Podcast appearances and mentions of tony doherty

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Play Episode Listen Later Jan 30, 2022 115:23

On Jan 30th 1972 thousands of people took to the streets of Derry as part of the Civil Rights movement. The British/ Stormont government had introduced internment laws, effectively outlawing the right to protest. British soldiers opened fire on protesters in one of the worst atrocities committed on this island. After they'd stopped firing 13 people were dead and one more would die weeks later from his injuries. 50 years later the families still seek justice and they are walking this weekend to remember their loved ones and the shared struggle for civil rights on this island and across the globe. One World, One Struggle. For this tortoise shack special we traveled to Derry and into the Museum of Free Derry to cover the 50th Anniversary Bloody Sunday events. You'll hear from Irish Examiner journalist, Aoife Moore, Queens University Prof Colin Harvey, one of the founder of the Blood Sunday Families campaign, Tony Doherty and curator of the Museum of Free Derry, Adrian Kerr. Join us at patreon.com/tortoiseshack

Bloody Sunday – One World, One Struggle

Reboot Republic Podcast

Play Episode Listen Later Jan 30, 2022 115:23

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Bloody Sunday

Witness History

Play Episode Listen Later Jan 25, 2022 9:02

On 30 January 1972 British troops opened fire on a civil rights march in Northern Ireland. Thirteen people were killed that day, which became known as Bloody Sunday. Tony Doherty was nine years old at the time. In 2012 he spoke to Mike Lanchin about his father and the events that changed his life forever. PHOTO: A British soldier grabs hold of a protester by the hair. (Credit: AFP/Getty Images)

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New Beginnings & Old Truths

Play Episode Listen Later Jan 23, 2022 52:29

It was an absolute pleasure to share this weeks Sunday Special with UHW Cancer Pharmacist, DJ Walsh, Writer and Activist, Emma DeSouza and Writer and one of the organisers of the bloodysunday50.com events, Tony Doherty. We discuss the week ahead in Derry and Tony tells us about how even now 50 years on he remembers his father who was murdered that day. We discuss the recent events in politics both sides of the border, the handling of the collusion report, DUP double jobbing attempts and the Stormont election in May. Then we talk about the reopening of society and DJ gives us his insight and talks us through the bad data that has given us bad policy. We also chat Irish political Lobbying and SIPO, Biden's 1yr Anniversary, social media getting blamed for everything and Simon Coveney still having Moet problems. Join us at patreon.com/tortoiseshack and get plug free podcasts and loads of extras including access to these podcasts live online.

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New Beginnings & Old Truths

The Policed Podcast

Play Episode Listen Later Jan 23, 2022 52:29

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New Beginnings & Old Truths

Reboot Republic Podcast

Play Episode Listen Later Jan 23, 2022 52:29

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Let's Talk Bikini EP6 - Tony Doherty, How It All Began, Arnold Classic Australia, FitFest, Olympia

Let's Talk Bikini

Play Episode Listen Later Oct 25, 2021 46:45

Hello bikini listeners! Today we have special guest Tony Doherty on the show. Tony tells us about how he started in the fitness industry, challenges he has encountered and overcome, dealing with Covid-19, the Arnold Classic Australia, FitFest, Olympia 2021, competition plans for 2022 and so much more! CONNECT WITH TONY: https://www.instagram.com/tonydohertyoz/?hl=en CONNECT WITH US: https://www.instagram.com/letstalkbikinipodcast/ https://www.instagram.com/clairebonaccorso_ifbbpro/ https://www.instagram.com/stephkaaaa/ https://www.instagram.com/jessjohnsonfitness/ --- Send in a voice message: https://anchor.fm/lets-talk-bikini/message

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#563 Tony Doherty Un-F*cking-Filtered

mate filtered tony doherty

Play Episode Listen Later Sep 14, 2021 55:33

And yes, I recognise the irony of having an asterisk in this title. WARNING: if you're easily offended, this might not be the episode for you. It's fair to say, there wasn't a lot of filtering (or editing) happening. But if you're okay with all that, you might fucking love it. Tony Doherty is a Mate who wears his heart on his sleeve, pulls no punches, walks his talk and fights passionately for the industry he loves. He's a main-stream media regular and is often the lone voice of reason in a sea of misinformation and confusion about all-things fitness, working out and gyms (health clubs, PT studios). Like me, he's imperfect, rough around the edges and can ruffle feathers but what he is, is real. There's no show. No persona. No bullshit. If he likes you, you'll know and if he doesn't, you'll know. But underneath it all, is a bloke who cares deeply, thinks deeply and gives freely. This was a catch-up chat to see where he's at with his business, life, future plans and his own personal challenges. I loved it. Enjoy.@tonydohertyoz

Celtic Soul Podcast Episode 82 Tony Doherty Bloody Sunday Campaign

Celtic Soul Podcast

Play Episode Listen Later Jul 9, 2021 88:47

Celtic Soul Podcast Episode 82 with More than 90 Minutes, Editor Andrew Milne chatting to Derry Writer and Activist Tony Doherty. He has published 3 books This Man's Wee Boy, The Da Beside Us and the Skelper and Me. He is the founder member of the Bloody Sunday Campaign and a former IRA prisonerHis father Patrick was executed on Bloody Sunday by members of British Army Parachute Regiment along with 12 other innocent civilians on January 30 1972. Follow Tony Doherty https://twitter.com/tonydutchdoc?lang=enFollow Celtic Soul Podcast https://twitter.com/celtic_am?lang=enFollow Andrew Milne https://twitter.com/andrewmilne12?lang=en Playout Song Running Up Hill performed by Declan McLaughlinhttps://twitter.com/decmclaughlin?lang=en Episode Sponsors Celtic Fans More than 90 Minutes Issue 115 Print Edition SOLD OUT & Digital Edition is now on sale Click Link to buy Print or Digital Edition https://celticfanzine.com/product/more-than-90-minutes-issue-115-digital-edition/ More than 90 Minutes Celtic Fanzine Subscription Detailshttps://celticfanzine.com/product-category/monthly-print-subscription/ Merchandise & T-Shirtshttps://celticfanzine.com/shop/ If your business or CSC like the Podcast and would like to become a sponsor please email us at info@celticfanzine.com. You can also contact us through the website or message us on social media. Further Listening All Podcasts available on all Platforms or click link below https://celticfanzine.com/podcasts/ Episode 82 was Produced by Ronan McQuillan https://twitter.com/rojoenemies?lang=en If you would like to support our Independent Celtic Fan Media Platform you can become a Member, Subscribe, Buy or Donate for the Price of a Pint. Your Support helps us continue to produce Daily News & Articles, Weekly Newsletter, Podcasts, Fanzines, Video Content & Live Shows. https://celticfanzine.com/join-us/https://celticfanzine.com/product-category/monthly-print-subscriptionhttps://celticfanzine.com/donations-page/https://celticfanzine.com/shop/ See acast.com/privacy for privacy and opt-out information.

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Sunday Special 48 – Bloody Sunday Injustice & No Country For Young People

Reboot Republic Podcast

Play Episode Listen Later Jul 4, 2021 47:21

We've just finished recording a terrific Live Podcast with Soc Dem member, Activist and Campaigner, Isabelle Flanagan, the man behind the fab Vintage Kitchen Restaurant, Sean Drugan and writer and founder of the Justice for Bloody Sunday campaign as well as the Free Derry Museum, Tony Doherty. Tony talks about the impact the decision not to charge Soldier F will have on truth, reconciliation and the idea of parity of esteem. We also discuss the socioeconomic and age based segregation of our reopening, Ireland standing with the tax havens vs the OECD, a fiery hellmouth in the ocean, more sweetheart deals for Vulture Funds, active allyship and small and medium employers getting hit again. Join us at patreon.com/tortoiseshack

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Sunday Special 48 – Bloody Sunday Injustice & No Country For Young People

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Play Episode Listen Later Jul 4, 2021 47:21

557. Derry, the Troubles and Hope with Tony Doherty

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Play Episode Listen Later Jun 8, 2021 41:04

Author, Activist, a founder of the Bloody Sunday Justice campaign and (in my eyes) Historian, Tony Doherty, was only 9 years of age when his father was murdered on Bloody Sunday. He joined the IRA at 17, and that is less than 5% of his story. Tony joined us to talk about the Troubles of the not too distant past, the volatile yet opportunity filled present and the future that he's hopeful about for all of us on this share island of ours. A gem of a man. Find the book HERE Join us: patreon.com/tortoiseshack

S1 Ep5: Tony Doherty - The Man Behind Doherty's Gyms, Australian Arnold Sports festival And Pursuing Relentless Momentum

HYPR PODCAST

Play Episode Listen Later Jan 17, 2021 74:47

Tony Doherty is the man who travelled from Bendigo to Melbourne in 1994 with nothing but a truckload of broken gym equipment, $250,000 worth of debt, and a dream. With countless hours, an unrivalled work ethic, a determination and a never quit attitude, Tony is now the owner of 4 Doherty's Gyms around Australia, a highly sought after public speaker, interviewer and media personality. (Credit Tonydoherty.com) In todays discussion we delve into how tony built the Doherty's Gym empire, partnering with Arnold Schwarzenegger and creating the largest health and fitness expo in Australia (Arnold Sports Festival) plus How Tony navigated multiple business setbacks throughout 2020 by utilising a indefatigable mindset. Lobbying the Victorian Government on behalf of the fitness industry and fighting for gyms to be heard plus plenty more... Tony's perspective on life and business is truly unique and much can be learned by hearing his wise words. Enjoy the show...

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#339 New Year Revolution (Tony Doherty)

new year revolution tony doherty you project

Play Episode Listen Later Dec 29, 2020 43:41

This episode of The You Project is instalment three of our 10-part ‘New Year Revolution' series. This time I sit down with down with Fitness Industry Pioneer Tony Doherty and we reflect on the year gone and discuss the year ahead. Enjoy.@tonydohertyoz

Gym owner slams 'confusing and ambiguous' reopening rules

Mornings with Neil Mitchell

Play Episode Listen Later Oct 27, 2020 3:20

Melbourne gyms are set to reopen on November 9, after lengthy closures due to COVID-19, but owners and gym-goers say the reopening restrictions don't make sense. Owner of Doherty's Gyms, Tony Doherty, says the rules are "very contradictory and ambiguous". See omnystudio.com/listener for privacy information.

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Credlin, Wednesday 14th October

Sky News - Credlin

Play Episode Listen Later Oct 14, 2020 51:17

The latest in the controversial Maguire ICAC Inquiry. Plus, Peta Credlin speaks to Victorian gym owner Tony Doherty who is seeing first-hand the devastating impact the Victoria closures are having on his clients and mental health as a whole. See omnystudio.com/listener for privacy information.

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Gyms push for earlier reopening under COVID-19 roadmap

Drive With Tom Elliott

Play Episode Listen Later Sep 24, 2020 6:28

Tony Doherty, owner of Doherty's Gym and promoter of the Arnold Sports Festival, spoke with Tom Elliott on Thursday. See omnystudio.com/listener for privacy information.

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#251 F*ck Plan B

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Play Episode Listen Later Aug 5, 2020 62:53

Tony Doherty is a Business Man, Entrepreneur, Fitness Industry Pioneer, Gym Owner, Business Partner of Arnold Schwarzenegger and among other things, the Godfather of Australian Bodybuilding. He's also interesting, creative, funny and a curious mix of brutality and compassion. Tony and I go way back, we're good mates and this was a fun chat. If you're easily offended, it may not be for you.@tonydohertyoz

Episode 84: "Shakin' All Over" by Johnny Kidd and the Pirates

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later May 28, 2020 50:14

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.

america tv american world english uk running americans british war green italy ireland jewish bbc harry potter blues union touch britain animals vampires beatles roots als sitting rolling stones liverpool robinson pirates rock and roll rhythm hamburg shake clock jumping djs musicians playboy mills ludwig van beethoven tornados bachelors shot gregg hicks hammond takes sherlock bolton dresden restless hancock discoveries toy big three wham tilt kidd mixcloud ridley emi tom jones little richard chuck berry goon guess who horne rock music levis sykes rattle savages radicals carry on motorhead lemmy caddy make love daleks hank williams milligan vipers drifters woody guthrie doris day cavern goons shakin home services george martin half hour billy bragg moretti dakotas all over cliff richard cockney dene rube goldberg screamin abbey road studios berry gordy freight trains leadbelly jimmy savile tom brown jim smith my baby bill haley hmv mcdevitt buck owens daddy o eddie cochran steptoe melody maker willie dixon tom show jay hawkins spike milligan gene vincent rock around parlophone marty feldman jim dale girlschool red caps wilko johnson alan freed british djs radio luxembourg star club alan simpson goon show mike west vince taylor mark lewisohn lonnie donegan only girl parnes nutters touch it billy j kramer new pirates frankie howerd englebert humperdinck johnny burnette johnny otis arthur alexander tommy steele screaming lord sutch if you were lee hazelwood tony doherty alan freeman eric sykes my babe brand new cadillac jimmy tarbuck vertue ray galton brian gregg brian matthew cabin boys light programme bert weedon rockers how skiffle changed tilt araiza

Episode 84: “Shakin’ All Over” by Johnny Kidd and the Pirates

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later May 28, 2020

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.

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NATHAN DE ASHA, GUY CISTERNINO & TONY DOHERTY MD Global Muscle S2 Ep.11

MD Global Muscle Radio

Play Episode Listen Later May 15, 2020 178:31

In the latest weekly episode of MD Global Muscle, we once again have three more amazing guests from all over the Globe for all of you SERIOUS bodybuilding fans. #MuscularDevelopment #MDGlobalMuscle #2020Olympia #2020ArnoldClassic Click here for the video version and to see Giles' Special Tribute to Luke https://youtu.be/0VY5f6HcMZ8 Click here to Donate to the Luke Sandoe Tribute Fund set up by Fouad Abiad for Luke's children. Even $5.00 is enough to make a difference https://www.gofundme.com/f/luke-sandoe-tribute-fund?utm_source=customer&utm_medium=copy_link-tip&utm_campaign=p_cp+share-sheet First up we had Arnold Classic Australia promoter Tony Doherty, next we were joined by open pro Nathan De Asha...and for our third and final guest, 212 multi pro show champion Guy Cisternino came on Global Muscle. Also, with the huge news of the Olympia earlier this week, we had a Global Muscle Hot News 'Special Report' with host Giles 'Tiger' Thomas and MD Online editor Ron Harris giving us the lowdown on all the recent news for that. Global Muscle is produced in the UK for Muscular Development by 'On the RiZe Media'.

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Ep. 106 - Co. Louth, Plasterer - Tony Doherty

The Tradesman's Support Group Podcast with Joe Doyle

Play Episode Listen Later Oct 22, 2019 33:23

In this week’s episode, Joe speaks to Tony Doherty a plasterer from County, Louth. They discuss how to deal with money in Bank vs. money owed in and cash flow. Join the Tradesman's Support Group: https://www.facebook.com/groups/360989541299819/ --- Send in a voice message: https://anchor.fm/joedoyleentrepreneur/message

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MD GMR | 39 | P. MOORE, C. GILLON, T. DOHERTY, C.DeOLIVEIRA, S.VILLEGAS AND H. TREVINO

MD Global Muscle Radio

Play Episode Listen Later Oct 8, 2019 182:15

MD GMR has its 39th episode with: Tony Doherty, Patrick Moore, Cydney Gillon, Carlos DeOliveira, Sarah Villegas and Helle Trevino visit www.musculardevelopment.com for more information.

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So you wanna be a boss?

Relentless Momentum

Play Episode Listen Later Sep 27, 2019 20:12

Fitness industry pioneer, Tony Doherty has been innovating, creating, contradicting the norm for 3 decades. He is simultaneously compassionate, terrifying and inspirational. Business partner of Arnold Schwarzenegger and confidant to the stars. Tony brings you real talk from a life well travelled. --- Send in a voice message: https://anchor.fm/relentlessmomentum/message

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Focus on what you can do, not what you cant.

Relentless Momentum

Play Episode Listen Later Aug 28, 2019 20:00

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#51 - How To Fulfil Your Potential With Tony Doherty

The Mind Mate Podcast

Play Episode Listen Later Jul 23, 2019 81:54

Tony is the owner of Doherty's Gyms around Australia, a highly sought after public speaker, interviewer, and media personality. Above all, he is a generous, humble and motivating individual. I love talking with him. We head back into Tony's history including how he came from humble beginnings with a clear vision and how that vision became a reality, culminating in a befriending with Arnold Schwarzenegger. Together, they run the Arnold Classic Fitness Expo's. Tony's passion, pragmatic approach to life and positivity make me want to interview him regularly. Every time I leave having learnt a bit more about what it means to truly fulfil your potential in life.

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Episode #9 - Tony Doherty - "Live everyday like it's your last"

Running from Comfort

Play Episode Listen Later Jul 17, 2019 37:42

Today’s guest is Tony Doherty, owner of Doherty’s gym, promoter of the Arnold Classic Pro Bodybuilding show in Australia, public speaker and public figure in the world of pro bodybuilding. Tony fell in love with bodybuilding at a young age being inspired by Arnold Schwarzenegger and soon realised he wanted to be a gym owner. Today Tony is so much more then just a gym owner and now every year goes and travels the world with Arnold as he assists with hosting and Mcing the Arnold Classic Bodybuilding shows all across the globe. Tony had to learn through life by overcoming struggle in order to get to where he is now. We spend the first portion of the interview talking about his beginnings. We then transition into talking about the world today and Tony offers up some nuggets of wisdom so pay attention! Below is an extract of Tony’s advice to his younger self as referenced at the end of the show. I hope you guys enjoy, please do not forget to subscribe. Tony’s advice to his younger self - “Don’t worry kid, everything will work out ok Don’t listen to people that don’t understand your chosen direction. Most of these people will be stuck where they are and will live with regret. Don’t be afraid to fail. Whether it is a best lift, a job, a relationship or a dream. Failure teaches us what we need to push forward. Success is failure turned inside out. Dream bigger. Because if you dream small, that is what you will get. Don’t rely on anyone else for your happiness or self worth. People and circumstances change. Keep seeing the good in people, it will always outweigh the bad. Don’t ever do anything to prove someone wrong. Do it all to prove yourself right. Train yourself to sleep less and live more. Life is short, don’t waste a moment. Be genuinely curious, make friends wherever your travel. Have many layers. Reveal your layers slowly, only as you learn to trust people. Never hesitate to help others and share your knowledge. This cannot be quantified but always comes back ten fold. Realise that everything happens for a reason. Strive to be happy, life is an amazing ride. Don’t worry kid, everything will work out ok.”

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Tony Doherty- Going After Your Dreams, Passion, Success, Achieving Greatnes, All Or Nothings

Mitch Pings Mind

Play Episode Listen Later Jun 28, 2019 39:31

Tony knew what he wanted to achieve. He didn't care what it took, he slept on the floor, spent every cent on his gym and made his dream a reality. So much to learn from Tony. He is the perfect example of aligning your goals with your values. Tony loves helping people, loves gyms, sports festivals, bodybuilding and cigars. Tony makes his life all of these things and there is no time for low priority distractions. Only high priority actions! Follow Tony: https://www.instagram.com/tonydohertyoz/

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#74 with Tony Doherty

Play Episode Listen Later Jun 9, 2019 77:58

Fitness industry pioneer, Tony Doherty has been innovating, creating, contradicting the norm and calling a spade a fucking shovel for three decades. He has a Ph.D in getting shit done and is simultaneously compassionate, terrifying and inspirational. Tony and Craig have been mates for years and as always, they had a great chat. Enjoy.

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006- Relentless Momentum- Stories of Struggle and Success with Tony Doherty

Muscle Intelligence

Play Episode Listen Later Feb 15, 2019 74:55

Joining us today is a legend in the bodybuilding community, founder of Doherty's Gym and Arnold Australia promoter Tony Doherty. Ben and Tony give a behind the scenes look at the bodybuilding world, the meaning of leadership and the story of how Tony built the Australian bodybuilding scene. Lastly, Tony explains the meaning of his Relentless Momentum mindset and what gym culture means to the community.

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Muscle Asylum Radio Ep.85

Play Episode Listen Later Jan 7, 2019 56:57

Episode 85 of Muscle Asylum Radio, and we are once again joined by the godfather of Australian Bodybuilding, Tony Doherty. We discuss the Pro Bodybuilding lineup announced for this years Arnold Classic Australia, and talk about our Australian representatives plus the pros coming form all around the world. We also talk to Tony about old stories with Sonny Schmidt and briefly touch on his professional relationship with Lee Priest.

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Muscle Asylum Radio Ep.78

Play Episode Listen Later Oct 16, 2018 70:12

Episode 78 of Muscle Asylum Radio, and we are once again joined by Tony Doherty to give us a wrap up of this weekends South Australia and Western Australia State Championships, plus our official preview of this weekends Nationals. Who is your tip on winning the overalls and becoming Australia's newest IFBB Pro?!?!

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Muscle Asylum Radio Ep.75 Mix

Wolf's Den by Enterprise Fitness

Play Episode Listen Later Sep 26, 2018 62:57

Episode 75 of Muscle Asylum Radio, and we are joined by Tony Doherty to give us an exclusive backstage insight to everything that happened backstage at this years Olympia the moment a new champion was crowned. We talk about what a new champion means for the sport, the hype already surrounding next years Olympia, and whether or not he thinks we will see Kai return to the Olympia stage in 2019. We also preview this weekend Pro League NSW Championships, and talk about a couple of the big name competitors potentially hitting the stage this weekend!

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Wolfs Den - Tony Doherty with Mark Ottobre - Full Podcast

Play Episode Listen Later Sep 5, 2018 123:54

http://personaltrainermentoring.com/ Mark Ottobre interviews Tony Doherty on the Wolf's Den. Tony and Mark talk about business, life, the Arnold Classic and so much more in this interview. A MUST LISTEN to get a stay motivated in business and smash your goals!

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Bodybuilder and Businessman Tony Doherty

Australian Fitness Podcast

Play Episode Listen Later Sep 2, 2018 50:27

I caught up with Body Building icon Tony Doherty at his flagship gym and business headquarters in Brunswick Melbourne. We covered plenty of territory, but what you’ll get is a rare and detailed insight into what makes this guy tick, and just how simple his strategy for success is. He sums it up in 3 words, his mantra in life, and you get the distinct impression that he indeed lives, trains, works and mentors’ others in a state of ‘relentless momentum’ which also happens to be the catch phrase of his successful Tony Doherty tour. He speaks about what his early influences were, his now amazing partnership and friendship with Arnold Schwarzenegger, and how Arnold has motivated and mentored him to be a fitness crusader in Australia and all over the world. He’s intuitive, direct, dynamic, sees opportunities where others don’t, and he’s just get started. I hope you enjoy my chat with businessman and fitness crusader Tony Doherty.

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The Priest And The Writer: Ailsa Piper and Fr Tony Doherty discuss their unlikely friendship.

Newcastle Writers Festival

Play Episode Listen Later Mar 30, 2018 61:32

Writer Ailsa Piper and retired Catholic priest Tony Doherty first made contact via email after the publication of Piper's book Sinning Across Spain. What developed via a series of letters was an unlikely friendship, the details of which they share in their book, The Attachment (Allen & Unwin). This session was recorded at the 2017 Newcastle Writers Festival and was hosted by Caroline Baum.

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Muscle Asylum Radio Ep.59

Play Episode Listen Later Mar 19, 2018 99:58

Episode 59 of Muscle Asylum Radio, and we wrap up the entire Arnold Classic Australia. We have special guest Tony Doherty who speaks to us in detail on his movements over the weekend with Arnold, plus we go over the Pro Show and amateur results from the weekend. We also give our personal opinions on the weekend, and Mark tells us the real reason he got kicked on his flight to Melbourne.

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MAR Ep. 56

Play Episode Listen Later Feb 20, 2018 91:04

Episode 56 of Muscle Asylum Radio, and we are joined by Jon Davie and Tony Doherty to wrap-up the QLD Arnold Qualifier. We also talk to Chris Thomas and Mick Galley about their experience on the day of the show, plus give our preview of this upcoming weekends NSW Arnold Qualifier and who we think will walk away with the bodybuilding overalls for NSW!

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Muscle Asylum Radio Ep. 55

Play Episode Listen Later Feb 12, 2018 73:46

Episode 55 of Muscle Asylum Radio, and we preview the Queensland Arnold Classic State Qualifier with promotors Jon Davie and Tony Doherty. We discuss what all the details for this weekends show, talk about the new classic physique division, and Tony gives us EXCLUSIVE NEWS with 2 new names he has added to the Pro Lineup at this years Arnold Classic Australia! HUUUUGGGEEEE EPISODE and a must listen!!!

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Zac & Dan On Moving Forward After Failure, Icelandic Wonders & The Psychedelic Experience

AdventureFit Radio

Play Episode Listen Later Feb 11, 2018 77:49

Our boys Zac and Dan are back on the show with us today! Doc kicks it off with asking them about the Commonwealth Games qualifiers and we learn all about their experience. The boys then proceed to having some playful banter before moving onto Dan asking Doc and Tommy to share about the ADVF Iceland trips from last year. The conversation takes a very different turn in topic as Doc starts talking about his experience with magic mushrooms, with Tommy coming in later on to give a bit of share of his side of things. The boys continue to talk about psychedelics and other recreational drugs, a bit about society, and at the end Tommy shares a takeaway he had from his convo with Tony Doherty. This episode took a real turn from one topic to another, but it’s all very interesting. Make sure to give it a listen to learn in detail what the boys covered and grab some takeaways. Enjoy the show! Quarsh Creative is an Elwood-based freelance design firm that helps solve business challenges in the digital world with a touch of creativity.Whether it be a website, logo, or marketing strategy, Quarsh Creative is here to help your business become stronger and create a better overall experience for your customers.As a special offer from ADVF Radio and Quarsh Creative, we're offering a free, basic SEO report on your website, and/or constructive feedback for your existing brand. Start the conversation via email at: hello@quarshcreative.com This podcast is supported by Audible. Audible is home to the widest selection of digital audiobooks, including best-sellers, new releases, exclusives and much more. Listen anytime, anywhere on your tablet, mobile or desktop with our free app. Audible is offering listeners of AdventureFit Radio a free audiobook download with a free 30-day trial to give you the opportunity to check out their service. To download your free audiobook today go to audibletrial.com/advfradio. This podcast is proudly supported by AdventureFit Travel. AdventureFit Travel is an adventure travel company for the fitness community. Head over to www.adventurefittravel.com to check out all our trips, all our blogs from our blogging team, special offers and more. See acast.com/privacy for privacy and opt-out information.

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Tony Doherty On Fitness For Mental Health, Starting The Arnold & Life’s Essentials

AdventureFit Radio

Play Episode Listen Later Feb 4, 2018 73:39

Tony is the owner of Doherty’s Gyms around Australia, a highly sought-after public speaker, interviewer, and media personality. We start with catching up with Tony since he was last on the show. He tells us about what he’s been up to, the places he’s been, and shares a story about his visit to Brazil. Later on in, he tells us about some of his partners wishes to change the Doherty’s brand, and gives us his thoughts on the importance of fitness for mental health. We touch on what it means to align your brand to your vision, and later on, Doc asks Tony how he stays so productive when he’s on the move a lot. The boys tackle other topics such as social media and acknowledging praise, then much later on tells us about what he believes are the 3 essentials everyone needs in their lives. It was great to have Tony back on the show! Take away what you will and as much as you can. Enjoy the episode, guys! Quarsh Creative is an Elwood-based freelance design firm that helps solve business challenges in the digital world with a touch of creativity.Whether it be a website, logo, or marketing strategy, Quarsh Creative is here to help your business become stronger and create a better overall experience for your customers.As a special offer from ADVF Radio and Quarsh Creative, we're offering a free, basic SEO report on your website, and/or constructive feedback for your existing brand. Start the conversation via email at: hello@quarshcreative.com This podcast is supported by Audible. Audible is home to the widest selection of digital audiobooks, including best-sellers, new releases, exclusives and much more. Listen anytime, anywhere on your tablet, mobile or desktop with our free app. Audible is offering listeners of AdventureFit Radio a free audiobook download with a free 30-day trial to give you the opportunity to check out their service. To download your free audiobook today go to audibletrial.com/advfradio. This podcast is proudly supported by AdventureFit Travel. AdventureFit Travel is an adventure travel company for the fitness community. Head over to www.adventurefittravel.com to check out all our trips, all our blogs from our blogging team, special offers and more. See acast.com/privacy for privacy and opt-out information.

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The Bloody Sunday Shootings

Witness History

Play Episode Listen Later Jan 30, 2018 9:00

On 30 January 1972 British troops opened fire on a civil rights march in Northern Ireland. Thirteen people were killed that day, which became known as Bloody Sunday. Tony Doherty was nine years old at the time. In 2012 he spoke to Mike Lanchin about his father and the events that changed his life forever.(Photo: Armed British troop grabs hold of protester by the hair. Credit: AFP/Getty Images)

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The Hunger for Spirituality

Byron Writers Festival

Play Episode Listen Later Dec 20, 2017 46:02

What do you get when you put a Muslim, a Monsignor and Buddhist on a writers' panel? A ‘Hunger for Spirituality' with Susan Carland, Tony Doherty and Meshel Laurie, chaired by the always-charming Ailsa Piper.

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Muscle Asylum Radio Ep.46

Play Episode Listen Later Nov 21, 2017 70:51

Episode 46 of Muscle Asylum Radio, and we are joined by all the promotors of the IFBB Pro League in Australia, Tony Doherty, Jon Davie, Josh Lenartowicz, and Mark Grech. Jon and Josh compare their experiences competing at the Mr Olympia, plus we talk in detail about where the sport is headed, along with some exclusive announcements concerning the IFBB Pro League in Australia.

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Muscle Asylum Radio Ep.45

Play Episode Listen Later Nov 6, 2017 81:50

Today we are joined by an all-star panel with special guests Amy Fox and current Masters Mr Universe Justin Wessels. We are also joined by special guests Tony Doherty and newly appointed IFBB Pro League Western Australia Promoter Josh Lenartowicz. We talk to Josh about his new role as promoter, then spend our time with Justin and Amy discussing his prep for the universe, and whether or not he now has his sights set on that IFBB Pro League stage!!!

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The Two of Us

Byron Writers Festival

Play Episode Listen Later Oct 24, 2017 55:34

In this touching session we listen to the stories of two vastly different friendships and reflect on what ties us together. With Deng Adut, Ben Mckelvey, Ailsa Piper, Tony Doherty and chaired by Rosemarie Milsom.

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Muscle Asylum Radio Ep.41

Play Episode Listen Later Oct 9, 2017 67:01

Episode 41 of Muscle Asylum Radio, and we are joined by special guest, the godfather of Australian Bodybuilding, Tony Doherty. Tony gives us his review on this years Olympia, the Arnold Classic and Pro show in Prague, plus gives us a run down on the results of the IFBB State titles in Victoria. Tony also gives us a clearer insight to the split between the IFBB Pro League and IFBB Amateur league, and what it could potentially mean for bodybuilding in Australia.

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Muscle Asylum Radio Ep.36X

Play Episode Listen Later Aug 8, 2017 79:53

Episode 36 of Muscle Asylum Radio and we are joined by the godfather of Australian Bodybuilding, Tony Doherty. We discuss big Josh's win at the Tampa Pro and his qualification to this year Mr Olympia. Tony takes us behind the scenes into Josh's game plan and what he needs to do to improve on last years Olympia performance!

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Tony Doherty On Building Doherty’s Gym & The Secret To Success

AdventureFit Radio

Play Episode Listen Later Jul 16, 2017 86:27

Tony comes on and tells us about himself. Doc then asks him how he got started with his gym. Tommy then asks him about how his passion with bodybuilding began, and Tony tells us a funny story about that. Tony also talks about how travel has widened his perspective. He also answers Doc & Tommy’s questions about what makes Doherty’s such a great brand, and his thoughts on the fear of failure. Another great episode in the bag! Having Tony on the show was great, and we’re sure you guys are going to love this one. Enjoy! Quarsh Creative is an Elwood-based freelance design firm that helps solve business challenges in the digital world with a touch of creativity.Whether it be a website, logo, or marketing strategy, Quarsh Creative is here to help your business become stronger and create a better overall experience for your customers.As a special offer from ADVF Radio and Quarsh Creative, we're offering a free, basic SEO report on your website, and/or constructive feedback for your existing brand. Start the conversation via email at: hello@quarshcreative.com This podcast is supported by Audible. Audible is home to the widest selection of digital audiobooks, including best-sellers, new releases, exclusives and much more. Listen anytime, anywhere on your tablet, mobile or desktop with our free app. Audible is offering listeners of AdventureFit Radio a free audiobook download with a free 30-day trial to give you the opportunity to check out their service. To download your free audiobook today go to audibletrial.com/advfradio. This podcast is proudly supported by AdventureFit Travel. AdventureFit Travel is an adventure travel company for the fitness community. Head over to www.adventurefittravel.com to check out all our trips, all our blogs from our blogging team, special offers and more. See acast.com/privacy for privacy and opt-out information.

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Muscle Asylum Radio Ep.27

Play Episode Listen Later May 29, 2017 72:11

Episode 27 of Muscle Asylum Radio with the godfather of bodybuilding, Tony Doherty. Tony gives us a run down on his trip with the Arnold Classic crew overseas, and gives us an exclusive preview on changes to next years Arnold Classic Australia!!!

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Muscle Asylum Radio Ep.18

Play Episode Listen Later Mar 27, 2017 112:36

On tonights episode of Muscle Asylum Radio, Chris Thomas gives his feedback on his disappointing experience at this years Arnold Classic Australia, and goes head to head with promoter Tony Doherty in a means of trying to rectify the problem for future amateur shows. Our hosts Mick Galley, Andrei Todero and Mark Grech give their opinions on how they would structure a bodybuilding federation, plus we are also joined by Aaron Polites who gives a preview to his prep leading into this years Nationals. Must listen episode!!!

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Author and blogger Ailsa Piper and Monsignor Tony Doherty

My Camino - the podcast

Play Episode Listen Later Mar 21, 2017 59:22

This is a weekly podcast exploring the myth and spirit of the Camino de Santiago - an ancient pilgrimage in Spain.My guests this week are Ailsa Piper and Monsignor Tony Doherty. They’re pilgrims on the path and on the page.Ailsa wrote Sinning Across Spain - an account of walking the Camino carrying the sins of others. Tony was a Catholic parish priest in Sydney for more than fifty years.They met through a love of the Camino and have now published a book of their correspondence called The Attachment. It’s subtitle is “Letters from an unlikely friendship’.In this special one-hour episode of My Camino - the Podcast, we discuss The Way, the truth and the light of friendship that burns between them.I know you’ll enjoy it as much as I enjoyed speaking with them.Buen Camino ~ Dan

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Ep.20: Tony Doherty: Arnold Classic Australia promoter

Exceptional People

Play Episode Listen Later Mar 12, 2017 48:49

Tony Doherty is the owner of the first gym in Australia to throw away their keys and remain open AND staffed 24hrs a day, 7 days as week, 365 days a year!! Tony travels the country on his "Relentless Momentum" public speaking tour and is the promoter of the Arnold Classic Australia Multi Sport Festival. www.arnoldclassic.com.au www.tonydoherty.com For past episodes and all Exceptional People social media information go to: www.exceptionalpeople.com.au

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Muscle Asylum Radio Ep.14

Play Episode Listen Later Feb 27, 2017 110:49

Episode 14 of Muscle Asylum Radio... - Special guests Tony Doherty and Josh Lenartowicz talk about the IFBB Melbourne Arnold Qualifier, plus give us a preview of the Arnold Classic Australia, with some exclusive news on new athletes added to the Pro Bodybuilding Roster. - Furion is back and talks about peptides and their use for tendon and muscle rehabilitation. Do they work, if so how effective are they, and what is the best peptide to use

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Muscle Asylum Radio Ep.9

Play Episode Listen Later Jan 9, 2017 82:00

Muscle Asylum Radio is back for 2017, with all of our regular hosts Tripple J, Mr Bodybuilding Galley, Alpha Ethos Thomas and Mark Grechy Grech. Today we are joined by the Godfather of bodybuilding, Tony Doherty, as he talks about the official invite list for the 2017 Arnold Classic Australia. We also touch on a few contraversial topics surrounding the Aussie bodybuilding scene and talk about the amateur contenders for the upcoming pro card on offer at the Arnold Classic Australia.

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Muscle Asylum Radio Ep.2

Crushin' It with Nick Cody

Play Episode Listen Later Nov 7, 2016 105:11

Episode 2 of Muscle Asylum Radio. Featuring our regular hosts Mark Grechy Grech, Mick Galley, Jimmy the Aflete Sadek and Chris Alpha Thomas. Special guest for this episode is none other than the godfather of bodybuilding, Tony Doherty!

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Ep 04 - CAN'T KNOCK THE HUSTLE - Tony Doherty

Play Episode Listen Later Feb 26, 2016 64:24

This episode I hung out in the badass man cave at Doherty's Gym in Brunswick and had a chat with Tony Doherty. Tony is the owner/creator of Doherty's Gyms, a highly sought after motivational speaker, promoter of the Arnold Classic Australia (one of the world's largest multi-sport events) and a whole lot more. We cover everything from how he started in 1994 with a truck full of busted gym equipment and $250,000 in debt, the importance of risk taking, travelling the world for work, hanging with Arnold Schwarzenegger, Instagram battles and how beer is holding me back. Enjoy! ARNOLD CLASSIC AUSTRALIAMarch 18th, 19th & 20thTickets: http://arnoldclassic.com.au/buy-tickets/ Follow Tony on Instagram - @tonydohertyozwww.tonydoherty.com.au ----------------------------------------------- KIAN MUSGROVE UPDATE! Thanks again to all the legends who have donated throughout the week by purchasing my stand-up comedy special "Here's Trouble" from www.nickcody.com.auFor those that haven't seen it yet, 100% of the sales are going to #CaringForKian, a charity raising money for Kian Musgrove, a little boy from Northern England who needs radical cancer treatment in the US.Get the special (100% of sales this week go to Kian) by clicking here - Nick Cody "Here's Trouble: Live at The Metro Theatre"Donate to Kian directly here - https://www.facebook.com/CaringForKian/?fref=ts

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Aussie Muscle Radio 94

Play Episode Listen Later Feb 18, 2014 146:01

AMR episode #94 welcome once again Tony Doherty the Australian Pro/FitX promoter & owner of Doherty's Gym & FMA, Tony has some big breaking news about FitX + 212 Pro Qualifier competitor Adam Browner talks about his upcoming attempt at an IFBB Pro card!

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Aussie Muscle Radio 89

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Play Episode Listen Later Jan 14, 2014 136:56

AMR #89! Tony Doherty breaks some big news + big news from Australia & around the world of bodybuilding.

Aussie Muscle Radio 79

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Play Episode Listen Later Nov 5, 2013 115:15

AMR #79! Tony Doherty comes on the show and discloses some exclusives and world firsts! You don't want to miss this one!

Aussie Muscle Radio 65