MARTY WILDE MARTY WILDE (by Colin Kilgour) Born Reginald Leonard Smith, 15 April, 1936* London, England *some say 1939 but usually the earliest date is the accurate one! After playing briefly in a skiffle group, Marty secured a residency at London's Condor Club under the name Reg Patterson. He was spotted by songwriter Lionel Bart, who subsequently informed entrepreneur Larry Parnes. The starmaker was keen to sign the singer and rapidly took over his career. Reg Smith henceforth became Marty Wilde. The christian name was coined from the sentimental eponymous Ernest Borgnine movie while the surname was meant to emphasise the wilder side of Smith's nature (as with Parnes' other discoveries) Parnes next arranged a record deal with Philips Records but Wilde's initial singles, including a reading of Jimmie Rodgers' `Honeycomb', failed to chart. Nevertheless, Wilde was promoted vigorously and appeared frequently on BBC Television's music programme, 6.5 Special.

Soon after having a hit recording of Jody Reynolds' `Endless Sleep' in 1957, Parnes persuaded the influential producer Jack Good to make Wilde the resident star of his new television programme Oh Boy! The arrangement worked well for Wilde until Good objected to his single `Misery's Child' and vetoed the song. Worse followed when Good effectively replaced Marty with a new singing star Cliff Richard. Before long, Cliff had taken Marty's mantle as the UK's premier teen idol and was enjoying consistent hits. Wilde, meanwhile, was gradually changing his image. After considerable success with such songs as `Donna', `Teenager In Love', `Sea Of Love' and his own composition `Bad Boy', he veered away from rock `n' roll. His marriage to Joyce Baker of the Vernon Girls was considered a bad career move at the time and partly contributed to Wilde's announcement that he would henceforth be specialising in classy, Frank Sinatra-style ballads. For several months he hosted a new pop show Boy Meets Girls and later starred in the London West End production of Bye Bye Birdie. Although Parnes was intent on promoting Wilde as an actor, the star was resistant to such a move.

His last major success was with a lacklustre version of Bobby Vee's `Rubber Ball' in 1961. Later in the decade he recorded for several labels, including a stint as the Wilde Three with his wife Joyce, and future Moody Blues' vocalist Justin Hayward. Wilde enjoyed considerable radio play and was unfortunate not to enjoy a belated hit with the catchy `Abergavenny' in 1969. He also scored some success as the writer of hits like Status Quo's `Ice In The Sun'. By the 70s, Wilde was managing his son Ricky who was briefly promoted as Britain's answer to Little Jimmy Osmond. Ricky later achieved success as a songwriter for his sister, Kim Wilde, who would go on to achieve far greater chart fame in the UK and USA than her father. ============= BGO have released two Marty Wilde albums from 1959/60 on one disc. I've listed out the tracks and have scanned in the sleeve notes - and interesting reading they make too For my taste, a British singer like Marty could never really hold a candle to the real American greats.

That said however, he was one of ours and many of his covers were very creditable, not least the track that opens this collection ï¿½Down The Lineï¿½ I always thought old Mart had a curious twang to his voice. He does a very acceptable version of the classic ï¿½Dream Loverï¿½ but Pomus/Shumanï¿½s ï¿½Teenage Tears' proves even the great writers could have an off day ï¿½Honeycombï¿½ is almost embarrassingly bad but most of us would agree The Wildester does a decent enough job on the likes of ï¿½Endless Sleepï¿½ and ï¿½Sea of Loveï¿½.

Each time we have a quarrel someone would also nominate ï¿½A Teenager in Loveï¿½ He does a surprisingly smooth job on ï¿½Are You Sincereï¿½ and to illustrate his versatility (and somebody's very good and very early choice of a great song), chugs along very nicely on ï¿½So Glad You're Mineï¿½ If I had to pick just one MW track for that mythical Desert Island compilation, it would be the self-penned ï¿½Bad Boy, a stonkingly good effort. Don't laugh but one of the main reasons I got this package was to obtain ï¿½My Heart and I' which is an old cheesy, Vienn-esey song made famous by the monocled Richard Tauber who originated from somewhere in the old Hitler zone The track slotted into that category of items which strike a chord from years back (Marty's version) but which for a number of reasons have (until now) remained elusive and ungettable.

I think perhaps that's a good idea for another thread Wilde About Marty: Down The Line / Love Of My Life / Put Me Down / Blue Moon Of Kentucky / Dream Lover / You've Got Love / I Flipped / All American Boy / Mean Woman Blues / Are You Sincere? / High School Confidential / Don't Pity Me / Splish Splash / So Glad You're Mine Showcase: Honeycomb / No One Knows / The Fire Of Love / Endless Sleep / A Teenager In Love / My Heart And I / Donna / It's Been Nice / Sea Of Love / Teenage Tears / Bad Boy / Johnny Rocco Firstly John Toblerï¿½s notes - 2003 "Back in the late 1950s, British popular music came under the massive influence of rock'n'roll, which had already made a major impact in the USA. To be perfectly frank, many of the early British rock'n'rollers were poor copyists of the American model, and without mentioning any names, some of them were verging on pathetic.

However, a handful of home-grown hopefuls shone out from the general run-of-the-mill impersonators; the one whose career has dwarfed the achievements of everyone else is, of course, Cliff Richard, but back in 1958-an unbelievable 45 years ago! - Cliff's greatest rival was a tall, dark and handsome 19 year old from Greenwich in south-east London named Reg Smith, who is better known as Marty Wilde. An explanation of this pseudonym is probably called for, and it involves the first great British rock'n'roll impresario, Larry Parnes, who sensed that this new rock'n'roll epidemic needed British artists who would inevitably eventually equal the appeal of their American counterparts.

Obviously, the act which eventually not only equalled the appeal of US rock'n'roll, but surpassed it, was The Beatles, but before the Fab Four came to prominence in the early 1960s, Mister Parnes Shillings & Pence (as Larry Parnes was dubbed, due to his ability to generate income for himself and his stable of artists) controlled the careers of many British vocalists, to most of whom he gave somewhat fanciful stage names; Billy Fury (real name Ronald Wycherley), Johnny Gentle, Lance Fortune, Dickie Pride (Richard Knellar), Dotty Power, Vince Eager. In fact, the very first artist Parnes managed to success was Tommy Steele (Thomas Hicks), who went on to international stardom after topping the British chart in 1957 with `Singing The Blues' and becoming the first rocker to be immortalised in wax at Madame Tussaud's. Later, Steele moved on to stage musicals like 'Half A Sixpence' and then to Hollywood, where he starred in movies like 'The Happiest Millionaire and 'Finian's Rainbow'.

Tommy Steele largely turned his back on rock 'n' roll after achieving his breakthrough, but it should be understood that when the "wild" music of Bill Haley. Elvis Presley, Little Richard and the others emerged, it was generally regarded by showbusiness veterans as a five minute wonder which would soon be replaced by some other passing fad - which just goes to show how wrong they were. The stated ambition of many of the early British rock'n'rollers was to became an "all-round entertainer", thus guaranteeing a lifetime career. Tommy Steele probably achieved that aim, but few others retained their fame for more than a few months after moving away from the style which made them famous. Marty Wilde was propelled in the "all-round entertainer" direction, which in some ways was unfortunate. Larry Parnes had enjoyed considerable success with Tommy Steele, and was understandably keen for Wilde to go the same way. Parnes and his partner, John Kennedy, had spotted Wilde performing (apparently as Reg Patterson) at London's Condor Club in 1957, and quickly added him to a package show.

While his first single, 'Honeycomb' (included here on `Showcase), a cover version of the US hit by Jimmie Rodgers, was not a hit, nor were his next two singles, Wilde got his first chart entry with a cover version of the Jody Reynolds US hit, 'Endless Sleep' (also on `Showcase), which peaked in the UK Top 5 in the summer of 1958. However, two further 1958 singles again failed to chart; both sides of the second of those singles, 'No-One Knows'/'The Fire Of Love', also appeared on `Showcase when it was released in May, 1960. By then, Wilde had established himself as a chart regular with four more UK Top 10 hits during 1959, the first of which was his cover version of 'Donna' by Ritchie Valens, released in the spring of that year. This was Wilde's first UK Top 3 hit, and it was followed by another UK Top 3 success during the summer, this time a cover version of A Teenager In Love', which in Britain outsold the original version by Dion & The Belmonts - some achievement!

A third consecutive Top 3 single for Wilde in the autumn of 1959 was his cover version of `Sea Of Love', a US hit for Phil Phillips. All three of those Top 3 hits are featured on 'Showcase', as is the flipside of 'Sea Of Love', a beat ballad titled 'Teenage Tears'. However, many feel that Wilde's last hit of 1959, 'Bad Boy', was the most important of his chart successes, because he wrote the song himself. 'Bad Boy' also became the first of his two US Top 50 hits, and his only US hit under the name of Marty Wilde - his second US hit (in 1969) was Abergavenny', which he released under the name of Shannon. 'Bad Boy' is included here on 'Showcase', as is its excellent flipside, 'It's Been Nice' (which was also recorded - as the A-side of a 1963 single - by The Everly Brothers).

However, 1960 was Wilde's penultimate year as a chart regular, and completing the 'Showcase' album was his second UK hit of that year, 'Johnny Rocco' (Top 30) and its flipside, `My Heart And I'. 'Showcase', which was released in May, 1960, was Marty Wilde's second LP. The fact that it failed to chart can be explained by the status of the LP record over forty years ago. 78 rpm singles had been replaced by seven inch 45s only a couple of years before, and not everyone yet had the hardware to play an album. Sure, Cliff Richard made the chart with his first two LPs, but then Cliff was unmarried; it has been said that Marty Wilde's fall from chart grace was largely the result of his marrying Joyce Baker (herself a pop star as one of The Vernons Girls) in late 1959, which meant that teenage girls regarded him as unavailable, ludicrous though this seems in the 21st Century.

The other half of this collection is Marty Wilde's first LP, 'Wilde About Marty', a 14 track album of cover versions of songs originally recorded by American acts. At the time of its release in August, 1959, it was regarded as a fine piece of work, and despite the passing of over 40 years, it still sounds pretty good to me. The song selection was excellent, with every song but one a classic, albeit in some cases a minor classic. `Down The Line', 'Put Me Down', 'Mean Woman Blues' and 'High School Confidential' were all known from versions by Jerry Lee Lewis, while 'Love Of My Life' was one of the many timeless hits written by Boudleaux and Felice Bryant and recorded by The Everly Brothers. 'Blue Moon Of Kentucky', written by bluegrass pioneer Bill Monroe, was one of the early masterpieces recorded by Elvis Presley at the start of his career with Sun Records, and `So Glad You're Mine', which was also recorded by Elvis, was written, like 'That's All Right', The King's first single, by bluesman Arthur Crudup. Presley also recorded `Mean Woman Blues'.

Interestingly, there are two songs on 'Wilde About Marty' made famous by Bobby Darin 'Dream Lover' and Splish Splash', although the biggest UK hit version of the latter was, bizarrely enough, by comedian Charlie Drake. 'You've Got Love' was one of the brilliant tracks on 'The So Glad You're Mine Chirping Crickets', the first LP released by Buddy Holly, and - further street cred - the song's writers included Roy Orbison and Norman Petty, the man who made Buddy Holly a star (some say - others are less charitable). One of the more unexpected inclusions is All-American Boy', which had been a big international hit for Bill Parsons, who later turned out to be Bobby Bare, a well-rated country artist. All American Boy' was a jokey parody of the dynamic start to the career of Elvis Presley. Even less likely was Are You Sincere', a 1958 US Top 3 hit for Andy Williams. Now Andy Williams was very much the American version of the "all-round entertainer", and his first 15 US hits were on the Cadence label, where his labelmates were The Everly Brothers.

In those days, he was regarded as being on the edge of rock'n'roll, especially after his only US Number One, Butterfly' (in competition with a version by a genuine US rock'n'roller, Charlie Gracie, whose single also topped the US chart). However, Are You Sincere' wasn't really as good as Butterfly', so maybe this wasn't such a great choice for Marty Wilde. 'Don't Pity Me' was a 1958 US Top 40 hit for Dion & The Belmonts, whose first hit of 1959 was A Teenager In Love', which also provided Marty Wilde with a UK Top 3 hit the same year (included on 'Showcase). Arguably the only fairly obscure song on the album was 'I Flipped', an album track by Gene Vincent, but altogether, this was a very good LP (and one of the first purchased by yours truly), and it is about time that it is appearing on CD in its original form. So that's the music - 26 tracks including half a dozen UK hit singles, one of which also made the US Top 50.

Wilde's backing group were known as The Wild Cats, and included such stellar musicians as 'Big Jim' Sullivan on lead guitar (so nicknamed to differentiate him from the teenage guitar prodigy, Jimmy Page, later of Led Zeppelin, but in the pre-Zep 1960s, a session musician), Brian 'Liquorice Locking (bass) and Brian Bennett (drums); this latter pair went on to become members of The Shadows, replacing originals Jet Harris & Tony Meehan. And what happened to Marty Wilde? He had appeared to great acclaim on early British rock'n'roll TV shows 'Oh Boy!' and 'Boy Meets Girls', in which he was the resident star, and even performed at a Royal Variety Performance. He made a cowboy-type movie, 'The Hellions', and appeared in the West End production of the stage musical, 'Bye Bye Birdie', but his hit singles became smaller and less regular, with occasional exceptions like 'Rubber Ball' (Top 10, 1961) and `Jezebel' (Top 20, 1962).

While the beat group boom produced numerous new stars, Wilde was viewed as one of the old guard, and although he continued to record during the 1960s and early 1970s, he never again reached the UK chart as an artist - although as a songwriter, he enjoyed success with Status Quo's Ice In The Sun', `Jesamine' by The Casuals and 'I'm A Tiger' by Lulu. In the 1980s, his daughter, Kim, enjoyed even greater chart success than her father two decades earlier, doubtless often benefiting from paternal advice and hit songs he wrote for her. Finally, the story goes that when Marty was performing in Birkenhead on a Larry Parnes package tour, a young Liverpudlian named Ron Wycherley came to the show because he wanted to play some songs to Parnes and Marty - which was Billy Fury's start in showbusiness. Unlike the unfortunate Billy Fury, Marty Wilde remains with us, an elder statesman and pioneer of rock'n'roll in Britain".

----------------------------- Now John Franz - from the original sleevenote for 'Wilde About Martyï¿½ 1959 "In this day and age when, to coin a phrase, one can find new rock singing sensations under every stone it is inevitable that few of these discoveries in any way justify the extravagant claims of their managers and agents. We at Philips, however, sincerely believe this is not the case with Marty Wilde. In 1957 when we were running weekly studio tests and auditions and listening to the outpourings of dozen after dozen of so-called new singing sensations (none of whom we have heard of since), Larry Parnes, the well-known impresario, brought along an extremely tall, friendly young fellow whom he introduced as Marty Wilde. After hearing his first song (`Honeycomb') he was signed on the spot and arrangements were put in hand for him to record that very song the following week; which he did with great success. Around the same time Marty was appearing in cabaret and was seen by BBC producer Josephine Douglas, who immediately booked him into the very popular `6.5 Special' TV show three days later.

The effect of Marty on TV screens throughout the country was quite overwhelming and brought forth avalanches of fan mail, telegrams, phone calls, etc. He immediately became a regular featured artist on this show and later on made many appearances on ABC TV's fabulously successful 'Oh Boy' programme. During all this time his records were selling extremely well, although as yet he had not been fortunate enough to have one reach a high position in the Hit Parade. This came when he recorded `Endless Sleep', which at once made a great appeal to his legions of fans and in no time at all was one of the biggest hits in the country. A short while later this was followed by 'Donna', which was an even bigger hit, and at the time of writing the success of his `A Teenager In Love' disc can only be described as enormous. With success following success it would have been easy for Marty to rest on his laurels, but he is not that sort of person; he has an admirable habit of never being satisfied with his work and is constantly experimenting and working hard in order to improve his undoubtedly great talent.

Proof of his versatility is the fact that although he entered the business as a rock singer, he now includes ballads and all types of material. Also, he has appeared in a straight acting part in the new film 'Jet Storm' wherein he plays alongside such great personalities as Dame Sybil Thorndike, Diane Cilento and Stanley Baker. The songs in this album represent many of his favourites and also some that have been big hits for other artists. Some of the accompaniments are head arrangements by Marty's own group - the others are by Wally Stott and Ivor Raymonde". Additional material here is my own + from Guinness Who's Who of Fifties Music Colin Kilgour: January, 2005 These pages were saved from "This Is My Story" for reference usage only. Please note that these pages were not originally published or written by BlackCat Rockabilly Europe. For comments or information please contact Dik de Heer at dik.de.heer@ziggo.nl REG CALVERT DAVE DA COSTA!

This 1958 photo below , supplied by Susan Calvert shows Reg, Dorothy and helpers outside 44 Portland Terrace as they overloaded the car with massive speakers and guitar cases tied to the roofrack - ready for another gig! Note the old windscreen that opened out plus the side indicators that flipped up in those days. You can just imagine the fully laden car plus passengers scraping its way along many long roads and before motorways were even thought of. This was near the city centre with no yellow lines, traffic wardens, parking meters and all manner of restrictions that face us all in modern times. You can just make out a small sign on the wall that identifies the premises as the 'Gallery of Modern Art' and I can guess that this appealed to the jazz-loving 'beatniks' of that time who were being swamped by the new fangled rock n roll craze that was sweeping the UK. Dorothy Calvert mentions that this was a Sheerline - not an Austin Princess as described by Mike Nevitt and that the once grand Portland Terrace houses made way for the multi-storey carpark that drops down to the lower level roads.

Older Sotonians will recall that the houses were near the old Hants & Dorset bus station opposite the Civic Centre - known as the 'Pants & Corset' to the locals! You will have also noted the other Portland Terrace photos above which pinpoint this area which is now unrecognisable from the late Fifties. Portland Terrace-setting off for a gig Note guitar cases strapped to roof and massive home made speaker resting on tailgate! Much of this info was kindly sent by Mike Nevitt but followed by some interesting e-mails from Dorothy and Susan Calvert who appreciate my building this page and showing that Reg's memory has been tarnished over the years so I am very grateful to have the Calvert family blessing and input with personal glimpses back to the happy days in Southampton. As you can imagine, some memories are blurred when coming from various sources but I am lucky to be able to write and share this fascinating story with those that were there or just anybody who is keen on that era. 1st October 2011 Mike Nevitt (Nevitt Brothers) also sends me odd clippings from the (Southampton) Daily Echo as they often publish archived photos from many years ago.

This latest piece shows the view looking up Portland Terrace- then and now with the iconic Civic Centre clock in the background. Take a look at the 'mirror ball' photo above and you will note the exact location of the Calvert home on the left side of the terraces with railings and lampost on the corner. I understand that Reg's Austin Sheerline car can be seen parked by the wall and you will find more of this lower down the page. Portland Terrace- late 1950s (courtesy Daily Echo archives) A few of these grand terrace houses can still be seen to this day but this block was demolished back in the 1960s and the site now houses a multi-storey carpark- recently noted as one of the most expensive in the UK! Note the old Portland Tea Rooms on the right side and the crossroads indicate the Ogle Road junction. Very little traffic in those days as most people could not afford a car but at least you didn't endure parking meters, wardens and other banes of modern life! These are more memories from Dorothy Calvert - read Susan's account further down the page I remember the Nevitt Brothers and kept in touch with the Dowlands for a long time after.

Reg did a lot for the kids who were trying to get on stage but contracts were very rarely used, especially in the early days. He believed in a handshake, I think the boys were thinking of Larry Parnes! The two houses we had at the time were rented. The first was mine, it was my Printing business, Hartex Agency and I also did shop fittings. Yes I would print tickets if I had time but Reg wasn`t allowed to do it. Union rules only let me use union members! The second house was used for storing the PA gear etc. There was an office with Mr. Coles (Coles Funfair) secretary and above accommodation for some of the boys. Others stayed in lodgings. At that time it was like having an extended family - there was no big cash hoarded somewhere, it was all put back into trying to get better. In fact if I hadn`t had the printing business I don`t know how we`d have managed. But in the end we took a gamble and it paid off until Radio City came along. The remarks that Reg took up with some shady people were pure fiction to make him look bad and Smedley to appear respectable.

In truth there was enough evidence to convict Smedley of murder and prove that Reg was owed quite a lot of money. That money nearly bankrupted me and I had a terrible struggle to keep things going and the people who worked for us, in employment. Mr. Cole, who owned the fair, we knew quite well but the Dodgems were never used for dancing but I expect they thought about it. The car, one of the better bangers that Reg had, was a Sheerline, though he always wanted a Princess but I hated those big cars so the Sheerline went and he never got the Princess. One thing that came up in your webpages was the Station Hotel in Woolston. (Old Railway?) When we moved from Darlington to Southampton, Reg had a job as hairdresser in Woolston, for ï¿½4 a week.Then he got the job of playing piano at the Station Hotel for 50p a night, Fri. Sat. Sun. Here he built up a very good following, full every night and ended up compering a show with live artistes. After that we had a sweet shop, 7 days a week so that phase ended.

When the shop was sold he went as TV engineer to Romsey and we lived over the shop and I started Hartex Agency. N.B. (Retired) Major Oliver Smedley was tried for murder in this 1966 case, but managed to get off with a charge of manslaughter but dropped due being in 'self defence' Many considered this a travesty of justice at the time as Reg was well liked and respected but whose name was besmirched by the whole Pirate Radio scenario in which he became involved. It also shocked many of the young artistes who had been looked after by the Calverts in the late Fifties and early Sixties before leaving Southampton - these are the very people who could testify as to Reg's integrity and promoting skills which were on the verge of breaking big time as he was handling the Fortunes and Pinkertons' Assorted Colours from the new Rugby base.

The Nevitts often rehearsed at the Pier over the weekend in between the dances before wandering up to the Wimpy Burger Bar in the High Street for some food or pop into Lenï¿½s flat and watch classic TV shows such as ï¿½6-5 Specialï¿½ or ï¿½Oh Boyï¿½ which inspired them even more! Then it was a short walk back to the Pier for the evening show from around 8pm so it was all just great to have these carefree days but all hoping for bigger and better things. Some of the older generation were not fans of the new music that was pushing the old fashioned dance bands out of the way and everybody laughed at a letter that was published in the Echo that complained about the loud ï¿½Jungle Musicï¿½pumping out of the Ballroom windows. It spoilt the enjoyment of sun-worshippers lounging in the deck chairs along the Pier promenade who were hoping to have a nice quiet snooze in the sea air!

Reg and Len Canham made small fortunes by packing many a dance hall with over two hundred kids and Mike remembers Reg shouting at his wife Dorothy on one occasion with the phrase "I am a man of means" and waving a wad of notes like a Fifties type ï¿½Loadsamoneyï¿½ from any one of his cash-filled pockets! Mike and Tony were only paid about ï¿½1 per night (!) in those days and they were advised to join the Musicians Union by the local secretary and much respected band leader Gil Hulme who was was resident at the Pier. This then pushed their money up to an astronomical 36 shillings (about ï¿½1.30 in todayï¿½s money) although they were all mostly three chord merchants. Johnny Watsonï¿½s Expression (ex Three Stars) used to back the Nevitts as well as Tony Collier on bass/vocals etc with Johnny later taking over the drumstool and one of the finest percussionists around before moving to Australia.

This rare photograph show Reg with his 'stable'of singers and bands - the calendar (Southampton Waste Paper Company!) shows October 1960 so perfectly captures this moment in time. Thanks to my musical colleagues, I am hoping to put those all important names to faces so am looking forward to hearing from anybody who can help fill the gaps. Pete Broyd recalls that he and other artistes had moved over to Len Canham Management but they all worked at the shared venues anyway. Pete also is the first one to shed some light on the line-up. 'Uncle' Reg is pictured 'holding a contract' with star drummer Rory Blackwell in the monogrammed blazer on his left. In fact - Reg never used contracts- every deal was on a 'gentleman's handshake' Mrs Dorothy Calvert behind Reg and Rory. Danny Storm in white jacket is standing behind Reg with Buddy 'Holly' Britten in the obvious glasses at the back! Buddy's hand is resting on the shoulder of Pete Mist who now lives in Benidorm. In front of Pete stands the newly named Eddie Sex (!) another of Reg's ideas.

Geoff Chalke (Brook Brothers Band) is next to Mr Sex close to Reg -Geoff has supplied many of these names. The Dowlands from Bournemouth in dark suits on the front left looking down at Reg. They were a superb harmony duo- Everly Bros style and backed by the Soundtracks? The girl on the far right is (Winchester?) singer- Carol Laine Colin Wilsher is next to her and then it's 'Mad' Dave Da Costa puckering up to Rory for a laugh! The Brylcreemed chap (by wardrobe) behind these two is none other than drummer Tony Burnett! E-mail from Pete Broyd: Hi David. All this talk about Reg Calvert reminded me that I found an old letter from the Hartex Agency when looking through my old box of souvenirs. These were typed in brown print on cream envelopes (Reg never conformed with anything) and were eagerly awaited each week. This was a quiet week for us, just the one booking at the Empire Hall.(It looks as though Reg had a problem with my name as well as Len) I'm sure that other groups on his payroll will remember those cream envelopes from Hartex.

Pete Broyd Al Kirtley (ex Bournemouth musician) has now e-mailed the following: Check his own website out at: Hi David, Thanks for contacting my (badly out of date!) site. What a great collection of memorabilia! It all brings back so many memories. I remember well playing piano at Southampton pier in 1961 with the first version of Zoot Money's Big Roll Band. (I've told Zoot about your site.) The guys on the left of the group photo are definitely Dave and Gordon Dowland. Behind them is Johnny Hammond, the drummer of their backing group (I'm not sure if it was called The Soundtracks then or whether the name was adopted later when Pete and Mike Giles - later of King Crimson fame - took over. So next to JH would be Roy Phillips and the bass player, whose name I've forgotten. I met up again in the 1990s with Hammond (he was always called by his surname since his days in the first Big Roll Band) at the funeral of the BRB bass-player, Mike Montgomery.

As a result of that meeting, Hammond became the drummer on a very drunken mini-tour of France by a rock'n'roll band I was with. Backing musician Roy Phillips went onto form the world class Peddlers! Take a look at his New Zealand based website- it is another slice of pop history White-suited Danny (Dave Hurran) Storm and Eddie Sex being mobbed by teenage fans in 1960 Reg acquired a shop in St Marys Street Southampton called the Bandbox and this was the setting for Rory ï¿½Shakesï¿½ Blackwell on his well-publicised attempt at the World Drumming record in 1960. He was hoping to reach an incredible 100 hours of nonstop playing (allowing for natural breaks!) but managed an amazing 84 hours which stood for many years to come. This very same shop was later taken over by Henrys Record Shop and you can read all about this great music outlet on the dedicated webpage via the Site Map. ..............................................................................

August 2009: I have been in touch with Colin Dale- one of the original DJs on Radio Sutch- read all about his own amazing memories of Pirate Radio and Screaming Lord Sutch on his new website: COLIN DALE - RADIO SUTCH January 2010: After a gap of some 45 years you can now listen to Colin Dale broadcasting on the internet with his great memories plus the most fantastic playlist imaginable so why not tune in right now! Just click on this link below: Colin Dale writes: HI THERE GUYS AND DOLLS, RADIO SUTCH IS BACK ON AIR AFTER 45 YEARS. PLAYING 50s and 60s ROCK and ROLL, PLUS LOTS OF YOUR FAVOURIT MUSIC FROM THE PAST. COLIN DALE THE FIRST DISC JOCKEY ON RADIO SUTCH WILL BE TALKING ABOUT HIS TIME WITH DAVID SCREAMING LORD SUTCH, HIS WORK WITH THE POP GROUP, THE SAVAGES, HIS TIME ON THE GUN TOWERS ON RADIO SUTCH.

HE WILL BE TALKING ABOUT OLD FRIENDS, BRIAN PAULL, GEOFF MEW, TONY DANGERFIELD, CARLO LITTLE, PAUL NICHOLAS, REG CALVERT, RON HARWOOD, LONG JOHN BALDRY, JOE MEEK, HEINZ, CHUCK BERRY, JERRY LEE, I WILL TELL YOU THE TRUE STORIES ABOUT THE POP BUSINESS.. TUNE IN FOR FUN... TUNE IN FOR A LARF.. TUNE IN TO SEE IF I DISH THE TRUTH ABOUT SOME OF THE BIG NAMES IN THE POP WORLD... LET ME TELL YOU ABOUT MY TIME RUNNING MY DISCO CHAIN.. HOW THE LONDON GANGS TRIED TO FORCE US OUT. I WILL TELL YOU ABOUT MY TIME AS A DISTRICT COUNCILLOR IN BUCKINGHAMSHIRE.. HOW THE OFFICERS BEHAVED AT THE XMAS PARTIES?. THERE WILL BE LOTS OF INSIDE INFORMATION COMING TO YOU ON RADIO SUTCH, YOU WILL HAVE A LARF. SO TUNE INTO COLIN DALE ON RADIO SUTCH. GO TO SEE YOU LATERS... C.D.

October 2010 Reg Calvert's daughter Susan Moore has obviously inherited some of her late father's talents as she is an established artist, whose work was displayed at an exhibition called 'People and Places' at Nuneaton Museum and Art Gallery. In addition, she has been working hard on a musical double bill play and based on the life and times of her parents from the early days of the pop music industry and leading to the drama that unfolded on the high seas when Pirate Radio reared up and changed the record business forever. It had its first showing (world premiere!) in Windsor and she has just informed that preview copies are available by contacting the publishers below ï¿½7.50 each book+ ï¿½1.50 p&p Fillongley Publications 1st edition ï¿½7.50. A4 spiral bound. "Drab, post war Britain. Young, in love and penniless, Reg and Dorothy marry at the age of 18. Life was never going to be easy living with Reg! A young man with dreams and ambition. They move from Huddersfield to Southampton in an old bus that Reg converts into a caravan, and camp in an apple orchard.

Reg soon tires of normal routine and flits from one occupation to another while Dorothy tries to keep him steady and pick up the pieces. When Reg first hears 'Rock Around the Clock' by Bill Hayley, he has a new dream. To bring Rock & Roll to England." The inside story of what really happened. Exciting, fast moving love story with humour and tragic events. Many photographs from the period that have not been published before. It can be performed as a 'musical' or as a play with recorded music. For young performers. No royalties charged to amateur theatre groups up to 2012 subject to conditions. --------------------------------------------- 1st edition ï¿½7.50 A4 spiral bound. "Reg and Dorothy Calvert live at Clifton Hall near Rugby, known in the press as the 'School of Rock & Roll.' They run dances for teenagers and manage well known pop groups. Everything is going right until 1963, when Radio Caroline, a new pirate radio station starts broadcasts from a boat in the Thames estuary. For the first time in England, teenagers can hear pop music broadcast, all day, every day.

The whole country is excited by it while the BBC and the government mount a campaign to try and stop the illegal broadcasts. Reg is besotted with the idea of having his own pirate radio station but does not have the money to buy a boat. With Screaming Lord Sutch, they take over disused war time forts in the Thames Estuary that are outside the 3 mile limit. Sutch soon tires of the idea, but Reg continues, spending more and more money and getting into debt. Dorothy is out of her mind with worry and decides to leave him and sell Clifton Hall. After six months of separation, Reg courts Dorothy again and persuades her to come back and start a new life. Radio City is earning money, the pop groups he manages are in the top twenty and the biggest, most powerful pirate radio station want to go into partnership with him. The deal is almost signed when tragedy strikes as a desperate Major Smedley decides to take over Radio City in the middle of the night so he can blackmail Radio London into going into partnership with him........" The inside story of what really happened. A play that can be read as a book. Love, fun, drama and tragedy.

No royalties charged to amateur groups up to 2012 subject to conditions. Susan Moore: "The play is the story - beginning to end of Reg and Dorothy Calvert. From the early days of Big Band through to Clifton Hall, the School of Rock and Roll and then finally, the dream of owning a pirate radio station. It combines a powerful love story, with colourful characters, music, intrigue and murder. It runs a little bit like Blood Brothers." .......................................................................................... (3rd November- Preview show @ ï¿½7.50) ABBEY THEATRE (off Queens Road) NUNEATON Warks Tickets ï¿½7.50 + ï¿½9.50 contact susan.k.moore@btinternet.com or tel 07745 144 922 50th Anniversary Celebration Combining two exciting new plays into one reading with music and rare photographs. Celebrating the 50th anniversary of the move to Clifton Hall in 1961 - what became known as the School of Rock & Roll 50th anniversary of the start of pirate Radio Sutch / Radio City in 1963.

THE SCHOOL OF ROCK N ROLL (PLAY ONE) Life with Reg Calvert was never going to be easy. Falling in love with an entrepreneur and a man of dreams was like living on a roller coaster. This is a funny and poignant story about the extraordinary and zany lives of Reg and Dorothy Calvert, from living in an old bus and selling sweets to managing pop groups and owning the first School of Rock & Roll. From 1946 to 1965. DEATH OF A PIRATE (PLAY TWO) To 1967. Life becomes turbulent between Reg and Dorothy as Reg pursues what seems an impossible dream. To own his own pirate radio station. This play follows the rise and fall of pirate radio in the 1960ï¿½s and is a heartbreaking story of love, anguish, murder and conspiracy. CHECK: for latest booking information .......................................................................................... I will shortly be adding more info and rare photos to this dedicated webpage on Reg Calvert whose memory lives on as part of the legacy of British Pop Music.

There has been much speculation and press coverage over the tragic shooting of Reg Calvert, which was a clear case of murder but downgraded to a charge of 'manslaughter' on the grounds of 'self defence' by Major Oliver Smedley who was acquitted. Photographs of Smedley smirking as he left the court left a bitter taste in many peoples' mouths as the actual events on that tragic night of June 21st 1966 were full of inconsistencies. The case notes can be viewed via the National Archives and reading through them will certainly raise a few eyebrows and most likely lead one to supporting the theory that this was a grave miscarriage of justice. Reg Calvert underwent a 'character assassination' by Smedley's defence team during the court proceedings and so-called eye witness statements throw up many unanswered questions. Susan Calvert's own personal account can now be shared as her new plays are performed around the country and I can certainly recommend an entertaining but intriguing night staged at the Abbey Theatre as above. Early booking is recommended and there is the possibility of this show being extended so worth checking this page or by contacting Susan herself. .....................................................................................................................

August 2011 A new book has been published, written by Adrian Johns, a much respected author and professor of history at the University of Chicago. Titled 'Death Of A Pirate' and well worth reading as it covers the amazing story of the anarchic illegal broadcasting that sprang up in the Sixties as a refreshing antidote to the staid BBC output at that time or great 'pop' stations such as Radio Luxembourg with its transmission problems on 208 medium wave. The book opens with a dramatic chapter on that tragic midsummers night of the 21st June 1966, loosely based on the actual case notes held at the National Archives (Public Record Office) in Kew Surrey. They were not released until 2001 being 'under wraps' for some years as in the case of many major criminal proceedings. If many people feel somewhat cynical about the whole case, then maybe some of the facts that surrounded it should be considered and possibly point to a good reason for the Establishment to cover up the whole matter?

Whilst Adrian Johns paints a vivid description of the actual shooting of Reg Calvert, it is all based on 'evidence' from shotgun-wielding Oliver Smedley (mid Fifties) and his 23 year old 'housekeeper /assistant' Pamela Thorburn (described as his 'occasional mistress' in this book) Susan Calvert was disappointed in not seeing Adrian Johns highlighting many of the discrepancies in the court proceedings and also refused to allow any personal family photographs to be included in the book. The trial and surrounding 'sensationalist' media hype painted a picture of Reg Calvert as a 'violent' man and prone to angry outbursts but this in complete contrast to what I have found over the last few years when talking to many people who knew him from his early Southampton days. I am touch with his daughter Susan (Moore) and she has kindly given me many insights into the whole story, part of which I reproduce below, with her permission. Reg Calvert was simply a great showman with many OTT ideas and gimmicks that certainly grabbed headlines and made the public aware of his stable of pop groups and solo artistes.

He had the gift of the gab and certainly exaggerated many a story to publicise his acts or dance nights, but this was used by the defence team who painted a picture of Reg 'storming into Smedley's Essex cottage. Reg was certainly angry over his dealings with Smedley and other dodgy people involved in pirate radio so felt aggrieved at being conned. He normally talked his way out of trouble but this terrible night ended in his tragic death at the hands of Smedley who was charged with murder, then dropped to 'manslaughter' on the grounds of self defence and acquitted. Reg was feeling unwell on the 21st June, having had a smallpox injection and not able to drive from London to Smedley's cottage near Chelmsford so recruited an acquaintance Alan Arnold and using Reg's Ford Zodiac- Reg's eyesight was not too good with cataracts so another reason to take the passenger's seat for the two hour journey.

When they reached the house around 11pm, Reg got out and knocked the door which was opened by Pamela Thorburn, with Alan Arnold stood behind Reg- she recognised him and immediately tried to slam the door shut but Reg pushed his way in and shouting 'Where's Smedley? I'm going to take him to the police" Arnold went looking around the house to find this man who was nowhere to be seen, having sneaked out of the cottage, loading a shotgun and telling his neighbours to call the police as 'there was going to be trouble" The word 'pre-meditated' springs to mind.......... The rest of the 'evidence' came from the only witnesses to the subsequent shooting tragedy- Smedley and Thorburn -they claimed that Reg was 'hysterical' and allegedly struggled with her at the door, knocking over furniture and finally grabbing a small statuette/table lamp and raising it over his head as if to strike at her! At this point, Smedley appeared with his shotgun and shot Reg in the chest who fell to the floor by the front door.

The police arrived some time later, by which time Smedley and Thorburn had time to concoct a story of 'self defence' and rearranged the crime scene. Police photographs show Reg lying on the floor, face up and the statuette close by with his left hand glove missing - just read through Susan's points that were ignored at the time of the hearing. From Susan (Moore) Calvert Part 1 Adrian John's book. I thought was very good - except for the first chapter which is why I refused permission to publish family photographs in his book. He made a 'sensational' account of the night's event - to sell his book and it perpetuates the lie that my father was a violent man - which as you know from the many people you have spoken to - was not the case. I don't think you will find anyone who will tell you he was in any way violent. He always talked his way out of problems and trouble - which is what he intended to do with Major Smedley. I had many disagreements with Adrian about the first chapter. I felt he should have made it clear that this was the story that they gave in the trial - with all the witnesses cancelled and no one there to dispute the evidence.

The reason that Major Smedley said that he shot my father was because he was terrified of him - and he knew he had gone to kill him. After the trial - when he sells his story to the News of the World, he says that he was never frightened of my father !!! As all the witnesses on my father's side were cancelled - no one could give a true account of what really happened. Only my mother was called at the last minute. It was obvious at the time that the trial was 'corrupt' from beginning to end but because of subjudice - the press were not allowed to print the truth or real evidence. I think I said before - that a good 'detective' story on the TV - they would have spotted Smedley's guilt In the photograph of the shooting, my father is laid on the floor - his left hand glove has been removed and the statuette he is supposed to have been holding above Miss Thorburns head - is laid next to him. My father had recently had a Small Pox vaccination - and he couldn't pick up any heavy object - not even a statute with his left hand. In any case - he was right handed - and he was still wearing a thick glove on this hand.

Part 2 Hi David, I think you think that things were 'heated' on that night - because of all the sensational publicity. According to the person who was with my father on the night (Alan Arnold who owned the aerial) and according to everyone that day, including myself and my mother. My father was not angry or heated. He was quiet and thoughtful. He was also worried about his staff on the station in case someone got hurt as some of the boarders were believed to have guns. There were so many lies and half truths at the trial - and many witnesses from Major Smedley's side. All the witnesses were cancelled on my father's side - except for my mother - who had complained so much. She was called at the last minute All the press at the time said that the trial was all wrong - that they had never been to a trial like it - but they couldn't print the truth because of subjudice. At the trial, Miss Thorburn (Smedley's young mistress) said my father was red in the face, swearing, shouting and throwing things about. When my father was angry - he went grey in the face and talked very quietly. He didn't shout - ever.

He never swore - to my knowledge, and he certainly didn't go picking up objects and throwing them about. My father went to see Major Smedley to talk and reason with him. If that didn't work, he was going to go to Radio City with ï¿½400 (a lot of money then) to pay off the boarders. They had saved the money for their 20th wedding anniversary holiday - to Portugal and Spain which is why he had a Small Pox vaccination. Some men may have gone about shouting and losing their temper - but that wasn't my father's way of doing things. Major Smedley had heard that my father was going into partnership with Radio London, June 1966,and I think he wanted to find a quick way to earn a lot of money. He arranged a 'boarding party' and took over the station. Next morning, he was on the doorstep of Radio London waiting for Phillip Birch to arrive, and he told Phillip Birch what he had done, and that the partnership deal should now be with him, not Reg Calvert. Phillip Birch refused - saying that it would only be with Reg Calvert.

My father had a meeting with Major Smedley who was cock a hoop at what he had done. After this there was a 'stale mate' as Major Smedley's plan had failed. Radio London wouldn't go into partnership with him. The police told my father to go and see Major Smedley and sort it out as they couldn't help - and gave him Smedley's home address. Alan Arnold was worried about his aerial so he kept 'phoning my father about it, and offered to go with my father and have a meeting with Smedley. ----------- FACT: We know from Alan Arnold, that when they arrived my father was cool, calm and collective. ----------- FACT: Major Smedley heard them arrive, went to the bedroom, picked up his gun off the wardrobe, went to a neighbours house and told them to call the police as there was 'going to be trouble'. Came back in and immediately shot my father. ------------ He said it was because my father was holding up a statue above Miss Thornburns head.

FACT: As my father couldn't move his left arm as he had a small pox vaccination - and he was right handed anyway - it was obvious from the photograph of my father after the shooting - that his left hand glove had been removed and the statuette placed near his left hand to make out to the police that there had been a struggle. My mother tried to speak to Alan Arnold at the hearing. She said he looked terrified and just walked away. (He had a weak heart, and after the shooting I believe he had a heart attack or fainted.) Major Smedley had two attempts at running a pirate radio station and they had both failed. He was Chairman of Radio Atlanta and this failed and then he went in with Radio Caroline south and this failed. He owed people money and had a 100 or so shareholders who had lost money. He was into very right wing politics and money dealing - and tried to get people to invest in an Isle of Man company etc. In 1965, Major Smedley after failing with Radio Atlanta and Radio Caroline, offered my father a partnership - by providing him with a new transmitter.

When it arrived in the December of 1965 - it was about 30 years old from Texas, and they could not get it to work. Both Radio City Engineers and his engineers tried, and failed. Major Smedley could have collected his 'transmitter' at any time. As it happened - he left my father with a very expensive bill for the transportation costs from Texas. Major Smedley discussed with Alan Crawford (from Radio Atlanta) about taking over Radio City, and Alan Crawford said that he shouldn't do it. It wasn't right and it would give pirate radio a bad name. Major Smedley said he wouldn't do it - but a couple of days later - he did. At the trial, Major Smedley gave evidence saying that my father owed him ï¿½10,000 for the new transmitter. This was an obvious lie - and could so easily have been disproved if all the witnesses hadn't been cancelled on my father's side. You are welcome to print / publish this information and other information I have given you. I've tried to keep it brief or it would end up being another book (or a play).

Kind Regards Susan As always, I am indebted to Susan and thank her for her moving testimony as well as being able to offer an insight from within the Calvert family who suffered terribly by this tragedy followed by many years of trying to clear their father's name. I never knew Reg personally but remain convinced that the real story never came out at the trial, which showed British 'justice' at its worst. The defence team and a baying press at that time were also guilty of character assassination, following a clear case of murder of Reg Calvert. His name certainly lives on, and is remembered with much affection by those who knew and worked alongside him, unlike the ex Army coward who 'played soldiers' on that fateful night using a firearm to get rid of his 'rival' If you are able to attend the November show (as above) then perhaps you will find out much more about this intriguing case and its fallout that witnessed the birth of Radio One and much more.

Check out this rare Pathe News clip: Reg and Dorothy Calvert- Radio City in background December 2009- a great new page on Reg * co: This rare photograph, kindly sent by Dorothy Calvert (Reg's wife) shows Clifton Hall Rugby where he based his new business ventures and must bring back so many memories of the bands and singers who passed through the doors. You will then be able to read a moving account of the basic story as recounted by daughter Susan. CLIFTON HALL RUGBY Reg and Dorothy Calvert- Clifton Hall 1962 From private family collection Another rare photo of the early Fortunes and known as: ROBBIE HOOD AND THE MERRY MEN Fans will note the young fresh-faced Rod Allen on the left- sadly passed away in 2007 Rod Gary Robbie Hood (Mike West) Barry Rod Allen/Gary Fletcher/Robbie/Barry Joe Meek at the back The Dowlands Dowlands and vintage recording gear- Joe Meek studio? Derby Road St Marys- loading the van. Quite a few 'pros' lived in the area.........

including: Eddie Sex 'Baby Bubbles' Danny Storm Reg Mike Everest and The Alpines - suitably dressed! The costumes were Reg's idea as a 'comedy' band got more money! L-R: Back row: Bob Bishop (lead gtr) Tony Tipper (drums) Ken Radcliff (bass) Doug Perry (gtr) Mike Everest- lead vocals March 2010- E-mail Hi David, My name was Mike Everest and I was the singer for the Alpines whose picture you have on your site! I worked for Reg for a while in the 60s with the band .We played all the gigs he had in the Midlands and beyond as well as touring with Dave Sutch for a bit. Played with names like The Beatles Billy Kramer Joe Brown Gene Vincent the list goes on . I have so many clear memories and quite a lot of memorabilia - contracts pics etc.Do you think Susan (Calvert) or yourself would want me to put pen to paper to record these? By the way I am still in touch with the Alpines I was so sorry to hear about "Mrs C " I remember her so well. Regards Mike.

I had a great chat with Mike Everest who told me some great stories of the crazy days when managed by Reg Calvert whose flair for showmanship saw him dress his bands up in wild costumes to add a few pounds to the fees! They travelled all over the country and worked with so many big names eg Gene Vincent, Lord Sutch and so many big stars of the time. Mike retired from the business and went into furniture wholesaling and sold his business some twenty years ago so now enjoying the fruits of his labours over many years! Now based near Blackburn and enjoying his new found computer skills so I'm looking forward to receiving some of his own photos, stories and much more. Like so many musicians, he was shocked when opening the newspaper back on that terrible day in 1966 when Reg Calvert's life was cut short in a moment of madness- he would have probably gone onto greater things with his business flair, visions and great showmanship. April 2010 As promised- Mike 'Everest' kindly sent some great copies of various correspondence and I am waiting for some scanned photos to add to his memories as below, including rare shots with Screaming Lord Sutch and Reg.

This faded photocopy is taken from one of the Birmingham newspapers and advertising a 'Teen Beat' show at the B.R.S. Ballroom on Bromford Lane with two of Reg Calvert's managed acts. Headliners on this 2nd October 1962 were Buddy Holly lookalike 'Buddy Britten and the Regents' supported by some 'great new recording group making their first appearance in Birmingham' They had just made their first record and was being released at this same time- you might be able to make out the name of this group- who knows what happened to them.......... Mike Everest and the Alpines must have provoked some comments from the Brummies as they rolled onstage with their lederhosen, braces and weird hats! Show ran 7-30 to 10-30 and admission was 4/- (20p) Apart from running the agency from Clifton Hall, Reg also had a West End London office at no. 7 Denmark Street WC2 just off the Charing Cross Road and its best known name being 'Tin Pan Alley' - a long established thoroughfare thronged with music shops, recording studios, publishers, management and much more.

It was known as the Kings Agency with the old phone number of 'Temple Bar 6303/4 and its three directors listed as Reg Calvert, Terry King, Kenny Bell. Here is a confirmation for Mike who was living in Burton On Trent at that time. Plus Below- a rare 1963 contract, signed by Dorothy Calvert and a booking for the Fortunes and Cliftones (a house band) at the Jubilee Hall Burton On Trent. The fee was ï¿½25.00 although one can see that a figure of ï¿½30 was scrubbed out so maybe a fiver went in someone's pocket on that gig? This letter from director Terry King and it appears that the agency deducted their full commission on an Aylesbury show on which the Alpines arrived late and had a few quid taken off as a 'punishment' The P.S.

also mentions a long weekend in Scotland for the princely sum of ï¿½70 less usual 10% agency commission and Mike is asked to phone the office to confirm but NOT 'reverse the charges' The Scottish Tour 25-27 October 1963 Friday The Locarno Montrose- Saturday Eyemouth Town Hall- Sunday Palais Dundee. The ï¿½70 fee less ï¿½7 commission was paid around 7 days later but one can be sure that the actual fees paid by the venues to a local Scottish promoter/agency and then sent onto Kings Agemcy would be much higher. This 'arrangement' still survives to this very day and known by acts as the dreaded N.P.U. - the 'No Pickup' in which they might work a string of dates but only get paid on the odd night, so never really knowing what was on the original table! The Alpines were slogging all up to Scotland on old A roads for the princely sum of ï¿½21 per night nett less petrol, food, overnight stop etc.

I'm sure that many a 60s musician will smile at these very same thoughts as their eyes mist over with their own memories! Another confirmation for the California Ballroom at Dunstable Luton, one of the top venues at that time. An amusing query is Kenny Bell enquiring if any 'cash was collected' on their Scotland jobs! I wonder why? LOL This letter shows the account with a Wolverhampton based agency known as Astra and concerns a couple of shows - the Majestic Wellington Telford and the Rink Swadlincote. Astra also deducted ï¿½10 to compensate Wednesbury Town Hall for a 'damaged panel' This was due to Alpine's Tony Tipper swinging on a rope and putting his foot through a side wall on a previous visit and gather they were banned from this venue! Mike also sent me another Astra letter which apologised for another late payment with the excuse of an 'oversight'- nothing changes in showbusiness! Astra Agency was based at Wolverhampton's LaFayette ballroom and later run by ex musician Jake Elcock and I still have gigs through his office to this day! A slice of Southampton 'pop' history below!

The Royal Pier Mirror Ball This great photo, sent by Susan Calvert, shows Reg and Dorothy lowering the giant mirror ball down to street level at Portland Place! This was one of many such ornaments made by Dorothy in her spare time, and ending up suspended on many a dance hall in the area! It was originally intended for the large Guildhall nearby but there were concerns that it was too heavy so it ended up on the ceiling at Len Canham's Royal Pier Ballroom where its thousands of 'starlights' shimmered around the darkened dancefloor. Thousands of couples must have been lit up by this beautiful mirrorball and probably fell in love as it spread its magic through the night along with the music plus a few drinks as well..... The mirrorball was also in place when I first took to the stage late in 1958 as a ten year old rock n roll singer and I recall it with much affection some 55 years later. I trust you have enjoyed another slice of Sixties nostalgia and I am indebted to Mike Nevitt who painstakingly wrote out a few pages of the above information as he ï¿½doesnï¿½t do computersï¿½ in his own words!

If you have any more to add or to amend then please get in touch as so many people have been doing over the last few years of my website which is growing all the time. Susan - Reg's daughter has mentioned how she recalls the happy days at the Royal Pier Southampton and Len Canham's mother who was a superb cook! Also she remembers Lens' Golden Labrador, being very fond of dogs and has mentioned that she has many unpublished photos of these early days so I am hoping that these can be shared with everybody through my webpages. Susan is also an accomplished writer and currently working on two musical plays which are based on the Reg Calvert story and I will pass this on when nearing completion. Her mother Dorothy had a remarkable memory of those early days and perhaps I might be privileged to write about some of these in the near future. This personal article has just been sent to me by Susan Calvert and I reprint it in its entirety as it offers an amazing insight into her father's story. As mentioned, she is currently writing a musical play and a possible book on the story so would welcome any personal reminisces of anybody who knew or worked with Reg Calvert but would not appreciate any time-wasters etc so I ask anyone to respect the family wishes.

My parents moved from Huddersfield to Southampton. My mother wanted to get away from the grime of Huddersfield - and she longed to live in the South. They were only 18 when they married just after the war, and like most other people at that time, had to struggle to survive. My father's family was very musical and his mother played clarinet in bands and orchestra's and travelled the world. His grandparents brought him up and he learnt to play clarinet, sax and piano. He had a brilliant 'ear' and could play almost any tune once he had heard it. My father was a qualified hairdresser but soon got fed up with that and when the sugar rationing was lifted, started to make sweets and sell them on market stalls and at fairgrounds. He then bought an old sweet factory and my parents opened a sweet shop in Northam, Southampton. My mother did most of the running of the shop while my father pursued his new 'hobby' repairing old radios and radiograms. In the evenings, to earn extra money, he compered for the big bands and also played the piano in clubs.

In the mid 1950's he started to import Rock & Roll music from the U.S.A. Bill Haley, Rock around the Clock etc. This was before anyone had heard about Rock and Roll in the U.K. He tried to persuade the managers of the dancehalls to play rock and roll music instead of Big Bands, but they wouldn't. Not only that - there were no rock bands. Only skiffle - No one had heard the expression 'teenager' until he started to use it to promote his dances. He searched all over the south and London for good musicians and singers to form into bands and found dancehalls to put the shows on. They were proper 'shows' - with variety, comedy and competitions. Within a year or two - rock and roll caught on and stars such as Cliff Richard who copied Elvis, Marty Wilde etc came onto the scene. The groups my father managed were paid a proper wage, higher than the average working wage, and it was regular. They were guaranteed work and he paid the rent on a house in Portland Terrace so that they could live rent free if they chose to. Danny Storm looked like Cliff Richard. Buddy Britten like Buddy Holly. Eddie Sex like Elvis.

Other performers included Baby Bubbles - a coloured boy who died young from a brain tumour. Robbie Hood, Dave Da Costa, etc. They rented a shop in St Mary's with a night club above, called the Bandbox. My mother started a print works on the ground floor of the house we lived in. She printed the posters and tickets for the dancehalls and also did print orders for other companies. The money she earnt kept us going while my father was trying to establish the dancehalls and pay the wages of the bands. Both my parents worked extremely hard to try and make a go of things and there was never much money in the early days and the constant struggle to succeed. My father was always one step ahead, planning his next scheme rather than sticking to the one he had made successful. My mother had to pick up the pieces and carry on managing whatever he had started. She helped to manage the groups, pay the wages, organise the dances and keep my father in check! They bought Clifton Hall Rugby in 1961. It was a beautiful house, with eight bedrooms and two and a half acres. Being in the centre of England meant that it was easier to travel out to run the dancehalls.

At that time, large houses were unwanted and the price was not much more than an ordinary four bedroom house. They provided free board and accommodation for the groups and singers and carried on their policy of providing regular work and guaranteed wages. This was unheard of in the entertainment business and many of the parents really appreciated the fact that the boys were looked after. Clifton Hall was a sanctuary for the boys, 'girl' free, alcohol and drug free. (No one we knew took drugs in the early 1960's.) My mother was quite firm about home life and the boys respected her. The boys slept most of the morning, rehearsed in the afternoon and then went out and did a show in the evening. When they came back late at night, they would often start rehearsing again. The house was full of music. The drummers were sent to the 'barns' to practice as my mother couldn't stand the noise! Some of the singers such as Danny Storm and Buddy Britain had their own following by then so my parents arranged recording contracts for them. Other groups followed including The Fortunes.

More and more bands wanted my father to manage them including Screaming Lord Sutch, Rocking Berries etc, so he started an agency in London with Terry King and called it Kings Agency. When we moved to Clifton Hall, I remember my father saying to me, that Clifton Hall would be the perfect place to have a local radio station and he applied for a licence. He wanted to see free radio in the UK and it was his ambition to have a radio station. Several years later when Radio Caroline started to broadcast (using the Fortunes song 'Caroline' as their theme tune) he tried to think of a way that he could have a station. My mother pointed out, more than once, that they could not afford it - there was no money to buy a ship! With Screaming Lord Sutch, they decided to do a gimmick to promote Sutch by hiring a boat on the Thames and sailing through London playing rock and roll and saying that this was Radio Sutch. What started as a rock and roll party - ended with my father's death. Being unable to afford a ship - he searched the admiralty charts and spotted the old war time forts.

To start with it was a bit of fun and an adventure, a way to promote the groups. He soon became more determined to make it successful - and the station gradually made a name for itself. Radio Atlanta was a station that ran out of money - but one of the brains behind it was Major Oliver Smedley, a chartered accountant. He persuaded my father that he would provide a much more powerful transmitter and they could go into partnership together. The transmitter arrived - fell in the sea! It was very large and very old, and it did not work. Months later, Radio London the most successful radio station wanted to go into partnership. It was obviously much better to run a radio station from a fort than off a ship. Everything was agreed and the documents were about to be signed. Major Smedley arranged a boarding party in the middle of the night and took over Radio City. My father was frantic with worry for the disc jockeys and engineers on the fort. Smedley had a meeting with Radio London and said that the station was now his and he wanted 50% of the deal.

The police told my father that they could not intervene and he should go and discuss the problem with Smedley himself and gave him the contact details. Reluctantly, after trying to arrange a meeting and speak to Smedley, he went to see him in the evening with Arnold, whom he rented the aerial from. Both my parents had had vaccinations and my mother was quite ill and my father's arm was so stiff he could not drive. My father took with him money to pay off the boarders if he couldn't get Smedley to come to an agreement. As my father arrived, Smedley left his house with his shotgun, went to a neighbour and told the neighbour to phone for the police as there was "going to be trouble". He then went in and shot him. A wonderful story was hatched by Smedley and his mistress about my father being a violent man etc. The trial was a farce and Smedley walked away a free man. Much to the surprise of everyone, my mother insisted in taking over the station and carrying on. She had been totally against my father running the station and they had separated for quite a time because of it.

She received death threats and was in constant fear for her life but she ran it to the end, when the government brought in new legislation. Pirate Radio was so popular in the 1960's. Everyone loved it and the government were powerless to close them down. Because of my father's death, we now have local radio, pop radio, commercial radio etc. It was his dream, but he had to die for it. Susan (Moore) Calvert 2008 susan.k.moore@btinternet.com Reg Calvert has often been misjudged by certain people over the years but his legacy was an important part of Sixties Pop Music with his entrepreneurial skills, foresight and great business ideas. I look forward to seeing him recognised and portrayed in a positive light whenever any perceptive TV or film company takes a good look at the life and times of a great showman. Susan has recently launched her own dedicated website. A fascinating glimpse into the legacy of her late father and will certainly remind the public who were hoodwinked over the farce of a 'trial' at that time.

A 'D' notice was applied to the actual case notes and the press were not allowed to reveal the many travesties of justice that took place in the court. These notes are now available for inspection at the National Archives in Kew after being 'closed' for some 40 odd years and it is hoped that the truth will soon be told in many ways. The government and 'establishment' of the mid Sixties were determined to close down the 'pirate' station and the Reg Calvert murder was a perfect scapegoat as it painted a story of intrigue, corruption and the links to criminal activity. Even the Kray twins had some connections in this story but many were too 'frightened' to talk about it for many years. Much of the 'evidence' surrounding the shooting was full of holes and important witnesses were not allowed to testify. This led to Oliver Smedley's acquittal as the murder charge was dropped to 'manslaughter' on the grounds of self-defence, despite it being a cold blooded shooting in the doorway of that remote Essex cottage on June 21st 1966.

Take a look at Susan's new website and this will be updated over the coming months- if YOU have any recollections of this story then please get in touch, especially if having any personal involvement.

Question: 1950-60s pop star Reg Smith is better known by what name?
Answer: MARTY WILDE