Podcast appearances and mentions of ian mclagan

In this episode, we explore the life and career of Kenney Jones, the legendary drummer who played a crucial role in shaping the sound of British rock music during the '60s and '70s. From his early days with The Small Faces, through the raucous years with The Faces, to his tenure with The Who, Jones's rhythmic prowess and adaptability made him a sought-after musician in the evolving rock landscape.Born in Whitechapel, London, Kenney Jones grew up immersed in the vibrant music scene of post-war Britain. Influenced by the burgeoning British Invasion, Jones was drawn to the energetic rhythms of bands like The Beatles and The Rolling Stones, as well as the soulful sounds of American R&B. His early exposure to these genres laid the foundation for his distinctive drumming style, characterized by a blend of precision and flair.In 65, Jones co-founded The Small Faces alongside Steve Marriott, Ronnie Lane, and Jimmy Winston. The band quickly became emblematic of the Mod movement, delivering hits like "Itchycoo Park," "Tin Soldier," and "All or Nothing." Their music, a fusion of psychedelic rock and soulful melodies, resonated with a generation seeking a fresh, dynamic sound.Jones's drumming provided a solid backbone for the band's intricate arrangements. The Small Faces' influence extended beyond their music, impacting fashion and youth culture in '60s Britain.The departure of Steve Marriott in '69 marked a turning point for the band. The remaining members—Jones, Lane, and keyboardist Ian McLagan—joined forces with Rod Stewart and Ronnie Wood, both from the Jeff Beck Group, to form The Faces. The Faces quickly gained a reputation for their electrifying live performances and unpretentious style. Albums like "A Nod Is As Good As a Wink... to a Blind Horse" and "Ooh La La" captured their energetic spirit and musical prowess. Rod Stewart's simultaneous solo career, particularly the success of "Every Picture Tells a Story" and the hit single "Maggie May," brought additional attention to The Faces. However, this dual focus eventually led to tensions within the group.The Faces' blend of rock, soul, and blues, combined with their charismatic stage presence, earned them a devoted fan base. Tracks like "Stay with Me," "Cindy Incidentally," and "Ooh La La" became anthems of the era, showcasing the band's versatility and Jones's dynamic drumming.Despite their success, internal tensions and the members' individual pursuits led to the band's dissolution in '75. In '78, following the death of drummer Keith Moon, Jones was invited to join The Who. His tenure with the band included contributions to albums like Face Dances and It's Hard, as well as performances at significant events such as Live Aid in '85.While his drumming style differed from Moon's, Jones brought a steady, reliable rhythm to the band's music during a period of transition. His professionalism and experience were invaluable assets to The Who during this time.Beyond his musical endeavours, Jones authored an autobiography titled "Let the Good Times Roll: My Life in Small Faces, Faces, and The Who", providing an in-depth look at his life and career. Kenney Jones's contributions to music have been recognised with inductions into the Rock and Roll Hall of Fame as a member of both The Small Faces and The Faces. His influence continues to inspire musicians and fans alike, ensuring his legacy endures in the annals of music history.Join us as we delve into the remarkable journey of Kenney Jones, exploring his impact on British rock music and the enduring legacy of The Small Faces, The Faces, and The Who. Whether you're a longtime fan or new to his story, this episode offers a comprehensive look at one of rock's most influential drummers.#thesmallfaces #thefaces #thewho #britishinvasion

Andrew Darlington is the author of the brand new book The Small Faces and The Faces: Every Album, Every Song.They started out as a mod fourpiece with Steve Marriott on lead vocals. With hit singles including “Itchycoo Park”, “Lazy Sunday”, “All Or Nothing”, and “Tin Soldier”, they evolved into one of the UK's most successful bands by the end of the 60s. After Marriott left the band to form Humble Pie, the remaining members Ronnie Lane, Ian McLagan, and Kenney Jones joined forces with singer Rod Stewart and guitarist Ronnie Wood to start a new era as Faces. The band's 1971 album A Nod Is As Good As a Wink... to a Blind Horse, became a worldwide hit, thanks to the single, "Stay with Me". But by the mid-70s, Faces was no more and the members would go on to forge new phases of their careers, most notably Rod Stewart. But the music of the Small Faces and Faces is not forgotten. In the latest book in Sonicbond's On Track series, Darlington lays out the full story of the Small Faces and Faces song-by-song, from the very start, to the very end. Purchase a copy of The Small Faces and The Faces: Every Album, Every Song in the USPurchase a copy of The Small Faces and The Faces: Every Album, Every Song in the UKFollow Andrew Darlington on XFollow Andrew Darlington on Facebook Episode Playlist---------- 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

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

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

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

For this episode we dug back into the Ugly Things tape vaults for an interview with Ian McLagan of the Small Faces recorded in January 2014. Mac chats about his many wild adventures with the Small Faces, recording for Immediate Records, songwriting, teen hysteria, LSD, and more. Patreon Bonus: Ian McLagan talks about Booker T Jones Please support the podcast by joining our Patreon at patreon.com/uglythingspod, where you can enjoy special bonus content plus much more. Check out Ugly Things Magazine: https://ugly-things.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

For this episode we dug back into the Ugly Things tape vaults for an interview with Ian McLagan of the Small Faces recorded in January 2014. Mac chats about his many wild adventures with the Small Faces, recording for Immediate Records, songwriting, teen hysteria, LSD, and more. Patreon Bonus: Ian McLagan talks about Booker T Jones Please support the podcast by joining our Patreon at patreon.com/uglythingspod, where you can enjoy special bonus content plus much more. Check out Ugly Things Magazine: https://ugly-things.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

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

Hello once again everyone I'm your host Ray Shasho and welcome to another edition of Interviewing the Legends. BIO: When Kenney Jones was 16, he had his first hit record and shot to fame with The Small Faces, who were at the heart of the Mod revolution which swept Britain at the time and a band who have been cited as a major influence on musicians during the 50 years which have followed. When The Small Faces split Kenney was instrumental in forming The Faces and invited Rod Stewart to be featured as lead singer. The Faces took the rock world by storm in the early 1970's on both sides of the Atlantic and became one of the most raucous, fun-loving bands of the time, with a fanatical following. The Faces split in the mid-70's and Kenney along with Steve Marriott, Ian McLagan and new man, Rick Wills, re-form The Small Faces, touring for a couple of years and making two albums before deciding to call it a day. By this time Kenney was recognized as one of the top drummers in the rock industry, and it was no surprise that he was The Who's choice to replace Keith Moon after his tragic death in 1978. After leaving The Who, Kenney hooked up with former Bad Company singer, Paul Rodgers to form The Law in the early 1990's. Kenney's most recent venture is forming a new band called The Jones Gang. Please welcome legendary drummer & rock and roll hall of famer best known for being a member of The Small Faces/Faces and The Who… KENNEY JONES to Interviewing the Legends …   PURCHASE Let the Good Times Roll: My Life in Small Faces, Faces, and The Who By Kenney Jones From the Mod revolution and the British Invasion of the 1960s, through the psychedelic era of the 1970s, and into the exuberance and excesses of stadium rock in the 1980s, Kenney Jones helped to build rock and roll as we know it. He was the beat behind three of the world's most enduring and significant bands. Available now at amazon.com   FOR MORE INFORMATION ABOUT KENNEY JONES VISIT https://kenneyjones.com/ Kenney Jones Official website www.facebook.com/kenneyjonesdrums Facebook https://twitter.com/KenneyJones Twitter www.instagram.com/kenneyjonesdrums Instagram www.thesmallfaces.com The Small Faces Official www.the-faces.com Faces Official www.thewho.com The Who Official DISCOGRAPHY Discography With SMALL FACES Small Faces (1966) Small Faces (1967) / There Are But Four Small Faces (US only, 1968) Ogdens' Nut Gone Flake (1968) Playmates (1977) 78 in the Shade (1978)   With FACES Studio albums First Step (1970) Long Player (1971) A Nod Is As Good As a Wink... to a Blind Horse (1971) Ooh La La (1973) The Faces (EP) (1977) Live albums Coast to Coast: Overture and Beginners (1974)      With THE WHO Face Dances (1981) It's Hard (1982)   With THE LAW The Law (1991)        With THE JONES GANG Any Day Now (2005) Support us!

In the latest episode of Retrosonic Podcast, Steve from Retro Man Blog and Buddy Ascott of The Fallen Leaves are on location at the excellent Eel Pie Island Museum in Twickenham in the company of museum curator Michele Whitby and music historian Pete Watt. We discuss the rich musical heritage of what has become known as the Thames Delta and the birthplace of 60's British Beat and R'n'B, focusing on the legendary Eel Pie Island Hotel and some of the famous acts who played there. From it's opening night in 1956 and the Trad Jazz of Acker Bilk, Chris Barber and George Melly to the last show in 1970, the Hotel hosted gigs by many hugely influential bands and artists. There were shows by the leading importers of American Blues and R'n'B such as Alexis Corner, Long John Baldry and John Mayall, the originators Howlin' Wolf and John Lee Hooker and of course, their young acolytes such as the Rolling Stones, The Artwoods and Downliners Sect. That's not to forget Soul acts like Jimmy Cliff and Geno Washington and even the later incarnation when the Hotel was transformed into Colonel Barefoot's Rock Garden and started putting on Heavy Rock and Psychedelic acts such as The Who, Pink Floyd, Deep Purple, Joe Cocker and Black Sabbath. One of the most fascinating aspects is discovering all the now legendary names who made early pre-fame and fortune appearances at the Eel Pie Hotel including David Bowie with The Manish Boys, Jeff Beck with The Tridents, Ian McLagan with The Muleskinners and Eel Pie audience regular, Rod 'The Mod' Stewart with Steampacket. Join us for this fascinating journey, not only around the Eel Pie Island Museum itself but on a magical trip through years of local music history. The episode is soundtracked by choice cuts from Downliners Sect, Rolling Stones, The Who, The Manish Boys, The Steampacket, Georgie Fame & The Blue Flames, The Artwoods, The Muleskinners and Geno Washington. For full track listing, photos from the museum, further info and links please check out the feature at Retro Man Blog at the link below:https://retroman65.blogspot.com/2022/09/retrosonic-podcast-eel-pie-island.html

Mistä aloittaa tuotantoon tututustuminen kun artistilla tai bändillä on kymmeniä levyjä, kymmenien vuosien ajalta? Tämän hyvän kysymyksen esitti Rock Around The Blogille Bob Dylanin ja Rolling Stonesin osalta Janne Greus. Kiitos Janne! Tässä jaksossa Sami Ruokangas ja Juha Kakkuri vastaavat siihen mistä Bob Dylanin kuuntelun voisi aloittaa. Jakson soittolista: https://open.spotify.com/playlist/3cowgEkqN3RR97hDKlrsLH?si=b5cdca0c27d947c1 Jaksossa ovat mukana Rolling Stones, Jacques Levy, Rubin "Hurricane" Carter, Emmylou Harris, Eric Clapton, Jimi Hendrix, Steve Earle, Robert Plant, J.B. Lenoir, Billie Holiday, Nina Simone, Howlin´ Wolf, Mike Bloomfield, Al Kooper, Paul Butterfield Blues Band, Beatles, The Byrds, Mott The Hoople, Procol Harum, Son House, Charley Patton, Robert Johnson, Johnny Winter, Jessica Lange, Wanda Jackson, Jack White, Jack Frost, Frank Sinatra, The Rat Pack, Mick Jagger, Mick Taylor, John Lee Hooker, The Clash, U2, Lynyrd Skynyrd, Dire Straits, Mark Knopfler, Slash, Grateful Dead, Ian McLagan, Carlos Santana, Netflix, Sharon Stone, KISS, Mick Ronson, David Bowie, Ian Hunter, Daniel Lanois, Dr. John, Neville Brothers, The Band, Robbie Robertson, Garth Hudson, Levon Helm, Richard Manuel, Rick Danko, Puistoblues, Kari Pyrhönen ja Ritchie Blackmore.

Hippy Hippy Shake! Hello Cleveland! Miten uuteen huippuluokan live-levyyn liittyy Tom Cruise?! Mitä punaista Juha nappasi mukaansa Kööpenhaminassa 1992? Kuuntele, viihdy ja äimisty! Uutisissa Rolling Stonesin El Mocambo -live, GA-20, Skid Row, Deep Purple, Mavis Staples, Levon Helm, Frank Zappa, Florence and the Machine, Southside Johnny and the Asbury Jukes, Ville Valo sekä Mick Jagger. Studiossa Sami Ruokangas ja Juha Kakkuri. Kuunnelluissa levyissä Keith Richards: Main Offender ja Georgia Satellites: Lightnin' In A Bottle - The Official Live Album. Jakson soittolista: https://open.spotify.com/playlist/0LeGIAotSVe58ZwQnn85kR?si=4ac1a5ea59d546fb Jutuissa mukana ovat myös April Wine, Chuck Berry, Hound Dog Taylor, Erik Grönwall, H.E.A.T, ZP Theart, Tank, Sebastian Bach, Hooters, Blue Öyster Cult, Sweden Rock, Motörhead, Scorpions, Mikkey Dee, Steve Morse, Simon McBride, Ian Gillan, Don Airey, Agents, Nick Cave, Tom Waits, Daniel Pemberton, Guy Richie, Steve Jordan, Charlie Watts, X-pensive Winos, Bobby Keys, Babi Floyd, Sarah Dash, LaBelle, Waddy Wachtel, Charley Drayton, Ronnie Wood, The Swinging Blue Jeans, Dan Baird, Dan Baird & Homemade Sin, Mick Brown, Jerkin' Crocus, Tom Cruise, Jerry Lee Lewis, Rick Richards, Rick Price, Mauro Magellan, Bon Jovi, Status Quo, Ian McLagan, George Jones, Del Shannon, Bill Haley, Ramones, Bruce Springsteen, Beatles ja Ringo Starr.

This episode contains two phone interviews with Ian McLagan. Mac, as he was known, was a member of the Small Faces. When Steve Marriott left the band to form Humble Pie with Peter Frampton, The Small Faces hired on Ronnie Wood (Rolling Stones) and Rod Stewart; thus becoming The Faces.When The Faces broke up in '75, Mac toured as a sideman to The Rolling Stones, Bob Dylan, Bonnie Raitt, Rod Stewart, and Billy Bragg. I got to know him a bit through the interviews. We met several times including a four-day spree at South-By-Southwest. He was a delightful man and it was a joy to get to know him a bit. Other members of the band included drummer Kenny Jones played with The Who for a bit. Bassist Ronnie Lane did a duets album with Pete Townshend (while living in his back garden at The Twixt). Ronnie Wood joined the Rolling Stones, and Rod Stewart focused on his solo career. Songs (I did not following the interview) Faces / Maggie May Small Faces / Itchycoo ParkFaces / Stay With MeFaces / You're So Rude Faces / Miss Judy's Farm 

Sami Ruokangas käsittelee muutaman vuoden parhaiden levyjen listoilta ulos jääneen julkaisun kuten Deep Purple, Don Airey & Friends, Bernie Marsden, Black Label Society, Alice Cooper, Gojira, Georgia Satellites, Whitesnake, Judas Priest ja Rolling Stones. Jakson Spotify-soittolista: https://open.spotify.com/playlist/4aEuqomdWkP14B2fLI8RST?si=318268854dde4ca6 The Night Flight Orchestra, Phantom Spirits, Burn For Me, Deep Purple, Saxon, Yardbirds, Cream, Peter Green, Fleetwood Mac, Havana Black, Steven Tyler, Billy Gibbons, David Gilmour, Love, Huey ”Piano” Smith, Aerosmith, Ray Charles, Little Feat, Bob Seger, Don Nix, Freddie King, Booker T. & the M.G.'s, Allman Brothers, Led Zeppelin, Spencer Davis Group, Mikko Alatalo, Love Records, Aki Blomberg, Eric Clapton, Steve Winwood, Jethro Tull, Bob Dylan, Lynyrd Skynyrd, Phil Spector, Gary Moore, Rainbow, Whitesnake, Colosseum II, Carl Sentence, Nazareth, Ritchie Blackmore, Beethoven, Graham Bonnet, Laurence Cottle, Black Sabbath, Headless Cross, Tony Martin, Simon McBride, Jon Finnigan, Steve Bentley-Klein, Dan McCafferty, Bill Ward, Persian Risk, Motörhead, Phil Campbell, Albert King, B.B. King, Chess Records, Micky Moody, Supersonic Blues Machine, Kim Wilson, Fabulous Thunderbirds, Rory Gallagher, John Mayall, John Gorgon, Jim Russell, Bob Haddrell, Alan Glen, Zakk Wylde, Ozzy Osbourne, Ian Gillan, Pride & Glory, Gov´t Mule, The Animals, Nina Simone, Mastodon, Sepultura, Steve Hunter, Peter Gabriel, MC5, Wayne Kramer, Cherry Red Records, Jerkin´ Crocus, Mick Brown, Ian McLagan, Faces, Tony Iommi, Adrian Vandenberg, Jimmy Page, Mokoma, Stoned Statues, Uriah Heep ja Orange Goblin.

What do Canned Heat, Spirit, Jo Jo Gunne, Heart, Chris Hillman, Firefall, Dan Fogelberg, Stevie Nicks, Joe Walsh, Kelly Willis, Alejandro Escovdeo, and Ian McLagan have in common? Bassist Mark Andes! From his Texas home, Mark  affords NOTES FROM AN ARTIST a candid interview on his career including his thoughts on; Led Zeppelin's “appropriation” of a signature Spirit track; the Wilson sisters' image in the grunge era; his recollections of bandmates Randy California and Cass Cassidy, and Firefall's new album entitled “Comet” which includes a duet with fellow bassist Timothy B. Schmidt (Eagles, Poco) on “Nature's Way.”The Mark Andes Playlist 

Talking about Ian mclagan

Johnny Goudie is a Cuban-American singer, songwriter, multi-instrumental musician, record producer and podcaster based in Austin, Texas. Through his four-decade career, Johnny's musical experiences span the artistic gauntlet and include being the frontman of many bands including Goudie (Elektra Records), the guitarist/keyboardist/backing vocalist for renowned touring acts like Ian Moore & Bodeans, a songwriter working with the likes of Jane Wiedlin, Charlotte Caffey and Kathy Valentine (Go-Go's), a solo artist capable of revealing a previously unseen intimacy, and of course, keyboardist/vocalist for SKYROCKET! In January of 2018, Johnny enlisted the help of his old friend, producer/guitarist, "Scrappy" Jud Newcomb (Slaid Cleaves, Ian McLagan) and recorded four songs for an upcoming e.p. to be released September 13, 2018. In 2011 Johnny took his talents to the world of podcasting and launched “How Did I Get Here?”, an audio segment that takes the form of a casual living room conversation while simultaneously packing the punch of a formal interview. With thousands of subscribers, the show has garnered a worldwide fanbase through Johnny's curiosity and disarming sense of humor. He's hosted renowned guests like Ian McLagan (The Faces, The Rolling Stones), Dwight Twilley, The Bodeans, as well as up and comers like White Denim and Wild Child. What was first an archive of Austin music history is quickly becoming a chronicle of music beyond city limits. http://johnnygoudie.com

Ronnie Wood is an English musician, songwriter, multi-instrumentalist, artist, author and radio personality best known as a member of the Rolling Stones since 1975, as well as a member of Faces and the Jeff Beck Group.Wood began his career in 1964, when he joined the Birds group the Creation for a short time. He joined the Jeff Beck Group in 1967 as a bass player.The group split in 1969, and Wood departed along with lead vocalist Rod Stewart to join former Small Faces members Ronnie Lane, Ian McLagan and Kenney Jones in a new group named Faces. The group found great success in the UK and mainland Europe, tAs the group began to split he began several solo projects, eventually recording his first solo LP, I've Got My Own Album to Do, in 1974. The album featured bandmate McLagan as well as former Beatle George Harrison and Keith Richards of the Rolling Stones, a longtime friend of Wood. After the departure of Mick Taylor from the Stones, Wood was invited Wood to join them; he did so in 1975The music for the podcast is Twiggy's version of "Waterloo Sunset" by the Kinks and can be found on Apple Music at this link https://music.apple.com/gb/album/romantically-yours/693460953If you’ve enjoyed listening to “Tea With Twiggy” please give take a moment to give us a lovely 5 STAR rating on Apple Podcasts. It really helps other people to find the show.If you haven’t done so already please subscribe to this podcast so you auto-magically get the next episodes for free and do tell all your friends and family about it too. If you want to connect with me I’d love to hear from you.You can find me on Twitter @TwiggyOr you can find me on Instagram @Twiggy LawsonMy thanks go to all the people that have helped this podcast happen:● Many thanks to James Carrol and all the team at Northbank Talent Management● Thanks to all the team at Stripped Media including Ben Williams, who edits the show, my producer Kobi Omenaka and Executive Producers Tom Whalley and Dave CorkeryIf you want to know more about this podcast and other produced by Stripped Media please visit www.Stripped.media or email Producers@Stripped.Media to find out! See acast.com/privacy for privacy and opt-out information.

Roy Saunders is a Southern musician who blends the sounds of country, southern rock and blues. Certain obvious influences stand out including The Highwaymen, Cody Jinx, and Blackberry Smoke. Add in a little family style flavor of The Allman Brothers and Lynyrd Skynyrd and you've got a distinctly original southern sound.   Born in the mountains of North Georgia, his musical heritage goes back to North Florida with his grandfather, a professional popular pianist and Musician's Union president, and father, a touring guitarist and recording artist.   Self taught, Roy formed the Atlanta based band 11th Night in 2012 with his brother, Ryan. He then moved to Savannah where he co-founded the Garth Brooks style duo "Escaping Fate," with low country legend and musical mainstay, Jay Morelock.   While in Savannah, Roy opened for, Ian McLagan, international touring artist Hannah Wicklund and the Steppin Stones, People's Blues of Richmond, Zack Myers of Shinedown fame, and Austin Webb.   Now based in Atlanta, Roy played 150 shows in five states in the past year alone. He also released his swampy original single ‘Stranger' on streaming platforms with an EP to follow in 2020.   Roy has built a full band featuring guitarist Jay Morelock on guitar, his father Steven Saunders on bass and seasoned percussionist Tom Dickenson. The group recently performed at Shezmu Cellars in Marietta, GA to promote the single ‘Stranger.'   2020 sees Roy booking at new venues, working on more recordings and scheduling a pending southeastern U.S. fall tour. The best is yet to come for this rising country music outlaw.   ​ ​ --- Send in a voice message: https://anchor.fm/thegeorgiasongbirds/message Support this podcast: https://anchor.fm/thegeorgiasongbirds/support

In the third episode of our Lockdown Lowdown series, we welcome Raymond Gorman, guitarist and vocalist with The Everlasting Yeah and That Petrol Emotion into the virtual Retrosonic Podcast studio. In this thoroughly entertaining episode Raymond talks us through some of his most memorable musical moments from hearing The Beatles for the first time and impressing the girls with his dancing to T-Rex. He explains about various gigs and records that made an impact on him and his guitar playing and there are some candid stories of why he stopped playing piano, why he couldn't get into the legendary Casbah Club and how That Petrol Emotion almost signed to Creation. Along the way we learn about his encounters with Iggy Pop, Kevin Rowland, John Cooper-Clarke, Pete Wylie, Dieter Meyer of Yello, Ian McLagan and of course The Undertones. This hugely enjoyable trip down memory lane is soundtracked by some of Raymond's favourite tunes from The Beatles, Marc Bolan & T-Rex, Taste (featuring Rory Gallagher), Horslips, The Undertones, Dexy's Midnight Runners, Iggy Pop, The Sweet and David Bowie. There's also a pick of some of Raymond's own work with That Petrol Emotion and The Everlasting Yeah along with a rare snippet of his first live performance with John O'Neill. "Self-consciousness is the enemy of good art" - Raymond Gorman. Retrosonic Podcast has a valid PRS Licence. For full tracklisting with links to featured bands please check out the Retro Man Blog web-site here: https://retroman65.blogspot.com/2020/06/retrosonic-podcast-lockdown-lowdown_29.html

The best British band from the '60's that never hit the bigtime in America-- Small Faces. Steve Marriott, Ronnie Lane, Kenny Jones and Ian McLagan would become rock legends due to their future projects (Humble Pie, The Who, The Faces, etc) , but it all started for them here. Small Faces recorded a number of psychedelic pop gems, but "Tin Soldier" may be the pinnacle. Shall we have a listen?Small Faces - "Tin Soldier" (Steve Marriott, Ronnie Lane) Copyright 1967 EMI United Partnership Limited-- This show is part of the Pantheon network of music-related podcasts. Check out their other shows!

The best British band from the '60's that never hit the bigtime in America-- Small Faces. Steve Marriott, Ronnie Lane, Kenny Jones and Ian McLagan would become rock legends due to their future projects (Humble Pie, The Who, The Faces, etc) , but it all started for them here. Small Faces recorded a number of psychedelic pop gems, but "Tin Soldier" may be the pinnacle. Shall we have a listen? Small Faces - "Tin Soldier" (Steve Marriott, Ronnie Lane) Copyright 1967 EMI United Partnership Limited -- This show is part of the Pantheon network of music-related podcasts. Check out their other shows!

The best British band from the '60's that never hit the bigtime in America-- Small Faces. Steve Marriott, Ronnie Lane, Kenny Jones and Ian McLagan would become rock legends due to their future projects (Humble Pie, The Who, The Faces, etc) , but it all started for them here. Small Faces recorded a number of psychedelic pop gems, but "Tin Soldier" may be the pinnacle. Shall we have a listen?Small Faces - "Tin Soldier" (Steve Marriott, Ronnie Lane) Copyright 1967 EMI United Partnership Limited -- This show is part of the Pantheon network of music-related podcasts. Check out their other shows!

The best British band from the '60's that never hit the bigtime in America-- Small Faces. Steve Marriott, Ronnie Lane, Kenny Jones and Ian McLagan would become rock legends due to their future projects (Humble Pie, The Who, The Faces, etc) , but it all started for them here. Small Faces recorded a number of psychedelic pop gems, but "Tin Soldier" may be the pinnacle. Shall we have a listen? Small Faces - "Tin Soldier" (Steve Marriott, Ronnie Lane) Copyright 1967 EMI United Partnership Limited -- This show is part of the Pantheon network of music-related podcasts. Check out their other shows!

We first dove into blind spots last October; both of us self discovering albums of the past that we ignored for reasons unknown. We try a different approach this time around, relying on each other for education and guidance of where to start. This one was fun!Songs sampledFaces – “Bad ‘n Ruin” from Long PlayerHumble Pie – “Buttermilk Boy” from As Safe As Yesterday IsPavement – “Stereo” from Brighten The CornersWill Hoge – “Wish” from CarouselElliott Smith – “Roman Candle” from Roman Candle (EP)Ben Harper – “Whipping Boy” from Welcome To The Cruel WorldSpotify Playlist

One of the most famous of the British "mod" groups, Small Faces was founded by Steve Marriott, Ronnie Lane, Kenney Jones, and Jimmy Winston (although Winston had been replaced by Ian McLagan by this album). Small Faces was solidly in the psychedelic rock category. Small Faces toured with The Who, a group also known as a "mod" group. The name comes from the fact that all the members were under 5' 9". There Are But Four Small Faces was an international alternative to their eponymous second album released in 1967 in Britain.Talk to YouThis song was a more blues-oriented track than psychedelic. Here Come the NiceThis track is a more typical psychedelic song, and was surprisingly able to make it past the censors of the day, since it was a tribute to a drug dealer.Itchycoo ParkThis song is a tale of kids skipping school and drinking in a place they called Itchycoo Park. They really didn't intend to release this track, but it went to number 16 in the U.S. anyway. However, this song was banned by the censors in the UK.Tin SoldierMarriott wrote this more rock-oriented song, and took it with him when he went to Humble Pie. It was written for a model named Jenny Rylance, whom he would later marry. ENTERTAINMENT TRACK:The Theme from Rowan & Martin's "Laugh-In" This edgy show premiered in January 1968STAFF PICKS:“Think” by Aretha FranklinBruce's staff pick is from the Queen of Soul, off her 13th studio album. This was the only song off the album that was written by Franklin.“Different Drum” by The Stone Poneys featuring Linda RonstadtRonstadt's vocals on this track make this style of performance the sound that would define this song, though it would be covered multiple times.“Judy in Disguise (with Glasses)” by John Fred and His Playboy BandBrian's staff pick was a parody of the Beatles' "Lucy in the Sky with Diamonds," a parody that John Lennon enjoyed. Brian knew John Fred during his childhood in Baton Rouge, so this is a staff pick with special meaning.“Bend Me, Shape Me” by American BreedThis horn-driven piece is another song that was recorded by a number of groups, but this is the best known version. American Breed would be a one-hit wonder, but would have success writing commercial jingles.INSTRUMENTAL TRACK:“Love is Blue” by Paul Mauriat and His OrchestraThis orchestral instrumental song was a top hit at the time.

They're too damn awesome to stop now!The Church“For A Moment We’re Strangers” from Of Skins & Heart (1981)“I Don’t Know How I Don’t Know” from Man Woman Life Death Infinity (2017)Sloan“Underwhelmed” from Smeared (1992)“Spin Our Wheels” from 12 (2018)The Posies“Under Easy” from Failure (1989)“Titanic” from Solid States (2016)Living Colour“Open Letter (To a Landlord)” from Vivid (1988)“Come On” from Shade (2017)Drivin N Cryin“Another Scarlet Butterfly” from Scarred But Smarter (1986)“Ian Mclagan” from Live the Love Beautiful (2019)The Verve Pipe“Acting As Your Slave” from I’ve Suffered A Head Injury (1992/1995)“I Can’t Get You Off My Mind” from Parachute (2017)

Johnny Goudie is a singer-songwriter, musician, producer and popular podcast host from Austin, TX.  Johnny visited Singer Songwriter with Tom Meny on Sunday September 25, 2019 to talk about his great career, coming up in Austin, and his podcast "How Did I Get Here". Intro Song: Julia from the Album "Peep Show" can be heard/purchased here: https://www.amazon.com/dp/B001NS1VDI/ref=dm_ws_tlw_trk5The PechaKucha speech that Johnny and Tom discussed can be watched here: https://www.youtube.com/watch?v=KB1JrT0jdTA&feature=youtu.be&t=532Tom mentioned the Dudley and Bob Show. They are a morning radio show on KLBJ FM in Austin, TX. If you'd like to listen from out of town, here's a link to their podcast: https://www.klbjfm.com/dbmshow/podcastThe songswap show from Liberty Lunch (Johnny Goudie, Will Sexton, Mark Addison and "Scrappy" Jud Newcomb) that Tom referenced from 1997 that inspired him to start playing guitar again and sparked his love of acoustic/americana type music can be watched here: https://www.youtube.com/watch?v=0CV15CIJIXQJohnny played a song he co-wrote with Rene Woodward called "You Don't Even Know my Name". Johnny and Tom mentioned the following:Mark Addison: http://www.markaddisonproducer.com/"Scrappy" Jud Newcomb http://www.scrappyjud.com/Will Sexton: http://www.willsexton.com/George Reiff: https://www.austinchronicle.com/daily/music/2017-05-22/r-i-p-george-reiff/Ian McLagan: https://en.wikipedia.org/wiki/Ian_McLaganMark Hallman: https://en.wikipedia.org/wiki/Mark_HallmanJohnny and Tom spoke about local Austin TV producer Dave Prewitt who has documented Austin and touring bands (in particular hard rock and metal bands) for over 30 years.  Here is a link to Johnny's interview with Dave and Nathan Oliverez: https://howdidigethere.podbean.com/e/episode-833-davetvs-dave-prewitt-and-nathan-olivarez/Johnny spoke about his affiliation with the Austin Music Foundation: https://austinmusicfoundation.org/Johnny will be playing with his band on Sept 29 at Cosmic Coffee Bar in Austin, TX.  https://www.cosmiccoffeebeer.com/Johnny's band Skyrocket! can be found here http://www.skyrockettheband.com/ and they have NUMEROUS tour dates listedJohnny's famous podcast "How Did I Get Here" can be found at https://howdidigethere.podbean.comAll things Johnny Goudie can be found at www.johnnygoudie.com Please subscribe to the podcast via the Podcast Addict app, Apple Podcasts, Stitcher, Spotify or YOUR favorite podcast app.  Also, it really helps if you rate and review on iTunes.   

Episode 29 - Interviews and performances with the best of Austin's hard working musicians being interviewed by local comedians. Sometimes strange, sometimes serious, but always sincere. Brought to you by Music Firsthand. Streaming live every Tuesday, 7pm CT. This show is made possible because of generous patrons! Become a patron for as little as $1 and get access to rewards, bonus content and exclusive features. Join the club: Comedians Interviewing Musicians Vodcast     Hosts: Melody Shifflet and Kris Potrafka Johnny Goudie rides into Hops and Grain for episode 29! The stories were delightful... Lars Ulrich making him a bedtime sandwich, releasing new music on 8-tracks, touring with The BoDeans, interviewing Ian McLagan on How Did I Get Here, George Reef, Jaimee Harris and how his latest song was of course... inspired by babies in incubators, and of course a great live performance! Sponsored by Hops & Grain! Enjoy y'all!   Recorded February 20, 2018. **** Check out the live video and subscribe to our YouTube channel. Hire a local band with our live music booking app that matches you based on lifestyle and brand. Request the app here: Music Firsthand. Keep up with the Austin music news for free with the Austin Music Firsthand Magazine on Flipboard.   Like and share! window.addEventListener('sfsi_plus_functions_loaded', function() { if (typeof sfsi_plus_widget_set == 'function') { sfsi_plus_widget_set(); } })

Producer and multi-instrumentalist Gurf Morlix is my guest this week. Gurf has been an integral part of the Austin, Texas music scene for decades now and has worked on stage and in the studio with an incredible list of artists such as Ray Wylie Hubbard, Robert Earl Keen, Slaid Cleaves, Warren Zevon, Mary Gauthier and Ian McLagan. Gurf was also a key member of Lucinda WIlliams' original band and produced her first albums. Gurf is a great producer, and plays a mean guitar, steel, bass and whatever else he can get his hands on. We talked about his career that took him to LA to work with Lucinda Williams, why he split and went back to Austin where he's been since the 90's, his production style, and the way he approaches recording, mostly out of his home studio. Enjoy the conversation, and please subscribe to the podcast on iTunes for free!

Sid's latest podcast has a theme. Every song on it was recorded in the studio another time and place by the artist involved. Be it Neil Young, Petula Clark, the Isley Bros.

John Hannam meets Ian McLagan in a JH Archive #IanMcLagan #SmallFaces

This was one of the final performance from Ian McLagan (band mate of the Rolling Stones, Rod Stewart and the Faces). We hope this broadcast serves as a wonderful tribute to this incredible musician and humble man. Ian�s performance and interview was riveting. IAN McLAGAN is a genuine, dyed-in-the-wool rock�n�roller. McLagan�s musical career began in the 1960�s in the UK as the keyboard player for the Small Faces and the Faces. He has performed and recorded with the Rolling Stones, Bob Dylan, Bruce Springsteen, and Billy Bragg among others. Awarded the prestigious Ivor Novello Award in 1996 for his outstanding contributions to British music, inducted into the Texas Music Hall of Fame in 2004, and the Rock'n'Roll Hall of Fame in 2012 as a member of both Small Faces & Faces, McLagan is beloved by musicians and music lovers alike. United States is his first new studio album in five years via Yep Roc Records. JANIVA MAGNESS is among the premier Blues and R&B singers in the world today. Her voice possesses an earthy, raw honesty born from her life experience. Having released 10 albums thus far, Magness is a charismatic performer known for her electrifying live shows. A dynamic musical powerhouse, Janiva has received 22 Blues Music Award nominations to date, winning the coveted Blues Music Award for B.B. King Entertainer Of The Year and most recently, Contemporary Blues Female Artist Of The Year and Song Of The Year, "I Won't Cry" at the 2013 Blues Music Awards. Her new album 'Original' stretches the artistic boundaries of roots, rock and soul music.

Steve from Retro Man Blog and Rock Photographer Paul Slattery present a bumper end of year episode packed full of our pick of the best in classic and contemporary Garage Rock, Psych, Punk, Mod, Power Pop, Soul and more! From classics, overlooked oldies and hidden gems to brand new releases, exclusives and unsigned acts. In Episode 17 we have an exclusive unreleased new track from The Fallen Leaves and new releases from The Medway's legendary Garage Rock icons Billy Childish & CTMF and Graham Day & The Forefathers. New Punk sounds from Buzzcocks, The Pukes and a live classic from The Outcasts. If you like your Mod and Psych then you will love The Most, Speakeasy and The Mynd Set. Some French Pop from Serge Gainsbourg and Brigitte Bardot and Les Kitschenette's. There's the new single from of Arrowe Hill, some stompin' Soul from Willie Kendrick and Dana Gillespie and 60's nuggets from The Vagrants and The Hardtimes. If that's not enough there's Sunset Drive and The Sound and a tribute to Ian McLagan and a truly classic Small Faces number. Plus the usual waffle, rambling, news and reviews including a special piece on the sad demise of The 12 Bar Club and the scandalous re-development of Denmark Street. Enjoy!

Ian McLagan of The Small Faces, The Faces and many other musical entities died this week as did Bobby Keys, the longtime sax player for The Rolling Stones. On this episode, Matt looks at the holes... [[ This is a content summary only. Visit my website for full links, other content, and more! ]]

YouTube breaks; End of the Human race?; A great headline; Ian McLagan; Mario Balotelli; Interruptions and Heckles; Has something gone wrong?; How to avoid friends and followers; An interview with Paul Cook; Music from Katie Sutherland

All of us here at We Are The Mods are very sadden by the news of the sudden passing of Small Faces member Ian 'Mac' McLagan. From his time with the Small Faces to leading his own band in Austin, McLagan tickled the ivories like none other and he will be greatly missed. Host Warren Peace had the pleasure of talking to Ian almost a year to the day. He has told us Ian was genuine, honest and a joy. In honor of one of the best men to ever touch a Hammond, here is the episode that feature him as our guest. The pleasure was all ours, Ian.. RIP.

As we roll into the last month of 2014, we take time tonight to mark the 25th anniversary of the Montreal Massacre. May we never forget the 14 women who died that cold day in December 1989, and may we continue striving to eliminate gun violence against all.Tonight's "vinyl vault" feature marks the sad passing today of Ian McLagan. Besides his UK rock past, he was an important part of the Austin roots music community for the last two decades. RIP Mac.Vancouver's brief sunny/cold spell is coming to an end. I look forward to the end of touque head!Hope you're all keeping warm and cozy, and thanks for listening.valfolkoasis@gmail.com

Webb talks about seeing The Faces live in 1971, Ian McLagan stories, seeing Mott The Hoople live in 1970, being broke down in Slidell, Louisiana, Jerry Lee Lewis stories, Ritchie Blackmore’s 200 watt Marshall, Nick Lowe stories, playing Farm Aid,… Continue Reading →

Billy talks about visiting a creation museum in Kentucky, American truck stops, Baconalia, maple bacon milkshakes, the Cern Abyss Giant, the Long Man Of Wilmington, making his own pop charts as a kid, his friendship with Ian McLagan, seeing the… Continue Reading →

Dan talks about rock cruises, Ian McLagan, Steve Marriott’s 1957 Fender Esquire, Swiss border nightmares, blue lightning, Goody’s Headache Powder, when Alison Prestwood met Carol Kaye, the 435th best guitar player in Nashville, etc.

MICHAEL HEYMAN was born in Galveston, Texas and raised in Houston. From 1983-88, Michael fronted a series of blues outfits in the U.S.A. and Europe. As a result of concerts with artists such as Buddy Guy and Junior Wells, John Mayall’s Bluesbreakers, Albert Collins, James Cotton, Eric Burdon, Pat Travers, Alvin Lee, Leslie West, Nick Lowe, Bachman-Turner Overdrive, Omar & the Howlers and Marcia Ball, he earned a reputation in both blues and rock circles as an exciting and dynamic blues-rock artist in the long Texas tradition of guitarists fronting blues trios. Other highlights of this period were his associations with blues great Joe "Guitar" Hughes and with noted British musicians Ronnie Lane and Ian McLagan for the highly successful “RONNIE LANE APPEAL FOR A.R.M.S.” concert in 1985. Michael also had the honor of participating in an all-star jazz/blues concert with legendary saxophonist Arnett Cobb and being selected to represent Texas rhythm & blues at the Willie Nelson/Wrangler Jeans Invitational in Austin, Texas. Upon returning to the United States in 1988, Michael retired from performing to spend time with his family. In 2003, Michael returned to the stage fronting a series of blues outfits and eventually purchased a block of studio time. What began as a demo session quickly developed into the sessions for his debut CD. "Heart Full of Blues" features eight original tracks as well as covers of "Three Hours Past Midnight" by Johnny “Guitar” Watson, "My Sweet Little Honey Dripper" by Jimmy “T-99” Nelson and the instrumental guitar showcase "Steppin’ Out" by James Bracken. In addition to guitar artistry reminiscent of the early work of T-Bone Walker, B.B. King, Freddie King, Buddy Guy, Eric Clapton and Mick Taylor, “Heart Full of Blues” features guest performances by internationally acclaimed harmonica virtuoso Sonny Boy Terry, Houston's First Lady of Soul Trudy Lynn and the incomparable Tommie Lee Bradley. Michael will also be a featured artist along with the legendary Johnny Winter at the upcoming Guitarslingers Ball in Houston. http://www.michaelheyman.com/home.html