Hello and welcome to the show. I trust you’ve had a terrific week and I’m now ready to hang out with my special guest today. He’s perhaps best known for this massive hit.
Remember who sang Abergavenny? It was Marty Wilde, who is an English singer and guitarist born reginal Leonard Smith, in 1939. In London, Marty began performing as reg Patterson with a change of name Marty Wilde soon became one of the biggest British rock and roll singers of the late 50s and early 60s. He was a regular on TV and CO wrote songs for the likes of Lulu and status quo. Today, he’s still out there performing, and is the proud father of four children, most notably his eldest, Kim Wilde, who became a hitmaker in her own right. Incredibly mighty wild has had eight decades of official chart success and was awarded an MBA in 2017. During our chat, he shares some behind the scenes tales, and confesses that despite all of his success, life at the top was pretty lonely. I can’t believe from what I’ve read about you. You’re almost busier these days than you were in your heyday. Yeah, in some ways I am I enjoy it much more now. I’m living a very natural kind of life at the moment. I don’t have to put on any airs or graces or Marty world faults and all you know, good or bad. I look back and there are regret. Oh, I wish they hadn’t pushed me you know, wish my manager when I first started let me just be myself. Let me dress the way I wanted to my clothes money first started. You had the serial bloody damn suits on me and bow ties and because it wasn’t me, and I wish also people that listened to me and when I was 17 and I got signed up by Philips records. And Johnny Franz was a wonderful a&r man John was scared of letting me use my band my own musicians my own sound my own field and of course they wanted session musician so some of those early records I mean, I can cite records that had you know British session musicians on and move it by Cliff was one.
I want to talk to you about your early influences. One of whom I believe was the great Lonnie diagrams. Yes, it was. I started off I formed a little band amateur band called The hound dogs. So off we started about two acoustic guitars. A mandolin Don’t ask me how that got in. And T ChessBase. We were called the hound dogs off of Elvis’s record. But we were playing basically skiffle. I thought Lonnie was was an incredible artist. So I saw Loni before I even knew that he would influenced my life because I went to see the Chris Barber band when I was about 15. And he played banjo for for Chris Barber. And of course later he was to make his own records and record and mine was the song that really got me because he played with rhythm, which was really what they were doing. Eventually when rock and roll was coming in almost at the same time that was playing was rhythm as well with words you know your distancing grew up on in LA you’re rockin loan money
and everything but the bad stuff rhythm was coming into songs, which was brilliant and I loved it.
Lonnie Donegan, as you say has influenced so many musicians, you included. But what about your friendship with Cliff Richard, you both were coming up at the same time. So you were not only colleagues but you were also competitors. Is that right? Yeah, absolutely. Oh, yeah, you’re joking. Yeah. If I could beat him every time I would beat him if I could and vice versa. That’s natural human instincts, you know, but as a guy I got on great with him. He was very naturally bit like me in a way we because we were opposite to what the public were imagining. I suppose they imagined me some world rebel. And I wasn’t not really I wasn’t in always, in some ways. I was a family guy or a mom and dad who I adored. The cliff was the same one we used to do those early oh boy shows which are fantastic TV shows. I had an Austin Healey 3000, which was a wonderful sports car. And Hackney Empire would come out. So they find an exit for me. I get in that car if the trouble was It was nearly always surrounded by 1000s of girls but they get me out and I get in the Austin Healey 3000 are brought down out of Hackney down in South deeper South London, and down into new cross and black Ethan in Greenwich, where I came from. And I get fish and chips on the way in the mum and dad. And it was very natural life, you know, there was no none of this, you know, you’re on drugs or rock and roll, you know, maybe this what I’ve done. I don’t know, I know I didn’t and nobody Cliff either. I think he was the same as me. We both came from families that we loved. And to this day, we’re still great. Obviously, we’re great friends.
I think Cliff like me did when I was working. That was a it was like doing something I’d always been poned to do. It was like a job. It was like, good job. And so and it wasn’t because I was something very special in life. I felt that it was just what were they like me, that’s great, you know, but I didn’t have any false illusions about so I just thought, you know, just just do what you do. And I had confidence in myself, don’t get me wrong, but I didn’t think I was some mind blowing. You know, I just got on with things and enjoyed things. So it was a leveler, I like people to treat me the way I treat them. And so much as I don’t think I’m any bigger any or any lower than anyone else. I think what you’re saying is very reasonable and very nice. And something that a lot of people could hate these days, too. But in those days, it must have been so hard to maintain that sort of philosophy, given that you had 1000s of screaming girls flinging themselves at you. Every time you moved around, didn’t you? Now have you ever thought about it? I just took that as part of the job. You know, it was a it was strange, strange. I used to in those early days, I would go to a rock and roll shows. And I got to be peering in front of 1000s of kids going bananas absolutely mad, trying to get me. They get me out the data. Somehow we used to have all sorts of problems. Sometimes I smashed cars to pieces, but I’d get out then I’d go to a hotel, and I’d be sitting on my own and I would be looking at the window. And I remember looking at the window thinking car one what my mates are doing down in Grenada. I wish I was with them. It was very lonely life not weird, but I’m sure was the same for any theory and Cliff and everybody it’s something we will learn later. That’s it. I heard that said many times before, because of course, you couldn’t just go down to Greenwich and hang out with your friends or do the regular things at that point, could you? No, no, you couldn’t. You couldn’t. It was a lonely life. There’s no question about that. Only when you were doing the shows, I mean, other than that, you were home with mom and dad and your mates and you could carry on with a normal life. But would you
live a normal existence outside of doing the shows? The outside of the show? Yeah, fairly normal. Yeah. I mean, what it wasn’t too bad. I you know, when I look back on it, in fact, most of the time I was away from home. I remember I’ve got these photographs of me on that after the first tour, which I did with Colin Hicks Tommy Steele’s brother, early 58 And after about I think was about three months on the roads or something like that. I know my mother was worried because I was painfully thin or we all were anyone who was out on the road at that point was pretty thin and you didn’t have to worry about those days. You didn’t have to worry about trying to lose weight or anything because you just worked so damn hard.
Did your parents sanction your career as a musician?
I’m not sure if my father thought my mother adored me. I could do no wrong. I was one of those lucky guys. I remember when I was a kid as well I set fire to one of the fields near me in London because we used to bomb sites where the bombs are landed and there were huge expanse and might be an acre of bomb debris. And the grass had grown up and I set light to it. They can’t come and they started shouting shut it shut them back and they said red come out here. Did you like that fire? No ma’am. No no no no. There you go Now shut up and get out.
Those bomb sites got to be known as the chickenpox didn’t that you did Yeah, they did. But for a time those bomb sites were everywhere you know looking back and you see now what what people went through in London it was quite incredible
Haven’t actually written a book? Have you? Written bits and pieces? Yeah, I keep saying I’m gonna write even more. Because I’m hoping to do a one man show eventually. And of course I’ll need a book for that some kind so sounds good.
Well, I went out one Sunday out to two hours to go to the one of the church makes you to go to church and I did as well for a while. I got home from after seeing all my mates. And Mom said has been a man knocking at the door.
She said any wants to sign you up. I said a man wants to sign me up. She said yes. She said he’s heard good things about you. She said. He said I said who? She said Larry, Larry pons. I said that’s Tommy stills. Manny, your mom. So that’s how that holds.
thing started in in my life. It was unreal. It was like think of the one of the biggest managers in the world. Sunday knocking at your door with a contract that the contract as well. 6040 I got 60 You got 40. He was 17 years old at the time. And he was kind of the image maker. Right. So he did all that for you. Yeah, he was he didn’t know anything about music itself. Which could be really embarrassing. Because, you know, he would say, oh, that’s, I love that record. Marty, you just made some of those brass parts are terrific. You know, there was there was a hop, it wasn’t any brown spots, or, you know, he couldn’t tell. And his choice on clothes, as I said earlier on, was appalling. But
what what the great thing about Larry was the ability to, to get TVs to get expose me to the media. John Kennedy was his partner. They could get me the headlines in almost any newspaper they want you to anytime by and large. And one day I was on a tour. And the guy was traveling with me it was work for Larry. He said, Look this, we’re we’ve got a thing we want you to do. He said it’s a bit of a stunt. He said, We want you to make out you’ve been in an accident. I said, What do you mean been in an accident? He said, Look, leave it with us. It’s gonna make all the papers. Okay. So then they go at the stop at this chemist and they bandages and they bandaged me up, round my head and all all. All that was saying was my mouth and a couple of one eye or maybe your two eyes. And yeah, maybe at my arms during the course when we arrived at the theater. It was March you’d save someone in some big fire that a load of rubbish. Because their next step was in the papers. They did this over and over again. Then they said I was engaged to some style it and I wasn’t I never even knew
those things were not back in the day. So where did the pluck the name Marty Wilde from? Well, Larry said one day in Bridge, he said, We’ve got to give you a strange name. So I said, Oh, yeah. I got a couple of names. You said, I’ve got one. And I thought here we go. You said Marcia. And I thought, oh my god, it’s some American book. You know, I can see Oh, my God. I Larry. No. He said, Marty, it’s a great name. He said, right. Well, we’ve trust required for it. I said, All right. We’re also going for it. And then I said right now the surname. What do you think? So I said, Well, I want Patterson, I said, I’ll be reg Patterson. He said, I don’t see it that way at all. He said, you’ve got a bit of a wild streak in you. He said wild. I said, Wow, Marty wild. He said yeah, I said, blimey, he said hold on, we’re just a coin.
Toss the coin. If it’s just for Marty. I said, Yeah. You said towels look and he showed me. Oh god no, I was a Marty. And then Patterson or wild a toasted coin.
We’ve been hearing how with just a toss of a coin. Reg Smith went from being bridge Patterson to taking on Marty Wilde as a stage name, I had to go home and tell my mother you know, mum accepted it straightaway and was calling me Marty within days dead easy. And dad had to come along with a game you know yet to do it as well. And it wasn’t until around about three weeks later, I saw my name in print. And I thought well, that’s a great name. Larry. You were right. Did it take you a while to start answering to that day? Know pretty quick pretty quick. Because Mum Mum bless her you know she took to it you know? She said Yeah, okay. Okay. And now and again. You know, it would be if I saw my friends obviously and I ain’t even to this day if the odd person that there’s very few people alive at my age now, my friends but from the old days.
You really hit the ground running after that, didn’t you? Because you had four consecutive hit singles in a period of a year. You did a cover of Ricci balance Donner a rendition of Teenager in Love that Eclipse did ons original one. And you closed out the year which proved to be your defining hit. That was bad boy. Tell us a bit about that. Well, bad boy that was the first cell and hit that I had. It was a huge break.
It’s true for me in many ways because then I started to actually dabble in writing. I didn’t go into it full time but I used to dabble because I’d written a hit which is it’s not always used as thing to do.
Some of those early songs or didn’t like if they sounded like a British musician. In those rock and roll days, it didn’t work for me. It just didn’t work. Bad Boy was kind of a weird track. But it worked. What were you writing about in bad boy? Was it well?
No, just probably a million other kids really kids that were going out with girls and getting home late. Ricky Nelson met Akira a year later, as I was was singing about it’s like, which was the same sentiment of getting in trouble with parents, you know, potentially, it became your biggest single even reaching the lower level of the charts in the US, which must have been amazing to chat there. Yeah, it was. When I went to America, the only thing that really surprised me was the Dick Clark show. Compared to the old boy show didn’t it didn’t even compare. Because the OH BOY show you were singing live. You had our Jack Good, who was a genius director who directed Cliff me Billie Jean Vincent when he was alive. And and obviously later on to the Beatles. So we had this great teacher teaching us. We did Mack the Knife, Jeff spent 24 hours one whole day on that one song with me what he would do, he would, he would have a big sheet of paper. And he would put a load of squares. And then the square he would do a rough drawing of my face. And he’d say, well, now the cameras gonna be here, it’s going to be up right above you. But you don’t look their note. You said on the third bar or the word whatever it was, you would go for, let’s say a Mac, the knife was a rather sharp beep has such teeth. When you say teeth, just look slightly to your left, the cameras gonna be there. He showed me how to do so then call sight and not just singing the damn thing. But to work at the cameras and like to look down and whatnot. And also to think to think like a method like method acting at that time. So it got quite involved. He used the same process on Cliff. I use that same process. To this day when I’m singing a song I’m living the song
Oh, when you do the Dick Clarke show. I remember, we were late. And when he got me in this lift to get me in that the program was on the air. And it was coming up to when I was supposed to be on live. So that’s up there. door opened.
Ladies and gentlemen, I gotta go and thank God for that. Already well singing bad boy. And off I go. And I’m minding. Right. And I looked around and I thought this doesn’t compare to our program. And I was so proud. When I got out this little country England was better than you make TV program and money at this time. You also had your own band called The Wildcats. And that’s the name of your band today to some 60 years later. It is I mean obviously the wild cats we change the different personnel over the years, but Neville who plays lead guitar with
Me has been with me for two years this year. And he has been with me 39 years. It’s kind of a like a family like a bond you know, know each other pretty well that’s for sure that we’re known for the wild sort of over the top stage area.
Yeah, I mean, you’re really used to you know, you had all these movements and things I mean, Elvis played a huge part after Lonnie you know, Elvis really took over I mean, everybody wants you to be he was such an influential person for rock and roll singers right around the world. Everyone wants to see the thing like him or Little Richard.
You watched the way he moved and then you would try to start that kind of style. Some people are natural dancers. You know, I’m not I mean, I’m like an elephant in a China shop. It wasn’t demanded of you in those days was it? It was enough then to have a great voice and a great stage presence and an image and you just have the meeting out of the palm of your hand, right? Yeah, you did. And it ebbs and flows, styles change all the time. And that kind of style will will come in with some artists can get away with hardly anything. They don’t have to do very much at all. That whole persona carries them through. I didn’t have that kind of persona. I had to work at it. Because I always thought when I did my shows, I never saw myself as a some sex bomber. Not at all. I just thought I was reg. Pretending to be Marty you know, it was
I think Cliff was different Cliff was far more of like an Elvis, sexy sort of person. But I wasn’t quite like now. Maybe I was a mixture. And maybe some people saw me that way. But I didn’t. I just saw myself as a bit of a personality. Really? Did you have a bit of impostor syndrome?
Yeah, maybe deep down. Maybe. I never thought of myself. Let’s put it that way. I never fooled myself. It wasn’t long after that, that you met your current wife, Joyce, and you had that gorgeous daughter that we all know and loving Kim Wilde. Yes, who is very much out there doing her musical thing too, because of course, Joyce was a singer in a band also called the Vernon’s girl. Yes, she was yeah, I’d been out with a with a couple of the burning girls but nothing nothing serious. We were about 14 Burn and goes on. They were all they’re all pretty good. You know?
Saw Joyce one day, and I can still see her now. She was sitting on a little bench. We were in a church hall. I said to one of the guys. I said, Who’s That new girl? I said oh, she’s just come in. I said, sir. No. You said Joyce. I don’t know. I just fell for it. After a few days. I thought this is someone I want to be with. No, it was just that simple as that. And Marty Wilde when you had Kim, she was destined to be a singer right from the get go, wasn’t she? She was really because Kim last when we talk about it. You see when they were growing up? Music is my life. It’s my religion. It fills me up and it’s truthful. And it’s just skidding hits me here in the soul every day every minute. I have music around me. And somebody came and Saudi Ricky when they were growing up. Because I had these Wharfedale speakers they were called WOFF Wharfedale and quite big. They weren’t your normal little tiny speakers. These were
They stood about four feet high and about three feet wide. And I had OSHA full base and full top. So when these records came out, they were fantastic. And I would rave at this in this bass part here. And that went on right through their young life. Then when it came on to electronic we had Kraftwerk Chem, this album called Kraftwerk, and Ricky had, and he said, Have you heard it? So I said, No, he said, we’ll get the records. We got the record course. This was the first the advent of a sense music so different styles, and we had the who were the Elvis one minute the WHO next.
Mike Oldfield, everybody, Frank, I feel when Frank was on.
I remember you, which I thought was a gorgeous dress. There are definitely many musical influences.
Music was so big in those days. All the songs. Were all upbeat, and you kind of could skip down the road, couldn’t you? You could on some of them. I loved Abergavenny that was syro and I love that nafed epic of any VIP before we get to that one. I just want to talk to you about the fact that the band that you had kept changing members and one of whom was Justin Hayward who later joined the Moody Blues Yeah, Justin where you call him a trio and my wife and I held auditions that were loud loads of people came to my home in London to audition. Eventually we whittled it down to Justin it was the right one one morning I was writing and he was there and I said you know what Justin? You should write Do you write songs? And he said well I can write songs I said we’ll write write songs and calls are reminded because then later came all those lovely beautiful melody lines in which you know when she came out with a nice you might set in and dozens of others you know which are fantastic beautiful things.
It was at this time that Marty Wilde also started to write songs for other people. he penned songs like ice in the sun for status quo, as well as I’m a tiger for British superstar singer Lulu. Well, I’m a tiger was written really for children. I want you that to be a child song. I can imagine all six and seven year olds. You know, I’m a Tiger. I played it to Ronnie who I was writing with Ronnie Scott, who is my was the CO composer of that. And I said to Ron, I’ve got this got this hook. So I said but it’s a children’s song. He heard it. He said no, no, no, no, no, he’s doing we could do it for free children. He said, But I hear Nancy Sinatra doing that song. You know, I said Nancy Sinatra. He said yeah, yeah, she’d love it. She would absolutely love it. I know she would. And that’s how that started. We couldn’t get to Nancy Sinatra.
I wonder if Nancy Sinatra ever regretted not getting that song. It was released on the most of Lulu compilation album in 1971 and was the first of her albums to chart in the UK.
At the end of the 60s and early 70s. Marty Wilde was writing lots of songs for other artists about Try as he may his dream of getting material heard in the US have aided him to a large extent trying to get to the Americans with songs was quite difficult to say the least. It’s impossible now and that’s one of the things I’ll pick up on just very briefly, I must say I’ve got a beef you tried to get a song to some of these Americans and they have teams now that write for them. You can’t get songs to them you might write one of the most beautiful melodic great lyric everything you can’t get through to them and I find that a born because they should be just picking out the best song not as critical as their teen rotate, you know. But anyway, that’s that’s my that’s me and moaning over now. I totally agree with you. I mean, so much has changed over time, hasn’t it? The days when songwriters would write songs and anybody could come and pick them off and record them and the best one would climb the charts. They have well and truly gone. Well they get changed. I mean, we have awards for songwriting, the Ivor Novello Awards which are like statuettes beautiful statuette, there was one artists who I won’t name they went to pick up the statuette for song the writers. And there were seven of them. And I thought no, no, seven of you did not write that song. If you one of you said oh, why don’t you put in the word then. That’s worth statuette that is not worth it. And the song wasn’t particularly good either. That was the annoying thing about it. Tell us tell us who you referring to I won’t tell anyone I know I can’t it was a girl it was a girl singer. No I can’t I wouldn’t do that because but I thought the writers do to seven statuettes given out over one song It doesn’t add up doesn’t work that way. You’re not a bad boy anymore. Marty well there you know, it doesn’t work that way. Songwriting is you and I know I know songs to sound Lou must have been really pleased with Metallica.
Yeah, I think so. I mean,
I don’t know some singers. I know status quo. They don’t like to be reminded that they record their recorded them ice in the sun. I didn’t really appeal to them. But they didn’t turn me down and they didn’t tell you down get a worldwide hit.
Marty what have you biggest Toots was epic Coveney. Can you tell us a little bit about that? Well, I was with my wife. We got an offer as I do a pantomime Robin Hood. in Swansea. I was Robin That’s right. And Joyce was Maid Marion so on the way there, we were heading on the main road going through, though to all the signs that as you’re going through, like you’re when you’re driving, you’re noticing and suddenly I saw Abergavenny on a sign and it was pointing to my right. And I looked up to the right in the distance you could see there was it was going up it was up in the hills. So Honeywell so nice had a choice. That’s unusual. That’s an unusual name, and it’s stuck in my head and when I got to Swansea I felt the pronunciation of it is like at bat bat bat bat it’s like dat music it’s almost music.
And then when I came back, I had quite a lot of it written but there’s still there was still in mid late to do. And Ronnie Scott, who worked with Bonnie Tyler and had hits with Bonnie Tyler. It’s a heart ache and loss in France. He helped me to do that the middle eight and so off we went. Then Peter Knight, who was a ranger, he did this fantastic brass band arrangement for it. And that was it. Really? How did the town take to the fact that you’d written a song about them? They love it. They absolutely love it. I believe the football team also took it on.
Because it was eventually released in the US. Marty put it out under the pseudonym of Shannon? Well, because famous one I wrote doesn’t mean I thought it must be wild. You know, I’m associate with rock and roll. So people get you nothing. Oh, well, you know, he’s the old or whatever. Or, you know, I don’t like rock and roll in. So they kind of dismiss something like that the name does play a part because people pigeonhole you, you know, they, they have an image of you. And they’ve always got it wrong with me. And I think to a certain extent, sometimes they get it wrong with lots of artists, certainly with me and my family, I think they’ve often seen in a different way to what we actually are. Which would you say, is the song that you’re most proud of? Probably jazz. I mean, I think why Yeah, jazz, maybe I would say was an off the wall song really when we when we demoed it. And at the time that it came out. It was quite in the not so much way the record turned out. But the song itself was quite quite avant garde. It was quite different. There was something about it. It is a sweet song. I mean, sometimes I perform it on stage still, it’s just a sweet song.
Well, you can’t write songs. And he’s too well, I can’t understand that I can understand their feelings. But it isn’t true. But as I prove so many times in the last few years. My sort of mind isn’t it’s not a young man. I can’t write. I can’t write rap music. I can’t associate with things I don’t understand. So some of the modern world I don’t understand. So I wrote about what I do know, which is about affection and love or maybe a trade something that’s quite funny or something and you’ve been so successful doing that because you’ve had people like Tom Jones and Adam faith and your own daughter Kim and hot chocolate and so many more, record your songs. And there wouldn’t be too many people out there that that actually know that you’ve written a lot of those songs. No, in Kim’s case, we went out on under Wilde whichever me You know, I went under a pseudo name and Abergavenny a pseudo name Tiger pseudo name – because each time we were trying to sell a song as I say with the right kind of image not some old rocker you know.
It didn’t matter, all that mattered to me. I mean I’d when I’m writing now, too I’m not interested in money I don’t care about money. I want to write something that is creative and is truthful is honest and most of all, obviously melodic you know, got some kind of melody, some kind of thing that makes you want to hear it again, the you need a great pie as well. A great melody line for the for the versus the hook. You need a great, fabulous talk. But just Zicree important you need a great middle eight Never underestimate a middle a bit of a lost art in songwriting these days, isn’t it, it’s all changed hugely, has changed colossally, but I still love some of the American Top 50 And I like to hear other artists and some of the artists now when they’re writing, some of them are very rude. Some people would be offended. I’m not offending, you say what you like in front of me. But some of the lyrics are blatantly honest. You know, they’re talking about all sorts of things, you know, which we weren’t going too fast, but they’re honest. They’re there and they’re right and honestly, they’re writing from their hearts to Marty while your usefulness and togetherness what a shining example of 85 you are and you’re still out there today performing your amazing Well I tried to keep you got to keep going. I think the worst thing to do is just sit down and I couldn’t handle retiring. I couldn’t handle that. I’d have to do some kind of work. I probably get a job at a bar or something. What’s your secret for staying so relevant? So with it so young and hip? What words of advice would you pass on? I think just just the love of music, the ability to look at life you know, I’ve always studied I’ve often felt those I was you know come from another planet at times because I I view things so differently to other people sometimes. And I often see things that make me laugh if I see a trait and a human being that is laughable they don’t often spot it but I do I’m very aware very I have incredible radar My senses are high and my love of music. Whether it be Debussy, whether it be Cat Stevens, you know I have that love of music all the time every day. I never get tired of it and I play the track Philadelphia which I found so sad which was in the film about the you know the gay man was dying I find it so moving and I come in here and I put on the computer and I turn it up for the speakers just like the old days and I let it go!
Having a passion in life. Yeah, so it’s been great and I’ve been lucky, I’ve been surrounded by lovely people. You know, I have a lovely family. Now I’m at a time when you got to be careful because you know sometimes don’t want to get morbid, but you could go almost anytime. But that doesn’t scare me so much either. I’m not scared. If I am going out, and I’m in an ambulance, I hope I can get up and get my my family to put some music to my ears want to hear music. I think you’re incredible. You’ve had eight consecutive decades of success. You were appointed an MBE for services to popular music in the 2017 New Year’s Honours List. And you are still as passionate today about music. As you were when you started out at 17. What an incredible contribution you’ve made Marty Wilde. And I thank you so much for sharing your time and your stories with us. Oh, it’s my pleasure sound. Thank you. Thank you for taking the time to interview an aged gentleman. Gorgeous aging gentle personality. Well, thank you, sir. All right. Thank you.
Thank you. He’s an inspirational man, Marty Wilde. If you’re interested in learning more about him or perhaps catching him in concert, just head to his website, Marty wilde.com. And that’s it from me now. Thanks so much for joining me today. I hope you’ve had fun. If there’s a guest you’d like to hear on this show. Just send me a message through the website. Bye now.