogie — but at this time there was still in Britain a fairly hard and fast rule which had performers and songwriters as two distinct things. There were a handful of British rock musicians who were attempting to write their own material — most prominently Billy Fury, a Larry Parnes artist who I’m afraid we don’t have space for in the podcast, but who was one of the most interesting of the late-fifties British acts — but in general, there was a fairly strict demarcation. It was very unusual for a British performer to also be trying to write songs. The Nutters split up shortly after their Saturday Skiffle Club appearance, and Heath formed various other groups called things like The Fabulous Freddie Heath Band and The Fred, Mike & Tom Show, before going back to the old name, with a new lineup of Freddie Heath and the Nutters consisting of himself on vocals, Mike West and Tom Brown — who had been the Mike and Tom in The Fred, Mike, & Tom Show, on backing vocals, Tony Doherty on rhythm guitar, Ken McKay on drums, Johnny Gordon on bass, and on lead guitar Alan Caddy, a man who was known by the nickname “tea”, which was partly a pun on his name, partly a reference to his drinking copious amounts of tea, and partly Cockney rhyming slang — tea-leaf for thief — as he was known for stealing cars. The Nutters got a new agent, Don Toy, and manager, Guy Robinson, but Heath seemed mostly to want to be a songwriter rather than a singer at this point. He was looking to place his songs with other artists, and in early 1959, he did. He wrote a song called “Please Don’t Touch”, and managed to get it placed with a vocal group called the Bachelors — not the more famous group of that name, but a minor group who recorded for Parlophone, a subsidiary of EMI run by a young producer named George Martin. “Please Don’t Touch” came out as the B-side of a Bachelors record: [Excerpt: The Bachelors, “Please Don’t Touch”] One notable thing about the songwriting credit — while most sources say Fred Heath wrote the song by himself, he gave Guy Robinson a co-writing credit on this and many of his future songs. This was partly because it was fairly standard at the time for managers to cut themselves in on their artists’ credits, but also because that way the credit could read Heath Robinson — Heath Robinson was a famous British cartoonist who was notable for drawing impossibly complicated inventions, and whose name had become part of the British language — for American listeners, imagine that the song was credited to Rube Goldberg, and you’ll have the idea. At this point, the Nutters had become quite a professional organisation, and so it was unsurprising that after “Please Don’t Touch” brought Fred Heath to the attention of EMI, a different EMI imprint, HMV, signed them up. Much of the early success of the Nutters, and this professionalism, seems to be down to Don Toy, who seems to have been a remarkably multi-talented individual. As well as being an agent who had contracts with many London venues to provide them with bands, he was also an electrical engineer specialising in sound equipment. He built a two-hundred watt bass amp for the group, at a time when almost every band just put their bass guitar through a normal guitar amp, and twenty-five watts was considered quite loud. He also built a portable tape echo device that could be used on stage to make Heath’s voice sound like it would on the records. Heath later bought the first Copicat echo unit to be made — this was a mass-produced device that would be used by a lot of British bands in the early sixties, and Heath’s had serial number 0001 — but before that became available, he used Toy’s device, which may well have been the very first on-stage echo device in the UK. On top of that, Toy has also claimed that most of the songs credited to Heath and Robinson were also co-written by him, but he left his name off because the credit looked better without it. And whether or not that’s true, he was also the drummer on this first session — Ken McKay, the Nutters’ drummer, was a bit unsteady in his tempo, and Toy was a decent player and took over from him when in April 1959, Fred Heath and the Nutters went into Abbey Road Studio 2, to record their own version of “Please Don’t Touch”. This was ostensibly produced by HMV producer Walter Ridley, but Ridley actually left rock and roll records to his engineer, Peter Sullivan: [Excerpt: Johnny Kidd and the Pirates, “Please Don’t Touch”] It was only when the session was over that they saw the paperwork for it. Fred Heath was the only member of the Nutters to be signed to EMI, with the rest of the group being contracted as session musicians, but that was absolutely normal for the time period — Tommy Steele’s Steelmen and Cliff Richard’s Drifters hadn’t been signed as artists either. What they were concerned about was the band name on the paperwork — it didn’t say Fred Heath and the Nutters, but Johnny Kidd and the Pirates. They were told that that was going to be their new name. They never did find out who it was who had decided on this for them, but from now on Fred Heath was Johnny Kidd. The record was promoted on Radio Luxembourg, and everyone thought it was going to go to number one. Unfortunately, strike action prevented that, and the record was only a moderate chart success — the highest position it hit in any of the UK charts at the time was number twenty on the Melody Maker chart. But that didn’t stop it from becoming an acknowledged classic of British rock and roll. It was so popular that it actually saw an American cover version, which was something that almost never happened with British songs, though Chico Holliday’s version was unsuccessful: [Excerpt: Chico Holliday, “Please Don’t Touch”] It remained such a fond memory for British rockers that in 1980 the heavy metal groups Motorhead and Girlschool recorded it as the supergroup HeadGirl, and it became the biggest hit either group ever had, reaching number five in the British charts: [Excerpt: Headgirl, “Please Don’t Touch”] But while “Please Don’t Touch” was one of the very few good rock and roll records made in Britain, it wasn’t the one for which Johnny Kidd and the Pirates would be remembered. It was, though, enough to make them a big act. They toured the country on a bill compered by Liverpool comedian Jimmy Tarbuck, and they made several appearances on Saturday Club, which had now dropped the “skiffle” name and was the only place anyone could hear rock and roll on BBC radio. Of course, the British record industry having the immense sense of potential it did, HMV immediately capitalised on the success of Johnny Kidd and the Pirates doing a great group performance of an original rock and roll number, by releasing as a follow-up single, a version of the old standard “If You Were the Only Girl in the World and I Were the Only Boy” by Johnny without the Pirates, but with chorus and orchestra conducted by Ivor Raymonde: [Excerpt: Johnny Kidd, “If You Were The Only Girl in the World”] For some reason — I can’t imagine why — that didn’t chart. One suspects that young Lemmy wasn’t quite as fond of that one as “Please Don’t Touch”. The B-side was a quite good rocker, with some nice guitar work from the session guitarist Bert Weedon, but no-one bothered to buy the record at the time, so they didn’t turn it over to hear the other side. The follow-up was better — a reworking of Marv Johnson’s “You’ve Got What it Takes”, one of the hits that Berry Gordy had been writing and producing for Johnson. Johnson’s version made the top five in the UK, but the Pirates’ version still made the top thirty. But by this time there had been some changes. The first change that was made was that the Pirates changed manager — while Robinson would continue getting songwriting credits, the group were now managed through Associated London Scripts, by Stan “Scruffy” Dale. Associated London Scripts was, as the name suggests, primarily a company that produced scripts. It was started as a writers’ co-operative, and in its early days it was made up of seven people. There was Frankie Howerd, one of the most popular stand-up comedians of the time, who was always looking for new material; Spike Milligan, the writer and one of the stars of the Goon Show, the most important surreal comedy of the fifties; Eric Sykes, who was a writer-performer who was involved in almost every important comedy programme of the decade, including co-writing many Goon episodes with Milligan, before becoming a TV star himself; Ray Galton and Alan Simpson, who wrote the most important *sitcom* of the fifties and early sixties, Hancock’s Half Hour; and Scruffy Dale, who was Howerd and Sykes’ manager and was supposed to take care of the business stuff. In fact, though, most of the business was actually taken care of by the seventh person and only woman, Beryl Vertue, who was taken on as the secretary on the basis of an interview that mostly asked about her tea-making skills, but soon found herself doing almost everything — the men in the office got so used to asking her “Could you make the tea, Beryl?”, “Could you type up this script, Beryl?” that they just started asking her things like “Could you renegotiate our contract with the BBC, Beryl?” She eventually became one of the most important women in the TV industry, with her most recent prominent credit being as executive producer on the BBC’s Sherlock up until 2017, more than sixty years after she joined the business. Vertue did all the work to keep the company running — a company which grew to about thirty writers, and between the early fifties and mid sixties, as well as Hancock’s Half Hour and the Goons, its writers created Sykes, Beyond Our Ken, Round the Horne, Steptoe and Son, The Bedsitting Room, the Running, Jumping, Standing Still Film, Til Death Us Do Part, Citizen James, and the Daleks. That’s a list off the top of my head — it would actually be easier to list memorable British comedy programmes and films of the fifties and early sixties that *didn’t* have a script from one of ALS’ writers. And while Vertue was keeping Marty Feldman, John Junkin, Barry Took, Johnny Speight, John Antrobus and all the rest of these new writers in work, Scruffy Dale was trying to create a career in pop management. As several people associated with ALS had made records with George Martin at Parlophone, he had an in there, and some of the few pop successes that Martin had in the fifties were producing acts managed by Dale through ALS, like the Vipers Skiffle Group: [Excerpt: The Vipers Skiffle Group, “Don’t You Rock Me, Daddy-O”] and a young performer named Jim Smith, who wanted to be a comedian and actor, but who Dale renamed after himself, and who had a string of hits as Jim Dale: [Excerpt: Jim Dale, “Be My Girl”] Jim Dale eventually did become a film and TV star, starting with presenting Six-Five Special, and is now best known for having starred in many of the Carry On films and narrating the Harry Potter audiobooks, but at the time he was still a pop star. Jim Dale and the Vipers were the two professional acts headlining an otherwise-amateur tour that Scruffy Dale put together that was very much like Carroll Levis’ Discoveries show, except without the need to even give the winners a slot on the TV every other week. This tour was supposed to be a hunt for the country’s best skiffle group, and there was going to be a grand national final, and the winner of *that* would go on TV. Except they just kept dragging the tour out for eighteen months, until the skiffle fad was completely over and no-one cared, so there never was a national final. And in the meantime the Vipers had to sit through twenty groups of spotty kids a night, all playing “Don’t You Rock Me Daddy-O”, and then go out and play it themselves, every night for eighteen months. Scruffy Dale was unscrupulous in other ways as well, and not long after he’d taken on the Pirates’ management he was sacked from ALS. Spike Milligan had never liked Dale — when told that Dale had lost a testicle in the war, he’d merely replied “I hope he dropped it on Dresden” — but Frankie Howerd and Eric Sykes had always been impressed with his ability to negotiate deals. But then Frankie Howerd found out that he’d missed out on lucrative opportunities because Dale had shoved letters in his coat pocket and forgotten about them for a fortnight. He started investigating a few more things, and it turned out that Dale had been siphoning money from Sykes and Howerd’s personal bank accounts into his own, having explained to their bank manager that it would just be resting in his account for them, because they were showbiz people who would spend it all too fast, so he was looking after them. And he’d also been doing other bits of creative accounting — every success his musical acts had was marked down as something he’d done independently, and all the profits went to him, while all the unsuccessful ventures were marked down as being ALS projects, and their losses charged to the company. So neither Dale nor the Pirates were with Associated London Scripts very long. But Dale made one very important change — he and Don Toy decided between them that most of the Pirates had to go. There were six backing musicians in the group if you counted the two backing vocalists, who all needed paying, and only one could read music — they weren’t professional enough to make a career in the music business. So all of the Pirates except Alan Caddy were sacked. Mike West and Tony Doherty formed another band, Robby Hood and His Merry Men, whose first single was written by Kidd (though it’s rare enough I’ve not been able to find a copy anywhere online). The new backing group was going to be a trio, modelled on Johnny Burnette’s Rock and Roll Trio — just one guitar, bass, and drums. They had Caddy on lead guitar, Clem Cattini on drums, and Brian Gregg on bass. Cattini was regarded as by far the best rock drummer in Britain at the time. He’d played with Terry Dene’s backing band the Dene Aces, and can be seen glumly backing Dene in the film The Golden Disc: [Excerpt: Terry Dene, “Candy Floss”] Gregg had joined Dene’s band, and they’d both then moved on to be touring musicians for Larry Parnes, backing most of the acts on a tour featuring Gene Vincent and Eddie Cochran that we’ll be looking at next week. They’d played with various of Parnes’ acts for a while, but had then asked for more money, and he’d refused, so they’d quit working for Parnes and joined Vince Taylor and the Playboys. They’d only played with the Playboys a few weeks when they moved on to Chas McDevitt’s group. For a brief time, McDevitt had been the biggest star in skiffle other than Lonnie Donegan, but he was firmly in the downward phase of his career at this point. McDevitt also owned a coffee bar, the Freight Train, named after his biggest hit, and most of the musicians in London would hang out there. And after Clem Cattini and Brian Gregg had joined the Pirates, it was at the Freight Train that the song for which the group would be remembered was written. They were going to go into the studio to record another song chosen by the record label — a version of the old standard “Yes Sir, That’s My Baby” — because EMI had apparently not yet learned that if you had Johnny Kidd record old standards, no-one bought it, but if you had him record bluesy rock and roll you had a hit. But they’d been told they could write their own B-side, as they’d been able to on the last few singles. They were also allowed to bring in Joe Moretti to provide a second guitar — Moretti, who had played the solo on “Brand New Cadillac”, was an old friend of Clem Cattini’s, and they thought he’d add something to the record, and also thought they’d be doing him a favour by letting him make a session fee — he wasn’t a regular session player. So they all got together in the Freight Train coffee bar, and wrote another Heath/Robinson number. They weren’t going to do anything too original for a B-side, of course. They nicked a rhythm guitar part from “Linda Lu”, a minor US hit that Lee Hazelwood had produced for a Chuck Berry soundalike named Ray Sharpe, and which was itself clearly lifted from “Speedoo” by the Cadillacs: [Excerpt: Ray Sharpe, “Linda Lu”] They may also have nicked Joe Moretti’s lead guitar part as well, though there’s more doubt about this. There’s a Mickey and Sylvia record, “No Good Lover”, which hadn’t been released in the UK at the time, so it’s hard to imagine how they could have heard it, but the lead guitar part they hit on was very, very similar — maybe someone had played it on Radio Luxembourg: [Excerpt: Mickey and Sylvia, “No Good Lover”] They combined those musical ideas with a lyric that was partly a follow-on to the line in “Please Don’t Touch” about shaking too much, and partly a slightly bowdlerised version of a saying that Kidd had — when he saw a woman he found particularly attractive, he’d say “She gives me quivers in me membranes”. As it was a B-side, the track they recorded only took two takes, plus a brief overdub for Moretti to add some guitar shimmers, created by him using a cigarette lighter as a slide: [Excerpt: Johnny Kidd and the Pirates, “Shakin’ All Over”] The song was knocked off so quickly that they even kept in a mistake — before the guitar solo, Clem Cattini was meant to play just a one-bar fill. Instead he played for longer, which was very unlike Cattini, who was normally a professional’s professional. He asked for another take, but the producer just left it in, and that break going into the solo was one of the things that people latched on to: [Excerpt: Johnny Kidd and the Pirates, “Shakin’ All Over”] Despite the track having been put together from pre-existing bits, it had a life and vitality to it that no other British record except “Brand New Cadillac” had had, and Kidd had the added bonus of actually being able to hold a tune, unlike Vince Taylor. The record company quickly realised that “Shakin’ All Over” should be the record that they were pushing, and flipped the single. The Pirates appeared on Wham!, the latest Jack Good TV show, and immediately the record charted. It soon made number one, and became the first real proof to British listeners that British people could make rock and roll every bit as good as the Americans — at this point, everyone still thought Vince Taylor was from America. It was possibly Jack Good who also made the big change to Johnny Kidd’s appearance — he had a slight cast in one eye that got worse as the day went on, with his eyelid drooping more and more. Someone — probably Good — suggested that he should make this problem into an advantage, by wearing an eyepatch. He did, and the Pirates got pirate costumes to wear on stage, while Kidd would frantically roam the stage swinging a cutlass around. At this point, stagecraft was something almost unknown to British rock performers, who rarely did more than wear a cleanish suit and say “thank you” after each song. The only other act that was anything like as theatrical was Screaming Lord Sutch and the Savages, a minor act who had ripped off Screamin’ Jay Hawkins’ act. The follow-up, “Restless”, was very much “Shakin’ All Over” part two, and made the top thirty. After that, sticking with the formula, they did a version of “Linda Lu”, but that didn’t make the top forty at all. Possibly the most interesting record they made at this point was a version of “I Just Want to Make Love to You”, a song Willie Dixon had written for Muddy Waters: [Excerpt: Johnny Kidd and the Pirates, “I Just Want to Make Love to You”] The Pirates were increasingly starting to include blues and R&B songs in their set, and the British blues boom artists of the next few years would often refer to the Pirates as being the band that had inspired them. Clem Cattini still says that Johnny Kidd was the best British blues singer he ever heard. But as their singles were doing less and less well, the Pirates decided to jump ship. Colin Hicks, Tommy Steele’s much less successful younger brother, had a backing band called the Cabin Boys, which Brian Gregg had been in before joining Terry Dene’s band. Hicks had now started performing an act that was based on Kidd’s, and for a tour of Italy, where he was quite popular, he wanted a new band — he asked the Pirates if they would leave Kidd and become the latest lineup of Cabin Boys, and they left, taking their costumes with them. Clem Cattini now says that agreeing was the worst move he ever made, but they parted on good terms — Kidd said “Alan, Brian and Clem left me to better themselves. How could I possibly begrudge them their opportunity?” We’ll be picking up the story of Alan, Brian, and Clem in a few months’ time, but in the meantime, Kidd picked up a new backing band, who had previously been performing as the Redcaps, backing a minor singer called Cuddly Dudley on his single “Sitting on a Train”: [Excerpt: Cuddly Dudley and the Redcaps, “Sitting on a Train”] That new lineup of Pirates didn’t last too long before the guitarist quit, due to ill health, but he was soon replaced by Mick Green, who is now regarded by many as one of the great British guitarists of all time, to the extent that Wilko Johnson, another British guitarist who came to prominence about fifteen years later, has said that he spent his entire career trying and failing to sound like MIck Green. In 1962 and 63 the group were playing clubs where they found a lot of new bands who they seemed to have things in common with. After playing the Cavern in Liverpool and a residency at the Star Club in Hamburg, they added Richie Barrett’s “Some Other Guy” and Arthur Alexander’s “A Shot of Rhythm and Blues” to their sets, two R&B numbers that were very popular among the Liverpool bands playing in Hamburg but otherwise almost unknown in the UK. Unfortunately, their version of “A Shot of Rhythm and Blues” didn’t chart, and their record label declined to issue their version of “Some Other Guy” — and then almost immediately the Liverpool group The Big Three released their version as a single, and it made the top forty. As the Pirates’ R&B sound was unsuccessful — no-one seemed to want British R&B, at all — they decided to go the other way, and record a song written by their new manager, Gordon Mills (who would later become better known for managing Tom Jones and Englebert Humperdinck). “I’ll Never Get Over You” was a very catchy, harmonised, song in the style of many of the new bands that were becoming popular, and it’s an enjoyable record, but it’s not really in the Pirates’ style: [Excerpt: Johnny Kidd and the Pirates, “I’ll Never Get Over You”] That made number four on the charts, but it would be Johnny Kidd and the Pirates’ last major hit. They did have a minor hit with another song by Mills, “Hungry For Love”, but a much better record, and a much better example of the Pirates’ style, was an R&B single released by the Pirates without Kidd. The plan at the time was that they would be split into two acts in the same way as Cliff Richard and the Shadows — Kidd would be a solo star, while the Pirates would release records of their own. The A-side of the Pirates’ single was a fairly good version of the Willie Dixon song “My Babe”, but to my ears the B-side is better — it’s a version of “Casting My Spell”, a song originally by an obscure duo called the Johnson Brothers, but popularised by Johnny Otis. The Pirates’ version is quite possibly the finest early British R&B record I’ve heard: [Excerpt: The Pirates, “Casting My Spell”] That didn’t chart, and the plan to split the two acts failed. Neither act ever had another hit again, and eventually the classic Mick Green lineup of the Pirates split up — Green left first, to join Billy J Kramer and the Dakotas, and the rest left one by one. In 1965, The Guess Who had a hit in the US with their cover version of “Shakin’ All Over”: [Excerpt: The Guess Who, “Shakin’ All Over”] The Pirates were reduced to remaking their own old hit as “Shakin’ All Over ’65” in an attempt to piggyback on that cover version, but the new version, which was dominated by a Hammond organ part, didn’t have any success. After the Pirates left Kidd, he got a new group, which he called the New Pirates. He continued making extremely good records on occasion, but had no success at all. Even though younger bands like the Rolling Stones and the Animals were making music very similar to his, he was regarded as an outdated novelty act, a relic of an earlier age from six years earlier. There was always the potential for him to have a comeback, but then in 1966 Kidd, who was never a very good driver and had been in a number of accidents, arrived late at a gig in Bolton. The manager refused to let him on stage because he’d arrived so late, so he drove off to find another gig. He’d been driving most of the day, and he crashed the car and died, as did one person in the vehicle he crashed into. His final single, “Send For That Girl”, was released after his death. It’s really a very good record, but at the time Kidd’s fortunes were so low that even his death didn’t make it chart: [Excerpt: Johnny Kidd and the New Pirates, “Send For That Girl”] Kidd was only thirty when he died, and already a has-been, but he left behind the most impressive body of work of any pre-Beatles British act. Various lineups of Pirates have occasionally played since — including, at one point, Cattini and Gregg playing with Joe Moretti’s son Joe Moretti Jr — but none have ever captured that magic that gave millions of people quivers down the backbone and shakes in the kneebone.

Episode eighty-four of A History of Rock Music in Five Hundred Songs looks at "Shakin' All Over" by Johnny Kidd and the Pirates, and how the first great British R&B band interacted with the entertainment industry. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode, on "Under Your Spell Again" by Buck Owens. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources   As usual, I have put together a Mixcloud mix with every song excerpted in this podcast. Only one biography of Kidd has been written, and that's been out of print for nearly a quarter of a century and goes for ridiculous prices. Luckily Adie Barrett's site http://www.johnnykidd.co.uk/ is everything a fan-site should be, and has a detailed biographical section which I used for the broad-strokes outline. Clem Cattini: My Life, Through the Eye of a Tornado is somewhere between authorised biography and autobiography. It's not the best-written book ever, but it contains a lot of information about Clem's life. Spike & Co by Graham McCann gives a very full account of Associated London Scripts. Pete Frame's The Restless Generation is the best book available looking at British 50s rock and roll from a historical perspective. Be warned, though -- his jokey and irreverent style can, when dealing with people like Larry Parnes (who was gay and Jewish) very occasionally tip over into reinforcing homophobic and anti-semitic stereotypes for an easy laugh. Billy Bragg's Roots, Radicals, and Rockers: How Skiffle Changed the World is one of the best books I've read on music at all, and gives far more detail about the historical background. And a fair chunk of the background information here also comes from the extended edition of Mark Lewisohn's Tune In, which is essential reading for anyone who is interested in the Beatles, British post-war culture, and British post-war music.   Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript As we get more into this story, we're going to see a lot more British acts becoming part of it. We've already looked at Lonnie Donegan, Cliff Richard, Tommy Steele, and Vince Taylor, but without spoiling anything I think most of you can guess that over the next year or so we're going to see a few guitar bands from the UK enter the narrative. Today we're going to look at one of the most important British bands of the early sixties -- a band who are now mostly known for one hit and a gimmick, but who made a massive contribution to the sound of rock music. We're going to look at Johnny Kidd and the Pirates: [Excerpt: Johnny Kidd and the Pirates, "Shakin' All Over"] Our story starts during the skiffle boom of 1957. If you don't remember the episodes we did on skiffle and early British rock and roll, it was a musical craze that swept Britain after Lonnie Donegan's surprise hit with "Rock Island Line". For about eighteen months, nearly every teenage boy in Britain was in a group playing a weird mix of Leadbelly and Woody Guthrie songs, old folk tunes, and music-hall numbers, with a lineup usually consisting of guitar, banjo, someone using a washboard as percussion, and a homemade double bass made out of a teachest, a broom handle, and a single string. The skiffle craze died away as quickly as it started out, but it left a legacy -- thousands of young kids who'd learned at least three chords, who'd performed in public, and who knew that it was possible to make music without having gone through the homogenising star-making process. That would have repercussions throughout the length of this story, and to this day. But while almost everyone in a skiffle group was a kid, not everyone was. Obviously the big stars of the genre -- Lonnie Donegan, Chas McDevitt, the Vipers -- were all in their twenties when they became famous, and so were some of the amateurs who tried to jump on the bandwagon. In particular, there was Fred Heath. Heath was twenty-one when skiffle hit, and was already married -- while twenty-one might seem young now, at the time, it was an age when people were meant to have settled down and found a career. But Heath wasn't the career sort. There were rumours about him which attest to the kind of person he was perceived as being -- that he was a bookie's runner, that he'd not been drafted because he was thought to be completely impossible to discipline, that he had been working as a painter in a warehouse and urinated on the warehouse floor from the scaffolding he was on -- and he was clearly not someone who was *ever* going to settle down. The first skiffle band Heath formed was called Bats Heath and the Vampires, and featured Heath on vocals and rhythm guitar, Brian Englund on banjo, Frank Rouledge on lead guitar, and Clive Lazell on washboard. The group went through a variety of names, at one point naming themselves the Frantic Four in what seems to have been an attempt to confuse people into thinking they were seeing Don Lang's Frantic Five, the group who often appeared on Six-Five Special: [Excerpt: Don Lang and his Frantic Five, "Six-Five Hand Jivel"] The group went through the standard lineup and name changes that almost every amateur group went through, and they ended up as a five-piece group called the Five Nutters. And it was as the Five Nutters that they made their first attempts at becoming stars, when they auditioned for Carroll Levis. Levis was one of the most important people in showbusiness in the UK at this time. He'd just started a TV series, but for years before that his show had been on Radio Luxembourg, which was for many teenagers in the UK the most important radio station in the world. At the time, the BBC had a legal monopoly on radio broadcasting in the UK, but they had a couple of problems when it came to attracting a teenage audience. The first was that they had to provide entertainment for *everyone*, and so they couldn't play much music that only appealed to teenagers but was detested by adults. But there was a much bigger problem for the BBC when it came to recorded music. In the 1950s, the BBC ran three national radio stations -- the Light Programme, the Home Service, and the Third Programme -- along with one national TV channel. The Musicians' Union were worried that playing recorded music on these would lead to their members losing work, and so there was an agreement called "needletime", which allowed the BBC to use recorded music for twenty-two hours a week, total, across all three radio stations, plus another three hours for the TV. That had to cover every style of music from Little Richard through to Doris Day through to Beethoven. The rest of the time, if they had music, it had to be performed by live musicians, and so you'd be more likely to hear "Rock Around the Clock" as performed by the Northern Dance Orchestra than Bill Haley's version, and much of the BBC's youth programming had middle-aged British session musicians trying to replicate the sound of American records and failing miserably. But Luxembourg didn't have a needle-time rule, and so a commercial English-language station had been set up there, using transmitters powerful enough to reach most of Britain and Ireland. The station was owned and run in Britain, and most of the shows were recorded in London by British DJs like Brian Matthew, Jimmy Savile, and Alan Freeman, although there were also recordings of Alan Freed's show broadcast on it. The shows were mostly sponsored by record companies, who would make the DJs play just half of the record, so they could promote more songs in their twenty-minute slot, and this was the main way that any teenager in Britain would actually be able to hear rock and roll music. Oddly, even though he spent many years on Radio Luxembourg, Levis' show, which had originally been on the BBC before the War, was not a music show, but a talent show. Whether on his original BBC radio show, the Radio Luxembourg one, or his new TV show, the format was the same. He would alternate weeks between broadcasting and talent scouting. In talent scouting weeks he would go to a different city each week, where for five nights in a row he would put on talent shows featuring up to twenty different local amateur acts doing their party pieces -- without payment, of course, just for the exposure. At the end of the show, the audience would get a chance to clap for each act, and the act that got the loudest applause would go through to a final on the Saturday night. This of course meant that acts that wanted to win would get a lot of their friends and family to come along and cheer for them. The Saturday night would then have the winning acts -- which is to say, those who brought along the most paying customers -- compete against each other. The most popular of *those* acts would then get to appear on Levis' TV show the next week. It was, as you can imagine, an extremely lucrative business. When the Five Nutters appeared on Levis' Discoveries show, they were fairly sure that the audience clapped loudest for them, but they came third. Being the type of person he was, Fred Heath didn't take this lying down, and remonstrated with Levis, who eventually promised to get the Nutters some better gigs, one suspects just to shut Heath up. As a result of Levis putting in a good word for them, they got a few appearances at places like the 2Is, and made an appearance on the BBC's one concession to youth culture on the radio -- a new show called Saturday Skiffle Club. Around this time, the Five Nutters also recorded a demo disc. The first side was a skiffled-up version of "Shake, Rattle and Roll", with some extremely good jazzy lead guitar: [Excerpt: Fred Heath and the Five Nutters, "Shake, Rattle, and Roll"] I've heard quite a few records of skiffle groups, mostly by professionals, and it's clear that the Five Nutters were far more musical, and far more interesting, than most of them, even despite the audible sloppiness here. The point of skiffle was meant to be that it was do-it-yourself music that required no particular level of skill -- but in this case the Nutters' guitarist Frank Rouledge was clearly quite a bit more proficient than the run-of-the-mill skiffle guitarist. What was even more interesting about that recording, though, was the B-side, which was a song written by the group. It seems to have been mostly written by Heath, and it's called "Blood-Red Beauty" because Heath's wife was a redhead: [Excerpt: Fred Heath and the Five Nutters, "Blood Red Beauty"] The song itself is fairly unexceptional -- it's a standard Hank Williams style hillbilly boogie -- but at this time there was still in Britain a fairly hard and fast rule which had performers and songwriters as two distinct things. There were a handful of British rock musicians who were attempting to write their own material -- most prominently Billy Fury, a Larry Parnes artist who I'm afraid we don't have space for in the podcast, but who was one of the most interesting of the late-fifties British acts -- but in general, there was a fairly strict demarcation. It was very unusual for a British performer to also be trying to write songs. The Nutters split up shortly after their Saturday Skiffle Club appearance, and Heath formed various other groups called things like The Fabulous Freddie Heath Band and The Fred, Mike & Tom Show, before going back to the old name, with a new lineup of Freddie Heath and the Nutters consisting of himself on vocals, Mike West and Tom Brown -- who had been the Mike and Tom in The Fred, Mike, & Tom Show, on backing vocals, Tony Doherty on rhythm guitar, Ken McKay on drums, Johnny Gordon on bass, and on lead guitar Alan Caddy, a man who was known by the nickname "tea", which was partly a pun on his name, partly a reference to his drinking copious amounts of tea, and partly Cockney rhyming slang -- tea-leaf for thief -- as he was known for stealing cars. The Nutters got a new agent, Don Toy, and manager, Guy Robinson, but Heath seemed mostly to want to be a songwriter rather than a singer at this point. He was looking to place his songs with other artists, and in early 1959, he did. He wrote a song called "Please Don't Touch", and managed to get it placed with a vocal group called the Bachelors -- not the more famous group of that name, but a minor group who recorded for Parlophone, a subsidiary of EMI run by a young producer named George Martin. "Please Don't Touch" came out as the B-side of a Bachelors record: [Excerpt: The Bachelors, "Please Don't Touch"] One notable thing about the songwriting credit -- while most sources say Fred Heath wrote the song by himself, he gave Guy Robinson a co-writing credit on this and many of his future songs. This was partly because it was fairly standard at the time for managers to cut themselves in on their artists' credits, but also because that way the credit could read Heath Robinson -- Heath Robinson was a famous British cartoonist who was notable for drawing impossibly complicated inventions, and whose name had become part of the British language -- for American listeners, imagine that the song was credited to Rube Goldberg, and you'll have the idea. At this point, the Nutters had become quite a professional organisation, and so it was unsurprising that after "Please Don't Touch" brought Fred Heath to the attention of EMI, a different EMI imprint, HMV, signed them up. Much of the early success of the Nutters, and this professionalism, seems to be down to Don Toy, who seems to have been a remarkably multi-talented individual. As well as being an agent who had contracts with many London venues to provide them with bands, he was also an electrical engineer specialising in sound equipment. He built a two-hundred watt bass amp for the group, at a time when almost every band just put their bass guitar through a normal guitar amp, and twenty-five watts was considered quite loud. He also built a portable tape echo device that could be used on stage to make Heath's voice sound like it would on the records. Heath later bought the first Copicat echo unit to be made -- this was a mass-produced device that would be used by a lot of British bands in the early sixties, and Heath's had serial number 0001 -- but before that became available, he used Toy's device, which may well have been the very first on-stage echo device in the UK. On top of that, Toy has also claimed that most of the songs credited to Heath and Robinson were also co-written by him, but he left his name off because the credit looked better without it. And whether or not that's true, he was also the drummer on this first session -- Ken McKay, the Nutters' drummer, was a bit unsteady in his tempo, and Toy was a decent player and took over from him when in April 1959, Fred Heath and the Nutters went into Abbey Road Studio 2, to record their own version of "Please Don't Touch". This was ostensibly produced by HMV producer Walter Ridley, but Ridley actually left rock and roll records to his engineer, Peter Sullivan: [Excerpt: Johnny Kidd and the Pirates, "Please Don't Touch"] It was only when the session was over that they saw the paperwork for it. Fred Heath was the only member of the Nutters to be signed to EMI, with the rest of the group being contracted as session musicians, but that was absolutely normal for the time period -- Tommy Steele's Steelmen and Cliff Richard's Drifters hadn't been signed as artists either. What they were concerned about was the band name on the paperwork -- it didn't say Fred Heath and the Nutters, but Johnny Kidd and the Pirates. They were told that that was going to be their new name. They never did find out who it was who had decided on this for them, but from now on Fred Heath was Johnny Kidd. The record was promoted on Radio Luxembourg, and everyone thought it was going to go to number one. Unfortunately, strike action prevented that, and the record was only a moderate chart success -- the highest position it hit in any of the UK charts at the time was number twenty on the Melody Maker chart. But that didn't stop it from becoming an acknowledged classic of British rock and roll. It was so popular that it actually saw an American cover version, which was something that almost never happened with British songs, though Chico Holliday's version was unsuccessful: [Excerpt: Chico Holliday, "Please Don't Touch"] It remained such a fond memory for British rockers that in 1980 the heavy metal groups Motorhead and Girlschool recorded it as the supergroup HeadGirl, and it became the biggest hit either group ever had, reaching number five in the British charts: [Excerpt: Headgirl, "Please Don't Touch"] But while "Please Don't Touch" was one of the very few good rock and roll records made in Britain, it wasn't the one for which Johnny Kidd and the Pirates would be remembered. It was, though, enough to make them a big act. They toured the country on a bill compered by Liverpool comedian Jimmy Tarbuck, and they made several appearances on Saturday Club, which had now dropped the "skiffle" name and was the only place anyone could hear rock and roll on BBC radio. Of course, the British record industry having the immense sense of potential it did, HMV immediately capitalised on the success of Johnny Kidd and the Pirates doing a great group performance of an original rock and roll number, by releasing as a follow-up single, a version of the old standard "If You Were the Only Girl in the World and I Were the Only Boy" by Johnny without the Pirates, but with chorus and orchestra conducted by Ivor Raymonde: [Excerpt: Johnny Kidd, "If You Were The Only Girl in the World"] For some reason -- I can't imagine why -- that didn't chart. One suspects that young Lemmy wasn't quite as fond of that one as "Please Don't Touch". The B-side was a quite good rocker, with some nice guitar work from the session guitarist Bert Weedon, but no-one bothered to buy the record at the time, so they didn't turn it over to hear the other side. The follow-up was better -- a reworking of Marv Johnson's "You've Got What it Takes", one of the hits that Berry Gordy had been writing and producing for Johnson. Johnson's version made the top five in the UK, but the Pirates' version still made the top thirty. But by this time there had been some changes. The first change that was made was that the Pirates changed manager -- while Robinson would continue getting songwriting credits, the group were now managed through Associated London Scripts, by Stan "Scruffy" Dale. Associated London Scripts was, as the name suggests, primarily a company that produced scripts. It was started as a writers' co-operative, and in its early days it was made up of seven people. There was Frankie Howerd, one of the most popular stand-up comedians of the time, who was always looking for new material; Spike Milligan, the writer and one of the stars of the Goon Show, the most important surreal comedy of the fifties; Eric Sykes, who was a writer-performer who was involved in almost every important comedy programme of the decade, including co-writing many Goon episodes with Milligan, before becoming a TV star himself; Ray Galton and Alan Simpson, who wrote the most important *sitcom* of the fifties and early sixties, Hancock's Half Hour; and Scruffy Dale, who was Howerd and Sykes' manager and was supposed to take care of the business stuff. In fact, though, most of the business was actually taken care of by the seventh person and only woman, Beryl Vertue, who was taken on as the secretary on the basis of an interview that mostly asked about her tea-making skills, but soon found herself doing almost everything -- the men in the office got so used to asking her "Could you make the tea, Beryl?", "Could you type up this script, Beryl?" that they just started asking her things like "Could you renegotiate our contract with the BBC, Beryl?" She eventually became one of the most important women in the TV industry, with her most recent prominent credit being as executive producer on the BBC's Sherlock up until 2017, more than sixty years after she joined the business. Vertue did all the work to keep the company running -- a company which grew to about thirty writers, and between the early fifties and mid sixties, as well as Hancock's Half Hour and the Goons, its writers created Sykes, Beyond Our Ken, Round the Horne, Steptoe and Son, The Bedsitting Room, the Running, Jumping, Standing Still Film, Til Death Us Do Part, Citizen James, and the Daleks. That's a list off the top of my head -- it would actually be easier to list memorable British comedy programmes and films of the fifties and early sixties that *didn't* have a script from one of ALS' writers. And while Vertue was keeping Marty Feldman, John Junkin, Barry Took, Johnny Speight, John Antrobus and all the rest of these new writers in work, Scruffy Dale was trying to create a career in pop management. As several people associated with ALS had made records with George Martin at Parlophone, he had an in there, and some of the few pop successes that Martin had in the fifties were producing acts managed by Dale through ALS, like the Vipers Skiffle Group: [Excerpt: The Vipers Skiffle Group, "Don't You Rock Me, Daddy-O"] and a young performer named Jim Smith, who wanted to be a comedian and actor, but who Dale renamed after himself, and who had a string of hits as Jim Dale: [Excerpt: Jim Dale, "Be My Girl"] Jim Dale eventually did become a film and TV star, starting with presenting Six-Five Special, and is now best known for having starred in many of the Carry On films and narrating the Harry Potter audiobooks, but at the time he was still a pop star. Jim Dale and the Vipers were the two professional acts headlining an otherwise-amateur tour that Scruffy Dale put together that was very much like Carroll Levis' Discoveries show, except without the need to even give the winners a slot on the TV every other week. This tour was supposed to be a hunt for the country's best skiffle group, and there was going to be a grand national final, and the winner of *that* would go on TV. Except they just kept dragging the tour out for eighteen months, until the skiffle fad was completely over and no-one cared, so there never was a national final. And in the meantime the Vipers had to sit through twenty groups of spotty kids a night, all playing "Don't You Rock Me Daddy-O", and then go out and play it themselves, every night for eighteen months. Scruffy Dale was unscrupulous in other ways as well, and not long after he'd taken on the Pirates' management he was sacked from ALS. Spike Milligan had never liked Dale -- when told that Dale had lost a testicle in the war, he'd merely replied "I hope he dropped it on Dresden" -- but Frankie Howerd and Eric Sykes had always been impressed with his ability to negotiate deals. But then Frankie Howerd found out that he'd missed out on lucrative opportunities because Dale had shoved letters in his coat pocket and forgotten about them for a fortnight. He started investigating a few more things, and it turned out that Dale had been siphoning money from Sykes and Howerd's personal bank accounts into his own, having explained to their bank manager that it would just be resting in his account for them, because they were showbiz people who would spend it all too fast, so he was looking after them. And he'd also been doing other bits of creative accounting -- every success his musical acts had was marked down as something he'd done independently, and all the profits went to him, while all the unsuccessful ventures were marked down as being ALS projects, and their losses charged to the company. So neither Dale nor the Pirates were with Associated London Scripts very long. But Dale made one very important change -- he and Don Toy decided between them that most of the Pirates had to go. There were six backing musicians in the group if you counted the two backing vocalists, who all needed paying, and only one could read music -- they weren't professional enough to make a career in the music business. So all of the Pirates except Alan Caddy were sacked. Mike West and Tony Doherty formed another band, Robby Hood and His Merry Men, whose first single was written by Kidd (though it's rare enough I've not been able to find a copy anywhere online). The new backing group was going to be a trio, modelled on Johnny Burnette's Rock and Roll Trio -- just one guitar, bass, and drums. They had Caddy on lead guitar, Clem Cattini on drums, and Brian Gregg on bass. Cattini was regarded as by far the best rock drummer in Britain at the time. He'd played with Terry Dene's backing band the Dene Aces, and can be seen glumly backing Dene in the film The Golden Disc: [Excerpt: Terry Dene, "Candy Floss"] Gregg had joined Dene's band, and they'd both then moved on to be touring musicians for Larry Parnes, backing most of the acts on a tour featuring Gene Vincent and Eddie Cochran that we'll be looking at next week. They'd played with various of Parnes' acts for a while, but had then asked for more money, and he'd refused, so they'd quit working for Parnes and joined Vince Taylor and the Playboys. They'd only played with the Playboys a few weeks when they moved on to Chas McDevitt's group. For a brief time, McDevitt had been the biggest star in skiffle other than Lonnie Donegan, but he was firmly in the downward phase of his career at this point. McDevitt also owned a coffee bar, the Freight Train, named after his biggest hit, and most of the musicians in London would hang out there. And after Clem Cattini and Brian Gregg had joined the Pirates, it was at the Freight Train that the song for which the group would be remembered was written. They were going to go into the studio to record another song chosen by the record label -- a version of the old standard "Yes Sir, That's My Baby" -- because EMI had apparently not yet learned that if you had Johnny Kidd record old standards, no-one bought it, but if you had him record bluesy rock and roll you had a hit. But they'd been told they could write their own B-side, as they'd been able to on the last few singles. They were also allowed to bring in Joe Moretti to provide a second guitar -- Moretti, who had played the solo on "Brand New Cadillac", was an old friend of Clem Cattini's, and they thought he'd add something to the record, and also thought they'd be doing him a favour by letting him make a session fee -- he wasn't a regular session player. So they all got together in the Freight Train coffee bar, and wrote another Heath/Robinson number. They weren't going to do anything too original for a B-side, of course. They nicked a rhythm guitar part from "Linda Lu", a minor US hit that Lee Hazelwood had produced for a Chuck Berry soundalike named Ray Sharpe, and which was itself clearly lifted from “Speedoo” by the Cadillacs: [Excerpt: Ray Sharpe, "Linda Lu"] They may also have nicked Joe Moretti's lead guitar part as well, though there's more doubt about this. There's a Mickey and Sylvia record, "No Good Lover", which hadn't been released in the UK at the time, so it's hard to imagine how they could have heard it, but the lead guitar part they hit on was very, very similar -- maybe someone had played it on Radio Luxembourg: [Excerpt: Mickey and Sylvia, "No Good Lover"] They combined those musical ideas with a lyric that was partly a follow-on to the line in "Please Don't Touch" about shaking too much, and partly a slightly bowdlerised version of a saying that Kidd had -- when he saw a woman he found particularly attractive, he'd say "She gives me quivers in me membranes". As it was a B-side, the track they recorded only took two takes, plus a brief overdub for Moretti to add some guitar shimmers, created by him using a cigarette lighter as a slide: [Excerpt: Johnny Kidd and the Pirates, "Shakin' All Over"] The song was knocked off so quickly that they even kept in a mistake -- before the guitar solo, Clem Cattini was meant to play just a one-bar fill. Instead he played for longer, which was very unlike Cattini, who was normally a professional's professional. He asked for another take, but the producer just left it in, and that break going into the solo was one of the things that people latched on to: [Excerpt: Johnny Kidd and the Pirates, "Shakin' All Over"] Despite the track having been put together from pre-existing bits, it had a life and vitality to it that no other British record except "Brand New Cadillac" had had, and Kidd had the added bonus of actually being able to hold a tune, unlike Vince Taylor. The record company quickly realised that "Shakin' All Over" should be the record that they were pushing, and flipped the single. The Pirates appeared on Wham!, the latest Jack Good TV show, and immediately the record charted. It soon made number one, and became the first real proof to British listeners that British people could make rock and roll every bit as good as the Americans -- at this point, everyone still thought Vince Taylor was from America. It was possibly Jack Good who also made the big change to Johnny Kidd's appearance -- he had a slight cast in one eye that got worse as the day went on, with his eyelid drooping more and more. Someone -- probably Good -- suggested that he should make this problem into an advantage, by wearing an eyepatch. He did, and the Pirates got pirate costumes to wear on stage, while Kidd would frantically roam the stage swinging a cutlass around. At this point, stagecraft was something almost unknown to British rock performers, who rarely did more than wear a cleanish suit and say "thank you" after each song. The only other act that was anything like as theatrical was Screaming Lord Sutch and the Savages, a minor act who had ripped off Screamin' Jay Hawkins' act. The follow-up, "Restless", was very much "Shakin' All Over" part two, and made the top thirty. After that, sticking with the formula, they did a version of "Linda Lu", but that didn't make the top forty at all. Possibly the most interesting record they made at this point was a version of "I Just Want to Make Love to You", a song Willie Dixon had written for Muddy Waters: [Excerpt: Johnny Kidd and the Pirates, "I Just Want to Make Love to You"] The Pirates were increasingly starting to include blues and R&B songs in their set, and the British blues boom artists of the next few years would often refer to the Pirates as being the band that had inspired them. Clem Cattini still says that Johnny Kidd was the best British blues singer he ever heard. But as their singles were doing less and less well, the Pirates decided to jump ship. Colin Hicks, Tommy Steele's much less successful younger brother, had a backing band called the Cabin Boys, which Brian Gregg had been in before joining Terry Dene's band. Hicks had now started performing an act that was based on Kidd's, and for a tour of Italy, where he was quite popular, he wanted a new band -- he asked the Pirates if they would leave Kidd and become the latest lineup of Cabin Boys, and they left, taking their costumes with them. Clem Cattini now says that agreeing was the worst move he ever made, but they parted on good terms -- Kidd said "Alan, Brian and Clem left me to better themselves. How could I possibly begrudge them their opportunity?" We'll be picking up the story of Alan, Brian, and Clem in a few months' time, but in the meantime, Kidd picked up a new backing band, who had previously been performing as the Redcaps, backing a minor singer called Cuddly Dudley on his single "Sitting on a Train": [Excerpt: Cuddly Dudley and the Redcaps, "Sitting on a Train"] That new lineup of Pirates didn't last too long before the guitarist quit, due to ill health, but he was soon replaced by Mick Green, who is now regarded by many as one of the great British guitarists of all time, to the extent that Wilko Johnson, another British guitarist who came to prominence about fifteen years later, has said that he spent his entire career trying and failing to sound like MIck Green. In 1962 and 63 the group were playing clubs where they found a lot of new bands who they seemed to have things in common with. After playing the Cavern in Liverpool and a residency at the Star Club in Hamburg, they added Richie Barrett's "Some Other Guy" and Arthur Alexander's "A Shot of Rhythm and Blues" to their sets, two R&B numbers that were very popular among the Liverpool bands playing in Hamburg but otherwise almost unknown in the UK. Unfortunately, their version of "A Shot of Rhythm and Blues" didn't chart, and their record label declined to issue their version of "Some Other Guy" -- and then almost immediately the Liverpool group The Big Three released their version as a single, and it made the top forty. As the Pirates' R&B sound was unsuccessful -- no-one seemed to want British R&B, at all -- they decided to go the other way, and record a song written by their new manager, Gordon Mills (who would later become better known for managing Tom Jones and Englebert Humperdinck). "I'll Never Get Over You" was a very catchy, harmonised, song in the style of many of the new bands that were becoming popular, and it's an enjoyable record, but it's not really in the Pirates' style: [Excerpt: Johnny Kidd and the Pirates, "I'll Never Get Over You"] That made number four on the charts, but it would be Johnny Kidd and the Pirates' last major hit. They did have a minor hit with another song by Mills, "Hungry For Love", but a much better record, and a much better example of the Pirates' style, was an R&B single released by the Pirates without Kidd. The plan at the time was that they would be split into two acts in the same way as Cliff Richard and the Shadows -- Kidd would be a solo star, while the Pirates would release records of their own. The A-side of the Pirates' single was a fairly good version of the Willie Dixon song "My Babe", but to my ears the B-side is better -- it's a version of "Casting My Spell", a song originally by an obscure duo called the Johnson Brothers, but popularised by Johnny Otis. The Pirates' version is quite possibly the finest early British R&B record I've heard: [Excerpt: The Pirates, "Casting My Spell"] That didn't chart, and the plan to split the two acts failed. Neither act ever had another hit again, and eventually the classic Mick Green lineup of the Pirates split up -- Green left first, to join Billy J Kramer and the Dakotas, and the rest left one by one. In 1965, The Guess Who had a hit in the US with their cover version of "Shakin' All Over": [Excerpt: The Guess Who, "Shakin' All Over"] The Pirates were reduced to remaking their own old hit as "Shakin' All Over '65" in an attempt to piggyback on that cover version, but the new version, which was dominated by a Hammond organ part, didn't have any success. After the Pirates left Kidd, he got a new group, which he called the New Pirates. He continued making extremely good records on occasion, but had no success at all. Even though younger bands like the Rolling Stones and the Animals were making music very similar to his, he was regarded as an outdated novelty act, a relic of an earlier age from six years earlier. There was always the potential for him to have a comeback, but then in 1966 Kidd, who was never a very good driver and had been in a number of accidents, arrived late at a gig in Bolton. The manager refused to let him on stage because he'd arrived so late, so he drove off to find another gig. He'd been driving most of the day, and he crashed the car and died, as did one person in the vehicle he crashed into. His final single, "Send For That Girl", was released after his death. It's really a very good record, but at the time Kidd's fortunes were so low that even his death didn't make it chart: [Excerpt: Johnny Kidd and the New Pirates, "Send For That Girl"] Kidd was only thirty when he died, and already a has-been, but he left behind the most impressive body of work of any pre-Beatles British act. Various lineups of Pirates have occasionally played since -- including, at one point, Cattini and Gregg playing with Joe Moretti's son Joe Moretti Jr -- but none have ever captured that magic that gave millions of people quivers down the backbone and shakes in the kneebone.

A new Desert Island Discs presenter; the Peacock Committee is established; Real launches in Yorkshire; a tranche of Heart rebrands; Tom Browne finishes on the Radio 1 chart; a troubled Boat Race broadcast; Paul Burnett arrives at Radio 1; Radio 5 ends; and Alan Freeman's last Pick of the Pops

Seven days of radio history in seven minutes. Memories from the week ending 29th November 2019. Radio Birmingham becomes Radio WM; the birth of Xfm South Wales; BBC Radio Scotland arrives at last; Radio 1 and 2 stop programme sharing; and the death of Alan Freeman. Follow the 'Radio Moments - This Week in History' weekly podcast  here (https://podfollow.com/1459316855)

Some moments from the launch of Pennine in Bradford; Bob FM bans Scottish songs; Scot FM comes on air; BBC local radio ideas are tested; Moyles leaves Radio 1 breakfast; and Alan Freeman takes over Pick of the Pops. Follow the 'Radio Moments - This Week in History' weekly podcast  here (https://podfollow.com/1459316855)

A man who never hankered after a job in radio, but was to be recognised as the driving force behind one of the most successful early small local radio stations – Moray Firth Radio based in Inverness. In this hour of ‘Radio Moments Conversations’, Thomas Prag confesses to an easy upbringing and his laziness, before falling into the BBC. He recalls his early training days – in Bush House and pushing the buttons for Alan Freeman on the legendary Pick of the Pops before moving to BBC Radio Oxford at launch. He tells of helping to establish and then manage the BBC Radio Highland opt-out as the Corporation wrestled with quite how to deal with radio across Scotland. When Moray Firth won the area’s commercial radio licence, Thomas tells he was tempted into joining the team to run what was judged a highly risky venture at a time when other even larger commercial stations were failing and stations of this scale were rare. Thus began his lengthy tenure which took the station into profitability; and its success recognised by regulators, awards judges – and its many listeners - as something quite special. Thomas opens-up about his proud legacy in ‘community radio’ - alongside the challenges of the job – and the impact of its personal pressures. After leaving the station, he tells of how he how was appointed to both the Radio Authority and, later, Ofcom – and how he felt about the role of a regulator and about the demands of the licence application process. Then – his rich and busy life since and how his learnings from life in radio continue to be put to use in the community he loves. In his own words, this is the Thomas Prag story. Hear the whole ‘Radio Moments Conversations’ series  here (https://podfollow.com/1459316952) – and sign up for the regular podcast for this ongoing series. Music by Larry Bryant (http://www.larrybryant.com/) .  

An hour of insight into the life of a man who’s been involved in creating radio for around half the medium’s popular life.  Tim Blackmore joined the BBC as an eager tech-op in 1962, when he recalls recording on shellac disc rather than tape machine. In the producer role, he helped to launch Tony Blackburn’s breakfast show, as the BBC reluctantly carved out Radio 1 and 2, going on to produce a generation of big names at Radio 1. He reflects on the crazy 60s days – and opens up about his later challenges in programme production and management. He offers his personal impressions of Everett; and tells of his fondness for the presenter he managed for decades – Alan Freeman. Tim tells of life as one of Capital Radio’s earliest Heads of Programmes; and as a successful independent producer. He’s a man who loves the music on which radio depends. He helped the radio and music industry forge a closer relationship; created the seminal series ‘The Story of Pop’; and launched the Radio Academy as its first Director. In his own words, this is the Tim Blackmore story.

This week's episode was a fund-raiser for CKUW 95.9FM in Winnipeg, the community radio station that hosts the Global Research News Hour radio program. Over the course of an hour, host Michael Welch, along with fellow programmers Scott Price and Kent Davies, and special guests, former CKUW News Director Geoffrey Young and former CKUW Program Director Robin Eriksson build the case for donating to the station to keep independent and alternative news and political perspectives on the public airwaves. Also includes conversation with Glenn Michalchuk, Chair of Peace Alliance Winnipeg, and Alan Freeman, editor of NewColdWar.org and member of Venezuela Peace Committee. Please consider a donation to CKUW at fundrive.ckuw.ca. Consider also pledging to the Global Research website at store.globalresearch.ca/donate/

Mr. Alan Freeman, Assistant to the President of the Missouri District of Lutheran Church Missouri Synod: Schools, joins Andy and Sarah to talk about the legacy of Lutheran education, specifically early childhood education, in Missouri, and the details of the upcoming Missouri District Early Childhood Conference on March 2, 2019. Learn more and register at mo.lcms.org/event/early-childhood-directors-conference/?event_date=2019-03-02.

A compilation of archive material from Alan Freeman's years at Radio 1.

Alan 'Fluff' Freeman presented The Rock Show on Capital Radio and then later revived the show on BBC's Radio 1. This entire show from May 13th 1989 is included for your listening pleasure. Not Arf!

A ‘living wage’ is defined as the wage necessary to provide an employee with a sufficient income to ensure an adequate standard of living and the ability to fully participate in society. It is independently calculated and updated annually, and nearly 80 businesses around New Zealand are now accredited as Living Wage Employers.  So how does an organisation or business make the transition and start phasing in a living wage? How is the wage calculated? And what are the benefits once it is established? Auckland Conversations is proud to host economist and author Alan Freeman. As Principal Economost for the Greater London Authority, Freeman established the first Living Wage Unit in the UK in 2001. London’s model was so successful that the campaign subsequently grew into a national movement with local campaigns across the UK. Auckland has been inspired by the London experience, and now we have the chance to learn from it. This event is co-hosted by The Living Wage Movement Aotearoa New Zealand, which was founded in 2012 on the commitment to raise the wages of the working poor. Their campaign aims to secure a living wage as a way to reduce growing inequality and poverty in New Zealand.

Just because i know you all love Collabs, our first drop this week is ....well....a collab ;) You've meet Alan Freeman before, and you certainly know MiloMilo cause you still Rocking " Wine Di Thin' " so while that's still fresh in your mind, they are gonna hit you with another one !!!!! Oh, free download for a limited time, so jump on this Asap !!!!! follow them here https://soundcloud.com/alanfreemandj https://soundcloud.com/oscarsandovalortiz And as always, mixed and mastered by Frank "el medico" Rodriguez #kabooom !!!!

This audio will forever sound great. Alan Freeman on his final Radio 1 ‘Pick of the Pops’ show in 1992. "Oh, yes - and his tears were falling. All right?" He’d arrived at the BBC via the Light Programme in 1960, presenting the brilliantly-titled ‘Records Around Five’ show. The programme was to call upon the tune which became his trademark: "At the Sign of the Swingin' Cymbal", although it took some years even for Fluff to choose to hit the posts with utter perfection. By late 1961, Pick of the Pops had been installed as part of a Saturday evening show called Trad Tavern, becoming a show in its own right by 1962. By 72, Fluff had become part of Radio 1’s daytime roster. Alan left for BBC to work for Capital, returning to Radio 1 in January 1989 and restoring Pick of the Pops to its former glory until this final edition on 27 December 1992. Both the show and Fluff were to return to Radio 2 five years later. (Thanks to Richard White (@RMWhite21) for sending on the audio)

The Irish have voted to allow gay marriage. The Swedes have won Eurovision. Even David Letterman is looking at a different future. Whilst, in Australia, it’s still coal and oil and more of the same. Ever get the feeling that the world is changing and we failed to notice?00:00 Introduction01:46 Yet Another cyclist hating shock jock03:25 Cardinals Burke and Pell – Catholic hypocrisy08:17 Jeb Bush not up to being President14:54 More wackos from Wako17:12 The rise of the Christian terrorist19:47 How the Scots wanted a Tory PM22:12 Trident nuclear submarine – is it safe?23:53 Ireland introduces gay marriage26:40 Julia Roberts plays Mother Earth32:17 Kiwi storms and suburban seals37:09 The New Zealand brain drain stalled41:11 Alan Freeman and the BRW rich list44:43 How we subsidise the fossil fuel industry1:09:56 Bank of England ready for a Europe withdrawal1:14:30 Eurovision won by a bearded man1:17:28 Trigger happy UK police kill cow1:21:05 US to ban trans fats1:26:27 The end of Letterman and Mad Men

The crisis in Ukraine was discussed in depth during a special public forum held the evening of June 18 at the Ukrainian Labour Temple in Downtown Winnipeg. Speakers Professor Ray Silvius, economist Alan Freeman, and Professor Radhika Desai provide a fact-based look at the forces at work, the evolving situation in Ukraine and what Canada's role should be in mitigating the tesions.

**LISTEN AND WIN – Details Below**How can professional communicators thrive in today's fast-paced, information-hungry world? Break down the silos! Find out what this means and how it can be achieved in this special edition of The Voice – packed with essential insights. Graham Machacek drills down on the topic with these subject matter experts: Alan Freeman, journalism veteran and public servant in residence at University of Ottawa; MediaStyle's Renée Filiatrault, former senior public diplomacy officer in Afghanistan; and Mike Colledge, President, Ipsos Reid Public Affairs. Click here to access the full report, Breaking Down the Silos: The Future Face of Communications. **Win a signed copy of Brian Solis's book – Engage! The Complete Guide for Brands and Businesses to Build, Cultivate, and Measure Success in the New Web – by emailing us at thevoice@ottawa.iabc.com with the answer to the following question: What core insight from Brian Solis does Graham Machacek reference in this episode of The Voice?  Contest closes August 1, 2012. Winner will be chosen at random from the correct entries and notified by email.