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5 episodes with Glyn Johns
8 episodes with Glyn Johns
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2 episodes with Glyn Johns
3 episodes with Glyn Johns
2 episodes with Glyn Johns
3 episodes with Glyn Johns
2 episodes with Glyn Johns
Anne is the Head Engineer/Producer at La La Land Sound in Louisville, Kentucky. She has split her time between Montreal and Louisville over the last 10 years, working on hundreds of recordings along the way, gathering over 375 million streams.She spends most of her time in the studio, recording, mixing, and producing with artists like Murder By Death, Bonnie Prince Billy, GRLwood, Joan Shelley, Strand of Oaks, By the Grace of God, and Rachel Grimes. She's also worked on albums by Ray Lamontagne, Jake Shears, Emma Ruth Rundle, and White Reaper over the years. Bumping shoulders over time working with producers Glyn Johns, John Alagia, and Jim James. She's recorded, mixed, and/or produced more than 100 records in her career, with records gathering reviews in publications such as Rolling Stone, Nylon, Billboard, NPR, Brooklyn Vegan, Kerns, AVClub, Magnet, and most major music publications. Anne is a true professional in experience, efficiency, and creative thinking, and loves to foster a positive and friendly recording experience for all. She enjoys and is specialized in old school live band recordings as much as complex multi-month modern productions and is skilled in both approaches. She loves working with artists on all styles of music: rock, country, experimental, contemporary, classical, and everything in between.IN THIS EPISODE YOU'LL LEARN:Recording yourself vs othersStarting before you truly feel “ready”Working on multiple projects quickly vs taking your time on one project: Which will help you grow faster?Minimal mic technique compared to multi-micingWhy having a mobile rig is super helpful for people just getting startedGetting the most out of sub-par roomsChoosing mics that suit the roomBuilding your mental library of studio gearWorking with Glynn JohnsHow the famed Glynn Johns technique was actually an accidentRemixing Slint's “Tweez” (previously mixed by Steve Albini)Using AI for audio restorationTo learn more about Anne Gauthier, visit: https://www.annegauthier.info/Looking for 1-on-1 feedback and training to help you create pro-quality mixes?Check out my coaching program Amplitude and apply to join:https://masteryourmix.com/amplitude/ Want additional help with your music productions?For tips on how to improve your mixes, visit: https://masteryourmix.com/ Download your FREE copy of the Ultimate Mixing Blueprint: https://masteryourmix.com/blueprint/ Get your copy of my Amazon #1 bestselling books:The Recording Mindset: A Step-By-Step Guide to Creating Pro Recordings From Your Home Studio: https://therecordingmindset.com The Mixing Mindset: The Step-By-Step Formula For Creating Professional Rock Mixes From Your Home Studio: https://masteryourmix.com/mixingmindsetbook/ Check out our Sponsors:Download Waves Plugins here: https://waves.alzt.net/EK3G2K Subscribe to the show:Apple Podcasts: https://podcasts.apple.com/us/podcast/master-your-mix-podcast/id1240842781 Spotify:
Gab Four together again. Jon Stone, Lonnie Pena, Martin Quibell and myself sit down to consider alternate albums that might've come out of the January 1969 sessions. Beware, the ripples through time extend well beyond a single record. What happens to the film? Abbey Road? Do all roads lead to "For You Blue?" George Martin, Glyn Johns and others guest. More next week!
Dennis Greaves took a week off from Nine Below Zero in 1980 but otherwise kept his nose firmly applied to the grindstone. They broke up in 1983 when he formed the Truth, who broke up in 1989 when he rebooted the old band. He looks back here at the first gigs he ever saw and played – a world with the attractive scent of spilt beer and tobacco – stopping off at various points, among them … … why blues and R&B flourished in South London, police and villains drinking together at the Thomas A Becket and the folklore of the Old Kent Road. ... the great advantage of never having a hit. … taking his parents to see Chuck Berry in 1972. ... the lasting appeal of R&B in a world of processed music. … what he learnt from Glyn Johns when he produced them at Olympic Studios, “the man who invented phasing with Itchycoo Park”. … buying singles at A1 Records in Walworth – “Progressive, Reggae, Artists A-Z …” … seeing Blackfoot Sue and Scarecrow on the pub circuit, and the Groundhogs and Rory Gallagher at the Rainbow. … Pete Townshend watching Nine Below Zero from the wings - “you remind me of us in the ‘60s”. … seeing the Jam 11 times – “900 people in a 400 capacity venue!” … “getting gyp is good as you learn how to control an audience.” … 2am service station food and how touring has changed in 45 years. ... performing in the pilot for The Young Ones in 1982. … “the song you should study for A-Level Pop”. … memories of Mylone LeFevre, Capability Brown, Sonny Terry & Brownie McGee, BB King, Muhammad Ali, Henry Cooper, Uriah Heep, The Little Roosters, Deep Purple, Gary Moore, Greg Lake, Love Sculpture, Free, the Fabulous Thunderbirds, Stevie Ray Vaughan, Alvin Lee, Dr Feelgood and Charlie McCoy playing Lady Madonna on the harmonica on the Val Doonican Show … … and the greatest record ever made! Nine Below Zero tickets and tour dates here: https://www.ninebelowzero.com/tourHelp us to keep the conversation going by joining our worldwide Patreon community: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Dennis Greaves took a week off from Nine Below Zero in 1980 but otherwise kept his nose firmly applied to the grindstone. They broke up in 1983 when he formed the Truth, who broke up in 1989 when he rebooted the old band. He looks back here at the first gigs he ever saw and played – a world with the attractive scent of spilt beer and tobacco – stopping off at various points, among them … … why blues and R&B flourished in South London, police and villains drinking together at the Thomas A Becket and the folklore of the Old Kent Road. ... the great advantage of never having a hit. … taking his parents to see Chuck Berry in 1972. ... the lasting appeal of R&B in a world of processed music. … what he learnt from Glyn Johns when he produced them at Olympic Studios, “the man who invented phasing with Itchycoo Park”. … buying singles at A1 Records in Walworth – “Progressive, Reggae, Artists A-Z …” … seeing Blackfoot Sue and Scarecrow on the pub circuit, and the Groundhogs and Rory Gallagher at the Rainbow. … Pete Townshend watching Nine Below Zero from the wings - “you remind me of us in the ‘60s”. … seeing the Jam 11 times – “900 people in a 400 capacity venue!” … “getting gyp is good as you learn how to control an audience.” … 2am service station food and how touring has changed in 45 years. ... performing in the pilot for The Young Ones in 1982. … “the song you should study for A-Level Pop”. … memories of Mylone LeFevre, Capability Brown, Sonny Terry & Brownie McGee, BB King, Muhammad Ali, Henry Cooper, Uriah Heep, The Little Roosters, Deep Purple, Gary Moore, Greg Lake, Love Sculpture, Free, the Fabulous Thunderbirds, Stevie Ray Vaughan, Alvin Lee, Dr Feelgood and Charlie McCoy playing Lady Madonna on the harmonica on the Val Doonican Show … … and the greatest record ever made! Nine Below Zero tickets and tour dates here: https://www.ninebelowzero.com/tourHelp us to keep the conversation going by joining our worldwide Patreon community: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
Bestselling author Elizabeth Gilbert shares insights from her book, Big Magic: Creative Living Beyond Fear, on embracing curiosity, overcoming fear, and unlocking creativity.
When we get off of this mountain, you know where we want to go? Straight down the Mississippi River to the Gulf of Mexico. While surveying the week's events as we paddle, which involves … … the genius of Garth Hudson and the magnificent way he looked - “part lumberjack, part Old Testament prophet, part Brahms.” … how Glyn Johns invented the sound of the Eagles. … Carrie Underwood's Inauguration catastrophe. … only male voice choirs or gospel groups should be allowed to perform National Anthems! … fiery, magnificent, sexy, vaguely threatening – the appeal of the great British rock bands. … does a protest track have to be a good song to be effective? … “screw up your eyes and Guns N'Roses, Aerosmith and Van Halen all look preposterous”. … how the Band hooked up with Dylan. … was there ever a more dramatic drop-off from hit singles to album filler than in the Eagles? … can any song called Visions ever be any good? … why there should be more Band tribute acts. ... “any busker within 35 yards is noise pollution!” ... plus birthday guest Roger Millington wonders why we love the Band Aid single but not We Are The World. That touching clip of Garth Hudson playing and singing in 2023:https://m.youtube.com/watch?v=BtfvpS0EyO8Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
When we get off of this mountain, you know where we want to go? Straight down the Mississippi River to the Gulf of Mexico. While surveying the week's events as we paddle, which involves … … the genius of Garth Hudson and the magnificent way he looked - “part lumberjack, part Old Testament prophet, part Brahms.” … how Glyn Johns invented the sound of the Eagles. … Carrie Underwood's Inauguration catastrophe. … only male voice choirs or gospel groups should be allowed to perform National Anthems! … fiery, magnificent, sexy, vaguely threatening – the appeal of the great British rock bands. … does a protest track have to be a good song to be effective? … “screw up your eyes and Guns N'Roses, Aerosmith and Van Halen all look preposterous”. … how the Band hooked up with Dylan. … was there ever a more dramatic drop-off from hit singles to album filler than in the Eagles? … can any song called Visions ever be any good? … why there should be more Band tribute acts. ... “any busker within 35 yards is noise pollution!” ... plus birthday guest Roger Millington wonders why we love the Band Aid single but not We Are The World. That touching clip of Garth Hudson playing and singing in 2023:https://m.youtube.com/watch?v=BtfvpS0EyO8Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
When we get off of this mountain, you know where we want to go? Straight down the Mississippi River to the Gulf of Mexico. While surveying the week's events as we paddle, which involves … … the genius of Garth Hudson and the magnificent way he looked - “part lumberjack, part Old Testament prophet, part Brahms.” … how Glyn Johns invented the sound of the Eagles. … Carrie Underwood's Inauguration catastrophe. … only male voice choirs or gospel groups should be allowed to perform National Anthems! … fiery, magnificent, sexy, vaguely threatening – the appeal of the great British rock bands. … does a protest track have to be a good song to be effective? … “screw up your eyes and Guns N'Roses, Aerosmith and Van Halen all look preposterous”. … how the Band hooked up with Dylan. … was there ever a more dramatic drop-off from hit singles to album filler than in the Eagles? … can any song called Visions ever be any good? … why there should be more Band tribute acts. ... “any busker within 35 yards is noise pollution!” ... plus birthday guest Roger Millington wonders why we love the Band Aid single but not We Are The World. That touching clip of Garth Hudson playing and singing in 2023:https://m.youtube.com/watch?v=BtfvpS0EyO8Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
S8E5 went out live from Sedgefield at 19h00 on 30 Jan 2025. It was great to be back doing a live show. Last week's excursion to watch Green Day the Offspring and SA's own Fokofpolisiekar was amazing, I thoroughly enjoyed the show. The Twisted Twins became Triplets at the last minute we had three tracks called ‘Ashes' by Five Finger Death Punch, Black Tide, and Angra respectively. The Rock and Metal Time Machine looked at 4 events in history involving Green Day, Sid Vicious, The Rolling Stones, and Guns N' Roses. We had Pink Floyd ‘Sheep' in the Immortals slot and Glyn Johns as the producer in The Diabolical Challenge: The four albums featured came from the Who, New Model Army, the Eagles, and Eric Clapton. We got new SA music from Sheron, and Diverted Disorder and the first song written by The Uninvited. Artists featured: Newsted, LIVE, Junkyard, ACDC, Megadeth, Rammstein, Korn, Theory of a Deadman, Motor Sister, Shadow Storm, W.A.S.P., Ayron Jones, The Temperance Movement, Five Finger Death Punch, Black Tide, Angra, Green Day, Sex Pistols, The Rolling Stones, Guns N' Roses, Johnny Lang, Gov't Mule, Judas Priest, Audioslave, Pink Floyd, Eric Clapton, The Eagles, New Model Army, the Who, Diverted Disorder, Sheron, The Uninvited, Mastodon, Lamb of God. Metallica, My Chemical Romance The Story of Rock and Roll. TSORR - Your one-stop shop for Rock
The CAT Club, in association with Strange Brew podcasts, presents a classic vinyl album::OGDENS' NUT GONE FLAKE – THE SMALL FACES There was no shortage of outstanding psychedelic albums in the late 1960s, but the Small Faces classic Ogdens' Nut Gone Flake, proved to be one of the greatest. With special guest PHILL BROWN A sixteen year old called Phill Brown was the tape operator on Ogdens' Nut Gone Flake. Not only did he talk to a captivated CAT Club audience about that album but he regaled us with many a fine tale from his subsequent career as a renowned engineer and producer. Stories about working with the Stones, Hendrix, Bob Marley, Nilsson, Led Zeppelin, David Bowie, Talk Talk, Dido and many others including fellow legendary producer, Glyn Johns (and not working with Morrissey and the Smiths) had our jaws dropping and smiles beaming on our faces. We also learned that editing tape after being given a rather larger spliff from Aston "Family Man" Barrett of the Wailers isn't a good idea. Only the proverbial tip of the iceberg was covered which is a good reason to have Phill Brown back at The CAT Club sometime in the future. Meanwhile, we recommend Phill's fine memoir ‘Are We Still Rolling? Studios, Drugs and Rock 'n' Roll – One Man's Journey Recording Classic Albums.' JASON BARNARD of Strange Brew podcasts was in the interviewer's chair. This event took place on 28th November 2024 in the Pigeon Loft at The Robin Hood, Pontefract, West Yorkshire. To find out more about the CAT Club please visit: www.thecatclub.co.uk This podcast has been edited for content and for copyright reasons. Happy Trails.
Album de la semaine: "Rubber Soul" (Beatles 1965) Beatles-Norwegian wood (with 2 false starts)-Rubber Soul sessions (65)P.McCartney-Junk-McCartney (70)G.Harrison-Be here now (2024 mix)-Living in the Material World (50th anniversary) (24-73)J.Lennon-You can't catch me -Rock'n'roll (75)R.Starr-Love is a many splendoured thing-Sentimental journey (70)Beatles-Drive my car-Rubber Soul (65)Beatles-I me mine (2021 mix)-Let it be (Super Deluxe) (21-70)Beatles-The long and winding road (1969 Glyn Johns mix)-Let it be (Super Deluxe) (21-70)P.McCartney-Dear Friend (2018 remaster)-Wild life (special edition) (18-71)G.Harrison-The hottest gong in town-Songs by George Harrison (92)Beatles-In my life-Rubber Soul (65)P.McCartney-Let me roll it-Band on the run (73)P.McCartney-My carnival-B side "Spie like us" (85)/Venus and Mars (75)J.Lennon-Oh my love-Imagine (71)J.Lennon-My mummy' dead-Plastic Ono Band (70)Beatles-Girl-Rubber Soul (65)Queatles and Been-Revolution (cover)-USBMark Hudson-Forget you two-The artist (14)G.Harrison-I live for you-All things must pass sessions (70)R.Starr-You don't know me at all-Rotogravure (76)R.Starr-Time on my hands-From the forthcoming album "Look up" (25)Beatles-Nowhere man-Rubber Soul (65)J.Lennon-Ya ya (Julian Lennon on drums)-Rock'n'roll (75)Beatles-Revolution -Single (68)R.Starr-I've changed my mind-The Memphis demos-Unreleased (87)P.McCartney-Walking in the park with Eloïse (written by Jim McCartney)-B side "Junior's farm" (74)/At the speed of sound (76)Beatles-What goes on-Rubber Soul (65)Beatles-Old brown shoe-Single (69)Beatles-The ballad of John and Yoko-B side "Old brown shoe" single (69)P.McCartney-Morse moose and the grey goose-London town (78)R.Starr-Gonna need someone-Crooked boy (24)
Album de la semaine: "Rubber Soul" (Beatles 1965) Beatles-Norwegian wood (with 2 false starts)-Rubber Soul sessions (65)P.McCartney-Junk-McCartney (70)G.Harrison-Be here now (2024 mix)-Living in the Material World (50th anniversary) (24-73)J.Lennon-You can't catch me-Rock'n'roll (75)R.Starr-Love is a many splendoured thing-Sentimental journey (70)Beatles-Drive my car-Rubber Soul (65)Beatles-I me mine (2021 mix)-Let it be (Super Deluxe) (21-70)Beatles-The long and winding road (1969 Glyn Johns mix)-Let it be (Super Deluxe) (21-70)P.McCartney-Dear Friend (2018 remaster)-Wild life (special edition) (18-71)G.Harrison-The hottest gong in town-Songs by George Harrison (92)Beatles-In my life-Rubber Soul (65)P.McCartney-Let me roll it-Band on the run (73)P.McCartney-My carnival-B side "Spie like us" (85)/Venus and Mars (75)J.Lennon-Oh my love-Imagine (71)J.Lennon-My mummy' dead-Plastic Ono Band (70)Beatles-Girl-Rubber Soul (65)Queatles and Been-Revolution (cover)-USBMark Hudson-Forget you two-The artist (14)G.Harrison-I live for you-All things must pass sessions (70)R.Starr-You don't know me at all-Rotogravure (76)R.Starr-Time on my hands-From the forthcoming album "Look up" (25)Beatles-Nowhere man-Rubber Soul (65)J.Lennon-Ya ya (Julian Lennon on drums)-Rock'n'roll (75)Beatles-Revolution-Single (68)R.Starr-I've changed my mind-The Memphis demos-Unreleased (87)P.McCartney-Walking in the park with Eloïse (written by Jim McCartney)-B side "Junior's farm" (74)/At the speed of sound (76)Beatles-What goes on-Rubber Soul (65)Beatles-Old brown shoe-Single (69)Beatles-The ballad of John and Yoko-B side "Old brown shoe" single (69)P.McCartney-Morse moose and the grey goose-London town (78)R.Starr-Gonna need someone-Crooked boy (24)
Small Faces are one of the all-time great British bands from the 1960's but they never got the attention, success or respect they deserved. (Some of that was due to self-inflicted damage, but still...) Their biggest hit was "Itchycoo Park", 2:45 of psychedelic pop perfection. All 4 members of the band shine, and engineer Glyn Johns gets to introduce the world to the sound of flanging. Feel inclined to blow your mind? Check out this episode. "Itchycoo Park" (Steve Marriott, Ronnie Lane) Copyright 1967 United Artists Music Limited, EMI United Partnership Limited Learn more about your ad choices. Visit megaphone.fm/adchoices
Small Faces are one of the all-time great British bands from the 1960's but they never got the attention, success or respect they deserved. (Some of that was due to self-inflicted damage, but still...) Their biggest hit was "Itchycoo Park", 2:45 of psychedelic pop perfection. All 4 members of the band shine, and engineer Glyn Johns gets to introduce the world to the sound of flanging. Feel inclined to blow your mind? Check out this episode. "Itchycoo Park" (Steve Marriott, Ronnie Lane) Copyright 1967 United Artists Music Limited, EMI United Partnership Limited — This show is one of many great music-related podcasts on the Pantheon network. You should check them out! And remember to follow this show, so you never miss an episode. Learn more about your ad choices. Visit megaphone.fm/adchoices
Musician, producer, engineer, and author Jerry Hammack is a first-time guest. He's on the show to talk about his new book The Beatles' Recording Techniques. Step back in time to the iconic EMI Recording Studios in London during the revolutionary 60s where legendary music acts like The Beatles, Pink Floyd, and countless others crafted their timeless sound.The Beatles' Recording Techniques was meticulously researched by Hammack, and offers an intimate understanding of the innovative recording techniques that producer George Martin and groundbreaking engineers Norman Smith, Geoff Emerick, Ken Scott, and Glyn Johns pioneered. A deep dive into their creative process, this is a fascinating read for fans of The Beatles and music. And if you are a musician, producer, or engineer interested in harnessing the same methodologies behind the Beatles music to shape your own musical masterpieces, this is the book for you. Jerry is about to take us back in time and behind the boards for so many Beatles classics. This was a fascinating conversation. Purchase a copy of The Beatles' Recording TechniquesVisit Jerry Hammack's websiteVisit The Beatles Recording Techniques websiteVisit The Beatles Recording Reference Manuals website Playlist Of Beatles Songs Covered In This Episode---------- BookedOnRock.com The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:FACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe
In this special mini-episode, we look back on some of the first 144.74 episodes of Go Fact Yourself!As we approach the beginning of the #MaxFunDrive, listeners and GFY staff discuss some of their favorite moments through the years – everything from meeting iconic actors, to literally bowing before your heroes, to personal connections in times of trouble. Plus, we preview some of the special treats coming for you in this year's drive – starting March 18!In this episode…Guests:Listener Lyn on Bill Kurtis and John Ullinskey from episode 44.Listener Bobby on Adam Ferrara, Ethan Russell, and Glyn Johns from episode 95GFY sound engineer Dave McKeever on Ed Saxon from episode 120GFY Editor and Associate Producer Julian Burrell on Jordan Morris and Yeardley Smith from episode 56Helen Hong on Ryan Kalil, Yeardley Smith, and Anthony Daniels from from episode 75J. Keith van Straaten on Xeni Jardin and Tommy Chong from episode 34Hosts:J. Keith van StraatenHelen HongCredits:Theme Song by Jonathan Green.Maximum Fun's Senior Producer is Laura Swisher.Show engineer is Dave McKeever.Associate Producer and Editor is Julian Burrell.Supporting us in the MaxFunDrive and seeing our next live-audience show in Los Angeles by YOU!
On the 50th Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & special guest Murph review the 1971 legendary album from the classic rock band The Who "Who's Next." The Who was already one the greatest rock bands of all time in 1971 when they began working on a new project from guitarist Pete Townshend, called "Lifehouse." The band scrapped the plan (with the help from their producer Glyn Johns) and decided to use their best songs for a new rock album. The result was their greatest album and one for the greatest rock albums of all time. The band was in their prime, led by main songwriter, guitarist and music genius Pete Townshend. Roger Daltrey was the prototype lead singer of the time, a good looking, charismatic frontman with incredible vocals. Bassist John Entwistle is considered by many as the greatest bass player of all time. Rounding out the lineup is one of rock music's most iconic character, the insane Keith Moon, who was just as good a drummer as he was a madman. The album was produced by the talented Glyn Johns and The Who. Who's Next boasts some of classic rock's greatest songs, including, Baba O'Riley, Bargain, Behind Blue Eyes and Won't Get Fooled Again. These songs and more are staples on classic rock stations. The album has gone triple platinum in the United States and is constantly on the greatest albums lists. As usual the boys breakdown and dissect the tracks and rank the songs. They then rank the album and the album cover against the previous 48 albums reviewed on the Album Review Crew. This was the Zeus' pick. So get in tune and make sure you don't get fooled again by listening to anything other than SIOL! For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below: SIOL Patreon Get all your Shout It Out Loudcast Merchandise by clicking below: Shout It Out Loudcast Merchandise at AMAZON Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices
On the 50th Episode of the Album Review Crew of Shout It Out Loudcast, Tom, Zeus & special guest Murph review the 1971 legendary album from the classic rock band The Who "Who's Next." The Who was already one the greatest rock bands of all time in 1971 when they began working on a new project from guitarist Pete Townshend, called "Lifehouse." The band scrapped the plan (with the help from their producer Glyn Johns) and decided to use their best songs for a new rock album. The result was their greatest album and one for the greatest rock albums of all time. The band was in their prime, led by main songwriter, guitarist and music genius Pete Townshend. Roger Daltrey was the prototype lead singer of the time, a good looking, charismatic frontman with incredible vocals. Bassist John Entwistle is considered by many as the greatest bass player of all time. Rounding out the lineup is one of rock music's most iconic character, the insane Keith Moon, who was just as good a drummer as he was a madman. The album was produced by the talented Glyn Johns and The Who. Who's Next boasts some of classic rock's greatest songs, including, Baba O'Riley, Bargain, Behind Blue Eyes and Won't Get Fooled Again. These songs and more are staples on classic rock stations. The album has gone triple platinum in the United States and is constantly on the greatest albums lists. As usual the boys breakdown and dissect the tracks and rank the songs. They then rank the album and the album cover against the previous 48 albums reviewed on the Album Review Crew. This was the Zeus' pick. So get in tune and make sure you don't get fooled again by listening to anything other than SIOL! For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below: SIOL Patreon Get all your Shout It Out Loudcast Merchandise by clicking below: Shout It Out Loudcast Merchandise at AMAZON Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store Please Email us comments or suggestions by clicking below: ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below: iTunes Podchaser Stitcher iHeart Radio Spotify Please follow us and like our social media pages clicking below: Twitter Facebook Page Facebook Group Page Shout It Out Loudcasters Instagram YouTube Proud Member of the Pantheon Podcast click below to see the website: Pantheon Podcast Network Learn more about your ad choices. Visit megaphone.fm/adchoices
On this episode of Tent Show Radio, legendary Southern Rock band The Ozark Mountain Daredevils perform a career spanning set during their thrilling return to the Big Top stage. One of Southern rock's more inventive exponents, The Ozark Mountain Daredevils have always been indefinable in terms of music genres, producing sounds of country-rock and electric bluegrass all on the same record, writing lyrics both whimsical and poetic, and singing harmonies that send shivers up your spine. The Daredevils were formed in 1971 by the songwriting team of John Dillon, Randle Chowning, Larry Lee, and Steve Cash; with Michael "Supe" Granda and Buddy Brayfield completing the line-up. When the band emerged with their self-titled debut in 1973, they evoked not only the spirit of the age but the place from which they sprang: Springfield, Missouri, and the Ozarks—a place of pop, rock, country, mountain music, and much more. The critically acclaimed record, recorded in London under the direction of producer Glyn Johns, contained the US Top 30 single "If You Wanna Get To Heaven", while a second success, "Jackie Blue', which reached #3, came from the band's follow-up collection, “It'll Shine When It Shines.” Recorded at Randle Chowning's ranch, these records achieved “gold” status and showcased the group's strong harmonies and intuitive musicianship. Following a hiatus, the Daredevils were reactivated in the late 1980's by Dillon, Cash and Granda. The resulting album, “Modern History” found the band with a new lease on life as they carried on into the new millennium with a new line-up featuring Dillon, Cash, Granda, Ron Gremp (drums) and Bill Brown (guitar/vocals). In the years that followed, the Daredevils released a number of major label and independent record label recordings, traveled millions of miles performing throughout North America and Europe, and continued to grow and maintain a loyal and dedicated fan base throughout the world. Now more than 50 years since their founding, their songs are still regularly played on Classic Radio stations. With two of the original co-founders still on board, John Dillon (guitar, mandolin, vocals) & Michael "Supe" Granda (bass, vocals), their current lineup of talented musicians includes Ron Gremp (drums), Ruell Chappell (vocals, percussion), Bill Jones (woodwinds, horns), Dave Painter (lead guitar), Nick Sibley (harmonica, guitar, vocals), Kelly Brown (keyboard), and Molly Healey (fiddle). With their signature sound and style remaining intact and vibrant, they continue to delight Dareheads with their live performances. EPISODE CREDITSMichael Perry - Host Phillip Anich - Announcer Keenan McIntyre - Engineer Gina Nagro - Marketing Support FOLLOW BIG TOP CHAUTAUQUA https://www.facebook.com/bigtopchautauqua/ https://www.instagram.com/bigtopchautauqua/ https://www.tiktok.com/@bigtopchautauqua https://twitter.com/BigBlueTent FOLLOW HOST MICHAEL PERRYhttps://sneezingcow.com/ https://www.facebook.com/sneezingcow https://www.instagram.com/sneezingcow/ https://twitter.com/sneezingcow/ 2024 TENT SHOW RADIO SPONSORSAshland Area Chamber of Commerce - https://www.visitashland.com/ Bayfield Chamber and Visitor Bureau - https://www.bayfield.org/ Bayfield County Tourism - https://www.bayfieldcounty.wi.gov/150/Tourism The Bayfield Inn - https://bayfieldinn.com/ Cable Area Chamber of Commerce - https://www.cable4fun.com/ Kylmala Truss - https://www.kylmalatruss.com/ SPECIAL THANKSWisconsin Public Radio - https://www.wpr.org/
This episode of TrackTalk is an excerpt from Live From My Drum Room With Tris Imboden. In this episode, we do a deep-dive into two of Kenny Loggins' biggest hits that Tris recorded: "Footloose" and "I'm Alright." Tris shares insights on each song, including him singing the bridge on the "live" version of "I'm Alright" which is included, along with "Footloose." So come along for the ride and please subscribe to my channel! Watch the entire episode of Live From My Drum Room With Tris Imboden! https://youtu.be/pK13yGRp0Vo?si=pgAbhnayknS4XQJJ"Live From My Drum Room" is hosted by drummer and music industry veteran, John DeChristopher, and is a series of intimate "conversations" with legendary drummers and music industry friends, drawing from John's five decades in the music industry. Ranked best Drum Podcast, it's a peek behind the curtain that only John can offer. And no drummers are harmed during any broadcasts!https://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom
We looked at some exceptional music this year, and Jeff inflicted some real crap on our listeners. Sensational Alex Harvey Band, Lou Reed, Ed Kuepper and Hallelujah – and that barely scratches the surface. And we got a new Globite School Case! And, in case you were wondering, we'll be back on Sunday 28 Jan 2024. Subscribe and get an automatic reminder! Books:The Number Ones – Tom Breihan You Are Beautiful & You Are Alone – Jennifer Otter Bickerdike SAHB Story – Martin Kielty (authorised by the entire band – obviously NOT Alex!) Half Deaf, Completely Mad – Tony Cohen (with John Olson) Sound Man – Glyn Johns A Life – Deborah Conway References: Dylan, Knebworth, The Doobie Brothers, Nico, New York, David Hurley, Yes, Jeff Buckley, Leonard Cohen, Kiss at Australian football grand final, The Smiths, Nirvana, Shane McGowan, Rod Stewart, Tracey Chapman, 1001 Albums You Must Hear Before you Die, Robert Dimery, The Wall, Pink Floyd, So, Peter Gabriel, Talking Heads, Remain in Light, Extreme Kayaking, Cookers, Influencers, Coachella, AI, Chat GPT, Bored Ape Yacht Club, Bitcoin, Donald Trump, Mr Beast, The Pixies, Steve Hackett, Sisters of Mercy, Underground Lovers, Nirvana, Nevermind, Queen, Bohemian Rhapsody, John Cale, Angels, Mi-Sex, Leaves Me Blind, The Number Ones, Tom Breihan, You Are Beautiful & You Are Alone, Jennifer Otter Bickerdike, SAHB Story, Martin Kielty, Half Deaf Completely Mad, Tony Cohen, Sound Man, Glyn Johns, A Life, Deborah Conway, The 250 Greatest Guitarists of all Time, Bali, Bintang, Alam Kul Kul Spotify playlistKiss at the AFL Grand FinalGordon RamsayLoren Gray talks CochellaGovernor General's wife sings about invasive species
If you've ever heard classic rock, you've heard his work: Glyn Johns! He joins us to discuss his new book "Sound Man : A Life Recording Hits with the Rolling Stones, the Who, Led Zeppelin, the Eagles, Eric Clapton, the Faces..." https://www.amazon.com/Sound-Man-Recording-Rolling-Zeppelin/dp/0147516579 https://vegasneversleeps.com/
Eagles, Glenn Frey, Glyn Johns and us.
Worth Weaver is a guitarist for the Wilmington, North Carolina-based rock band alltheprettythings. Worth is also a producer and an experienced touring guitarist, working with the bands He Is Legend and Thousand Foot Krutch. He loves music and he loves music production. He in fact lives and breathes music. When he's not producing, recording, and playing, he works sound gear at the music company Mojo Tone with one of his bandmates. Alltheprettythings had recently released a single called I Want You Back when Worth and I recorded this conversation. And they have an album coming soon. We talk about all this, and working remotely as a band, latest single I Want You Back, forthcoming album, embracing EMO, the formation of alltheprettythings, genre-fication (EMO), musical influences, learning the studio, and all the changes in recording technology, the heaviness of his band, Trent Reznor, Rick Ruben, Glyn Johns, working hard on socials and being ok with it, day gig w/Mojo Tone, and more. Learn more about Worth and his band at Alltheprettythingsofficial.com. Support the Unstarving Musician The Unstarving Musician exists solely through the generosity of its listeners, readers, and viewers. Learn how you can offer your support. This episode was powered by Music Marketing Method, a program for independent musicians looking to grow their music career. Music Marketing Method was created by my good friend Lynz Crichton. I'm in the program and I'm learning tons! I'm growing my fan base and learning about many ways that I'll be earning money in the new year. It's also helping me grow this podcast. How cool is that? To lean more and find out if Music Marketing Method can help your music career, visit UnstarvingMusician.com/MusicMarketing. This episode of the was powered by Liner Notes. Learn from the hundreds of musicians and industry pros I've spoken with for the Unstarving Musician on topics such as marketing, songwriting, touring, sync licensing and much more. Sign up for Liner Notes. Liner Notes is an email newsletter from yours truly, in which I share some of the best knowledge gems garnered from the many conversations featured on the Unstarving Musician. You'll also be privy to the latest podcast episodes and Liner Notes subscriber exclusives. Sign up at UnstarvingMusician.com. It's free and you can unsubscribe at anytime. Mentions and Related Episodes Alltheprettythingsofficial.com Mark Frigo, Nashville Multi-Platinum Mixer / Engineer Beau Burchell, Producer Mixer Engineer Composer Jamie King Audio The Secret History of the Beatles' ‘Let It Be' – Glyn Johns on Rolling Stone Music Now podcast Trent Reznor on Tetragrammaton with Rick Rubin Producer Howard Benson Mojo Tone 41 Singer Songwriter Joe George – Reverb and Whiskey (or Iced Tea) Resources The Unstarving Musician's Guide to Getting Paid Gigs, by Robonzo Music Marketing Method – The program that helps musicians find fans, grow an audience and make consistent income Bandzoogle – The all-in-one platform that makes it easy to build a beautiful website for your music Dreamhost – See the latest deals from Dreamhost, save money and support the UM in the process. More Resources for musicians Pardon the Interruption (Disclosure) Some of the links in this post are affiliate links. This means I make a small commission, at no extra charge to you, if you purchase using those links. Thanks for your support! Visit UnstarvingMusician.com to sign up for Liner Notes to learn what I'm learning from the best indie musicians and music industry professionals. Stay in touch! @RobonzoDrummer on Twitter and Instagram @UnstarvingMusician on Facebook and YouTube
The Who, Pete Townshend, Glyn Johns, and me.
In a special episode taped live in front of a studio audience at the Rock and Roll Hall of Fame, legendary producer Glyn Johns looks back at the real story of the Beatles' Let It Be sessions — and actual Beatle Ringo Starr weighs in as well. Rob Sheffield and Rock and Roll Hall of Fame VP of education Jason Hanley join host Brian Hiatt for the discussion Learn more about your ad choices. Visit podcastchoices.com/adchoices
John Hiatt, Glyn Johns, and you.
The writer Maggie Serota returns to the show for a deep dive into the 2013 music documentary for Showtime, History of the Eagles, directed by Alison Ellwood. This comprehensive 3 hour documentary is the official story of one of America's biggest rock bands, spanning their massive popularity in the seventies, their solo careers in the eighties and their reunion in the nineties, but Maggie and I think that as entertaining as the movie must be for fans of The Eagles, it's even more fun to watch if you're not a fan. As sanitized and flattering the film is towards the group's two leaders Glenn Frey and Don Henley, their legendary arrogance and the shocking mistreatment of the other members of the group (in particular the guitarist Henley coldly refers to as “Mr. Felder”) bursts through the constructed image to create a very funny portrayal of toxic masculinity and fevered egos on the rampage. We discuss our favourite moments of hubris and chaos, compare this epic documentary to the more recent Beatles film Get Back (which also includes appearances from the great producer Glyn Johns, who clearly didn't enjoy working with the Eagles), and praise the MVP of the band and the film, guitar god Joe Walsh. There are dozens of premium episodes of the show available exclusively to Junk Filter patrons: some notable previous Patreon guests include Jared Yates Sexton, Jacob Bacharach, David Roth, Bryan Quinby and Sooz Kempner. More to come! Sign up at https://www.patreon.com/junkfilter Follow Maggie Serota on Twitter, and subscribe to her wonderful substack Professor Garbage. Trailer for History of the Eagles (Alison Ellwood, 2013) Music video for “I Can't Tell You Why”, Eagles, 1979 “Choice of a New Generation” - Pepsi commercial featuring Don Johnson and Glenn Frey, directed by Ridley Scott, 1985
The boys take on the Fab Four for the first time in this episode. Listen to memories of parties, halloween and Beatles Rock Band amongst talk of the “Let It Be” album. The tea is piping hot for this one, involving characters such as Phil Spector, Allen Klein, Glyn Johns and, of course, John, Paul, George and Ringo. Get back to a place where you can listen! Follow us on social media: Twitter-https://twitter.com/turntablestea Facebook-https://www.facebook.com/turntablesandteapodcast Instagram-https://www.instagram.com/turntablesandteapodcast/ --- Support this podcast: https://podcasters.spotify.com/pod/show/turntablesandtea/support
Georgie Fame, born Clive Powell in Leigh, Lancashire, June 1943 is one of British R&B music's founding fathers. Fame is the only British star to have scored three number one hits with his only Top 10 chart entries – ‘Yeh Yeh' in 1964, ‘Get Away' in 1966 and ‘Ballad of Bonnie and Clyde' in 1967. But it's more important to acknowledge his cultural influence. Fame popularized and educated in equal measure. The black music he championed with his band The Blue Flames brought new sounds to Swinging London and bossed venues like the Flamingo Club and the Marquee where he turned the English mod movement on to a whole bag of soul and authentic US urban and country sounds and also the ska and early reggae he heard in the Jamaican cafes and clubs in the Ladbroke Grove area of London. Like his great friend and collaborator Van Morrison, Georgie Fame found himself raised on jazz and blues with a penchant for Mose Allison and Willie Mabon and of course Ray Charles, not to overlook a grounding in the sophisticated rock and rollers like Chuck Berry who defied categorization.With Latin pop also part of his skill set, Fame can turn his hand to just about anything and since his piano and Hammond organ keyboard brilliance – he is also a fine guitarist – is matched to a gorgeously relaxed vocal style he takes audiences on a melodic journey that combines the sweetest nostalgia with the most up to date interpretations of great songs and songbooks. As a sideman, he has recorded with many artists, including Gene Vincent, Prince Buster, Muddy Waters, Eric Clapton, Joan Armatrading, Andy Fairweather-Low, Bill Wyman and Van Morrison. Ever on the road, Georgie Fame continues to perform his unique blend of jazz/rhythm and blues for live audiences at clubs and music festivals throughout Europe. He is revered in Scandinavia and Germany and even took a local version of the Blue Flames to Australia where he escaped the English winter and built a rapport with fellow players from another hemisphere.Having taken piano lessons at an early age the man born Clive Powell in the cotton weaving area of Leigh, Lancashire became a professional musician in the 1950s playing at holiday camps before departing to London aged 16 to seek his fortune. He touted his talents up and down the legendary Tin Pan Alley area of Denmark Street just off Soho where he was spotted by impresarios Lionel Bart and Larry Parnes who christened him Georgie Fame – somewhat against his will. Working with touring rock and rollers like Joe Brown, Gene Vincent and Eddie Cochran young Fame became battle-hardened and was snapped up by Billy Fury in 1961 to lead his backing band The Blue Flames for whom he arranged and sang. The Blue Flames and Fury parted company and so Georgie took over and secured a three-year residency at the Flamingo Club. The debut Rhythm and Blues at the Flamingo came out in 1963 and was engineered by Glyn Johns and produced by Cliff Richard's console maestro Ian Samwell. After promoting himself via the offshore pirate radio stations Fame struck gold with his version of “Yeh, Yeh”, a tune first recorded by Mongo Santamaria in the Cuban style. The next significant hit, “Get Away”: was another #1 in 1966 with production from Denny Cordell and a Clive Powell writing credit. The perfect sound for the emerging summer of love
This week on Rockonteurs, Gary and Guy are joined by an incredible artist with a career spanning over 50 years and 20 studio albums. We are delighted to welcome Ivor Novello Award-winning Joan Armatrading to the podcast to talk about her remarkable career. From the musical Hair to her debut album ‘Whatever's for Us' in 1972, to A&M Records, smash hits of the 70s and 80s and working with the likes of super producers like Glyn Johns and Gus Dudgeon, this is one not to miss.Rockonteurs is produced by Ben Jones for Gimme Sugar Productions. Hosted on Acast. See acast.com/privacy for more information.
This week on Rockonteurs, Gary and Guy are joined by an incredible artist with a career spanning over 50 years and 20 studio albums. We are delighted to welcome Ivor Novello Award-winning Joan Armatrading to the podcast to talk about her remarkable career. From the musical Hair to her debut album ‘Whatever's for Us' in 1972, to A&M Records, smash hits of the 70s and 80s and working with the likes of super producers like Glyn Johns and Gus Dudgeon, this is one not to miss.Rockonteurs is produced by Ben Jones for Gimme Sugar Productions. Hosted on Acast. See acast.com/privacy for more information.
On the 3rd Episode of Shout It Out Loudcast's sidecast, The Zeppelin Chronicles, our hosts, Tom & Zeus, along with SIOL sidekick Murph and Jay Scott from The Hook Rocks podcast, review the 1970 album, "Led Zeppelin III." Led Zeppelin III often referrred to as the "acoustic album," has been often misunderstood. Filled with many acoustic offerings, the album still boasts several hard hitting classic Led Zeppelin songs, like Immigrant Song, Celebration Day and Out On The Tiles. After a grueling tour schedule Robert Plant and Jimmy Page decided to go to a cottage without running water or electicity in Bron-Yr-Aur, Wales. The two work on their songwriting with only acoustic guitars and a tape recorded. The results are the classic acoustic numbers on Led Zeppelin and other songs that would filter onto future Led Zeppelin releases. The band felt free to do whatever music they so desired. Led Zeppelin III was not only filled with rockers, but folk songs, ballads and perhaps their signature blues song, the classic, "Since I've Been Loving You." Although Led Zeppelin III went to Number 1 in the USA and the UK and went 6 times platinum in the United States, the album is still overlooked and definitely underratted, Led Zeppelin III is an album from a band with no limits to their musicianship or their lyrics and still on the ascension! The Zeppelin Chronicles breaks down Led Zeppelin III SIOL style. The guys discuss their connection with the album, the background of the album, the album cover and finally the songs. They rank the songs, then rank the album and album cover against the two previous Led Zeppelin albums reviewed. So tune in, follow, download and subscribe or face the "Hammer Of The Gods!" For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below: SIOL Patreon Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network
On the 3rd Episode of Shout It Out Loudcast's sidecast, The Zeppelin Chronicles, our hosts, Tom & Zeus, along with SIOL sidekick Murph and Jay Scott from The Hook Rocks podcast, review the 1970 album, "Led Zeppelin III." Led Zeppelin III often referrred to as the "acoustic album," has been often misunderstood. Filled with many acoustic offerings, the album still boasts several hard hitting classic Led Zeppelin songs, like Immigrant Song, Celebration Day and Out On The Tiles. After a grueling tour schedule Robert Plant and Jimmy Page decided to go to a cottage without running water or electicity in Bron-Yr-Aur, Wales. The two work on their songwriting with only acoustic guitars and a tape recorded. The results are the classic acoustic numbers on Led Zeppelin and other songs that would filter onto future Led Zeppelin releases. The band felt free to do whatever music they so desired. Led Zeppelin III was not only filled with rockers, but folk songs, ballads and perhaps their signature blues song, the classic, "Since I've Been Loving You." Although Led Zeppelin III went to Number 1 in the USA and the UK and went 6 times platinum in the United States, the album is still overlooked and definitely underratted, Led Zeppelin III is an album from a band with no limits to their musicianship or their lyrics and still on the ascension! The Zeppelin Chronicles breaks down Led Zeppelin III SIOL style. The guys discuss their connection with the album, the background of the album, the album cover and finally the songs. They rank the songs, then rank the album and album cover against the two previous Led Zeppelin albums reviewed. So tune in, follow, download and subscribe or face the "Hammer Of The Gods!" For all things Shout It Out Loudcast check out our amazing website by clicking below: www.ShoutItOutLoudcast.com Interested in more Shout It Out Loudcast content? Care to help us out? Come join us on Patreon by clicking below: SIOL Patreon Shop At Our Amazon Store by clicking below: Shout It Out Loudcast Amazon Store Please go to Klick Tee Shop for all your Shout It Out Loudcast Merchandise by clicking below:SIOL Merchandise at Klick Tee Shop Please Email us comments or suggestions by clicking below:ShoutItOutLoudcast@Gmail.com Please subscribe to us and give us a 5 Star (Child) review on the following places below:iTunesPodchaserStitcheriHeart RadioSpotify Please follow us and like our social media pages clicking below:TwitterFacebook PageFacebook Group Page Shout It Out LoudcastersInstagramYouTube Proud Member of the Pantheon Podcast click below to see the website:Pantheon Podcast Network
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
The Who were ready to call it a day in 1982 which makes It's Hard their swan song. Of course they eventually came back but they were facing MTV, middle age, solo careers and examining life through different lenses. Keith Moon died in 1978 after the release of Who Are You and The Who soldiered on with Kenney Jones (The Faces) on the drums. But Pete Townshend's solo debut Empty Glass in 1980, which featured the mega-hit Let My Love Open The Door, put the band in an awkward position.The Who released Face Dances in 1981 but Pete was more keen on a solo career after the triple platinum Empty Glass. But the record company wanted one more Who album and tour and It's Hard was to serve as The Who's swan song which it did for nearly a quarter of a decade.Radio hits Athena and Eminence Front are well known but diving deeper into the album unlocks some unheralded songs written by John Entwhistle, Pete's contemplation of himself as a middle age rock star and what their collective future might be with or without the band. While some of the keyboards and synths might make this one sound dated, some of the themes of struggling to understand your place in the world are as poignant as ever. It was fun to rediscover this one!Ugly American Werewolf in London WebsiteTwitterInstagramYouTubeLInkTreewww.pantheonpodcasts.com
In this episode, Pattie chats with legendary Sound Engineer and Record Producer; Glyn Johns. Glyn has worked with some of the greatest artists of all time including Led Zeppelin, The Rolling Stones, The Beatles, Bob Dylan, Eric Clapton, The Clash... the list goes on! Support this show http://supporter.acast.com/patties-podcast. Hosted on Acast. See acast.com/privacy for more information.
ABOUT CHARLIE'S GOOD TONIGHTThe fully authorized and official biography of legendary Rolling Stones drummer Charlie Watts, one of the world's most revered and celebrated musicians of the last half century. British journalist Paul Sexton-who has covered the band for more than thirty years-has been authorized to write Watts' biography by his family, who have maintained a low-profile dignity both before and since the drummer's death. The welcome result is CHARLIE'S GOOD TONIGHT: The Life, the Times, and the Rolling Stones: The Authorized Biography of Charlie Watts (Harper; October 11, 2022; $27.99), a frank, affectionate portrait of an iconic musician and singular man. The book also has the approval of the Rolling Stones themselves, with forewords by both Mick Jagger and Keith Richards."Watts was the proof that not all rock stars are created equal, and that clichés are there to be avoided. Such as the one that, in his mind, he was a rock star at all," Sexton writes. "He was the global celebrity who hated attention and once said that he preferred the company of dogs to humans; the car enthusiast who didn't drive; the horseman who didn't ride; the man of wealth and taste who grew up in a prefab; the drummer who toured the world for five and a half decades and spent all of them yearning to be home. The jobbing musician who thought the Stones would be finished in a year and ended up as their pilot light with a whole-life tariff. If you made him up, you would find few believers."Drawing on exclusive interviews with bandmates and fellow musicians, with family and myriad friends from childhood through his late life, Sexton gives the full measure of the man. From working class beginnings during World War II to the Swinging Sixties when he was recruited for the Stones months after their formation, through the celebrity and debauchery of the 1970s and 80s, weathering band bust-ups and battles with personal demons, Watts remained remarkably even keeled. With roots in jazz, he openly admitted that the Rolling Stones' music was not really his cup of tea, but faithfully kept the steady beat of the band for almost sixty years.While it offers new glimpses behind the scenes, CHARLIE'S GOOD TONIGHT is not a retread of the legend that is the greatest rock 'n roll band in history, says Sexton. It is a portrayal of the life and times of a "someone whose like we won't see again, who almost seemed to belong in another epoch altogether: a man out of time, but always perfectly in time.The biography not only draws extensively on Sexton's huge archive with the Stones, but contains countless fresh interviews, including new reflections by Jagger, Richards and Ronnie Wood; Watts' daughter Seraphina, sister Linda and granddaughter Charlotte; former bandmate Bill Wyman; engineer and confidant Glyn Johns; and many more.ABOUT PAUL SEXTONPAUL SEXTON is an author and broadcaster whose work has appeared in The Times (London), Daily Telegraph, The Guardian, Billboard and numerous other publications, and extensively on BBC RadioBook Available on Amazon:https://www.amazon.com/Charlies-Good-Tonight-Authorized-Biography/dp/0063276585/
Brian and Murdock attempt to understand the complicated relationship American music fans often have with a certain set of 70's hitmakers. SHOW NOTES: Songs used in this episode: Eagles - “I Can't Tell You Why,” “The Best of My Love”; Scott Stapp “Marlins Will Soar” https://en.wikipedia.org/wiki/Eagles_(band) Klosterman essay on The Eagles: https://ew.com/article/2013/06/20/book-excerpt-chuck-klosterman/ https://groovyhistory.com/eagles https://en.wikipedia.org/wiki/Glyn_Johns_discography https://en.wikipedia.org/wiki/Eagles_(album) The Cameron Crowe 1975 Rolling Stone piece: http://www.theuncool.com/journalism/rs196-the-eagles/ Excerpt from the Felder book: https://web.archive.org/web/20080718172259/http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/article2638985.ece https://www.billboard.com/music/rock/eagles-hatred-explainer-defense-glenn-frey-6851078/ https://en.wikipedia.org/wiki/Laurel_Canyon,_Los_Angeles https://en.wikipedia.org/wiki/Desperado_(Eagles_album) https://www.theringer.com/music/2021/5/5/22420083/the-eagles-glen-frey-don-henley-50-years http://www.robertchristgau.com/xg/bk-aow/eagles.php Big Lebowski scene: https://www.youtube.com/watch?v=-JlmvtAHhnc https://rocknyc.live/don-henley-ejects-a-fan-from-a-show-for-shouting-don-felders-name.html https://www.loudersound.com/features/life-in-the-fast-lane-the-turbulent-tale-of-the-eagles https://decider.com/2016/12/02/history-of-the-eagles-documentary-netflix/
Everyone knows that Sgt Pepper was recorded on a 4-track machine, most likely a Tascam Portastudio 4-Track cassette recorder. But how many people know how to fix it after it eats your Ringo the 4th tape? That's why The Untitled Beatles Podcast invited Greg Norman - an engineer at Chicago's Electrical Audio recording studios - to gab all things technically fab with T.J. and Tony on our semi-irregular video program “Twitch & Shout”! Remixed and remastered for audiophile delinquents, they'll touch on Get Back, Glyn Johns micing techniques, and Greg's visit to Abbey Road. Plus all the important inquiries you've come to expect, such as:
On this episode, we look at the Who's monster-selling 1971 LP: Who's Next. Coming off the surprising success of Tommy, Pete Townsend was looking to take the "concept album" in a new direction: a full, multimedia experience where music, film, and stage would become one. The Lifehouse project (as it was known) had a backstory: a dystopian future where humans can experience life only as beings plugged into a machine, the Lifehouse. (Sound similar? The Matrix?) Attempts to record the ambitious project failed, resulting in a near breakdown for Townsend and frustration from his bandmates. Luckily producer Glyn Johns recognized the brilliance of the tunes and convinced the Who to dump the double album, streamline their current project and pick the best songs, and record a single LP. Inspired by the power of their live concerts while touring for Tommy, the band harnessed that energy into remarkable performances on these brilliant songs. It's a bit of a transitional album for the band- moving them from their earlier pop-oriented tunes to a fuller (and louder) sound that was perfect for the “Arena Rock” phase of their career. Townsend introduced synthesizers to the band sound, providing these songs with a new rhythmic foundation. Who's Next finds the Who firing on all cylinders to create an album of remarkable breadth and depth.
Seeing The Eagles, Glyn Johns again, Tony Hadley's career advice, and a cosmos triumvirate. Join the Iron Filings Society: https://www.patreon.com/topflighttimemachine See acast.com/privacy for privacy and opt-out information.
It's time to continue our Father's Day celebration and GET BACK to the conversation with legendary producer Glyn Johns and his daughter Charley!Become a FILTHY ANIMAL and get access to exclusive content:https://www.youtube.com/channel/UC2qKyxOwoa_Uz5d5xCZEUPw/joinExplore more Drinks With Johnny:YouTube: https://www.youtube.com/drinkswithjohnnyInstagram: https://www.instagram.com/drinkswithjohnnyFacebook: https://www.facebook.com/drinkswithjohnnyTwitter: https://twitter.com/drinkswjohnnyShop: https://www.drinkswithjohnny.com
It's time to continue our Father's Day celebration and GET BACK to the conversation with legendary producer Glyn Johns and his daughter Charley! Become a FILTHY ANIMAL and get access to exclusive content: https://www.youtube.com/channel/UC2qKyxOwoa_Uz5d5xCZEUPw/join Explore more Drinks With Johnny: YouTube: https://www.youtube.com/drinkswithjohnny Instagram: https://www.instagram.com/drinkswithjohnny Facebook: https://www.facebook.com/drinkswithjohnny Twitter: https://twitter.com/drinkswjohnny Shop: https://www.drinkswithjohnny.com Learn more about your ad choices. Visit megaphone.fm/adchoices
“The Universe will do things in your life that you don't know why, at the time…” On this Niko Bolas Interview: Learning engineering by mixing church music and porn soundtracks, Getting sober and choosing to stay sober every morning, letting go of toxic friendships, amazing stories about working with Val Garay, Jack Nitzsche, Neil Young, Dolly Parton (one of his best gigs ever), Don Henley, Warren Zevon, Keith Richards, Vinny Colaiuta, Mike Scott & The Waterboys… Forgetting to hit “record” while Glyn Johns was in the studio with him, dealing with self-doubt, why “If you have an intention and you truly feel it, your needs will be met,” and loads more - absolutely awesome conversation Cool Guitar & Music T-Shirts!: http://www.GuitarMerch.com Niko Bolas is a producer, recording engineer and mixer. Here's a small sample of the artists Niko has worked with: Neil Young, Keith Richards, Prince, Bonnie Raitt, Warren Zevon, Jackson Browne, James Taylor, Kim Carnes, Linda Ronstadt, Toto (IV), Barbara Streisand, Steve Perry, Dan Fogelberg, CSNY, Stan Getz, Tracy Chapman, The Waterboys, Robben Ford, Kiss, Herbie Hancock, Jeff Babko, Jeff Beck, The Mavericks, Boz Scaggs, Beth Hart, Los Lobos, Steve Jordan, doz. of others Subscribe & Website: https://www.everyonelovesguitar.com/subscribe Support this show: http://www.everyonelovesguitar.com/support
Faces [00:33] "Miss Judy's Farm" A Nod Is as Good as a Wink... to a Blind Horse Warner Bros. Records BS 2574 1971 The lads at peak form, produced by none other than Glyn Johns. Soft Cell [04:09] "Say Hello, Wave Goodbye" Non-Stop Erotic Cabaret Sire SRK 3647 1981 Excellent low-key groove from these Leeds lads. There's fun cover of this by Japanese duo Salon Music and Russell Mael of Sparks (https://youtu.be/s6M69rLUMfE). Aidan Baker & Karen Williams [09:37] "Meeting in the Dark" Nonland Gizeh Records GZH74 2017 Guitarscapes by Aidan Baker and percussion by Karen Willems. Atari Teenage Riot [15:03] "Atari Teenage Riot" Not Your Business EP 1996 Grand Royal GR039/Digital Hardcore Recordings DHR US 12.1 Yup, digital hardcore was a thing. The Partridge Family presentado a Shirly Jones y David Cassidy [20:26] "Nadie Desea Ser Amada (Doesn't Somebody Want to Be Wanted)" Al Dia (Up to Date) Bell Records 2308 004 1971 Jeez leweez, never trust a kid to refile records correctly. Why is there a copy of The Partridge Family's Up to Date in the sleeve for The Partridge Family Notebook? And why is the label in Spanish but none of the songs are in Spanish. Oh well. Herb Ellis [23:07] "Big Red's Boogie Woogie" Nothing but the Blues Verve Records MG V-8252 1957 Hot! Featuring Stan Levey on drums, Ray Brown on bass, Stan Getz on tenor sax, and Roy Eldridge on trumpet. Big Star [28:46] "When My Baby's Beside Me" No. 1 Record Big Beat Records WIK 53 1986 (original release: Ardent Records DS-2083 1972) Every day someone is born who has never heard Big Star. If you are one of those people, enjoy! The Number Ones [32:09] "Sharon Shouldn't" The Numbers Static Shock Records SSR024 2014 Hot mid-teens power pop punk from Dublin. Iron Maiden [35:56] "The Prisoner" The Number of the Beast Harvest ST-12202 1982 Bruce Dickinson's debut outing with Maiden. This album loomed large in my adolescence. Evidently Mr. Dickinson is touring with a spoken word show? (https://youtu.be/R9jfm-9L0q4) TacocaT [41:59] "Psychedlic Quinceañera" NVM Hardly Art HAR-079 2014 So many awesome songs on this album that it's hard to pick just one, but really... This Is the One! From the lyrics to the trumpets, what's not to love? Romeo Void [44:10] "Never Say Never" Never Say Never Columbia/415 Records 5C 38178 1981 Every day someone is born who has never heard "Never Say Never". If one of those people is you, enjoy! Thank goodness for the early days of MTV otherwise I would have had no idea this sound existed. Alan Price [50:16] "O Lucky Man!" O Lucky Man! Original Sountrack Warner Bros. Records BS 2710 1973 I've been obsessed with this Alan Price soundtrack since I first heard it in this over-long shaggy dog of a film by Lindsay Anderson. L.A. Witch [54:44] "Heart of Darkness" Octubre Suicide Squeeze SSQ166 2019 Mellow down spooky. Bobbie Gentry [57:12] "Mississippi Delta" Ode to Billie Joe Captiol Records ST-2830 1967 One of the hottest track one side ones you could ask for. Mulatu Astatke [01:00:22] "Munaye" Mulatu of Ethiopia Worthy Records W-1020 1972 (2003 reissue) Putting the funk in Ethiopian jazz. The Cramps [01:03:54] "I Can't Hardly Stand It" ...Off the Bone Illegal Records ILPIC 012 1985 The Cramps give this Charlie Feathers number (https://youtu.be/8h_O6U1xMlc) a fine take. There's some great local television footage of Alex Chilton helping The Cramps record at Sun Studios if you shake the internet. Music behind the DJ: "Goldfinger" by Mantovani
Rock & Roll Hall of Fame producer and engineer Glyn Johns turns 80 this month. In this episode, he explains the difference between a producer and an engineer, and shares an infamous Rolling Stones story in this 2015 interview with Paul Mendenhall that coincided with his book: Sound Man: A Life Recording Hits with The Rolling Stones, The Who, Led Zeppelin, the Eagles, Eric Clapton, The Faces…
DJ Kingblind presents The Big Beat Music Podcast- This week we talk about & play the best music in a themed Podcast called "Glyn John- Producer, Engineer, Genius" He launched his career during the British Invasion and never looked back. Producer and sound engineer Glyn Johns has worked on classic albums for such stars as the Rolling Stones, Eric Clapton, the Eagles, the Who, the Beatles and the Clash. You can't shuffle through a record collection without finding his name in the credits. This week we tell his story in words and music#podcastsonamazonmusic #podcast #music #rock #southern #rock #djkingblind #applepodcasts #googlepodcasts #hit #musicians #musiclife #georgeharrison #ringostarr #paulmccartney #beatles #thebeatles #classicrock #rollingstones #keithrichards #photooftheday #artist #nofiltertour #ledzeppelin #instagram #ronniewood #vinyl #pinkfloyd #blues #acdc #fashion #stones #instagood #vintage #photography #rockandroll #guitar #love #charliewatts #art #therollingstones #rocknroll Find all links for DJ Kingblind here: https://linktr.ee/kingblindSupport the show
Stand en pointe and tune up that guitar – it's a high-art filled episode of Go Fact Yourself!Alicia Coppola is an actor, seen in shows like “Jericho” and “Why Women Kill.” But her career on camera actually began as part of a game show: MTV's “Remote Control,” where she learned so much from people like Adam Sandler and Colin Quinn… including some experiences she never thought she'd need to go through. You can hear Alicia Coppola on her podcast “Bootstrap Bitch.”Alicia is joined by her former on-screen husband from “Why Women Kill,” comedian and actor Adam Ferrara. Alicia has also been a guest on “The Adam Ferrara Podcast,” which Adam says is all about him and his friends trying to be better people. How's that going? Not so well… but he'll tell us why he doesn't think that's necessarily a bad thing. Our guests will answer questions about classic dance, classic rock, and the heroes who helped make them happen. What's the Difference: Country Bumpkin!What's the difference between straw and hay?What's the difference between a bump and a lump?Areas of Expertise:Alicia: The movie The Turning Point, high-end luxury handbags, and the TV shows “The Real Housewives” of New York and Beverly Hills.Adam: The Stephen Pressfield book The War of Art, The Who's album Who's Next, and The Trans Am from Smokey and the Bandit.Appearing in this episode:J. Keith van StraatenKitty FeldeAlicia CoppolaAdam FerraraWith guest experts:Leslie Browne: dancer, teacher, and actor who earned an Oscar nomination for herfilm debut in The Turning Point.Ethan Russell, legendary rock-and-roll photographer and Glyn Johns, legendary rock-and-roll producer & engineer – both seen in The Beatles Get Back documentary!Go Fact Yourself was devised and produced by Jim Newman and J. Keith van Straaten, in collaboration with Maximum Fun. Theme Song by Jonathan Green.Maximum Fun's Senior Producer is Laura Swisher.Associate Producer and Editor is Julian Burrell.Vaccine-getting by YOU.
Adam pissed off Phil again. The legendary Rock and Roll producer Glyn Johns stops by and tells us about working with the Beatles, The Stones, The Who, Led Zeppelin, The Eagles and so many more. He loves Eric Clapton and how his music comes from his heart. Marc and Alex make fun of Adam because Glyn said he thought Adam's head was going to explode. He loves Eric Clapton and how his music comes from his heart. LINK TO ADAM'S {FREE} YOU TUBE SPECIAL: "IT'S SCARY IN HERE" https://www.youtube.com/watch?v=pFSZQsqH8cw ADAM'S TICKET LINK https://linktr.ee/AdamFerrara Please consider supporting the good people who support us. Thanks for all the love! https://cruzintowellness.com/adam-ferrara Learn more about your ad choices. Visit Megaphone.fm/adchoices Learn more about your ad choices. Visit podcastchoices.com/adchoices
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