Aug 17

Flashback: Best Bits of The Late Show Vol. 3 review

The August 3 1994 issue of Smash Hits magazine is choc-full of retro references including East 17, Lois & Clark, Reality Bites and more, but there’s also this gem: a review of The Late Show Best Bits Vol. 3!

“You’ll need your sides sewn up from all the laughter!”

On page 12, you can also enter the competition to win a Late Show video. Just call 0055 33452 (hey, wasn’t that Mick’s Love Line?) and answer the question, “What other d-lightful name do The Late Show cast go by?”. A phone call to the Smash Hits prizes page lasts about 40 seconds and is about the same price as buying a stamp. But you can also enter by post if you’re technologically challenged!

The Late Show

Smash Hits review of the Best Bits of The Late Show Vol. 3

Jul 23

More Utopia


Get ready for a fresh start with Tony (Rob Sitch) and his friends at the National Building Authority…

The Logie award winning Working Dog series Utopia is back on ABC TV for Season 2 – beginning Wednesday August 19 at 9pm.

If you haven’t caught up yet and don’t have Season 1 on DVD or iTunes, Utopia Season 1 will be available on SVOD service Netflix soon. But you might need to look a bit harder for it, as there is already a UK TV series and a former US reality show with the same title, so Netflix will be renaming it to Dreamland.

Utopia Season 2 – Wednesday 9pm from August 19, ABC TV.

May 10

HYBPA Returns Monday May 11


A friendly reminder to you all that the new season of Have You Been Paying Attention? starts 8:30pm Monday May 11 on Channel 10.

Join Ed Kavalee, Jane Kennedy, Mick Molloy, Fifi Box, Sam Pang and guest ‘Question Asker-er’ Real Housewives of Melbourne reality star Gina Liano with host Tom Gleisner for a quiz of news that happened over the weeks with some funny results… you know the drill, or otherwise you wouldn’t be reading this.


If you end up missing it, catch-up via TenPlay on their site, App, and on Apple TV.

May 04

Utopia wins Logie


A big congratulations goes to the team at Working Dog for taking out the Most Outstanding Comedy Program at the 71st TV Week Logie Awards on Sunday night on Channel 9.

Their hit ABC dramedy show Utopia beat other ABC shows Please Like Me, Black Comedy, Upper Middle Bogan and SBS’s Legally Brown. A well deserved achievement, Rob Sitch, Celia Pacquola, Anthony Lehmann and Luke McGregor went up on stage to collect the award, while Jane Kennedy and Tom Gleisner watched from the table.

Sitch, while on stage, did have a few jabs at some reality shows in a cheeky way.

Utopia Season Two will be shown later this year.

Later on in the show, sports tragic Mick Molloy was on stage, looking spiffy for the ladies, presenting some amusing highlights in Australian sport broadcasting for the Most Outstanding Sports Coverage award.


Congratulations again, Working Dog!


Apr 22

Martin Molloys Vicki Marr a bit Sketchy

VICKIMARRI know. Terrible headline. But we’re still going to ride the coat-tails of the 20th anniversary since Tony Martin and Mick Molloy broadcasted their first episode of Martin/Molloy back in April, 1995.

If you own the three ARIA Award winning albums The Brown AlbumPoop Chute and Eat Your Peas, you will find in the credits on the sleeve one Vicki Marr amongst the list of ‘thank yous’ and other name dropping. Actually, just on Poop Chute  and Eat Your Peas as Marr didn’t join the team until later on. But all three are good to look at and re-listen to again. For the 200th time.

With the famous sketches of Blast FM, Patrick Stewart using a McDonald’s drive-thru at warp speed, the odour of Crichton Browne, Blimpy the Lactose Intolerant Cat, those wacky NZ radio announcers Tum & Phul and MANY others, these creations wouldn’t be able to be heard today without the effort of Marr.

Marr is still in radio, as well as creating her own line of clothing Bogan Style, which is available via and Instagram.

So dust off your albums and get nostalgic as Marr takes us back into some rich radio history. If you’re into your audio production, this is a really cool insight. Keep Poop Chute close to your chest – it nearly didn’t see the light of day!

MMTITLETell me a brief history on your career in radio.

My first radio experience was volunteering at a public radio station in Adelaide (PBA FM). That was a great training ground. I managed to work for a couple of stations in Adelaide in paying gigs, mostly carting and commercial production.

I then moved to B105 in Brisbane where I was lucky enough to work for the B105 Morning crew. That is where I got my start with sketches. I was privileged to work with talent like Jamie Dunn, Ian Calder and Michael and Carol Gibson. It was a really fun and creatively fulfilling time (despite the couple of occasions I slept in for the breakfast shift and got woken up by Agro on the other end of the phone who put me to air half asleep).

I moved to Melbourne in the mid 90’s and was working on the Fox breakfast show. Scott Muller was producer for Martin Molloy at the time and was moving into a programming role so I was fortunate enough to get the Martin Molloy gig. After the show ended I travelled and worked in the UK for a bit, then came back to Melbourne and was part of the production team when Nova 100 launched which was a real buzz. I moved to Sydney in 2006 and worked for DMG plus did some freelance for a while. I then managed to get a gig with ARN and have been with them for 5 years now – who in a very exciting period of growth and change for the network with the launch of Kiis and iHeart radio


Do you have any inspirations on radio sketch comedy? (Eg Doug Mulray, Andrew Denton)

It’s funny but I didn’t really know what I was doing with sketches – I lucked into producing them and learned as I went along. The B105 Morning Crew and Tony Martin and Mick Molloy taught me everything I knew and were my biggest influences.


How did you get the gig working on Martin/Molloy?

I was working for FOX in breakfast production when Scott Muller, who was the original Martin Molloy producer, moved into a programming role. I think I was just in the right place at the right time really.


Were you the sole audio producer throughout the time of the show or did you share the role?

 In my time I did the bulk of the radio stuff. The guys had some industry mates that they would get to do things for them occasionally as well.


As it was the mid 1990s, audio technology was slowly transitioning to computers. What type of system did you have to work with?

Oh my Goodness! I can’t even believe we did what we did with that gear at the time. It was so crap! We had what was called “studio frame” (probably not even the correct name). Anyway, we could only use 8 tracks at a time for mixing so that was always a challenge. Plus it crashed every second day!  Also – no plug ins! We used outboard gear. I was particularly fond of the Eventide…something or other (can you tell I’m not very technical?) You could do a lot with the Eventide though.

Imagine if that show was done today with Pro tools and all the associated plug ins!


How long did it take to create a heavily produced sketch?

 The process was… the guys would take turns to write one sketch per day. They put a lot of hours into the writing of the show.  Then around midday we would record the voice tracks. It would vary as to how long the sketches would take to build, but for the mega ones, three minutes or so of audio could take a good few hours to put together.

My longest build was for a sketch called “Martinade”  It was a take-off of sports drinks ads at the time and had a lot of different voices, music, elements all chopped together in very short edits. I probably could have chucked it together more quickly but loved the challenge of this particular sketch and was trying to do it justice.  Also – as mentioned – it’s not as if we had a pro tools system or anything that advanced to work with. Tony wrote the sketch and he was great about me not having it ready for that day’s show. He told me to take another day on it and put it in the next day which we did. I was happy with the end result!



What was the thought process like to create a sketch? Did you have to think like Tony/Mick on what they would do, or was it all laid out in script?

Mick and Tony would always let me know their ideas for the sound of the sketch so I always had clear direction from them. I also was able to have my own input so that was a good balance. There were also plenty of ‘WTF?’ moments where I would have no clue how we would get the audio to replicate the vision in their heads but we always got there in the end It forced me to have to think outside the box which is always more satisfying.

My thought process when it comes to sketch production is to think in layers. I can usually see the pictures in my head like a movie. What environment is it taking place in? In a house the voice wouldn’t sound dry the way it does in a voice booth.   What room tone should you use? Is the window open? If so, you need outdoor atmosphere bleeding through while it’s open and lose that atmosphere if it closes. Is the tv on? You need to effect the tv if it’s in another  room.. it loses its top end etc, etc, etc.  Basically the layers in my head usually go…the atmosphere/background, the sound on the voice depending on the situation it is in, the singular fx that would relate to that situation e.g. footsteps, dish, crashes, farts (there were a lot of farts!) … and music. Music is a major part of production as it can sometimes set the scene or emotion better than actual words.

Mick did a sketch where he thought he was a real ladies man walking down the street with a couple of Milo tins strapped to his feet. We had the Bee Gees “Staying Alive” playing underneath which gave it that jaunty, strutting feel. It worked so well that besides the voices, all it really needed was the sound of a couple of clomping Milo tins. Sometimes simple works better.

For sound effects the boys preferred to use ‘real’ sounding effects as opposed to cartoony sounds.  I think this really enhances the sketches as you are (often) putting a ridiculous situation into a real sounding scenario.


 What was it like to be contributing to winning ARIA Awards for the comedy albums release?

Scott Muller engineered the Brown Album and I did “Poop Chute” And “Eat Your Peas” (now there’s a sentence!).

We would work on weekends getting the audio together for them.

I had one heart attack moment on “Poop Chute” where the computer crashed and I thought we had lost everything!  We had to stop work and hope that our techs could recover the data. I remember the long elevator ride down from the studios. My heart was going a million miles an hour I was so scared that it couldn’t be recovered. I remember getting stuck into the wine when I got home. Thank god the techs did end up recovering it. In all it was a real buzz being a part of everything though.


Favourite piece you have produced?

I think it would have to be the Martinade sketch as previously mentioned. It was a challenge for me and I was pleased with the result. I also loved Jim Waley’s “Crazy Lesbians Full of Beans” That was simple to produce but was a really catchy, random idea that Tony came up with. There are so many crazy hilarious things I’ve had to make though….Mick flying around the studio in electric underpants, the sound of Eden Gaha putting his hand up a cow’s arse, Humpy the Dog that can’t stop dry humping things, Blimpy the lactose intolerant Cat (a splatty cat diarrhoea effect), Pete Smith as an action toy (no small parts – voice over booth sold separately), farts, vomits, toilet sounds, belches……


Were there any sketches made that never made it to air?

Hmm –not that I can recall…there may have been but I can’t remember if there was.



Before the internet was the staple resource for today’s audio producers, what did you use for resources to put together any sketches and/or imaging?

We had the usual arsenal of SFX and music CDs as most production departments did. For some sounds through we had to do a bit of Foley work. There was a bit of toilet action in some of the production and it was hard to get those FX on a CD.  I am guilty of pouring water onto the floor of the voice booth to simulate a dog weeing. We used so many fart sounds they were starting to get repetitive so Tony would have to do a fart recording session in the studio using his arm.


Any star-struck moments with guest stars?

 A lot of the interviews were recorded in the studio and I would edit later. I had to record a Jimmy Barnes scream once. It was so loud that no matter how much I pulled the fader down I couldn’t get the VU meter out of the red. Paul Hester was a regular on the show and he was really lovely. Also, the legendary Pete Smith was just the nicest man. I was a bit shy so I didn’t really stalk any major international guests.

Mr Methane was …well…. there was no one like Mr Methane…..


What do you think when you hear Tinman – 18 Strings, as well as Boz Scaggs – Lowdown?

Well, Tinman especially is kind of ingrained into my brain! I don’t really think anything but it is sooooo familiar


How does it feel that Martin/Molloy is still a well-known and recognised radio show and is a hallmark of Australian radio broadcasting?

 That’s really cool. I think I took it for granted at the time but looking back I can see how lucky I was to be there in that moment and working with such a brilliant team.


What do you miss about the most with your time working on the show?

I miss the creative challenges, pushing the boundaries.  Tony and Mick were not only funny but also highly intelligent. They would spend hours crafting the sketches and the show. For one sketch Tony told me he spent 3 hours writing one paragraph.  I miss the intelligent, well thought out humour.  Plus the overall high standard of everything associated with the work. And the team!  Along with Sancia Robinson and Peter Grace we were working with great people and Tony & Mick always made us feel part of their team.


A very big thank you once again to Vicki for the chat. Don’t forget to check out her range of Bogan Style clothing – available via and Instagram.

Disclaimer: audio supplied is from this site’s archive collection from fans and forum members

Apr 17

20 Year Anniversary of Martin/Molloy

A misguided production in association with half baked ideas and ill-conceived concepts proprietry limited.

A misguided production in association with half baked ideas and ill-conceived concepts proprietry limited.

“…Aaaaaand today…!”

No, they weren’t the first words uttered by one Tony Martin, but they ended up being a signature intro to the beginning of just about every episode afterwards of a drive time radio show on the Austereo Today Network.

It’s been two years since the end of the cult classic late night entertainment that was The Late Show, and it wasn’t until Monday April 17, 1995, when skinny pale New Zealander Tony Martin and beer drinking, Winnie Blue puffing Mick Molloy continued their friendship from ABC TV to drive-time radio – Martin/Molloy.

Mick Molloy (R) and Tony Martin (L)

Mick Molloy (R) and Tony Martin (L)

The show ran from 1995 – 1998, under the producing influence of radio stars Peter Grace, Emma Moss and Sancia Robinson, controlled audio-wise by Nigel Haines, Daryl Missen, Steve Woods, Scott Muller and Vicki Marr and relatively unknown up-and-comer Pete Smith (who is still cutting his teeth in the industry – he’ll make it one day), Martin/Molloy was full of sketches, politics, minor to major guest stars, as well as plenty of catch-phrases  that are still iconic and memorable to present day. No-one knew how big of a show Martin/Molloy was going to be, yet alone becoming a landmark and inspiration to many people who are now radio personalities, show producers and audio producers (such as myself… shhh!)

From 4 – 6pm weekdays, as soon as you hear Tinman – 18 Strings play, followed by Pete Smith‘s voiceover, you knew that you had to stop doing your homework or driving your car to tune in for two hours of toilet humour. The show’s ending consisted of Boz Scaggs – Lowdown, which was a bummer as you would hear Ugly Phil’s Hot 30 not long after.

The show was so successful, 3 x 2 disc comedy albums were released (The Brown Album, Poop Chute, Eat Your Peas), which all three achieved ARIA Award winning status, as well as 3 comic books. And well deserved too.

Blimpy The Lactose Intolerant Cat, Blast FM, Radio Gladiators, Tum & Phul, Patrick Stewart using Maccas Drive-Thru, Please Explain (later changed to Peas Explain to promote “Eat Your Peas” album in 1998), What’s All That About?, Paul Hester‘s fruit bowl, Eden Gaha with his hand up a cow’s arse, Arthur Tunstall, Pete The Clown … we remember them all.

Apparently the guys still owe money to Michael Gudinski for studio time.

Oh, and also Mal Colston’s son and his infamous quote “Get the f**k off of my property! GET OFF!”.PeteSmithBanner

Quick sound grabs and Tony’s impeccable voice impersonations along with Mick’s ‘angry’ persona for the common man made award-winning commercial radio comedy, broadcasting from the FOX FM studios in Melbourne and broadcasting across this big brown flat mysterious crazy country (apologies, Pete!), streamed to 2DAY FM Sydney, B105 Brisbane, SAFM Adelaide, PMFM Perth, 104.7 Canberra, NXFM Newcastle and other cousin stations. Everyone from around Australia would call in for Radio Gladiators on 1800 657 657 to win a 3 pack of CDs. Then after the show finished, we’d log on to the world wide web with our 14.4k modems and visit to see what’s on the show next.

As a special treat for you, here’s the first two talk breaks and the end of the very first show. Thanks to Mason Hell-Cat of this CC forum who supplied their own cassette tape version.

Stay tuned to this site as we have an interview coming soon from one of the members of the Martin/Molloy team, and maybe a ‘behind the scenes’ for you.

Congratulations Tony and Mick on having the best radio show to rule the Australian airwaves!

Mar 21

Archive: Santo Cilauro on The Nation with Mick Molloy – 2007

Santo Cilauro sits at Mick Molloy‘s desk on The Nation to promote the newly released The Olden Days / Bargearse DVD release in 2007.

With chat of their Channel 9 history from the 90s and The Late Show archives.

Even a small cameo from Pete Smith.

Mar 19

Vale Joe Murray

(L to R) Anthony McCormack, David M. Green, Dean Watson, Joe Murray, Hugh Johnson, Sophie Loughran on set of 31 Questions.

(L to R) Anthony McCormack, David M. Green, Dean Watson, Joe Murray, Hugh Johnson, Sophie Loughran on set of 31 Questions. Source: David M. Green

One of the Directors and Producers who featured prominently behind the scenes of Australian TV comedy and entertainment has died.

Joe Murray, who directed 39 episodes of The Late Show as well as having his hand in with The D-Generation and other ABC classics Countdown (that’ll explain Tom and Jane’s segments in Season One) The Big Gig and DAAS Kapital, passed away in hospital.

While Murray worked mainly in Australian comedy shows, he also dabbled in youth music shows The 10:30pm Slot and Recovery before retiring in the mid 2000s, only to come out of retirement in 2014 to direct 31 Questions on Channel 31.

31 Questions Host, Comedian and Mad As Hell writer (and avid Late Show fanatic) David M. Green,  who recently worked with Murray, praises his fine work ethic and dedication to getting quality entertainment onto our television screens.

Joe was generous enough to come out of retirement last year to direct the third season of 31 Questions.

Softly-spoken with a gentle soul and fine sense of humour, he was a man who loved the medium as much as he loved his motorbikes.

He shared his wealth of knowledge and experience with a new generation of television-makers.

It was a rare opportunity and an honour to work with a legend.

We will always cherish the brief time we had with Joe, and he will be sorely missed among the cast and crew.

Hugh Johnson (L) John Stokes in the foreground, Joe Murray at the back and David M. Green on the right, reflected in the TV. Source: David M. Green

Hugh Johnson (L) John Stokes in the foreground, Joe Murray at the back and David M. Green on the right, reflected in the TV.
Source: David M. Green


Source: David M. Green, TV Tonight

Mar 08

Stop Laughing… This Is Serious on the ABC


If you’ve been watching episodes of Mad As Hell and Judith Lucy Is All Woman. you may have noticed a few promos in between shows.

Stop Laughing… This Is Serious is one of 13 new documentaries that was given the green light from Screen Australia‘s $13.8 million budget.

Stop Laughing… will be narrated by Eric Bana and it takes a look behind the scenes of Australia’s treasure trove of live and sketch comedy, with interviews from the creme de la creme of talent – Barry Humphries, Jane Turner, Shaun Micallef, Andrew Denton, Tony Martin, Mick Molloy, Judith Lucy, Santo Cilauro… just to name a few.

Going by the trailer, it’ll cover comedy from ABC and commercial channels.

The three part documentary will begin airing Wednesday March 25 at 9pm on your ABC.

Mar 04

Martin/Molloy Comic Artist Speaks

Comics based on Comics.

Comics based on Comics.

This year (2015) marks 20 years the beginning of what many people in and outside the Australian radio industry label as the best ever drive time show broadcasted on the airwaves.


Yes, can you believe it’s been that long? April 2015 will mark the month of the first ever episode broadcasted on the 2DAY Austereo Network from the famous FOX FM radio studios in Melbourne. consisting of D-Generation / Late Show graduates Tony Martin and Mick Molloy.

What began as a small drive time show to tickle your funny bone, and ill conceived concepts spoken between songs from Dire Straits and La Bouche (true!), the unstoppable duo roared to popularity and to the number one position as highest rated drive show anyone has heard of in Australia. The show was that popular, many bootleg tapes were made by listeners (we may release one or two here for reference down the track) and 3 x ARIA Award winning comedy albums (Brown Album, Poop Chute & Eat Your Peas), Martin/Molloy tapped into the Australian listener’s head to create a theatre of the mind, which is a pure art form.

One person who turned this art form into actual art into paper form, was Melbourne artist Dillon Naylor. Beginning with self-published comics of his own in the 1980s, his craft work developed into other comics such as Da ‘n’ Dill, and Pop Culture & Two Minute Noodles. While Martin/Molloy ran from 1995 until 1998, Naylor came up with the idea of making a comic based on the Martin/Molloy radio show and characters associated with the guys, around 1996 – 1997. Being a major fan since the D-Generation days, even D-Gen’s Stupidman and The Late Show’s Bargearse got the ink-to-pad treatment through the printers at Cowtown Comics.

Only three issues were created, making them collectors items for the fans and Australian comic collectors alike. I’m not exactly sure of the cost value these days, but less talk and more foolish behaviour… I spoke to Dillon to find out more about the man behind the pen.

With Pete Smith as Pete Smith

With Pete Smith as Pete Smith

What is your artistic background?

Nothing too formal. I taught myself to draw from studying a million comic books and did a couple of years of TAFE art courses.

Before you started working on Martin/Molloy comics, what is/was your previous comic work?

I created countless pages of comics throughout Primary school and by the end of High, I was contributing to publications and self publishing comics which I’d distribute by walking around the city to record and comic shops. In the 90s, I stuck a deal to produce comic books called ‘Da ‘n’ Dill’ for mass distribution around the country through a showbag company and by the 2000s I was doing colour comics for kids magazines like K-Zone.

How did the idea of creating a comic based on Tony and Mick come across?

I grew up with ‘The D-Generation’ tv shows and the ‘D-Gen Breakfast Show’ on Triple M. I quickly recognised that Tony ‘The Fatman’ Martin was an especially clever writer and man of a million voices and thought it was a crime these moments were so fleeting so I used to tape the show each morning. (I still have the cassettes in a box. I understand that there are not many recordings of this great show in existence so I plan to digitize and make available.) When the MM show was halfway through it’s run, I was living in a house about five blocks away and would always drive past slowly to look at the shed on the roof and try see them arrive for work. I was co-producing a magazine called ‘Drivel’ at the time and we managed to secure an interview with them. I did a drawing of them both to run with it and after that I had the idea to do a comic based on them and the goings-on at the station, interweaved with the fictitious characters they make up.

It was choice! I agree - it was choice!

It was choice!
I agree – it was choice!

How difficult was it to get Martin/Molloy comics off the ground?

I did a complete story and intercepted both of them in the elevator of Triple M, giving me a captive audience to deliver the pitch. They were scared at first, then registered mild amusement and took the mock-up and said they’d get back to me. Many months elapsed and then Mick rang, out of the blue and apologised for forgetting about it and basically gave me permission. They explained they couldn’t contribute anything for it but were happy to let my imagination run wild. I had to raise a big sum of money quickly to get the minimum number needed for newsagent distribution but it sold very well and was successful enough to keep going.

Was it hard to draw inspiration on getting ‘theatre of the mind’ to paper?

No, not at all. I had always had clear visions in my head about how their various characters looked. I even included some D-Gen Brekky Show characters for older fans, like Michael Veitch’s semi-senile war veteran charcter, Murray Beckworth and and Santo’s Italian hoon, Gino. I also adapted some of Tony’s D-Geb Brekky Show FM Playhouse radio serials that I transcribed from my cassettes. Tony even fished out his old Spirax notebooks and gave me photocopies of the actual handwritten scripts

What research did you have to do to get the caricature models on Tony, Mick, Bargearse and others?

This is pre Google Image Search days, so I collected photos from the many interviews in magazines. They are pretty distictive looking guys and my drawings are very cartoony, so it was easy to get a likeness.

Where's me bloody cartoon dim sims?!

Where’s me bloody cartoon dim sims?!

Why were there only 3 issues produced?

I wanted to do more but I guess it was difficult to keep coming up with the print money in advance as the returns were very slow coming back. I was selling advertising on the back and inside covers but in the end I wasn’t business-minded enough. I was too busy getting drunk and going to see bands.

I noticed issue 1 was heavily based on M/M for obvious reasons, issue 2 was half M/M and half Bargearse, then issue 3 was heavily Bargearse and minimal M/M. Was this intentional or was it easier to write Bargearse storylines?

I guess Bargearse was very identifiable and got me a lot of feedback, so I decided it was a good way to hook in a larger audience to keep everything afloat. And yes, it was easier to write for. It was hard to think of additional stories centred around Mick and Tony but In hindsight, there were lots of other things I could have done, really. I started planting stories in the back with my own characters, ‘Pop Culture and Two Minute Noodles’ and the M/M comic transformed into that on the newstands. I still have new Bargearse comic stories sitting in my desk but don’t know what to do with them.

Do you have any back issues available to purchase still?

I have since sold all M/M issue one but do have some of 2 and 3 left which I eBay on occasion.

Thanks to Dillon for taking the time for the chat. Stay tuned to eBay if you want to grab what you can find.

Older posts «