Podcast appearances and mentions of Gary Glitter

This week America's Band sits down and talks about: Finishing tracking, mixing, dont ship it out, tones, Baseball movies, Angels May 10th, Songs, Gary Glitter, Sunday League, Westminster, and much much more Legal High: legalhigh.co/?ref=bktwdqyt

Comedian Jim Davidson joins Andrew Gold for a raw, brutally honest conversation you won't see on mainstream platforms. From his arrest during Operation Yewtree to the truth about Jimmy Savile, Gary Glitter, and the BBC, Jim opens up like never before. Follow Jim!: YouTube:  @jimdavidsonofficial   X: https://x.com/jimdofficial Ustreme: www.ustreme.com

Mike Stax has a scintillating conversation with English writer and critic Duncan Fallowell about rock journalism in the ‘70s, his collaborations with the great German group Can, and his appreciation for Iggy & the Stooges, David Bowie, Gary Glitter and more. http://www.duncanfallowell.com/web/main.htm https://www.facebook.com/duncanfallowell/ Please support the podcast by joining our Patreon at patreon.com/uglythingspod, where you can enjoy special bonus content plus much more. Become a Patreon today! Check out Ugly Things Magazine: https://ugly-things.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

From Slade, to Gary Glitter to The Rubettes we take a dive into some of the lesser known "Glam Rock" bands of the 70s.

David Bowie murió un 10 de Enero de 2016. Su obituario en forma de disco - “Blackstar”-, dos dias después. Siempre cuidadoso con los tiempos. Su primer éxito “Space Oditty” (69) , coincidió con la llegada a la Luna. Determinado a las estrellas, creó un alter ego extraterrestre -"Ziggy Stardust”-, que Junto a su ambigüedad sexual el “marketing” definitivo."Aladdin Sane” con la icónica portada del rayo cruzando su cara, en plena fiebre "glam rock” de T. Rex o Gary Glitter que vio llegar y pasar el éxito desde lo alto de sus plataformas.Si su manager no le hubiera dirigido a America, tan efímero como los demas pero si quieres saber más del material del que la "última estrella" fue hecha, esta tu oportunidad.” Jean Genie”,”Young Americans" o “Let´s Dance” para los héroes de un dia. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

David Bowie murió un 10 de Enero de 2016. Su obituario en forma de disco - “Blackstar”-, dos dias después. Siempre cuidadoso con los tiempos. Su primer éxito “Space Oditty” (69) , coincidió con la llegada a la Luna. Determinado a las estrellas, creó un alter ego extraterrestre -"Ziggy Stardust”-, que Junto a su ambigüedad sexual el “marketing” definitivo."Aladdin Sane” con la icónica portada del rayo cruzando su cara, en plena fiebre "glam rock” de T. Rex o Gary Glitter que vio llegar y pasar el éxito desde lo alto de sus plataformas.Si su manager no le hubiera dirigido a America, tan efímero como los demas pero si quieres saber más del material del que la "última estrella" fue hecha, esta tu oportunidad.” Jean Genie”,”Young Americans" o “Let´s Dance” para los héroes de un dia. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

En este episodios tuvimos la desgracia de conocer algunas estrellas en acenso que al final la regaron por mensos y terminaron en prisión. Como Joe Son de Austin Powers, Gary Glitter, Amy Locane, Ryan Grantham, Michael Jace y Shannon Richarson por su fanatismo con Breaking Bad y en convertirse en una red flag de las mejores.

Sie sahen aus wie Wesen von einem anderen Stern, mit Plateausohlen, bunten Glitzerklamotten und Make-Up: The Sweet, Mud, Gary Glitter, Suzi Quatro und T.Rex waren auch optisch eine Sensation. Über allen thronte David Bowie, der sich ständig neu erfand. Anfang der 70er war Glamrock-Zeit, und die Soundschrauber analysieren die musikalischen Wurzeln und die Machart dieser zeitlosen Hits mit Titeln wie „Ballroom Blitz“ oder „48 Crash“. Hosted on Acast. See acast.com/privacy for more information.

Na'im Ali and Ryan Foster join Luis J. Gomez and Zac Amico and they discuss Luis' newest idea - the comedy/fight retreat, homophobia in Jamaica, how Luis' robe saved his life, Mike Tyson vs Jake Paul, this day in history - 1997 Gary Glitter getting arrested, Mike Tyson having sex with an AIDS positive woman, going to sleep away camp as a kid, inventions that they thought of first, hunting with a pistol, deer antlers falling off and so much more!(Air Date: November 18th, 2024)Support our sponsors!IPVanish.com - Use promo code: LAZ for an extra 10% off!SmallBatchCigar.com - Use promo code: GAS10 for 10% off plus 5% bonus points!To advertise your product or service on GaS Digital podcasts please go to TheADSide.com and click on "Advertisers" for more information!Submit your artwork via postal mail to:GaS Digital Networkc/o Luis And Zac151 1st Ave, #311New York, NY 10003You can sign up at GaSDigital.com with promo code: LAZ for a discount of $1.50 on your subscription and access to every Luis and Zac show ever recorded! On top of that you'll also have the same access to ALL the shows that GaS Digital Network has to offer!Follow the whole show on social media!Na'im AliTwitter: https://twitter.com/Naim__AliInstagram: https://instagram.com/Naim__AliYouTube: https://www.youtube.com/@naimali3135Ryan FosterTwitter: https://twitter.com/RyanLFoster_Instagram: https://instagram.com/RyanLFoster_YouTube: https://www.youtube.com/channel/UC4cEpbY5Ci_fVnGEzFDNoWALuis J. GomezTwitter: https://twitter.com/luisjgomezInstagram: https://instagram.com/gomezcomedyYouTube: https://www.youtube.com/c/LuisJGomezComedyTwitch: https://www.twitch.tv/prrattlesnakeWebsite: https://www.luisofskanks.comZac AmicoTwitter: https://twitter.com/ZASpookShowInstagram: https://instagram.com/zacisnotfunnySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Not many bands in the metal scene - or any other for that matter - can lay claims to being true flag bearers and essential ingredients in shaping the history of music. Sure, many can try, and just as many come off as ill-informed, but the ones that are, know, and those same ones don't ever brag about it.Unless they're asked, of course.Rising from the infamously riotous city of Newcastle, England, in 1974, Raven predated even the massive New Wave Of British Heavy Metal period that spawned some of the legends of heavy metal. The trio went on to release three of the most influential metal albums of the NWOBHM, inspiring every band of that era and beyond. Basically, without RAVEN you just would not have thrash/speed metal…. after all, the band did give Metallica and Anthrax their first tours!And, as all good things do, Raven are the gift that keeps on giving, still powerful and influential half a century after their birth. Still consistently releasing new albums, Raven are also still a formidable force on the live circuit, attacking their craft with the same energy and take-no-prisoners attitude that saw them quickly touted as one of the best bands to grace a live stage.Period.After a five-year absence, Raven return to Australia in early November for a select number of shows, with frontman and bass player John Gallagher forcing HEAVY to arise at the crack of dawn just to have the pleasure of 20 odd minutes of his company.Was it worth it? Fuck my oath it was… One of the topics of discussion was the popular affirmation that Raven, to this day, are still one of the best live bands in the world. A statement we challenge will be hard to live up to."Not really," he responded confidently. "It's what we do. Go watch some videos. We'll put bands who are teenagers, 20-year-olds, we'll put them to shame because we go out to kill 100% every night. It sounds like bluster or BS, but it's not. It really isn't. Come to the show and that's what we do. We have a hell of a good time, and we get everyone in on the act. We grew up in a time where the bands we saw were performers. And entertainers. And they reached out, and they grabbed. The first band we ever saw was Slade and the opening band was The Sensational Alex Harvey Band. Imagine being a 14-year-old kid seeing The Sensational Alex Harvey Band? That changed our lives. Because there you've got a guy who literally reached across everyone's face and freaked them out. Initially, it was 'Who's this band? I don't care, I wanna see Slade. Who are these guys?' And by the end everyone in the place was screaming for them. They were amazing. That's the kind of thing that went in our head. That's how you do it."In the full interview, John discussed Raven's recent activities and their upcoming tour in Australia. John mentioned that the band has been touring since the release of their new album, All Hell's Breaking Loose, and that they are celebrating their 50th anniversary.We talked about the challenges and fun aspects of playing in a band. He also talked about the musical climate in the 1970s, which inspired him and his brother Mark to form Raven, citing their influences such as Slade, Sweet, Gary Glitter, Status Quo, T-Rex, Deep Purple, and Montrose. John emphasized the importance of learning from other bands and adapting to audience reactions.We discussed their experiences with the early 1980s NWOBHM scene. John shared his involvement in the Newcastle music scene, describing the competitive yet supportive atmosphere among bands. He recounted the band's rapid rise to fame, from playing pubs to opening for Iron Maiden within three months. John also shared instances of competition and sabotage among bands but emphasized the overall camaraderie and respect among musicians.HEAVY highlighted Raven's influence on thrash metal and their contributions to the music industry. John shared that they were one of the first bands to rev up the genre, and their energy and cutting of "fat" riffs were groundbreaking. He also mentioned their influence on German bands and how they inspired many musicians. He emphasized the importance of creativity and the joy of creating new music, even after 50 years as a band. He also mentioned the band's resilience in the face of changing music trends and personal challenges, plus more.Become a supporter of this podcast: https://www.spreaker.com/podcast/heavy-music-interviews--2687660/support.

00:00 Introductions 01:00 Morons 10:51 Racism 17:28 Kamala Harris in Trouble 25:26 Taylor Swift 29:52 Tina Peters —Jake and I made it to the wrong side of the Internet! Last week, we made fun of Alex Jones for losing everything. He's been a wart on the butt of society for decades, and it finally caught up with him. So, naturally, Alex Jones fanboys showed up to call me 'n' Jake stupid.  We go through some of the dumbest of the dumb insulting us, and then the conversation devolves into separating the artist from the art: Rosanne, Gary Glitter, Michael Jackson, et. —Idaho Republican Senator Dan Foreman is a douchebag, this much is known. Why? He pulled a big old LOL by telling a Native American woman, “Go back where you came from.” That's the thing with racists: they're so monumentally stupid, they think anything non-white is from “elsewhere.” It's hilarious, in a sad kinda way. —Jonathan C Richardson, also known as Autumn Cordellionè, is a piece of human garbage that shouldn't be breathing oxygen meant for the rest of us right now. But, he (she) is, unfortunately. Jonathan/Autumn did something so horrible, I don't want to repeat it here. Went to prison instead of getting the electric chair, which is what SHOULD have happened, and now wants gender reassignment surgery… …AND A JUDGE SAYS THE STATE IS OBLIGATED TO PROVIDE IT.  The UCLA sued, because they have nothing better do do… What a waste of everyone's time, and money. This all could have been solved with a bottle of sleeping pills.  Kamala Harris needs to hop off the “surgery reassignment for prison inmates” stance and on the “get off this planet” train, stat.  —Taylor Swift endorsed Kamala Harris, and millions of people stopped streaming her music! Two million, to be specific, leaving her with a mere 91 million fans on Spotify. Sad that there are two million people out there so stupid that they have to stop listening to music because an artist isn't as brain dead as they are, but so be it. Taylor will be fine.  —Oh, to be stupid on the level of a QAnon cultist. Tina Peters is going to jail, and the world is a better place for it.  Fox News paid over $700 million dollars because they lied about the election, and yet the dumbest of the dumb still believe election fraud was widespread in 2020. Tina wanted to prove the lie true so badly, she partnered with Mr. Pillow Fella Mike Lindell to subvert the system. Well, justice prevailed, and the grandma is gone. The weird thing is: she's in jail not so much for her crimes, but her absolute inability to join reality, show remorse, and admit she believed a lie. Dumb. Idiots on Parade: we mock the news, so you don't have to. Tune in and get your giggle on. Find Jake at @jakevevera Find nathan at nathantimmel.com

If you are exploring the rise of prog rock, it doesn't take long until you encounter the power trio of Emerson, Lake & Palmer.  This progressive rock band is actually a supergroup.  Keyboardist Keith Emerson came from The Nice, vocalist and guitarist Greg Lake was in King Crimson, and percussionist Carl Palmer was from Atomic Rooster.  Emerson, Lake & Palmer formed in 1970 and would make their mark as a prog rock band which adapted classic and symphonic music into the rock genre, with elements of jazz, acoustic, and art rock coming into play.  Most ELP songs are long and complicated, not making any attempt to stay within the confines of the “hit single” pop track.Trilogy is the trio's third studio album, following their eponymously named debut, their second studio album entitled “Tarkus,” and their live album, Pictures at an Exhibition.  Trilogy continues a tradition of combining original material with adaptations of classical music.  It was also a challenging album for the group to make, utilizing more overdubs than previous albums.  The upside is a great sounding, polished album.  The downside is that the music was difficult to duplicate live, causing a number of the songs from Trilogy to be minimally used in set lists.The album was considered both a critical and commercial success, reaching number 2 on the UK albums chart, and number 5 on the US Billboard 200 chart.ELP would continue as a force in the 70's, breaking up in 1979.  Both partial and full reunions would continue through the 1980's and 1990's, with their final performance being held in 2010.  Both Keith Emerson and Greg Lake died in 2016.Wayne takes us through this prog rock masterpiece for this week's podcast. FugueWe open with an instrumental featuring Keith Emerson on keyboards.  A fugue is a style of music involving counterpoint, popular in the Baroque musical era of the 1600's.  You will get exposure to a lot of serious musical compositions and style listening to this group.From the BeginningThis is the "hit" from the album, if you think of Emerson, Lake & Palmer in terms of popularity.  It went to number 29 on the US charts, and is the highest charting US single.  Greg Lake wrote the music and lyrics, and plays the acoustic guitar for this ballad.  The lyrics take on a philosophical sone, emphasizing the importance of the present moment, while not missing past mistakes and missed opportunities.  The SheriffKeith Emerson wrote the music and Greg Lake wrote the lyrics to this western-themed track.  It tells the story of an innocent man fleeing the law, encountering the law in the form of the Sheriff, then taking the Sheriff's place after shooting him.  It ends with a great honkytonk piano solo.HoedownImmediately following “The Sheriff” on the album, the group creates an adaptation of Aaron Copeland's iconic “Hoe-Down,” written for his classic ballet entitled “Rodeo” in 1942.  This tune became well known after being used in advertisements by America's Beef Producers.   ENTERTAINMENT TRACK:Main theme from the motion picture “Super Fly”Curtis Mayfield created this song for the black-oriented crime drama film of the same name. STAFF PICKS:Best Thing by StyxBruce leads off the staff picks with the first single from Styx's first album.  Dennis DeYoung and James Young wrote the song and trade off on lead vocals.  It peaked at number 82 on the Billboard Hot 100.  This is a great tune to hear and grasp what the early days of Styx sounded like.  Rock and Roll, part 2 by Gary GlitterRob brings us a glam rock anthem made famous today by its use in sports stadiums nation wide.  This single off “Glitter,” the debut album by Gary Glitter, is the only one of his singles to crack the U.S. top 10.  Both “Rock and Roll” part 1 and part 2 peaked at number 2 on the UK singles chart.Brandy (You're A Fine Girl) by Looking GlassIt is a mystery how Lynch was able to pick up this well-known classic of yacht rock this late in the podcasts.  This track tells the story of a waitress who gives her love to a sailor, knowing that he would never be on shore for long.  Will It Go Round in Circles by Billy PrestonWayne's staff pick is a funky tune from the man often known as the fifth Beatle.  Preston played with a number of musicians, including Ray Charles, Little Richard, Sam Cook, Eric Clapton, Aretha Franklin, Joe Cocker, and of course the Beatles.  This soulful tune sold over a million copies and topped the Billboard Hot 100 chart. INSTRUMENTAL TRACK:Walk In the Night by Junior Walker & the All StarsThis jazz-infused (largely) instrumental track closes out the podcast for the week.  Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

The guys talk about Garry Glitter's single Do You Wanna Touch Me? (Oh Yeah!) Already creepy on its own, when you read about the laundry list of awful things he did it feels even worse. How high will this one rate on the Creep Factor? Pretty damn high.

Morse code transcription: vvv vvv Warning shots from South as NK soldiers cross border Singapore Airlines offers turbulence victims compensation US Cornell College instructors injured in assault in China, school says Hong Kong Three foreign judges resign from top court Apple boosts Siri with ChatGPT in AI overhaul Thailand Chatuchak market fire kills 1,000 animals Gary Glitter told to pay victim 508,000 damages UN Security Council backs US Israel Gaza ceasefire plan Michael Mosleys top simple health tips Saulos Chilima Malawi VPs plane may have crashed in forest, army says

Morse code transcription: vvv vvv UN Security Council backs US Israel Gaza ceasefire plan US Cornell College instructors injured in assault in China, school says Singapore Airlines offers turbulence victims compensation Gary Glitter told to pay victim 508,000 damages Warning shots from South as NK soldiers cross border Apple boosts Siri with ChatGPT in AI overhaul Saulos Chilima Malawi VPs plane may have crashed in forest, army says Hong Kong Three foreign judges resign from top court Michael Mosleys top simple health tips Thailand Chatuchak market fire kills 1,000 animals

Morse code transcription: vvv vvv Warning shots from South as NK soldiers cross border US Cornell College instructors injured in assault in China, school says Michael Mosleys top simple health tips Saulos Chilima Malawi VPs plane may have crashed in forest, army says UN Security Council backs US Israel Gaza ceasefire plan Hong Kong Three foreign judges resign from top court Apple boosts Siri with ChatGPT in AI overhaul Singapore Airlines offers turbulence victims compensation Gary Glitter told to pay victim 508,000 damages Thailand Chatuchak market fire kills 1,000 animals

Morse code transcription: vvv vvv Singapore Airlines offers turbulence victims compensation Warning shots from South as NK soldiers cross border Hong Kong Three foreign judges resign from top court UN Security Council backs US Israel Gaza ceasefire plan Apple boosts Siri with ChatGPT in AI overhaul US Cornell College instructors injured in assault in China, school says Saulos Chilima Malawi VPs plane may have crashed in forest, army says Thailand Chatuchak market fire kills 1,000 animals Michael Mosleys top simple health tips Gary Glitter told to pay victim 508,000 damages

Julian Druker, 5 News Correspondent reports

Comedian Kim Congdon goes on a solo adventure through laughter, music, and self-discovery in the latest episode of Kim Congdon Takeover! From uncovering a hidden talent for writing country music to exploring the mysterious world of country singer Gary Glitter, Kim takes listeners on a whirlwind journey of unexpected twists and turns. But the surprises don't stop there—Kim also bravely delves into a personal exploration of autism, taking an at-home test to shed light on her own experiences. With her trademark humor and candid storytelling, Kim delivers a hilarious and enlightening episode that's not to be missed! Follow Kimberly Congdon on Instagram for show dates kimcongdon.com http://instagram.com/kimcongdon http://patreon.com/kimcongdon https://linktr.ee/kimcongdon Studio - @TheComedyStore https://instagram.com/thecomedystore Music: Crack Amico http://instagram.com/@crackamicorap

DRUNKEN PEASANTS PRESHOW #1332 | Diddy, R Kelly, Gary Glitter, and other Musical Sickos

If only Gary Glitter hadn't done that one thing that he did repeatedly.  Intro Music: Gary Glitter- Hello, Hello I'm Back Again! https://demolisten.bigcartel.com/product/a-i-d-s-maleficus-sabbatum  Submit music to demolistenpodcast@gmail.com. Become a patron at https://www.patreon.com/demolistenpodcast. Leave us a message at (260)222-8341 Queue: Take It In Blood, Seudo Youth, Dynamite, Carcinogen, Histology, The Dogs, Righteous Propaganda, Superviolet, Iron Ghost, Gangstalker https://qualitycontrolhq.bandcamp.com/album/roadmap-of-pain https://www.youtube.com/watch?v=35ByrnbMNeY https://qualitycontrolhq.bandcamp.com/album/blow-the-bloody-doors-off https://limitedhangoutrecs.bandcamp.com/album/demo https://histologist.bandcamp.com/album/histology-of-the-cardiovascular-system https://thedogspunk.bandcamp.com/album/dog-shit https://rsrhap.bandcamp.com/album/righteous-propaganda-lathe-cut-9  

Hi. This week, to celebrate a beautiful spring day, the stars of Evil Men review the life and times of "The White Michael Jackson" aka disgraced glam rocker Gary Glitter. Enjoy? Brought to you By: The Sonar Network https://thesonarnetwork.com/

In this episode we talk about some of the low points and criminal acts in Rock N' Roll some subjects include Vince Neil, Gary Glitter, and more. ⁠This episode is sponsored by Naked Fig Soap visit the website @ https://www.nakedfigsoap.com and enter code DRUMMINGUP for 20% off at check out. You can also visit The Hive on 16th and use the same code DRUMMINGUP for 20% off all Naked Fig products The Hive on 16th: 2222 N 16th St, Phoenix, AZ 85006 Podcast Art by Paul Voorhees @ Voorhees Arts. Find him on Facebook at Facebook.com/Voorheesarts and on Instagram @ Voorheesarts Show email: ⁠drummingupconversation@gmail.com⁠ Find us on Instagram, Facebook and Youtube @ Drummingupconversation and on Twitter or X @ Drumconversing We also have an ad from our friends at Spooky's Swirls. Find them at: ⁠⁠https://www.spookysswirls.com ⁠ Intro and outro music by Temporal Displacement. Find them on Spotify @https://open.spotify.com/artist/4zFRZRTQZrWGQWsjI7ixHM?si=K4vuar_5QHmca1KE8rNVEQ or wherever you stream your music. Cd's are also available for $10.00 with free shipping available in the continental US. Contact us at ⁠temporaldisplacement2014@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/justin--andrea-wood/support

This week Andrew Doyle joins me to mull over George Galloway's return to politics. We also try to talk about Mary Poppins recent ratings change, but I get a bit sexually distracted. There are also stunning revelations about Andrew going to Gary Glitter concerts and me being asked to leave an assembly for laughing WHILE I WAS A TEACHER. Support the Podcast, keep it weekly & AD-FREE https://www.patreon.com/geoffnorcott?fan_landing=true    BOOK TICKETS FOR MY 2023/24 TOUR  https://www.livenation.co.uk/artist-geoff-norcott-1252793    Buy my new BOOK https://www.amazon.co.uk/British-Bloke-Decoded-Everything-Explained/dp/B0BZW24B9J/ref=sr_1_1?crid=34L9QEBEW3KW7&keywords=geoff+norcott&qid=1693334284&sprefix=geoff+norcot%2Caps%2C107&sr=8-1    Watch my COMEDY SPECIAL on YouTube https://youtu.be/YaxhuZGtDLs  Learn more about your ad choices. Visit podcastchoices.com/adchoices

Night School #593: "Gary Glitter, Gary Glitter" by Every Night's A School Night

Entertainment reporter Peter Ford has addressed the recent development in the story of disgraced former pop star Gary Glitter. See omnystudio.com/listener for privacy information.

Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper. Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper. Glen's tour dates are here: http://www.glenmatlock.co.uk/ And you can order ‘Triggers' here: https://www.waterstones.com/book/triggers/glen-matlock/9781788709446Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper. Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper.Recorded in front of a live audience at 21Soho, London, on November 27th 2023. Glen's tour dates are here: http://www.glenmatlock.co.uk/ And you can order ‘Triggers' here: https://www.waterstones.com/book/triggers/glen-matlock/9781788709446Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper. Glen Matlock came to our live podcast recording at London's 21Soho at the end of November and lit up the audience with tales from his new memoir ‘Triggers', stories of his early life in the late ‘50s and ‘60s, his brief and riotous shift in the Sex Pistols and his colourful adventures since. The full cast list includes Jeff “Skunk” Baxter, the DJ Mike Raven, Gary Glitter, John Peel, Kenneth Horne, Malcolm McLaren, Nick Kent, Ian McLagan, Ronnie Lane, Midge Ure, Wally Nightingale, Blondie and Bill Grundy. You get a real sense of the fabric of London around Ted Carroll's record stall in Ladbroke Grove and around Denmark Street when the Pistols lived and rehearsed there. And look out for the night they played a Conservative Club to a crowd of six, the time McLaren begged him to return as “it wasn't working out with Sid”, the Filthy Lucre reunion and his luminous account of Johnny Rotten's audition backed by a jukebox playing Alice Cooper.Recorded in front of a live audience at 21Soho, London, on November 27th 2023. Glen's tour dates are here: http://www.glenmatlock.co.uk/ And you can order ‘Triggers' here: https://www.waterstones.com/book/triggers/glen-matlock/9781788709446Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Recorded live on KX FM 104.7 in Laguna Beach, California, today's Keith's Music Box features Boston, Jethro Tull, The Capitols, Akio Sakurai, Arlo Guthrie, CSN&Y, Blue Oyster Cult, Gary Glitter, Neil Young, Linda Ronstadt, Green Day, Tame Impala and Eric Clapton.

Dan St. Germain and Zahid Dewji join Luis J. Gomez and Zac Amico and discuss Luis' ideal opponent to fight, Jimmy Fallon being accused of having a toxic work environment, creepy personalities like Gary Glitter and Jimmy Saville, their individual current tastes in porn, using lube or going dry while masturbating, the couple who got caught while joining the Mile High Club, the husband who refused to pay for his wife's friend's dinner, gender roles in relationships, Amy Schumer cyberbullying Nicole Kidman, celebrities who pretend to care about wokeness, Does It Live - the orangatan who threw a possum off a tower and so much more!(Air Date: September 13th, 2023)Support our sponsors!YoDelta.com - Use promo code: GaS to get 25% off!Watch 30 Minutes With Luis J. Gomez On YouTube Now!https://www.youtube.com/watch?v=KB1LwYbYq6U&ab_channel=LuisJ.GomezTo advertise your product or service on GaS Digital podcasts please go to TheADSide.com and click on "Advertisers" for more information!Submit your artwork via postal mail to:GaS Digital Networkc/o Real Ass Podcast151 1st Ave, #311New York, NY 10003Real Ass Podcast merchandise is available at https://podcastmerch.com/collections/real-ass-podcastYou can watch Real Ass Podcast LIVE for FREE every Monday, Wednesday and Friday at 11am ET at GaSDigitalNetwork.com/LIVEOnce you're there you can sign up at GaSDigitalNetwork.com with promo code: RAP for a 7-day FREE trial with access to every Real Ass Podcast show ever recorded! On top of that you'll also have the same access to ALL the shows that GaS Digital Network has to offer!Follow the whole show on social media!Dan St. GermainTwitter: https://twitter.com/dsgermainInstagram: https://instagram.com/danst.germainZahid DewjiTwitter: https://twitter.com/ZahidDewjiInstagram: https://instagram.com/ZahidDewjiLuis J. GomezTwitter: https://twitter.com/luisjgomezInstagram: https://instagram.com/gomezcomedyYouTube: https://www.youtube.com/c/LuisJGomezComedyTwitch: https://www.twitch.tv/prrattlesnakeWebsite: https://www.luisofskanks.comZac AmicoTwitter: https://twitter.com/ZASpookShowInstagram: https://instagram.com/zacisnotfunnySee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It was a winding road from our #FirstNameBasis finale to our favorite jock jams, but we hope y'all ARE ready for this contemplation of sporty hype tracks -- as well as county fairs, Snuffy Smith, Yankee Stadium's unpredictable PA loyalties, which song is the ur-JJ, the apparent international exchange program at work in early JJ albums, early-'90s rappers who are both ignorant of and apathetic towards decent flow, NKOTB's "hard" period, and Gary Glitter in purgatory. Strike it up, Cotton-Eye Joes! For more content and discussion, follow us on Patreon, Facebook, and/or Instagram! SHOW NOTES Not sure what's going on here? Start at the beginning of the season Or with the FNB finale The Rednex "masthead" "Is [Buck Showalter] Too Smart For Baseball?" Beats Around The Bush, Episode 06: Cringe-Hop Wipes Out The "All-Star Jock Jams" line-up

Sammy Hagar & Gary Glitter To Co-Headline "Bud Light Presents Jeffrey Epstein Fest" Girls Under 18 Get In Free! Sammy To Preform Van Hagar's Balance With Special Guest Mitch Malloy

In this episode of True Crime Recaps, host Chris delves into the dark and twisted double life of Gary Glitter, one of the biggest rock stars of the 70s. Most famously known for his iconic sports anthem "Rock n' Roll (Part 2)," the shocking truth is that Glitter was a convicted child sex offender. The episode takes a look at his glittering career, his fall from grace, and the disturbing crimes that led to his imprisonment. From his humble beginnings as Paul Raven to his rise to fame as Gary Glitter, this is the tragic story of a music icon who fell from grace.Get all the crime in half the time! Watch True Crime Recaps on Facebook, TikTok, YouTube or Snapchat! Follow us on Instagram and Twitter. New episodes weekly!

My name is Jon Miller. I was born in 1966 in the idyllic countryside of the Cotswold Hills in the south west of England. I have a brother who is two years younger than me and soon after he was born, my parents moved from the tiny village of Salperton, to the slightly less tiny village of Hazelton about 2 miles away. I was 5 as 1972 begins and attended school at Northleach CofE. I spent most of my time riding my bike, climbing trees (or onto the roof of my dad's shed) or kicking a football around. I have vague musical memories of seeing artists such as Slade, T Rex, Gary Glitter, Roxy Music and Gilbert O'Sullivan on Top of the Pops. But I couldn't swear they were the songs you'll hear or later ones. I do remember Gordon Banks car crash, a world of airplane hijackings and Mark Spitz winning lots of gold medals. But I do not remember some of the bigger news stories carrying over from the previous year; Bangladesh seeking to separate from Pakistan, the British stepping up activities in Northern Ireland or the continued war in Vietnam. For some people, the story stays the same. But for others, things are about to change.

This week, Ryan goes over the colourful life and career of 'The Leader', Gary Glitter.  Support the show HERE!

In this episode the guys discuss, Future tech upgrades, Powerwolf, Lovebites wolfpack, Matt's review of the Yeat concert, Shazam!, John Wick 4, Arch Enemy, Gary Glitter, Ted Lasso, March Madness, NFl Free Agency, top 5 sports movies, and much more......

Discover the rise and fall of Gary Glitter, the glam rock star who became a convicted pedophile. From music fame to prison, uncover the shocking truth behind his crimes and cover-ups. Sponsor: shopify.com/casual - sign up for a one dollar per month trial period Learn more about your ad choices. Visit megaphone.fm/adchoices

Ben 'n' Henry bring you this week's weirdest stories and true crime news including  Gary Glitter going BACK to jail, 18 female guards fired for sexual misconduct with prisoners at cushy UK prison, 28 Colombian school children hospitalized for anxiety after playing with Ouija board, Illinois woman finds missing husband's body amongst Christmas decorations in hoarder house, Hero of the Week, spooky listener stories, and MORE!

Shaq's hiding from process servers, Michael Irvin v. Marriott video released, Lindsay Lohan's knocked up, Vince Young's an MVP spender, Ja Morant in a-hole rehab, Donald Trump's #1 song, Bill Hader: orgasm giver, Razzie winners, Playboy Murders, and Diplo's same sex BJ "wasn't gay". Brandon is finally out of the hospital and regaining strength in his hands. All the kids are abandoning TikTok to subscribe to our YouTube page. You should too. A song made by Jan. 6 prisoners featuring Donald Trump has hit No. 1 on iTunes. We still prefer when he covered Once in a Lifetime by the Talking Heads. Mitch McConnell is out of the hospital and heading to rehab for his concussion. Silicon Valley Bank's failure was due to a lot of bad mismanagement, but at least those bosses cashed out right before the end. Their UK Risk Management head seemed to be interested in things other than risky investments. Diplo once received oral sex from a guy, so he "might be gay". He was Emily Ratajkowski's first "white cisgender male" guest on her podcast. Everything but EmRata is toxic. iHeart morning show host Josh Innes just up and quit without warning... to take a new job in St. Louis at KSHE. That market has had some crazy activity lately. Including a host who mysteriously left... because he was texting listeners for nudes. 7'1" Shaquille O'Neal has been hiding from process servers to avoid a lawsuit from failed cryptocurrency exchange FTX. Former NFL QB Vince Young is an All-Star at spending money. Ja Morant is entering some kind of counseling program. His family is so tight-knit that they all responded when the youngest sister was in a beef in high school. Michael Irvin's lawyers released the video of his encounter with the Marriott employee that got him booted from the hotel. Lyla is looking for an alpha male, but it's because she is a "covid dog". TJ Holmes is planning to propose to Amy Robach. Rachel Bilson finally had her first orgasm at age 38 thanks to Bill Hader. Lindsay Lohan is pregnant. Some people are worried about the path that the fetus is going to travel. Paris Hilton's memoir has been released and some stories are getting questions. Jared from Subway: Catching a Monster on ID was a tough watch, but with great production. The Playboy Murders featured a victim that once dated Gene Simmons. The Rolling Stones are being sued for stealing a song again. Gary Glitter made it a whole month before getting sent back to jail. Blade Runner and murderer, Oscar Pistorius, will be paroled soon. List of the biggest Oscar sore losers. The Razzie award winners have been announced. Hugh Grant gave an honest interview to Ashley Graham on the red carpet before the Oscars and Twitter got mad. Grab your EXCLUSIVE NordVPN Deal by going to nordvpn.com/dams to get a Huge Discount off your NordVPN Plan + a Bonus Gift! It's completely risk free with Nord's 30-day money-back guarantee!Billy Squire actually released a new song. Cliff Notes Theater: What's Love Got to Do with it starring Angela Bassett. Check out our YouTube page. Visit Our Presenting Sponsor Hall Financial – Michigan's highest rated mortgage company Social media is dumb, but we're on Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels and BranDon).

Go to our SPONSOR AURA https://aura.com/shaunattwood to get a 14 day free trial and see if your personal information has been leaked online. KORO health snacks for 5% discount enter promo code TRUECRIME at this link: https://www.koro-shop.co.uk/ ROCKETMONEY: https://rocketmoney.com/shaun Don't fall for subscription scams. Start cancelling today at ROCKETMONEY: https://rocketmoney.com/shaun Go right now - https://rocketmoney.com/shaun - it could save you THOUSANDS a year. 

Tom, Brittany and Rudy start today's show by discussing Gary Glitter's return to prison.In our next segment, Kristyn Burtt drops in from Florida to talk about the ratings of the Oscars right before 5 Eyewitness News' Chris Egert fills us in on an officer involved incident in Eagan where one state trooper was taken to Regions Hospital. To kick off the last hour, sports handicapper Brandon Lang calls in to gives us his takes on who pick in this year's March Madness brackets and, lastly, Judd Zulgad from SKOR North dishes the low down on NFL free agency.Stream the show LIVE on the Tom Barnard Show app M-F from 7-10AM or get the show on-demand on Apple Podcasts, Spotify or wherever you get your podcasts!Make sure to download the FREE Tom Barnard app for your chance to win $1,000 just by registering! You're automatically entered in the drawing every time you open the app. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Tom, Brittany and Rudy start today's show by discussing Gary Glitter's return to prison. In our next segment, Kristyn Burtt drops in from Florida to talk about the ratings of the Oscars right before 5 Eyewitness News' Chris Egert fills us in on an officer involved incident in Eagan where one state trooper was taken to Regions Hospital. To kick off the last hour, sports handicapper Brandon Lang calls in to gives us his takes on who pick in this year's March Madness brackets and, lastly, Judd Zulgad from SKOR North dishes the low down on NFL free agency. Stream the show LIVE on the Tom Barnard Show app M-F from 7-10AM or get the show on-demand on Apple Podcasts, Spotify or wherever you get your podcasts! Make sure to download the FREE Tom Barnard app for your chance to win $1,000 just by registering! You're automatically entered in the drawing every time you open the app. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tom Brady v. Gisele: Undie Pics, reviewing the Grammys, Michael Jackson's 1st Christmas, Ted Williams Clip of the Day, RHCP on 60 Minutes, Drew Crime: Nikko Jenkins, and WDIV's Karen Drew turns into a narc. Drew Crime I: Bryan Kohberger has chicks fawning over him. Nikko Jenkins is one of the worst people possibly ever and even HE gets chicks from prison. Alex Murdaugh is cooked. Tom Brady wants you to see him in his underwear. Some people are saying he looks better than Gisele in her undies. Grammys: Harry Styles wore dumb clothes and his tendrils were out of control. Bonnie Raitt won big, was totally surprised, and Trudi hates her hair. Some people are saying Beyoncé had diarrhea and was late to the show. She also totally loves the LGBTQ community despite performing a secret show in Dubai. Trevor Noah is so unfunny that they had to fill time with fans talking about their favorite artists. Chris Martin is ripped now. Sam Smith freaked people out and some people feel he needs Jesus. Madonna showed up and scared everybody with her messed up face. Motown rocked the crowd. Jill Biden got a standing ovation, but was doctor snubbed. Quavo and Offset fought each other backstage. Aaron Carter and his "legacy" were snubbed in the In Memoriam. Chris Brown was a sore loser. Lizzo was 'brave' last night. Ozzy Osbourne won a couple Grammys as well, but they wouldn't air Rock and Roll on TV. Drew tells the tale of Marvin Gaye and his boxing promotions... oh and drugs too. The Red Hot Chili Peppers popped up on 60 Minutes. This 3rd grader got her beat on the school bus in Florida, so the school suggested she try a different school. China totally blames the Weather Service Chief for the civilian weather balloon gone wrong. Apparently there are China balloons floating all around us all the time. Grab your EXCLUSIVE NordVPN Deal by going to nordvpn.com/dams to get a Huge Discount off your NordVPN Plan + a Bonus Gift! It's completely risk free with Nord's 30-day money-back guarantee! Texas has had enough of TikTok and is looking to ban the app after they have collected a ton of personal data. Local 4's Karen Drew narcs out all the kids and exposes hidden stashes. Tattletale! Drew Crime II: Drew has stories from Investigation ID's 'Evil Lives Here'. Nobody wants Joe Biden vs Donald Trump in 2024. We remember when Elizabeth Taylor gave Michael Jackson his very first Christmas ever... in 1993. The Ted Williams Clip of the Day starts with Polio and ends up in a surprise place. Hotel Stories: A nude man went crazy with a plunger at an Iowa hotel. Inspectors discovered many violations at a Baymont Inn & Suites in Iowa as well. The new Michael Jackson biopic (starring Jaafar Jackson) might just gloss over that whole pedophile thing. Gary Glitter is out of prison. Time to get these hits back into the stadiums. Do you go to the library? Vote here! Celebrities are hocking the COVID-19 vaccine in a blast of new ads. The mandate for NYC workers has come to an end. Armie Hammer wants to be the new Robert Downey Jr. Jim Fouts is gearing up for re-election. We'll find out how DabbleCon 2023 went tomorrow with WATP's Karl Hamburger. Visit Our Presenting Sponsor Hall Financial – Michigan's highest rated mortgage company Social media is dumb, but we're on Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels and BranDon).

Holmberg's Morning Sickness - The Entertainment Drill - Monday February 6, 2023

Holmberg's Morning Sickness - The Entertainment Drill - Monday February 6, 2023 Learn more about your ad choices. Visit megaphone.fm/adchoices

The US Secretary of State Antony Blinken has postponed his trip to China after an alleged Chinese spy balloon flew across the state of Montana. Adam speaks to BBC security correspondent Gordon Corera as well as Aaron Flint, host of the Montana Talks breakfast radio show. And as disgraced pop star Gary Glitter is freed from prison, we hear from BBC correspondent Sarah Campbell who covered his trial in 2015, and barrister Kirsty Brimelow KC who explains why he's served half his 16-year jail term inside. Today's episode was presented by Adam Fleming and was made by Chris Flynn with Cordelia Hemming, Greg Brosnan, and George Crafer. The technical producer was Michael Regaard. The editor was Damon Rose.

Tom Cruise's ad for Tom Cruise, EXCLUSIVE: new Jason Carr tapes, Eli Zaret joins us as the Detroit Lions win again, Donald Trump sells out his NFTs, remembering Gallagher, and Drew bids to renovate Oakland Hills. The Detroit Lions win again in comeback fashion. Playoffs? You want to take about playoffs? Eli Zaret Zooms in to discuss the Lions victory, the Minnesota Vikings biggest comeback victory in NFL history, Argentina winning the World Cup, white basketball players, the Detroit Tigers adding Matt Boyd, JD Martinez to the Dodgers, and his take on Jason Carr firing from WDIV. Drew wants us to work on Christmas Eve. Corey Feldman's wife performs one of the greatest piano solos of all-time. Jenny Popach is 15-years-old and going a bit too far on TikTok. Elon Musk banned (and then unbanned) a bunch of journalists for 'doxxing' him. His ownership of Twitter is making everybody fight with each other. Donald Trump's NFTs sold out. 20% of men ages 25-34 live with their parents. Movies: Drew finally watched The Replacements. Drew finally watched The Whole Nine Yards. Drew also watched Any Given Sunday for 2 hours and 42 minutes. We remember... The Program. No one wants to buy Aretha Franklin's house. Patton Oswalt still has the worst apology of all time. RIP Sharon Riley. Tom Cruise has commercials for... Tom Cruise. We dive deeper into 'The Jason Carr Tapes' starring a very "aloof" Jason Carr. Gary Glitter is being released from prison. Here's another example of Gallagher clashing with an interviewer. The Freep had a good piece on Bookies and the Godfather of Gay Detroit. There is a whole bunch of Chippendales content out there right now and it's all true crime related. Sam Bankman-Fried was a donor to Debbie Stabenow and she is going to give the money to charity for a write-off. MSU is still getting called out for now explaining why former Business Dean Gupta was fired. Who would go to portrait ceremony... especially for former MSU President Lou Anna Simon? Other Sports: The guy who caught Aaron Judge's 62nd homerun turned down $3M for the ball only to auction it off for... $1.5M. WOMP WOMP! Nobody disrespects Amar'e Stoudemire's grandma. Not even his daughter. Oakland Hills Country Club is planning an $80M renovation following the great fire of 2022. Some people are saying they are overpaying. Enjoy our conversation with Gallagher from back in 2010. We're going to have to dive into Don't Pick Up the Phone on Netflix. Visit Our Presenting Sponsor Hall Financial – Michigan's highest rated mortgage company Social media is dumb, but we're on Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels and BranDon).

Episode 159 of A History of Rock Music in Five Hundred Songs looks at “Itchycoo Park” by the Small Faces, and their transition from Mod to psychedelia. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "The First Cut is the Deepest" by P.P. Arnold. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As so many of the episodes recently have had no Mixcloud due to the number of songs by one artist, I've decided to start splitting the mixes of the recordings excerpted in the podcasts into two parts. Here's part one and part two. I've used quite a few books in this episode. The Small Faces & Other Stories by Uli Twelker and Roland Schmit is definitely a fan-work with all that that implies, but has some useful quotes. Two books claim to be the authorised biography of Steve Marriott, and I've referred to both -- All Too Beautiful by Paolo Hewitt and John Hellier, and All Or Nothing by Simon Spence. Spence also wrote an excellent book on Immediate Records, which I referred to. Kenney Jones and Ian McLagan both wrote very readable autobiographies. I've also used Andrew Loog Oldham's autobiography Stoned, co-written by Spence, though be warned that it casually uses slurs. P.P. Arnold's autobiography is a sometimes distressing read covering her whole life, including her time at Immediate. There are many, many, collections of the Small Faces' work, ranging from cheap budget CDs full of outtakes to hundred-pound-plus box sets, also full of outtakes. This three-CD budget collection contains all the essential tracks, and is endorsed by Kenney Jones, the band's one surviving member. And if you're intrigued by the section on Immediate Records, this two-CD set contains a good selection of their releases. ERRATUM-ISH: I say Jimmy Winston was “a couple” of years older than the rest of the band. This does not mean exactly two, but is used in the vague vernacular sense equivalent to “a few”. Different sources I've seen put Winston as either two or four years older than his bandmates, though two seems to be the most commonly cited figure. Transcript For once there is little to warn about in this episode, but it does contain some mild discussions of organised crime, arson, and mental illness, and a quoted joke about capital punishment in questionable taste which may upset some. One name that came up time and again when we looked at the very early years of British rock and roll was Lionel Bart. If you don't remember the name, he was a left-wing Bohemian songwriter who lived in a communal house-share which at various times was also inhabited by people like Shirley Eaton, the woman who is painted gold at the beginning of Goldfinger, Mike Pratt, the star of Randall and Hopkirk (Deceased), and Davey Graham, the most influential and innovative British guitarist of the fifties and early sixties. Bart and Pratt had co-written most of the hits of Britain's first real rock and roll star, Tommy Steele: [Excerpt: Tommy Steele, "Rock with the Caveman"] and then Bart had gone solo as a writer, and written hits like "Living Doll" for Britain's *biggest* rock and roll star, Cliff Richard: [Excerpt: Cliff Richard, "Living Doll"] But Bart's biggest contribution to rock music turned out not to be the songs he wrote for rock and roll stars, and not even his talent-spotting -- it was Bart who got Steele signed by Larry Parnes, and he also pointed Parnes in the direction of another of his biggest stars, Marty Wilde -- but the opportunity he gave to a lot of child stars in a very non-rock context. Bart's musical Oliver!, inspired by the novel Oliver Twist, was the biggest sensation on the West End stage in the early 1960s, breaking records for the longest-running musical, and also transferred to Broadway and later became an extremely successful film. As it happened, while Oliver! was extraordinarily lucrative, Bart didn't see much of the money from it -- he sold the rights to it, and his other musicals, to the comedian Max Bygraves in the mid-sixties for a tiny sum in order to finance a couple of other musicals, which then flopped horribly and bankrupted him. But by that time Oliver! had already been the first big break for three people who went on to major careers in music -- all of them playing the same role. Because many of the major roles in Oliver! were for young boys, the cast had to change frequently -- child labour laws meant that multiple kids had to play the same role in different performances, and people quickly grew out of the roles as teenagerhood hit. We've already heard about the career of one of the people who played the Artful Dodger in the original West End production -- Davy Jones, who transferred in the role to Broadway in 1963, and who we'll be seeing again in a few episodes' time -- and it's very likely that another of the people who played the Artful Dodger in that production, a young lad called Philip Collins, will be coming into the story in a few years' time. But the first of the artists to use the Artful Dodger as a springboard to a music career was the one who appeared in the role on the original cast album of 1960, though there's very little in that recording to suggest the sound of his later records: [Excerpt: Steve Marriott, "Consider Yourself"] Steve Marriott is the second little Stevie we've looked at in recent episodes to have been born prematurely. In his case, he was born a month premature, and jaundiced, and had to spend the first month of his life in hospital, the first few days of which were spent unsure if he was going to survive. Thankfully he did, but he was a bit of a sickly child as a result, and remained stick-thin and short into adulthood -- he never grew to be taller than five foot five. Young Steve loved music, and especially the music of Buddy Holly. He also loved skiffle, and managed to find out where Lonnie Donegan lived. He went round and knocked on Donegan's door, but was very disappointed to discover that his idol was just a normal man, with his hair uncombed and a shirt stained with egg yolk. He started playing the ukulele when he was ten, and graduated to guitar when he was twelve, forming a band which performed under a variety of different names. When on stage with them, he would go by the stage name Buddy Marriott, and would wear a pair of horn-rimmed glasses to look more like Buddy Holly. When he was twelve, his mother took him to an audition for Oliver! The show had been running for three months at the time, and was likely to run longer, and child labour laws meant that they had to have replacements for some of the cast -- every three months, any performing child had to have at least ten days off. At his audition, Steve played his guitar and sang "Who's Sorry Now?", the recent Connie Francis hit: [Excerpt: Connie Francis, "Who's Sorry Now?"] And then, ignoring the rule that performers could only do one song, immediately launched into Buddy Holly's "Oh Boy!" [Excerpt: Buddy Holly, "Oh Boy!"] His musical ability and attitude impressed the show's producers, and he was given a job which suited him perfectly -- rather than being cast in a single role, he would be swapped around, playing different small parts, in the chorus, and occasionally taking the larger role of the Artful Dodger. Steve Marriott was never able to do the same thing over and over, and got bored very quickly, but because he was moving between roles, he was able to keep interested in his performances for almost a year, and he was good enough that it was him chosen to sing the Dodger's role on the cast album when that was recorded: [Excerpt: Steve Marriott and Joyce Blair, "I'd Do Anything"] And he enjoyed performance enough that his parents pushed him to become an actor -- though there were other reasons for that, too. He was never the best-behaved child in the world, nor the most attentive student, and things came to a head when, shortly after leaving the Oliver! cast, he got so bored of his art classes he devised a plan to get out of them forever. Every art class, for several weeks, he'd sit in a different desk at the back of the classroom and stuff torn-up bits of paper under the floorboards. After a couple of months of this he then dropped a lit match in, which set fire to the paper and ended up burning down half the school. His schoolfriend Ken Hawes talked about it many decades later, saying "I suppose in a way I was impressed about how he had meticulously planned the whole thing months in advance, the sheer dogged determination to see it through. He could quite easily have been caught and would have had to face the consequences. There was no danger in anybody getting hurt because we were at the back of the room. We had to be at the back otherwise somebody would have noticed what he was doing. There was no malice against other pupils, he just wanted to burn the damn school down." Nobody could prove it was him who had done it, though his parents at least had a pretty good idea who it was, but it was clear that even when the school was rebuilt it wasn't a good idea to send him back there, so they sent him to the Italia Conti Drama School; the same school that Anthony Newley and Petula Clark, among many others, had attended. Marriott's parents couldn't afford the school's fees, but Marriott was so talented that the school waived the fees -- they said they'd get him work, and take a cut of his wages in lieu of the fees. And over the next few years they did get him a lot of work. Much of that work was for TV shows, which like almost all TV of the time no longer exist -- he was in an episode of the Sid James sitcom Citizen James, an episode of Mr. Pastry's Progress, an episode of the police drama Dixon of Dock Green, and an episode of a series based on the Just William books, none of which survive. He also did a voiceover for a carpet cleaner ad, appeared on the radio soap opera Mrs Dale's Diary playing a pop star, and had a regular spot reading listeners' letters out for the agony aunt Marje Proops on her radio show. Almost all of this early acting work wa s utterly ephemeral, but there are a handful of his performances that do survive, mostly in films. He has a small role in the comedy film Heavens Above!, a mistaken-identity comedy in which a radical left-wing priest played by Peter Sellers is given a parish intended for a more conservative priest of the same name, and upsets the well-off people of the parish by taking in a large family of travellers and appointing a Black man as his churchwarden. The film has some dated attitudes, in the way that things that were trying to be progressive and antiracist sixty years ago invariably do, but has a sparkling cast, with Sellers, Eric Sykes, William Hartnell, Brock Peters, Roy Kinnear, Irene Handl, and many more extremely recognisable faces from the period: [Excerpt: Heavens Above!] Marriott apparently enjoyed working on the film immensely, as he was a fan of the Goon Show, which Sellers had starred in and which Sykes had co-written several episodes of. There are reports of Marriott and Sellers jamming together on banjos during breaks in filming, though these are probably *slightly* inaccurate -- Sellers played the banjolele, a banjo-style instrument which is played like a ukulele. As Marriott had started on ukulele before switching to guitar, it was probably these they were playing, rather than banjoes. He also appeared in a more substantial role in a film called Live It Up!, a pop exploitation film starring David Hemmings in which he appears as a member of a pop group. Oddly, Marriott plays a drummer, even though he wasn't a drummer, while two people who *would* find fame as drummers, Mitch Mitchell and Dave Clark, appear in smaller, non-drumming, roles. He doesn't perform on the soundtrack, which is produced by Joe Meek and features Sounds Incorporated, The Outlaws, and Gene Vincent, but he does mime playing behind Heinz Burt, the former bass player of the Tornadoes who was then trying for solo stardom at Meek's instigation: [Excerpt: Heinz Burt, "Don't You Understand"] That film was successful enough that two years later, in 1965 Marriott came back for a sequel, Be My Guest, with The Niteshades, the Nashville Teens, and Jerry Lee Lewis, this time with music produced by Shel Talmy rather than Meek. But that was something of a one-off. After making Live It Up!, Marriott had largely retired from acting, because he was trying to become a pop star. The break finally came when he got an audition at the National Theatre, for a job touring with Laurence Olivier for a year. He came home and told his parents he hadn't got the job, but then a week later they were bemused by a phone call asking why Steve hadn't turned up for rehearsals. He *had* got the job, but he'd decided he couldn't face a year of doing the same thing over and over, and had pretended he hadn't. By this time he'd already released his first record. The work on Oliver! had got him a contract with Decca Records, and he'd recorded a Buddy Holly knock-off, "Give Her My Regards", written for him by Kenny Lynch, the actor, pop star, and all-round entertainer: [Excerpt: Steve Marriott, "Give Her My Regards"] That record wasn't a hit, but Marriott wasn't put off. He formed a band who were at first called the Moonlights, and then the Frantiks, and they got a management deal with Tony Calder, Andrew Oldham's junior partner in his management company. Calder got former Shadow Tony Meehan to produce a demo for the group, a version of Cliff Richard's hit "Move It", which was shopped round the record labels with no success (and which sadly appears no longer to survive). The group also did some recordings with Joe Meek, which also don't circulate, but which may exist in the famous "Teachest Tapes" which are slowly being prepared for archival releases. The group changed their name to the Moments, and added in the guitarist John Weider, who was one of those people who seem to have been in every band ever either just before or just after they became famous -- at various times he was in Johnny Kidd and the Pirates, John Mayall's Bluesbreakers, Family, Eric Burdon and the Animals, and the band that became Crabby Appleton, but never in their most successful lineups. They continued recording unsuccessful demos, of which a small number have turned up: [Excerpt: Steve Marriott and the Moments, "Good Morning Blues"] One of their demo sessions was produced by Andrew Oldham, and while that session didn't lead to a release, it did lead to Oldham booking Marriott as a session harmonica player for one of his "Andrew Oldham Orchestra" sessions, to play on a track titled "365 Rolling Stones (One For Every Day of the Year)": [Excerpt: The Andrew Oldham Orchestra, "365 Rolling Stones (One For Every Day of the Year)"] Oldham also produced a session for what was meant to be Marriott's second solo single on Decca, a cover version of the Rolling Stones' "Tell Me", which was actually scheduled for release but pulled at the last minute. Like many of Marriott's recordings from this period, if it exists, it doesn't seem to circulate publicly. But despite their lack of recording success, the Moments did manage to have a surprising level of success on the live circuit. Because they were signed to Calder and Oldham's management company, they got a contract with the Arthur Howes booking agency, which got them support slots on package tours with Billy J Kramer, Freddie and the Dreamers, the Kinks, and other major acts, and the band members were earning about thirty pounds a week each -- a very, very good living for the time. They even had a fanzine devoted to them, written by a fan named Stuart Tuck. But as they weren't making records, the band's lineup started changing, with members coming and going. They did manage to get one record released -- a soundalike version of the Kinks' "You Really Got Me", recorded for a budget label who rushed it out, hoping to get it picked up in the US and for it to be the hit version there: [Excerpt: The Moments, "You Really Got Me"] But the month after that was released, Marriott was sacked from the band, apparently in part because the band were starting to get billed as Steve Marriott and the Moments rather than just The Moments, and the rest of them didn't want to be anyone's backing band. He got a job at a music shop while looking around for other bands to perform with. At one point around this time he was going to form a duo with a friend of his, Davy Jones -- not the one who had also appeared in Oliver!, but another singer of the same name. This one sang with a blues band called the Mannish Boys, and both men were well known on the Mod scene in London. Marriott's idea was that they call themselves David and Goliath, with Jones being David, and Marriott being Goliath because he was only five foot five. That could have been a great band, but it never got past the idea stage. Marriott had become friendly with another part-time musician and shop worker called Ronnie Lane, who was in a band called the Outcasts who played the same circuit as the Moments: [Excerpt: The Outcasts, "Before You Accuse Me"] Lane worked in a sound equipment shop and Marriott in a musical instrument shop, and both were customers of the other as well as friends -- at least until Marriott came into the shop where Lane worked and tried to persuade him to let Marriott have a free PA system. Lane pretended to go along with it as a joke, and got sacked. Lane had then gone to the shop where Marriott worked in the hope that Marriott would give him a good deal on a guitar because he'd been sacked because of Marriott. Instead, Marriott persuaded him that he should switch to bass, on the grounds that everyone was playing guitar since the Beatles had come along, but a bass player would always be able to find work. Lane bought the bass. Shortly after that, Marriott came to an Outcasts gig in a pub, and was asked to sit in. He enjoyed playing with Lane and the group's drummer Kenney Jones, but got so drunk he smashed up the pub's piano while playing a Jerry Lee Lewis song. The resulting fallout led to the group being barred from the pub and splitting up, so Marriott, Lane, and Jones decided to form their own group. They got in another guitarist Marriott knew, a man named Jimmy Winston who was a couple of years older than them, and who had two advantages -- he was a known Face on the mod scene, with a higher status than any of the other three, and his brother owned a van and would drive the group and their equipment for ten percent of their earnings. There was a slight problem in that Winston was also as good on guitar as Marriott and looked like he might want to be the star, but Marriott neutralised that threat -- he moved Winston over to keyboards. The fact that Winston couldn't play keyboards didn't matter -- he could be taught a couple of riffs and licks, and he was sure to pick up the rest. And this way the group had the same lineup as one of Marriott's current favourites, Booker T and the MGs. While he was still a Buddy Holly fan, he was now, like the rest of the Mods, an R&B obsessive. Marriott wasn't entirely sure that this new group would be the one that would make him a star though, and was still looking for other alternatives in case it didn't play out. He auditioned for another band, the Lower Third, which counted Stuart Tuck, the writer of the Moments fanzine, among its members. But he was unsuccessful in the audition -- instead his friend Davy Jones, the one who he'd been thinking of forming a duo with, got the job: [Excerpt: Davy Jones and the Lower Third, "You've Got a Habit of Leaving"] A few months after that, Davy Jones and the Lower Third changed their name to David Bowie and the Lower Third, and we'll be picking up that story in a little over a year from now... Marriott, Lane, Jones, and Winston kept rehearsing and pulled together a five-song set, which was just about long enough to play a few shows, if they extended the songs with long jamming instrumental sections. The opening song for these early sets was one which, when they recorded it, would be credited to Marriott and Lane -- the two had struck up a writing partnership and agreed to a Lennon/McCartney style credit split, though in these early days Marriott was doing far more of the writing than Lane was. But "You Need Loving" was... heavily inspired... by "You Need Love", a song Willie Dixon had written for Muddy Waters: [Excerpt: Muddy Waters, "You Need Love"] It's not precisely the same song, but you can definitely hear the influence in the Marriott/Lane song: [Excerpt: The Small Faces, "You Need Loving"] They did make some changes though, notably to the end of the song: [Excerpt: The Small Faces, "You Need Loving"] You will be unsurprised to learn that Robert Plant was a fan of Steve Marriott. The new group were initially without a name, until after one of their first gigs, Winston's girlfriend, who hadn't met the other three before, said "You've all got such small faces!" The name stuck, because it had a double meaning -- as we've seen in the episode on "My Generation", "Face" was Mod slang for someone who was cool and respected on the Mod scene, but also, with the exception of Winston, who was average size, the other three members of the group were very short -- the tallest of the three was Ronnie Lane, who was five foot six. One thing I should note about the group's name, by the way -- on all the labels of their records in the UK while they were together, they were credited as "Small Faces", with no "The" in front, but all the band members referred to the group in interviews as "The Small Faces", and they've been credited that way on some reissues and foreign-market records. The group's official website is thesmallfaces.com but all the posts on the website refer to them as "Small Faces" with no "the". The use  of the word "the" or not at the start of a group's name at this time was something of a shibboleth -- for example both The Buffalo Springfield and The Pink Floyd dropped theirs after their early records -- and its status in this case is a strange one. I'll be referring to the group throughout as "The Small Faces" rather than "Small Faces" because the former is easier to say, but both seem accurate. After a few pub gigs in London, they got some bookings in the North of England, where they got a mixed reception -- they went down well at Peter Stringfellow's Mojo Club in Sheffield, where Joe Cocker was a regular performer, less well at a working-man's club, and reports differ about their performance at the Twisted Wheel in Manchester, though one thing everyone is agreed on is that while they were performing, some Mancunians borrowed their van and used it to rob a clothing warehouse, and gave the band members some very nice leather coats as a reward for their loan of the van. It was only on the group's return to London that they really started to gel as a unit. In particular, Kenney Jones had up to that point been a very stiff, precise, drummer, but he suddenly loosened up and, in Steve Marriott's tasteless phrase, "Every number swung like Hanratty" (James Hanratty was one of the last people in Britain to be executed by hanging). Shortly after that, Don Arden's secretary -- whose name I haven't been able to find in any of the sources I've used for this episode, sadly, came into the club where they were rehearsing, the Starlight Rooms, to pass a message from Arden to an associate of his who owned the club. The secretary had seen Marriott perform before -- he would occasionally get up on stage at the Starlight Rooms to duet with Elkie Brooks, who was a regular performer there, and she'd seen him do that -- but was newly impressed by his group, and passed word on to her boss that this was a group he should investigate. Arden is someone who we'll be looking at a lot in future episodes, but the important thing to note right now is that he was a failed entertainer who had moved into management and promotion, first with American acts like Gene Vincent, and then with British acts like the Nashville Teens, who had had hits with tracks like "Tobacco Road": [Excerpt: The Nashville Teens, "Tobacco Road"] Arden was also something of a gangster -- as many people in the music industry were at the time, but he was worse than most of his contemporaries, and delighted in his nickname "the Al Capone of pop". The group had a few managers looking to sign them, but Arden convinced them with his offer. They would get a percentage of their earnings -- though they never actually received that percentage -- twenty pounds a week in wages, and, the most tempting part of it all, they would get expense accounts at all the Carnaby St boutiques and could go there whenever they wanted and get whatever they wanted. They signed with Arden, which all of them except Marriott would later regret, because Arden's financial exploitation meant that it would be decades before they saw any money from their hits, and indeed both Marriott and Lane would be dead before they started getting royalties from their old records. Marriott, on the other hand, had enough experience of the industry to credit Arden with the group getting anywhere at all, and said later "Look, you go into it with your eyes open and as far as I was concerned it was better than living on brown sauce rolls. At least we had twenty quid a week guaranteed." Arden got the group signed to Decca, with Dick Rowe signing them to the same kind of production deal that Andrew Oldham had pioneered with the Stones, so that Arden would own the rights to their recordings. At this point the group still only knew a handful of songs, but Rowe was signing almost everyone with a guitar at this point, putting out a record or two and letting them sink or swim. He had already been firmly labelled as "the man who turned down the Beatles", and was now of the opinion that it was better to give everyone a chance than to make that kind of expensive mistake again. By this point Marriott and Lane were starting to write songs together -- though at this point it was still mostly Marriott writing, and people would ask him why he was giving Lane half the credit, and he'd reply "Without Ronnie's help keeping me awake and being there I wouldn't do half of it. He keeps me going." -- but for their first single Arden was unsure that they were up to the task of writing a hit. The group had been performing a version of Solomon Burke's "Everybody Needs Somebody to Love", a song which Burke always claimed to have written alone, but which is credited to him, Jerry Wexler, and Bert Berns (and has Bern's fingerprints, at least, on it to my ears): [Excerpt: Solomon Burke, "Everybody Needs Somebody to Love"] Arden got some professional writers to write new lyrics and vocal melody to their arrangement of the song -- the people he hired were Brian Potter, who would later go on to co-write "Rhinestone Cowboy", and Ian Samwell, the former member of Cliff Richard's Drifters who had written many of Richard's early hits, including "Move It", and was now working for Arden. The group went into the studio and recorded the song, titled "Whatcha Gonna Do About It?": [Excerpt: The Small Faces, "Whatcha Gonna Do About It?"] That version, though was deemed too raucous, and they had to go back into the studio to cut a new version, which came out as their first single: [Excerpt: The Small Faces, "Whatcha Gonna Do About It?"] At first the single didn't do much on the charts, but then Arden got to work with teams of people buying copies from chart return shops, bribing DJs on pirate radio stations to play it, and bribing the person who compiled the charts for the NME. Eventually it made number fourteen, at which point it became a genuinely popular hit. But with that popularity came problems. In particular, Steve Marriott was starting to get seriously annoyed by Jimmy Winston. As the group started to get TV appearances, Winston started to act like he should be the centre of attention. Every time Marriott took a solo in front of TV cameras, Winston would start making stupid gestures, pulling faces, anything to make sure the cameras focussed on him rather than on Marriott. Which wouldn't have been too bad had Winston been a great musician, but he was still not very good on the keyboards, and unlike the others didn't seem particularly interested in trying. He seemed to want to be a star, rather than a musician. The group's next planned single was a Marriott and Lane song, "I've Got Mine". To promote it, the group mimed to it in a film, Dateline Diamonds, a combination pop film and crime caper not a million miles away from the ones that Marriott had appeared in a few years earlier. They also contributed three other songs to the film's soundtrack. Unfortunately, the film's release was delayed, and the film had been the big promotional push that Arden had planned for the single, and without that it didn't chart at all. By the time the single came out, though, Winston was no longer in the group. There are many, many different stories as to why he was kicked out. Depending on who you ask, it was because he was trying to take the spotlight away from Marriott, because he wasn't a good enough keyboard player, because he was taller than the others and looked out of place, or because he asked Don Arden where the money was. It was probably a combination of all of these, but fundamentally what it came to was that Winston just didn't fit into the group. Winston would, in later years, say that him confronting Arden was the only reason for his dismissal, saying that Arden had manipulated the others to get him out of the way, but that seems unlikely on the face of it. When Arden sacked him, he kept Winston on as a client and built another band around him, Jimmy Winston and the Reflections, and got them signed to Decca too, releasing a Kenny Lynch song, "Sorry She's Mine", to no success: [Excerpt: Jimmy Winston and the Reflections, "Sorry She's Mine"] Another version of that song would later be included on the first Small Faces album. Winston would then form another band, Winston's Fumbs, who would also release one single, before he went into acting instead. His most notable credit was as a rebel in the 1972 Doctor Who story Day of the Daleks, and he later retired from showbusiness to run a business renting out sound equipment, and died in 2020. The group hired his replacement without ever having met him or heard him play. Ian McLagan had started out as the rhythm guitarist in a Shadows soundalike band called the Cherokees, but the group had become R&B fans and renamed themselves the Muleskinners, and then after hearing "Green Onions", McLagan had switched to playing Hammond organ. The Muleskinners had played the same R&B circuit as dozens of other bands we've looked at, and had similar experiences, including backing visiting blues stars like Sonny Boy Williamson, Little Walter, and Howlin' Wolf. Their one single had been a cover version of "Back Door Man", a song Willie Dixon had written for Wolf: [Excerpt: The Muleskinners, "Back Door Man"] The Muleskinners had split up as most of the group had day jobs, and McLagan had gone on to join a group called Boz and the Boz People, who were becoming popular on the live circuit, and who also toured backing Kenny Lynch while McLagan was in the band. Boz and the Boz People would release several singles in 1966, like their version of the theme for the film "Carry on Screaming", released just as by "Boz": [Excerpt: Boz, "Carry on Screaming"] By that time, McLagan had left the group -- Boz Burrell later went on to join King Crimson and Bad Company. McLagan left the Boz People in something of a strop, and was complaining to a friend the night he left the group that he didn't have any work lined up. The friend joked that he should join the Small Faces, because he looked like them, and McLagan got annoyed that his friend wasn't taking him seriously -- he'd love to be in the Small Faces, but they *had* a keyboard player. The next day he got a phone call from Don Arden asking him to come to his office. He was being hired to join a hit pop group who needed a new keyboard player. McLagan at first wasn't allowed to tell anyone what band he was joining -- in part because Arden's secretary was dating Winston, and Winston hadn't yet been informed he was fired, and Arden didn't want word leaking out until it had been sorted. But he'd been chosen purely on the basis of an article in a music magazine which had praised his playing with the Boz People, and without the band knowing him or his playing. As soon as they met, though, he immediately fit in in a way Winston never had. He looked the part, right down to his height -- he said later "Ronnie Lane and I were the giants in the band at 5 ft 6 ins, and Kenney Jones and Steve Marriott were the really teeny tiny chaps at 5 ft 5 1/2 ins" -- and he was a great player, and shared a sense of humour with them. McLagan had told Arden he'd been earning twenty pounds a week with the Boz People -- he'd actually been on five -- and so Arden agreed to give him thirty pounds a week during his probationary month, which was more than the twenty the rest of the band were getting. As soon as his probationary period was over, McLagan insisted on getting a pay cut so he'd be on the same wages as the rest of the group. Soon Marriott, Lane, and McLagan were all living in a house rented for them by Arden -- Jones decided to stay living with his parents -- and were in the studio recording their next single. Arden was convinced that the mistake with "I've Got Mine" had been allowing the group to record an original, and again called in a team of professional songwriters. Arden brought in Mort Shuman, who had recently ended his writing partnership with Doc Pomus and struck out on his own, after co-writing songs like "Save the Last Dance for Me", "Sweets For My Sweet", and "Viva Las Vegas" together, and Kenny Lynch, and the two of them wrote "Sha-La-La-La-Lee", and Lynch added backing vocals to the record: [Excerpt: The Small Faces, "Sha-La-La-La-Lee"] None of the group were happy with the record, but it became a big hit, reaching number three in the charts. Suddenly the group had a huge fanbase of screaming teenage girls, which embarrassed them terribly, as they thought of themselves as serious heavy R&B musicians, and the rest of their career would largely be spent vacillating between trying to appeal to their teenybopper fanbase and trying to escape from it to fit their own self-image. They followed "Sha-La-La-La-Lee" with "Hey Girl", a Marriott/Lane song, but one written to order -- they were under strict instructions from Arden that if they wanted to have the A-side of a single, they had to write something as commercial as "Sha-La-La-La-Lee" had been, and they managed to come up with a second top-ten hit. Two hit singles in a row was enough to make an album viable, and the group went into the studio and quickly cut an album, which had their first two hits on it -- "Hey Girl" wasn't included, and nor was the flop "I've Got Mine" -- plus a bunch of semi-originals like "You Need Loving", a couple of Kenny Lynch songs, and a cover version of Sam Cooke's "Shake". The album went to number three on the album charts, with the Beatles and the Rolling Stones in the number one and two spots, and it was at this point that Arden's rivals really started taking interest. But that interest was quelled for the moment when, after Robert Stigwood enquired about managing the band, Arden went round to Stigwood's office with four goons and held him upside down over a balcony, threatening to drop him off if he ever messed with any of Arden's acts again. But the group were still being influenced by other managers. In particular, Brian Epstein came round to the group's shared house, with Graeme Edge of the Moody Blues, and brought them some slices of orange -- which they discovered, after eating them, had been dosed with LSD. By all accounts, Marriott's first trip was a bad one, but the group soon became regular consumers of the drug, and it influenced the heavier direction they took on their next single, "All or Nothing". "All or Nothing" was inspired both by Marriott's breakup with his girlfriend of the time, and his delight at the fact that Jenny Rylance, a woman he was attracted to, had split up with her then-boyfriend Rod Stewart. Rylance and Stewart later reconciled, but would break up again and Rylance would become Marriott's first wife in 1968: [Excerpt: The Small Faces, "All or Nothing"] "All or Nothing" became the group's first and only number one record -- and according to the version of the charts used on Top of the Pops, it was a joint number one with the Beatles' double A-side of "Yellow Submarine" and "Eleanor Rigby", both selling exactly as well as each other. But this success caused the group's parents to start to wonder why their kids -- none of whom were yet twenty-one, the legal age of majority at the time -- were not rich. While the group were on tour, their parents came as a group to visit Arden and ask him where the money was, and why their kids were only getting paid twenty pounds a week when their group was getting a thousand pounds a night. Arden tried to convince the parents that he had been paying the group properly, but that they had spent their money on heroin -- which was very far from the truth, the band were only using soft drugs at the time. This put a huge strain on the group's relationship with Arden, and it wasn't the only thing Arden did that upset them. They had been spending a lot of time in the studio working on new material, and Arden was convinced that they were spending too much time recording, and that they were just faffing around and not producing anything of substance. They dropped off a tape to show him that they had been working -- and the next thing they knew, Arden had put out one of the tracks from that tape, "My Mind's Eye", which had only been intended as a demo, as a single: [Excerpt: The Small Faces, "My Mind's Eye"] That it went to number four on the charts didn't make up for the fact that the first the band heard of the record coming out at all was when they heard it on the radio. They needed rid of Arden. Luckily for them, Arden wasn't keen on continuing to work with them either. They were unreliable and flakey, and he also needed cash quick to fund his other ventures, and he agreed to sell on their management and recording contracts. Depending on which version of the story you believe, he may have sold them on to an agent called Harold Davison, who then sold them on to Andrew Oldham and Tony Calder, but according to Oldham what happened is that in December 1966 Arden demanded the highest advance in British history -- twenty-five thousand pounds -- directly from Oldham. In cash. In a brown paper bag. The reason Oldham and Calder were interested was that in July 1965 they'd started up their own record label, Immediate Records, which had been announced by Oldham in his column in Disc and Music Echo, in which he'd said "On many occasions I have run down the large record companies over issues such as pirate stations, their promotion, and their tastes. And many readers have written in and said that if I was so disturbed by the state of the existing record companies why didn't I do something about it.  I have! On the twentieth of this month the first of three records released by my own company, Immediate Records, is to be launched." That first batch of three records contained one big hit, "Hang on Sloopy" by the McCoys, which Immediate licensed from Bert Berns' new record label BANG in the US: [Excerpt: The McCoys, "Hang on Sloopy"] The two other initial singles featured the talents of Immediate's new in-house producer, a session player who had previously been known as "Little Jimmy" to distinguish him from "Big" Jim Sullivan, the other most in-demand session guitarist, but who was now just known as Jimmy Page. The first was a version of Pete Seeger's "The Bells of Rhymney", which Page produced and played guitar on, for a group called The Fifth Avenue: [Excerpt: The Fifth Avenue, "The Bells of Rhymney"] And the second was a Gordon Lightfoot song performed by a girlfriend of Brian Jones', Nico. The details as to who was involved in the track have varied -- at different times the production has been credited to Jones, Page, and Oldham -- but it seems to be the case that both Jones and Page play on the track, as did session bass player John Paul Jones: [Excerpt: Nico, "I'm Not Sayin'"] While "Hang on Sloopy" was a big hit, the other two singles were flops, and The Fifth Avenue split up, while Nico used the publicity she'd got as an entree into Andy Warhol's Factory, and we'll be hearing more about how that went in a future episode. Oldham and Calder were trying to follow the model of the Brill Building, of Phil Spector, and of big US independents like Motown and Stax. They wanted to be a one-stop shop where they'd produce the records, manage the artists, and own the publishing -- and they also licensed the publishing for the Beach Boys' songs for a couple of years, and started publicising their records over here in a big way, to exploit the publishing royalties, and that was a major factor in turning the Beach Boys from minor novelties to major stars in the UK. Most of Immediate's records were produced by Jimmy Page, but other people got to have a go as well. Giorgio Gomelsky and Shel Talmy both produced tracks for the label, as did a teenage singer then known as Paul Raven, who would later become notorious under his later stage-name Gary Glitter. But while many of these records were excellent -- and Immediate deserves to be talked about in the same terms as Motown or Stax when it comes to the quality of the singles it released, though not in terms of commercial success -- the only ones to do well on the charts in the first few months of the label's existence were "Hang on Sloopy" and an EP by Chris Farlowe. It was Farlowe who provided Immediate Records with its first home-grown number one, a version of the Rolling Stones' "Out of Time" produced by Mick Jagger, though according to Arthur Greenslade, the arranger on that and many other Immediate tracks, Jagger had given up on getting a decent performance out of Farlowe and Oldham ended up producing the vocals. Greenslade later said "Andrew must have worked hard in there, Chris Farlowe couldn't sing his way out of a paper bag. I'm sure Andrew must have done it, where you get an artist singing and you can do a sentence at a time, stitching it all together. He must have done it in pieces." But however hard it was to make, "Out of Time" was a success: [Excerpt: Chris Farlowe, "Out of Time"] Or at least, it was a success in the UK. It did also make the top forty in the US for a week, but then it hit a snag -- it had charted without having been released in the US at all, or even being sent as a promo to DJs. Oldham's new business manager Allen Klein had been asked to work his magic on the US charts, but the people he'd bribed to hype the record into the charts had got the release date wrong and done it too early. When the record *did* come out over there, no radio station would play it in case it looked like they were complicit in the scam. But still, a UK number one wasn't too shabby, and so Immediate Records was back on track, and Oldham wanted to shore things up by bringing in some more proven hit-makers. Immediate signed the Small Faces, and even started paying them royalties -- though that wouldn't last long, as Immediate went bankrupt in 1970 and its successors in interest stopped paying out. The first work the group did for the label was actually for a Chris Farlowe single. Lane and Marriott gave him their song "My Way of Giving", and played on the session along with Farlowe's backing band the Thunderbirds. Mick Jagger is the credited producer, but by all accounts Marriott and Lane did most of the work: [Excerpt: Chris Farlowe, "My Way of Giving"] Sadly, that didn't make the top forty. After working on that, they started on their first single recorded at Immediate. But because of contractual entanglements, "I Can't Make It" was recorded at Immediate but released by Decca. Because the band weren't particularly keen on promoting something on their old label, and the record was briefly banned by the BBC for being too sexual, it only made number twenty-six on the charts. Around this time, Marriott had become friendly with another band, who had named themselves The Little People in homage to the Small Faces, and particularly with their drummer Jerry Shirley. Marriott got them signed to Immediate, and produced and played on their first single, a version of his song "(Tell Me) Have You Ever Seen Me?": [Excerpt: The Apostolic Intervention, "(Tell Me) Have You Ever Seen Me?"] When they signed to Immediate, The Little People had to change their name, and Marriott suggested they call themselves The Nice, a phrase he liked. Oldham thought that was a stupid name, and gave the group the much more sensible name The Apostolic Intervention. And then a few weeks later he signed another group and changed *their* name to The Nice. "The Nice" was also a phrase used in the Small Faces' first single for Immediate proper. "Here Come the Nice" was inspired by a routine by the hipster comedian Lord Buckley, "The Nazz", which also gave a name to Todd Rundgren's band and inspired a line in David Bowie's "Ziggy Stardust": [Excerpt: Lord Buckley, "The Nazz"] "Here Come the Nice" was very blatantly about a drug dealer, and somehow managed to reach number twelve despite that: [Excerpt: The Small Faces, "Here Come the Nice"] It also had another obstacle that stopped it doing as well as it might. A week before it came out, Decca released a single, "Patterns", from material they had in the vault. And in June 1967, two Small Faces albums came out. One of them was a collection from Decca of outtakes and demos, plus their non-album hit singles, titled From The Beginning, while the other was their first album on Immediate, which was titled Small Faces -- just like their first Decca album had been. To make matters worse, From The Beginning contained the group's demos of "My Way of Giving" and "(Tell Me) Have You Ever Seen Me?", while the group's first Immediate album contained a new recording of  "(Tell Me) Have You Ever Seen Me?", and a version of "My Way of Giving" with the same backing track but a different vocal take from the one on the Decca collection. From this point on, the group's catalogue would be a complete mess, with an endless stream of compilations coming out, both from Decca and, after the group split, from Immediate, mixing tracks intended for release with demos and jam sessions with no regard for either their artistic intent or for what fans might want. Both albums charted, with Small Faces reaching number twelve and From The Beginning reaching number sixteen, neither doing as well as their first album had, despite the Immediate album, especially, being a much better record. This was partly because the Marriott/Lane partnership was becoming far more equal. Kenney Jones later said "During the Decca period most of the self-penned stuff was 99% Steve. It wasn't until Immediate that Ronnie became more involved. The first Immediate album is made up of 50% Steve's songs and 50% of Ronnie's. They didn't collaborate as much as people thought. In fact, when they did, they often ended up arguing and fighting." It's hard to know who did what on each song credited to the pair, but if we assume that each song's principal writer also sang lead -- we know that's not always the case, but it's a reasonable working assumption -- then Jones' fifty-fifty estimate seems about right. Of the fourteen songs on the album, McLagan sings one, which is also his own composition, "Up the Wooden Hills to Bedfordshire". There's one instrumental, six with Marriott on solo lead vocals, four with Lane on solo lead vocals, and two duets, one with Lane as the main vocalist and one with Marriott. The fact that there was now a second songwriter taking an equal role in the band meant that they could now do an entire album of originals. It also meant that their next Marriott/Lane single was mostly a Lane song. "Itchycoo Park" started with a verse lyric from Lane -- "Over bridge of sighs/To rest my eyes in shades of green/Under dreaming spires/To Itchycoo Park, that's where I've been". The inspiration apparently came from Lane reading about the dreaming spires of Oxford, and contrasting it with the places he used to play as a child, full of stinging nettles. For a verse melody, they repeated a trick they'd used before -- the melody of "My Mind's Eye" had been borrowed in part from the Christmas carol "Gloria in Excelsis Deo", and here they took inspiration from the old hymn "God Be in My Head": [Excerpt: The Choir of King's College Cambridge, "God Be in My Head"] As Marriott told the story: "We were in Ireland and speeding our brains out writing this song. Ronnie had the first verse already written down but he had no melody line, so what we did was stick the verse to the melody line of 'God Be In My Head' with a few chord variations. We were going towards Dublin airport and I thought of the middle eight... We wrote the second verse collectively, and the chorus speaks for itself." [Excerpt: The Small Faces, "Itchycoo Park"] Marriott took the lead vocal, even though it was mostly Lane's song, but Marriott did contribute to the writing, coming up with the middle eight. Lane didn't seem hugely impressed with Marriott's contribution, and later said "It wasn't me that came up with 'I feel inclined to blow my mind, get hung up, feed the ducks with a bun/They all come out to groove about, be nice and have fun in the sun'. That wasn't me, but the more poetic stuff was." But that part became the most memorable part of the record, not so much because of the writing or performance but because of the production. It was one of the first singles released using a phasing effect, developed by George Chkiantz (and I apologise if I'm pronouncing that name wrong), who was the assistant engineer for Glyn Johns on the album. I say it was one of the first, because at the time there was not a clear distinction between the techniques now known as phasing, flanging, and artificial double tracking, all of which have now diverged, but all of which initially came from the idea of shifting two copies of a recording slightly out of synch with each other. The phasing on "Itchycoo Park" , though, was far more extreme and used to far different effect than that on, say, Revolver: [Excerpt: The Small Faces, "Itchycoo Park"] It was effective enough that Jimi Hendrix, who was at the time working on Axis: Bold as Love, requested that Chkiantz come in and show his engineer how to get the same effect, which was then used on huge chunks of Hendrix's album. The BBC banned the record, because even the organisation which had missed that the Nice who "is always there when I need some speed" was a drug dealer was a little suspicious about whether "we'll get high" and "we'll touch the sky" might be drug references. The band claimed to be horrified at the thought, and explained that they were talking about swings. It's a song about a park, so if you play on the swings, you go high. What else could it mean? [Excerpt: The Small Faces, “Itchycoo Park”] No drug references there, I'm sure you'll agree. The song made number three, but the group ran into more difficulties with the BBC after an appearance on Top of the Pops. Marriott disliked the show's producer, and the way that he would go up to every act and pretend to think they had done a very good job, no matter what he actually thought, which Marriott thought of as hypocrisy rather than as politeness and professionalism. Marriott discovered that the producer was leaving the show, and so in the bar afterwards told him exactly what he thought of him, calling him a "two-faced", and then a four-letter word beginning with c which is generally considered the most offensive swear word there is. Unfortunately for Marriott, he'd been misinformed, the producer wasn't leaving the show, and the group were barred from it for a while. "Itchycoo Park" also made the top twenty in the US, thanks to a new distribution deal Immediate had, and plans were made for the group to tour America, but those plans had to be scrapped when Ian McLagan was arrested for possession of hashish, and instead the group toured France, with support from a group called the Herd: [Excerpt: The Herd, "From the Underworld"] Marriott became very friendly with the Herd's guitarist, Peter Frampton, and sympathised with Frampton's predicament when in the next year he was voted "face of '68" and developed a similar teenage following to the one the Small Faces had. The group's last single of 1967 was one of their best. "Tin Soldier" was inspired by the Hans Andersen story “The Steadfast Tin Soldier”, and was originally written for the singer P.P. Arnold, who Marriott was briefly dating around this time. But Arnold was *so* impressed with the song that Marriott decided to keep it for his own group, and Arnold was left just doing backing vocals on the track: [Excerpt: The Small Faces, "Tin Soldier"] It's hard to show the appeal of "Tin Soldier" in a short clip like those I use on this show, because so much of it is based on the use of dynamics, and the way the track rises and falls, but it's an extremely powerful track, and made the top ten. But it was after that that the band started falling apart, and also after that that they made the work generally considered their greatest album. As "Itchycoo Park" had made number one in Australia, the group were sent over there on tour to promote it, as support act for the Who. But the group hadn't been playing live much recently, and found it difficult to replicate their records on stage, as they were now so reliant on studio effects like phasing. The Australian audiences were uniformly hostile, and the contrast with the Who, who were at their peak as a live act at this point, couldn't have been greater. Marriott decided he had a solution. The band needed to get better live, so why not get Peter Frampton in as a fifth member? He was great on guitar and had stage presence, obviously that would fix their problems. But the other band members absolutely refused to get Frampton in. Marriott's confidence as a stage performer took a knock from which it never really recovered, and increasingly the band became a studio-only one. But the tour also put strain on the most important partnership in the band. Marriott and Lane had been the closest of friends and collaborators, but on the tour, both found a very different member of the Who to pal around with. Marriott became close to Keith Moon, and the two would get drunk and trash hotel rooms together. Lane, meanwhile, became very friendly with Pete Townshend, who introduced him to the work of the guru Meher Baba, who Townshend followed. Lane, too, became a follower, and the two would talk about religion and spirituality while their bandmates were destroying things. An attempt was made to heal the growing rifts though. Marriott, Lane, and McLagan all moved in together again like old times, but this time in a cottage -- something that became so common for bands around this time that the phrase "getting our heads together in the country" became a cliche in the music press. They started working on material for their new album. One of the tracks that they were working on was written by Marriott, and was inspired by how, before moving in to the country cottage, his neighbours had constantly complained about the volume of his music -- he'd been particularly annoyed that the pop singer Cilla Black, who lived in the same building and who he'd assumed would understand the pop star lifestyle, had complained more than anyone. It had started as as fairly serious blues song, but then Marriott had been confronted by the members of the group The Hollies, who wanted to know why Marriott always sang in a pseudo-American accent. Wasn't his own accent good enough? Was there something wrong with being from the East End of London? Well, no, Marriott decided, there wasn't, and so he decided to sing it in a Cockney accent. And so the song started to change, going from being an R&B song to being the kind of thing Cockneys could sing round a piano in a pub: [Excerpt: The Small Faces, "Lazy Sunday"] Marriott intended the song just as an album track for the album they were working on, but Andrew Oldham insisted on releasing it as a single, much to the band's disgust, and it went to number two on the charts, and along with "Itchycoo Park" meant that the group were now typecast as making playful, light-hearted music. The album they were working on, Ogden's Nut-Gone Flake, was eventually as known for its marketing as its music. In the Small Faces' long tradition of twisted religious references, like their songs based on hymns and their song "Here Come the Nice", which had taken inspiration from a routine about Jesus and made it about a drug dealer, the print ads for the album read: Small Faces Which were in the studios Hallowed be thy name Thy music come Thy songs be sung On this album as they came from your heads We give you this day our daily bread Give us thy album in a round cover as we give thee 37/9d Lead us into the record stores And deliver us Ogdens' Nut Gone Flake For nice is the music The sleeve and the story For ever and ever, Immediate The reason the ad mentioned a round cover is that the original pressings of the album were released in a circular cover, made to look like a tobacco tin, with the name of the brand of tobacco changed from Ogden's Nut-Brown Flake to Ogden's Nut-Gone Flake, a reference to how after smoking enough dope your nut, or head, would be gone. This made more sense to British listeners than to Americans, because not only was the slang on the label British, and not only was it a reference to a British tobacco brand, but American and British dope-smoking habits are very different. In America a joint is generally made by taking the dried leaves and flowers of the cannabis plant -- or "weed" -- and rolling them in a cigarette paper and smoking them. In the UK and much of Europe, though, the preferred form of cannabis is the resin, hashish, which is crumbled onto tobacco in a cigarette paper and smoked that way, so having rolling or pipe tobacco was a necessity for dope smokers in the UK in a way it wasn't in the US. Side one of Ogden's was made up of normal songs, but the second side mixed songs and narrative. Originally the group wanted to get Spike Milligan to do the narration, but when Milligan backed out they chose Professor Stanley Unwin, a comedian who was known for speaking in his own almost-English language, Unwinese: [Excerpt: Stanley Unwin, "The Populode of the Musicolly"] They gave Unwin a script, telling the story that linked side two of the album, in which Happiness Stan is shocked to discover that half the moon has disappeared and goes on a quest to find the missing half, aided by a giant fly who lets him sit on his back after Stan shares his shepherd's pie with the hungry fly. After a long quest they end up at the cave of Mad John the Hermit, who points out to them that nobody had stolen half the moon at all -- they'd been travelling so long that it was a full moon again, and everything was OK. Unwin took that script, and reworked it into Unwinese, and also added in a lot of the slang he heard the group use, like "cool it" and "what's been your hang-up?": [Excerpt: The Small Faces and Professor Stanley Unwin, "Mad John"] The album went to number one, and the group were justifiably proud, but it only exacerbated the problems with their live show. Other than an appearance on the TV show Colour Me Pop, where they were joined by Stanley Unwin to perform the whole of side two of the album with live vocals but miming to instrumental backing tracks, they only performed two songs from the album live, "Rollin' Over" and "Song of a Baker", otherwise sticking to the same live show Marriott was already embarrassed by. Marriott later said "We had spent an entire year in the studios, which was why our stage presentation had not been improved since the previous year. Meanwhile our recording experience had developed in leaps and bounds. We were all keenly interested in the technical possibilities, in the art of recording. We let down a lot of people who wanted to hear Ogden's played live. We were still sort of rough and ready, and in the end the audience became uninterested as far as our stage show was concerned. It was our own fault, because we would have sussed it all out if we had only used our brains. We could have taken Stanley Unwin on tour with us, maybe a string section as well, and it would have been okay. But we didn't do it, we stuck to the concept that had been successful for a long time, which is always the kiss of death." The group's next single would be the last released while they were together. Marriott regarded "The Universal" as possibly the best thing he'd written, and recorded it quickly when inspiration struck. The finished single is actually a home recording of Marriott in his garden, including the sounds of a dog barking and his wife coming home with the shopping, onto which the band later overdubbed percussion, horns, and electric guitars: [Excerpt: The Small Faces, "The Universal"] Incidentally, it seems that the dog barking on that track may also be the dog barking on “Seamus” by Pink Floyd. "The Universal" confused listeners, and only made number sixteen on the charts, crushing Marriott, who thought it was the best thing he'd done. But the band were starting to splinter. McLagan isn't on "The Universal", having quit the band before it was recorded after a falling-out with Marriott. He rejoined, but discovered that in the meantime Marriott had brought in session player Nicky Hopkins to work on some tracks, which devastated him. Marriott became increasingly unconfident in his own writing, and the writing dried up. The group did start work on some new material, some of which, like "The Autumn Stone", is genuinely lovely: [Excerpt: The Small Faces, "The Autumn Stone"] But by the time that was released, the group had already split up. The last recording they did together was as a backing group for Johnny Hallyday, the French rock star. A year earlier Hallyday had recorded a version of "My Way of Giving", under the title "Je N'Ai Jamais Rien Demandé": [Excerpt: Johnny Hallyday, "Je N'Ai Jamais Rien Demandé"] Now he got in touch with Glyn Johns to see if the Small Faces had any other material for him, and if they'd maybe back him on a few tracks on a new album. Johns and the Small Faces flew to France... as did Peter Frampton, who Marriott was still pushing to get into the band. They recorded three tracks for the album, with Frampton on extra guitar: [Excerpt: Johnny Hallyday, "Reclamation"] These tracks left Marriott more certain than ever that Frampton should be in the band, and the other three members even more certain that he shouldn't. Frampton joined the band on stage at a few shows on their next few gigs, but he was putting together his own band with Jerry Shirley from Apostolic Intervention. On New Year's Eve 1968, Marriott finally had enough. He stormed off stage mid-set, and quit the group. He phoned up Peter Frampton, who was hanging out with Glyn Johns listening to an album Johns had just produced by some of the session players who'd worked for Immediate. Side one had just finished when Marriott phoned. Could he join Frampton's new band? Frampton said of course he could, then put the phone down and listened to side two of Led Zeppelin's first record. The band Marriott and Frampton formed was called Humble Pie, and they were soon releasing stuff on Immediate. According to Oldham, "Tony Calder said to me one day 'Pick a straw'. Then he explained we had a choice. We could either go with the three Faces -- Kenney, Ronnie, and Mac -- wherever they were going to go with their lives, or we could follow Stevie. I didn't regard it as a choice. Neither did Tony. Marriott was our man". Marriott certainly seemed to agree that he was the real talent in the group. He and Lane had fairly recently bought some property together -- two houses on the same piece of land -- and with the group splitting up, Lane moved away and wanted to sell his share in the property to Marriott. Marriott wrote to him saying "You'll get nothing. This was bought with money from hits that I wrote, not that we wrote," and enclosing a PRS statement showing how much each Marriott/Lane

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