In 1960, they released "Shakin' All Over", which topped charts and became their biggest hit. Though they never released a full-length album, they released more than twenty singles. The band dissolved after the death of Kidd in a car crash on 6th October 1966. However, the classic lineup reformed as an R 'n' B group in 1976 and would perform sporadic tours until their ultimate disbandment in 2010.
Johnny Kidd (born Frederick Albert Heath, 23 December 1935 – 7 October 1966) was an English singer and songwriter, best remembered as the lead vocalist for the rock and roll band Johnny Kidd & the Pirates. He was one of the few pre-Beatles British rockers to achieve worldwide fame, mainly for his 1960 hit, "Shakin' All Over".
Frederick Albert "Freddie" Heath was born in 1935 in Willesden, North London. He began playing guitar in a skiffle group in about 1956. The group, known as "The Frantic Four" and later as "The Nutters", covered primarily skiffle, pop and rockabilly. Simultaneously Heath was proving to be a prolific writer; penning most of 30 songs in over three months. Heath's 31st song would prove to be the group's break.
In 1959 Heath and his band were given a recording test for their first single, a rocker titled "Please Don't Touch". A contract with HMV quickly followed and the group were then informed during the session that their name "Freddie Heath and the Nutters" would be changed to Johnny Kidd & the Pirates. "Please Don't Touch" would reach the low twenties of the music charts. Although it is not as well known as Kidd's later song "Shakin' All Over", it is a stand-out among other British rock songs of the time. Unlike Billy Fury or Marty Wilde, Kidd does not sing in an imitation voice of Elvis Presley or one of his American contemporaries. The song also bears a smooth harmony and contains no clear references to the rockabilly style.
Kidd's most famous song as a composer was "Shakin' All Over", which was a No. 1 UK hit and the band's finest hour in 1960. Kidd's own version did not chart outside of Europe, but two cover versions did: The Guess Who topped the Canadian charts (and hit No. 22 US) with their 1965 version of "Shakin' All Over", and in Australia, Normie Rowe topped the charts with it later the same year. The song was originally to be a B-side to the Ricky Nelson cover "Yes, Sir That's My Baby". Kidd was told that a self-penned song could be used and together with The Pirates the new number was written in the basement of the Freight Train coffee bar the day prior to recording.[1]:55 In addition to Kidd (vocals), Alan Caddy (guitar), Clem Cattini (drums) and Brian Gregg (bass) session guitarist Joe Moretti was called in by Kidd and Caddy to play lead guitar. It was Moretti who created the songs signature sound by sliding Brian Gregg's cigarette lighter up and down the fret-board of his guitar.
"Shakin' All Over" was a UK no 1. It has been covered by The Who on the classic Live at Leeds album. Iggy Pop also included it on his solo album Avenue B. Other covers have included Vince Taylor and the Playboys, the rock group Humble Pie and The Swinging Blue Jeans. The fact that the song continues to be covered some 50 years after its first recording is a testimony to Kidd and the Pirates.
"Shakin' All Over" marked the peak which Kidd would not reach again. Future records did not fare as well in the charts. In 1961 Cattini, Caddy and Gregg left the band and would later play for Joe Meek in The Tornados. Kidd now assembled a new band of Pirates. Johnny Spence was now added to bass, Frank Farley to drums and later Mick Green would become guitarist. The band now toured extensively throughout England and into Europe. Adopting a more beat-influenced style, the group reached the British Top 5 with "I'll Never Get Over You" (#3) and split chart action with The Searchers with "Hungry For Love" (#20) in 1963; both songs were penned by future pop impresario Gordon Mills, then of The Viscounts. The four piece band would prove to have a profound effect on another touring band at this time. Watching Kidd perform in the center front of the stage, with Farley directly behind him on drums and Spence and Green flanking him on either side, inspired Roger Daltrey the then guitarist of "The Detours" to lay aside his own guitar, dismiss his own group's singer and concentrate on vocals. This allowed rhythm guitarist Pete Townshend to concentrate more on playing lead. In time a stage act had also emerged with Kidd and the Pirates dressed as actual Pirates. Kidd would don an eye-patch and carry a cutlass which he would swing around on stage, damaging the wooden framework, and high kick in time with the music of the band. By 1964 the "British Invasion" was taking shape and Kidd was left in the shadows.[1]:59 Kidd had another new group by this stage "The New Pirates" but recordings had now become covers of R&B and pop songs. By 1966 it would seem that Kidd was on the verge of a re-emergence but this was soon to be cut short.
Kidd died at age 30 in 1966, in a motor car collision on the A58, Bury New Road, Breightmet, Bolton, Lancashire. The car in which he was travelling as a passenger had a head-on collision with one driven by Peter Metcalfe. Metcalfe's 17-year-old girlfriend, Helen Read, also died in the accident. Pirates' bassist Nick Simper, who later became an original member of Deep Purple, was also in the car with Kidd but he suffered only some cuts and a broken arm.
Kidd was cremated at Golders Green Crematorium, London.
In hindsight Kidd was both musically and visually important for the rock music genre. Long before the likes of Paul Revere and the Raiders and Alice Cooper and other such performers dressed up for a performance, Kidd and his contemporary Screaming Lord Sutch were already doing so. Kidd and the Pirates were a transitional band. In a time before bands like The Rolling Stones, The Yardbirds and The Animals, Kidd was recording music that placed increased emphasis on electric blues and R&B. His records circa 1961–64 included Willie Dixon's "I Just Want To Make Love To You", Bo Diddley's "I Can Tell", Willie Perryman's "Dr Feel-good" and Richie Barrett's "Some Other Guy". These are songs that are not sung in imitation of the original recording artists but instead Kidd puts his own stamp upon the song. These were the types of changes that would become more crucial as British blues gained more ground in the early 1960s.[1]:57–60 Many rock historians consider Kidd's UK Top 50 disc "A Shot of Rhythm and Blues" c/w "I Can Tell" (HMV POP 1088, December 1962) to be the sonic bridge between British rock and roll and British beat/British R&B.
Restless
Johnny Kidd & The Pirates Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Don't know baby what a fool you've made out of me
Are you still to be my lovin' baby?
Come and take a chance, a re-e-e-eal romance
You keep me waiting for a date
And when you do you turn up late
And try to play it cool
I knew it was another trick
To keep me waiting and keep me waiting
Ooh baby, you made me so restless
Yeah, well, I'm so restless
Now I'm through with love, maybe
I don't want romance
I'll never ever take another chance
The song "Restless" by Johnny Kidd & The Pirates expresses the frustration of being in love with someone who is unreliable and plays games in their relationship. The lyrics describe a feeling of restlessness and uncertainty that the singer experiences due to their partner's behavior. They express the hope that their partner will commit to a real and sincere romance, but also acknowledge their doubts and the possibility of giving up on love altogether.
The first two lines of the chorus, "You don't know how restless you've made me / Don't know baby what a fool you've made out of me" suggest that the singer has been hurt and disappointed by their partner's actions. They feel foolish for investing so much in someone who doesn't seem to value their relationship. The lines also imply a sense of longing for the partner to understand how their actions affect the singer's emotional state.
The next two lines, "Are you still to be my lovin' baby? / Come and take a chance, a re-e-e-eal romance" show the singer's desire for their partner to commit to a real romance, rather than playing games or keeping the singer waiting. The use of the word "re-e-e-eal" emphasizes the sincerity the singer is looking for in their relationship.
The verses describe the partner's inconsistent behavior, keeping the singer waiting for dates and showing up late. The singer calls out this behavior as a way of playing it cool, but ultimately failing to make things work. The repeated line "To keep me waiting and keep me waiting" emphasizes the frustration and disappointment the singer feels.
Overall, the song portrays the complicated emotions that come with being in a rocky relationship, where one partner is unsure of their commitment and the other feels restless and frustrated. The lyrics are relatable to anyone who has experienced the ups and downs of love and uncertain relationships.
Line by Line Meaning
You don't know how restless you've made me
I am so unsettled because of you, and you don't even realize it
Don't know baby what a fool you've made out of me
You have made me feel foolish with your actions
Are you still to be my lovin' baby?
Are you still my love and do you want to be with me?
Come and take a chance, a re-e-e-eal romance
Give us a real chance at love and a true romantic relationship
You keep me waiting for a date
You are always keeping me waiting when we have plans to go out
And when you do you turn up late
And when you do finally show, you are never on time
And try to play it cool
You attempt to act unbothered and unconcerned
Not cool enough to make it stick
Your attempts to appear calm are unconvincing
I knew it was another trick
I am aware that this is a pattern with you
To keep me waiting and keep me waiting
You seem to enjoy making me wait and leaving me in suspense
Ooh baby, you made me so restless
You have left me feeling anxious and unable to relax
Yeah, well, I'm so restless
And now, I am restless and uneasy all the time
Now I'm through with love, maybe
I have decided that I am done with love for now, perhaps indefinitely
I don't want romance
I am no longer interested in pursuing a romantic relationship
I'll never ever take another chance
I will not give love another chance and risk getting hurt again
Writer(s): TOM BEAUFOY, CHRIS PARDY, GARVIN EDWARDS
Contributed by Madison S. Suggest a correction in the comments below.
Stephen Stone
The British equivalent of American rockabilly on our shores. Brilliant feel, great vocals and what a growl at the end.
surfinwax58 wilson
Before the Stones, Yardbirds and a number of other UK acts, The Pirates laid the groundwork for what others did that are better known. But it really begins with Johnny Kidd.
Brian J. Carnevale
a forgotten 45
#forgottenhits
#1960
Josh Beeson Music
One of the best ever makes me proud to be british
Rob Jones
Vastly underrated single by Johnny Kidd.
Why this song isn't better-known beggars belief. but it oozes class.
As for Alan Caddy, he was/is a revelation.
The Cramps would have made a fine version of this lost gem.
DE RAMASSAGE Oscar
what a sound and this guitar solo ... awesome
Brian J. Carnevale
Can you hear the Beach Boys riffs here>?
I sure can. Listen closer. My eyes and ears pick up things others pass by. That is a fact that has been proven
Vincent L.
@Brian J. Carnevale no, cant..
Greenockianx
GREAT record - and fantastic production too!
Pete Nineteensixty
Man I love this song!!!!