Podcast appearances and mentions of brian gregg

Matt Liebsch is the part-owner of Pioneer Midwest and Brian Gregg is a financial advisor. ....oh yeah, and they're both former World Cup skiers..... Most importantly: they're also DADS. If you've ever ski-raced a major marathon in North America, you probably saw their names at the top of the results list...you know they can still bring it on the course. Today on the show, we look at how these two elite-athletes juggle family, fatherhood and fitness at various stages of a career — from World Cup dreaming to master-blaster screaming. This is a good one, people.... you won't want to miss it! --- Send in a voice message: https://podcasters.spotify.com/pod/show/seder-skier/message Support this podcast: https://podcasters.spotify.com/pod/show/seder-skier/support

What does purposeful growth look like in the retail sector? In this episode, McKinsey's Brian Gregg speaks with two former senior executives at Nike, Christiana Shi and Stuart Hogue, about the strategies that enabled them to lead productive teams in the retail sector. The conversation touches on the importance of nurturing talent, building diverse teams, and identifying opportunities for individual and organizational growth. We are sharing today's episode as part of an ongoing collaboration with our Growth, Marketing, and Sales Practice on the topic of growth strategy.  It is also the second episode of the Practice's new podcast called C-Suite Growth Talks, which will feature conversations with leading executives about how they are successfully choosing growth, by aligning around a shared mindset, strategy, and capabilities.   Links:  Episode transcript C-Suite Growth Talks podcast Mckinsey.com article: 'Choosing to grow: The leader's blueprint' Join our LinkedIn community of more than 89,000 members and follow us on Twitter at @McKStrategy. Explore more Inside the Strategy Room episode transcripts on McKinsey.com  See www.mckinsey.com/privacy-policy for privacy information

What does purposeful growth look like in the retail sector? In this episode, McKinsey's Brian Gregg speaks with two former senior executives at Nike, Christiana Shi and Stuart Hogue, about the strategies that enabled them to lead productive teams in the retail sector. The conversation touches on the importance of nurturing talent, building diverse teams, and identifying opportunities for individual and organizational growth. We are sharing today's episode as part of an ongoing collaboration with our Growth, Marketing, and Sales Practice on the topic of growth strategy.  It is also the second episode of the Practice's new podcast called C-Suite Growth Talks, which will feature conversations with leading executives about how they are successfully choosing growth, by aligning around a shared mindset, strategy, and capabilities.   Links:  Episode transcript C-Suite Growth Talks podcast Mckinsey.com article: 'Choosing to grow: The leader's blueprint' Join our LinkedIn community of more than 89,000 members and follow us on Twitter at @McKStrategy. Explore more Inside the Strategy Room episode transcripts on McKinsey.com  Join 90,000 other members of our LinkedIn community: https://www.linkedin.com/showcase/mckinsey-strategy-&-corporate-finance/See www.mckinsey.com/privacy-policy for privacy information

What does purposeful growth look like in the retail sector? Christiana Shi and Stuart Hogue, former senior leaders at Nike, speak with McKinsey's Brian Gregg about the company's formula for serving customers—with a focus on digital transformation and the direct-to-consumer model.See www.mckinsey.com/privacy-policy for privacy information

What does purposeful growth look like in the retail sector? In this episode of C-Suite Growth Talks, Christiana Shi and Stuart Hogue, former senior executives at Nike, speak with McKinsey's Brian Gregg about the strategies that enabled them to lead productive teams in the retail sector. The conversation touches on the importance of nurturing talent, building diverse teams, and identifying opportunities for individual and organizational growth.See www.mckinsey.com/privacy-policy for privacy information

Ever wondered what God's purpose could be in your suffering? Have you ever thought about at least 12 different perspectives for suffering? Our guest today, Dr. Brian Gregg, has. In fact, he's written a whole book about it, and he shares his insights with us today. I can't speak more highly of how important I think his book and this conversation is for us if we are to think of suffering in a biblical, holistic way. What Does the Bible Say About Suffering?: https://amzn.com/dp/0830851453/ Lament for a Son: https://amzn.com/dp/080280294X/ Brian's Email: Brian.Gregg@usiouxfalls.edu Tera's Website: terabradham.com Heal Website: thehealministry.com Recommend a guest for the Heal Podcast: https://docs.google.com/forms/d/138qHMvLx_-z3xo15Gz095vhDGzFZVRfs55dmFzvAmm0/edit Sign up for the Heal Newsletter: https://mailchi.mp/e10631f692b8/subscribetoheal

Roy L Hales/ Cortes Currents - Telus' new 73-meter cell phone tower in Drew Harbour, Quadra Island, is now operational. Heriot Bay residents reported intermittent service when the system was being tested, close to two weeks ago. “The new site brings dramatically increased cellular service throughout the Heriot Bay area, the ferry route between Quadra and Cortes Islands, and surrounding waterways to Read Island,” a spokesperson for Telus told the Bird's Eye. “Residents and visitors are able to use their wireless devices (such as cell phones and tablets) to make phone calls, send and receive emails and text messages, easily stream videos, and use social media apps. Most critically, these improvements also enhance safety and access to emergency services throughout the area, as more than 70% of phone calls to 911 come from a cell phone.” As the site is land owned by the We Wai Kai Nation, it is outside of the Strathcona Regional District's (SRD) jurisdiction. Never-the-less, on April 20, 2021, Brian Gregg of SitePath Consulting emailed the SRD Board, “As you know, the land use authority in this instance is the First Nation however we wanted to send your team a copy of the upcoming newspaper notice as a courtesy to keep the SRD aware of TELUS' plans in the area. We have full support of the We Wai Kai Nation Chief and Council and wanted to ensure that your team is in receipt of this notification as a courtesy.” The first of two notices about this project appeared in the Bird's Eye the following day. Residents were given until the close of business on June 4th to comment. Looking out into Drew Harbour from Rebecca Spit on Quadra Island - Photo by Dale Simonson via Flickr (CC BY SA, 2.0 License)

Roy L Hales/ Cortes Currents - The Strathcona Regional District (SRD) has no authority over TELUS' proposed 63 metre high cell tower site in Mansons Landing. This is in the former Paukeanum Indian Reserve No. 3, which has been governed by the Tla'amin First Nation ever since the Tla'amin Final Agreement with the governments of BC and went into effect on April 5, 2016. Cortes Island Regional Director Noba Anderson confirmed “The Regional District doesn't have any land use authority here, and therefore is not going to be involved in any way. As your elected representative to the regional district, I really don't have a voice here either. The Federal government does not approve siting of these towers. There is sort of an arbitration process if everything else fails, but if the Tla'amin Nation, chief and council would like the tower erected on their lands, then that's really between them and TELUS.” This matter was discussed at the December 8th meeting of the SRD Board, where CAO David Leitch informed the board that TELUS is locating towers on many First Nations lands throughout BC and Canada. “If it is on First Nations land, you have no authority,” he said. As no one lives within 190 metres of the proposed site, which is three times greater than the height of the tower, TELUS will not send out written notices. On December 1, TELUS placed a notice of their intention in the Birds Eye, which serves Quadra Island. Anyone with concerns was invited to contact Brian Gregg of SitePath Consulting by email or surface mail, prior to January 31, 2022. Anderson added, “Comments really need to be written to both Telus and Tla'amin." Late last Spring, Gregg emailed Cortes Currents that TELUS is responding to longstanding requests for enhanced connectivity: “This is important not only for convenience but also for public safety since the majority of calls to emergency service responders are now placed via wireless devices. Sadly, we have been advised that a number of community members on the Discovery Islands have died or been hurt in recent years and they were unable to call for help. Wireless service can help with this safety issue.” He also said that 5G is the current evolution on wireless networks around the globe, but in a rural area like Cortes will be similar to 4G/LTE in many respects. “In every case, TELUS' installations will comply with Health Canada's Safety Code 6,” wrote Greg. Photo credit: Apple iPhone SE 2020 by Aaron Yoo via Flickr (CC BY SA, 2.0 License)

In early July, the American Birkebeiner Ski Foundation announced the launch of the Team Birkie professional racing team. The elite post-graduate training group would pull from the three primary midwestern clubs, the Loppet Foundation, Central Cross Country Skiing (or CXC), and the American Birkebeiner Ski Foundation. While the midwest has a strong culture of cross country skiing with a breadth of strong youth and masters racing teams, it has been nearly a decade since the area has had a consistent robust training group that could support athletes at the elite level. In their words, this program fills this gap to allow “the next Jessie Diggins [to] stay home to train, inspire future generations, and win Olympic medals.”Team Birkie will be based from the Trailhead at Wirth Park in Minneapolis, headquarters of The Loppet Foundation, and led by Head Coach Caitlin Gregg, who has spent her own career training in the area alongside her husband and fellow professional ski racer Brian Gregg. The duo -- known as Team Gregg -- forged their own path to the upper echelon of the domestic and international cross country race scene, gaining experience in writing their own training and supporting their careers along the way. [Find Team Gregg on a 2017 episode of Nordic Nation here.]For those unfamiliar with Caitlin, her resume spans more than a decade of elite level ski racing; Caitlin earned her first World Cup starts in Vancouver in 2009 and was slated to start at the Minneapolis World Cup and Canmore World Cup finals in March 2020 before they were cancelled because of the impending pandemic. Those recent starts would have been just over a year after the birth of her daughter, Heidi, who is now two and a half years old and can regularly be found tagging along for her parents training. She is a 2015 World Championship Bronze Medalist, a 2010 Olympian, and a 5 time winner of the American Birkie. Caitlin was also a member of five World Championship teams and won eight National Championship titles, with several more podium finishes. Gregg is also no stranger to disappointment; there have also been near misses for team selection, as was the case for the 2014 Olympics in Sochi and when the 2016 US Ski team nominations rolled out.While she does not yet consider herself retired as an athlete, this transition to leading the charge and growing Team Birkie does mark a shift in the focus of her overall ski career, as we discuss in this conversation. Caitlin also speaks to the evolution of the concept behind Team Birkie and the structure of the training group for the upcoming season. She is now one of only two female coaches at her level in the US -- alongside Pepa Miloucheva of the Craftsbury Green Racing Project -- and the only mother. Caitlin discusses the support this requires, and how her career as a whole has provided ample insights that allow her to be a role model for her athletes. You can find Caitlin on Instagram @Caitlincgregg (with two G's) and follow along with Team Birkie at @teambirkie. Thanks for listening.

Roy L Hales/ CKTZ News - The Strathcona Regional District is informing Innovation, Science and Economic Development Canada (ISED) that it objects to the limited consultation process TELUS is carrying out for a proposed Cell phone tower on Quadra Island. The proposed 63 metre tower at 657 Industrial Way would serve the Quathiaski Cove area and along West Road up to Heriot Bay. On June 4th, TELUS sent out notification packages wrote letters to property owners living within 189 meters of the site. This is accordance with a regulation that they inform property owners within a radius of three times the proposed tower height, measured from the tower base or the outside perimeter of the supporting structure. They also ran notices in the Birds Eye, Quadra's weekly Newspaper, on June 9th and 16th. Brian Gregg of SitePath Consulting promised, “I will acknowledge receipt of comments and questions received within 14 days and address all relevant and reasonable concerns within 60 days. The commenting member of the public will then have 21 days to reply to the response. A summary of all comments received and our responses will then be submitted to ISED.” This is not the public hearing process used within the SRD. At last week's meeting, Chief Administrative Officer David Leitch told the SRD Board, “This is very similar to a resolution and a report that the Board entertained for Cortes Island probably a month ago. TELUS is proposing to install cell towers, as well, on Quadra Island and refusing to really engage with consultation.” “Myself and the Director have met with Innovation, Science and Economic Development and been informed that, in fact, the community has to provide concurrence in the setting of the cell tower and so we want to, once again, provide our opposition to the cell towers unless proper consultation is conducted throughout the area.” The Strathcona Regional District Board approved a motion that Chair Brad Unger “write a letter to ISED stating that the SRD objects to the limited consultation process being conducted by Telus and does not support its application for the construction of any cell tower on Quadra Island without first conducting a public consultation process that is supported by the SRD.” Photo: picture of the site taken from the information package on the SRD website

Roy L Hales/ Cortes Currents - Telus intends to erect a a 73-meter tall cel phone tower on land owned by the Wei Wai Kai Nation at Drew Harbour, on Quadra Island. They announced this in the Bird's Eye on April 21 and April 28, stating “any person may comment by close of business on June 4th.” Interested parties are to email Brian Gregg of SitePath Consulting at briangregg@sitepathconsulting.com Gregg emailed the Strathcona Regional District that “As you know, the land use authority in this instance is the First Nation however we wanted to send your team a copy of the upcoming newspaper notice as a courtesy to keep the SRD aware of TELUS' plans in the area. We have full support of the We Wai Kai Nation Chief and Council and wanted to ensure that your team is in receipt of this notification as a courtesy.” In response, the SRD Board is writing a protest to Innovation, Science and Economic Development Canada (ISED) to say they are opposed to this project until the community has been properly consulted. According to Regional Director Jim Abram, the SRD lost out on Connected Coast funding because Telus gave the government incorrect information. The SRD had to borrow the money. Regional Director Jim Abram said Telus has been trying to impede Quadra Island's involvement in the Connected Coast project. He said the more developed southern part of Quadra Island was not able to obtain funding through the Connected Coast because Telus gave the government misleading information about their internet connection speed. ” … That we were covered to a degree of 50 megabytes down, 10 megabytes up. That is untrue and we (subsequently) proved it with our screenshots. The highest one was 38. most of them were down around the 10s,” said Abram. “They cut out a huge amount of our funding for the Connected Coast, which we are all involved in. We just passed a motion to borrow a bunch of money and that is because of what Telus has done. in this situation” “Now they are trying to further impede our movement on the Connected Coast by putting up cell towers that will provide cell service … Also telling people that they can get high speed internet from those cell towers, which I believe they can – at a great deal of cost. That they are not telling us.”

Technology helped millions of people continue work and school during the pandemic, but how can we escape the rut of computers and smartphones in a quest for real life? David Murrow joins me to talk about it and his book, "Drowning in Screen Time." Plus: Brian Han Gregg will answer the question, "What Does the Bible Say about Suffering?" Join us for Friday's JANET MEFFERD TODAY.

This is a re-creation of the "Lights Out" broadcast from July 13, 1946 entitled "Coffin in Studio B" - As host of an Audio Theater program on a local low power fm station for a little over 13 years, I often gathered local folks to re-create old radio shows. This is one of those shows that was broadcast live from our studio on July 22, 2008. Starring in this production are James Darling, James Sears, Chuck Curtis, Dan Comly, and Brian Gregg. Sound Effects by Melanie Lovering. Yours truly was the director/editor. For a local group of Audio Theater enthusiasts, I think this sounded very professional. I hope you will agree. This track will live in our "Suspense/Horror" Playlist. The script was written by Wyllis Cooper.

Roy L Hales/Cortes Currents - TELUS is looking at five potential communication tower sites in the Discovery Islands. Three of these are on Cortes Island, where they already have land rights on two sites. TELUS owns property in Mansons Landing and has reached an agreement with a property owner in Squirrel Cove. They are also looking for a Whaletown resident who is willing to host a tower on their land. TELUS is looking for properties in Heriot Bay and Drew Harbour on Quadra Island, but has not yet identified any candidates. Discovery Island Regional Director Jim Abram told two TELUS representatives at the January 13th Strathcona Regional District Board meeting, “You have mentioned a number of times, on the flyer with the maps, that you haven't picked a spot, but I am receiving calls from very elderly people on Quadra Island that they are receiving calls from your consultants offering them 30 year contracts at $1,000 a month to put a tower up on their properties. So you have obviously picked some sites, based on their geographic location, how far they reach etc. You have actually gone as far as going to these people and offering them large sums of money.” He chided TELUS for ‘jumping the gun,' by approaching property owners before consulting with the SRD. Abram also said, “I've worked with TELUS since 1990, progressing our connectivity whether it be broadband, wireless or cell towers. Our service is still terrible, as they probably know.” Brian Gregg of SitePath Consulting Ltd was part of the TELUS delegation. “TELUS does not have dependable wireless service on Quadra and Cortes Islands, including the surrounding waterways. This not only poses an inconvenience, for people to remain connected, but also a public safety issue given that the majority of calls to emergency service responders are now placed through wireless devices, such as cell phones,” he said. A TELUS spokesperson emailed Cortes Currents that, “more than 70% of phone calls to 911 these days come from a cell phone.” Gregg continued, “For a number of years, we've been receiving a lot of customer complaints from community members, regarding a lack of service. With increased remote working during COVID 19 pandemic, those complaints have been escalating in your area and, frankly, across the country.” If this project goes forward, it is expected to would dramatically increase cellular service throughout the area which means residents and visitors could use their wireless devices (such as cell phones and tablets) to make phone calls, send emails and text messages, and use the Internet. Photo credit: existing tower at TELUS' property on Cortes Island - Roy L Hales

In this episode, McKinsey Senior Partners Jesko Perrey and Brian Gregg share their perspectives working with global business leaders on navigating the return to growth in 2021 -- and beyond. Jason, Jesko, and Brian dive deep into agile marketing, who is winning with AI, and the strategic imperative for leaders to adopt the mindset needed for a digital-first future.Jesko Perry is a Senior Partner in McKinsey’s Dusseldorf office and helps clients deliver above-market growth by transforming their marketing and sales capabilities. Jesko leads McKinsey’s Marketing and Sales Practice globally. Brian Gregg is a Senior Partner in McKinsey’s San Francisco office and has deep expertise in digital marketing, e-commerce, multichannel excellence, customer experience, and customer-relationship management/loyalty. Brian co-leads McKinsey's Marketing and Sales Practice in North America.

This week on DisrupTV, we interviewed Brian Gregg, Senior Partner at McKinsey & Company, Ali Cudby, CEO of Your Iconic Brand and Author & Larry Dignan, Editor in Chief at ZDNet. DisrupTV is a weekly Web series with hosts R “Ray” Wang and Vala Afshar. The show airs live at 11:00 a.m. PT/ 2:00 p.m. ET every Friday. Brought to you by Constellation Executive Network: constellationr.com/CEN.

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.

Independent of one another, Brian Gregg and Matt Liebsch are always to be feared as they line up for a ski race. Now in their mid-thirties, their lives have transitioned to other responsibilities that include partners, children, and full-time work. Yet, in the highly competitive world of elite level ski racing, these two have maintained a healthy friendship and are fast and furious training partners. We could spend time noting their accomplishments on the ski tracks - but that would be another story. They are accomplished. But when speaking to them both, it is clear that each wants the other to succeed and in fact, they understand their friendship and training have made them both faster. Although defining themselves as 'master-blasters', Gregg was second overall and Liebsch third in last season's American Birkebeiner. Gregg lost out by a toe to Akeo Maifeld-Carucci, while Liebsch faded slightly down Main Street in Hayward to place third 8.5 seconds back. So 'master-blaster' or not, these two are still fast and competitive. So maybe get inspired, find your own best bud, become a better person and get faster together too. 

FasterSkier's American Birkebeiner coverage is made possible through the generous support of New Moon Ski & Bike in Hayward, Wisconsin. While you are at the Birkie be sure to visit New Moon Ski & Bike for all your local expertise. In this quick-hit Nordic Nation episode, we speak with five-time American Birkebeiner winner Caitlin Gregg from her home in Minneapolis. Lucky for some, Gregg will not be starting Saturday's race as she, along with her husband Brian Gregg – who remains a men's race favorite – are new parents as of Feb. 5. We get the low down on strategy and conditions from Caitlin. https://www.ethings.org Caitlin Gregg (501) winning her fifth American Birkebeiner on Saturday in Hayward, Wisconsin, while skiing alongside her husband Brian Gregg (13), who placed 22nd in the elite men's skate race. (Photo: ABSF/James Netz) In the second half, we chat with Craftsbury Green Racing Project's Akeo Maifeld-Carucci. At twenty-six, Akeo – we are going with first names here – has podiumed three times this season on the SuperTour. He'll be starting his second Birkie tomorrow. Akeo provides some insight into his own race strategy, how not to lose a water bottle, and keeping the mind clear and sensible when you break a pole.  Simi Hamilton (left) Akeo Maifeld-Carucci (right) “logging” hours on the southeast shoulder of Mt. Jefferson in Oregon. (To subscribe to the Nordic Nation podcast channel, download the iTunes app. If you have iTunes, subscribe to Nordic Nation here.) The post Nordic Nation: The Birkie Episode with Caitlin Gregg and Akeo Maifeld-Carucci appeared first on FasterSkier.com.

In week 7 of our series in the book of 1 John, Brian Gregg explains the role of the Holy Spirit in helping followers of Jesus KNOW and BELIEVE in God's love.  

In week 2 of our Fruit of the Spirit series, Brian Gregg helped us think about the joy that the spirit of God produces in our lives.  

Team Gregg, consisting of two halves that constitute a podium-threat whole, is featured on the latest episode of Nordic Nation. Caitlin (formerly Compton) Gregg, 36, and husband Brian Gregg, 33, the two members of Team Gregg, are based along the border of Wirth Park in Minneapolis, Minnesota. Yes, the two skiers are highly accomplished; both […] The post Nordic Nation: The Two-Halves-Make-a-Whole Edition with Team Gregg appeared first on FasterSkier.com.

Team Gregg, consisting of two halves that constitute a podium-threat whole, is featured on the latest episode of Nordic Nation. Caitlin (formerly Compton) Gregg, 36, and husband Brian Gregg, 33, the two members of Team Gregg, are based along the border of Wirth Park in Minneapolis, Minnesota. Yes, the two skiers are highly accomplished; both are former Winter Olympians and Caitlin earned a bronze medal in the 10-kilometer freestyle at the 2015 World Championships in Falun, Sweden. But their partnership has become a model of independent professional ski team viability. The sum total of Team Gregg: Brian Gregg (left) and Caitlin Gregg (right). (Courtesy photo) They are also a model of two hyper-driven people able to moderate their own personal goals for the collective greater good of the team. If you've ever had the opportunity to see the Greggs at a race venue, this much is clear: they have got each other's back. Brian can be seen helping test skis, handing Caitlin feeds along the course and screaming encouragement. The same can be said of Caitlin. Neither is above doing the menial tasks to ensure the other has the best opportunity on race day.   Nordic Nation caught up with Caitlin and Brian Gregg on Sept. 13, a few days after their return from an on-snow camp at New Zealand's Snow Farm. Along with the usual “how's the training going”, questions, you'll hear about the unique way the Greggs financed their house and what the future holds. (To subscribe to the Nordic Nation podcast channel, download the iTunes app. If you have iTunes, subscribe to Nordic Nation here.) Have a podcast idea? Please email nordicnation@fasterskier.com. albuterol . buy naltrexone online buy chantix online The post Nordic Nation: The Two-Halves-Make-a-Whole Edition with Team Gregg appeared first on FasterSkier.com.

May 7, 2017 The Good Shepherd Speaks John 10:3-4 Dr. Brian Gregg

April 30, 2017 A Passion to Connect: Acts 17 Dr. Brian Gregg

March 19, 2017 Jesus the Messiah: The Gospel of Matthew The "Beatitudes" Matthew 5:1-16 Dr. Brian Gregg

In this discussion, McKinsey's Brian Gregg speaks with Jacques Pommeraud (former executive at Salesforce), Jon Weinberg (Sephora) and Dianne Esber (McKinsey) about how strategy is evolving quickly is some unexpected ways. Read more > Listen to the podcast (duration: 21:32) >

In this discussion, McKinsey's Brian Gregg speaks with Jacques Pommeraud (former executive at Salesforce), Jon Weinberg (Sephora) and Dianne Esber (McKinsey) about how strategy is evolving quickly is some unexpected ways. Read more > Listen to the podcast (duration: 21:32) >

This program took place live on May 26, 2015 in a very confined area of our broadcast Control Room. Our facility was under construction and we had to move away from our open stage area. Our guest Announcer was Jan Hansen and Our guest Emcee was Kathy Maloney. Our Storytellers included: Emilie Spaulding, Betty Tamposi, Jim Ryan, Brian Gregg, Michael Lang, and Toby Schreier. The show was produced by John Lovering. This is the recording of the live broadcast with an in-studio audience on Portsmouth Community Radio. Beginning Nov. 29, 2016 we moved to cable TV - www.ppmtvnh.org. The show is heard the last Tues. of each month streaming live on the Internet at www.ppmtvnh.org/live and on local cable channel 98 in the Portsmouth area. Email: truetaleslive1@gmail.com for storytelling, show, or free workshop information. Our Facebook page is www.facebook.com/truetaleslive

In this discussion, McKinsey's Brian Gregg speaks with David Lee (Impossible Foods), Pavan Tapadia (Yammer) and Dianne Esber (McKinsey) about how large companies and startups adjust their cultures to balance agility and stability. Read more > Listen to the podcast (duration: 18:43) >

In this discussion, McKinsey's Brian Gregg speaks with David Lee (Impossible Foods), Pavan Tapadia (Yammer) and Dianne Esber (McKinsey) about how large companies and startups adjust their cultures to balance agility and stability. Read more > Listen to the podcast (duration: 18:43) >

In this discussion, McKinsey's Brian Gregg speaks with Michael Jones (RetailMeNot), Mahin Samadani (McKinsey Digital Labs), Dianne Esber (McKinsey), and Mark Phillips (McKinsey) about how customer experience has changed in the mobile age. Read more > Listen to the podcast (duration: 20:16) >

In this discussion, McKinsey's Brian Gregg speaks with Michael Jones (RetailMeNot), Mahin Samadani (McKinsey Digital Labs), Dianne Esber (McKinsey), and Mark Phillips (McKinsey) about how customer experience has changed in the mobile age. Read more > Listen to the podcast (duration: 20:16) >

In this "Discussion on Digital", McKinsey's Brian Gregg speaks with Jennifer Betka (Stubhub), Robert Chatwani (Teespring), Dianne Esber (McKinsey), Peter Kim (Might Hive), and Mark Phillips (Hotel Tonight) to discuss how marketing has changed, and what it means to business. Read more > Listen to the podcast (duration: 21:27) >

In this "Discussion on Digital", McKinsey's Brian Gregg speaks with Jennifer Betka (Stubhub), Robert Chatwani (Teespring), Dianne Esber (McKinsey), Peter Kim (Might Hive), and Mark Phillips (Hotel Tonight) to discuss how marketing has changed, and what it means to business. Read more > Listen to the podcast (duration: 21:27) >

In this "Discussion on Digital", McKinsey's Brian Gregg speaks with Nicolas Franchet (Facebook) and Rebecca Wahl (Google) to discuss the ROI of digital advertising and marketing Read more > Listen to the podcast (duration: 20:37) >

In this "Discussion on Digital", McKinsey's Brian Gregg speaks with Nicolas Franchet (Facebook) and Rebecca Wahl (Google) to discuss the ROI of digital advertising and marketing Read more > Listen to the podcast (duration: 20:37) >

McKinsey's Brian Gregg speaks with leaders in Silicon Valley to understand how companies are starting to think differently about mobile during this "Discussion on Digital". Read more > Listen to the podcast (duration: 24:17) >

McKinsey partner Brian Gregg hosts a "Discussion on Digital" with Tim Anderson (Glassdoor), Kiran Prasad (LinkedIn), Dianne Esber (McKinsey), and Anne Robie (StubHub) and discusses how the workplace is changing. Read more > Listen to the podcast (duration: 24:17) >

McKinsey partner Brian Gregg hosts a "Discussion on Digital" with Tim Anderson (Glassdoor), Kiran Prasad (LinkedIn), Dianne Esber (McKinsey), and Anne Robie (StubHub) and discusses how the workplace is changing. Read more > Listen to the podcast (duration: 24:17) >

In this "Discussion on Digital", McKinsey's Brian Gregg speaks with leaders in Silicon Valley to explore how emerging technologies are reshaping business and consumer behaviors. Read more > Listen to the podcast (duration: 23:52) >

Brian Gregg sings the virtues of Creative Commons and the Flying Spaghetti Monster.