Podcast appearances and mentions of Kenney Jones

This is a Special Episode called THE BRITISH INVASION SHOW. It features the seven following stars from this magical era of the 1960s when English artists ruled the pop world and the charts. Each was previously a guest on the podcast.Peter Noone - Herman of Herman's Hermits. They had a spectacular run of hits including “No Milk Today”, “There's A Kind Of A Hush”, “Mrs. Brown You've Got A Lovely Daughter”, “I'm Henry VIII” and their first smash “I'm Into Something Good”.Rod Argent was the keyboard wizard of The Zombies. The band had two massive hits in the ‘60s, “She's Not There” and “Tell Her No”.Allan Clarke was the lead singer for The Hollies, another band that had a string of hits including “On A Carousel”, “Pay You Back With Interest” and “Long Cool Woman In A Black Dress”.Jim McCarty was the drummer for The Yardbirds, whose hits included “For Your Love” and “Heartful Of Soul”. The band had three famous guitarists in succession: Eric Clapton, Jeff Beck and Jimmy Page.Billy J. Kramer was the lead singer of Billy J. Kramer and the Dakotas. They were managed by Brian Epstein, the manager of The Beatles, and were given several Lennon/McCartney songs to record including “Do You Want To Know A Secret”, “I Call Your Name” and “Bad To Me”.Kenney Jones was the drummer for the Small Faces of “Itchycoo Park” fame, then the Faces starring Rod Stewart, and then joined The Who after the death of Keith Moon.John Lodge was the bassist and a singer and composer for The Moody Blues. Their big hits included “Go Now” and “Nights In White Satin”. John's hits included “Ride My See Saw” and “I'm Just A Singer In A Rock And Roll Band”.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------ROBERT'S RECENT SINGLES:“MOON SHOT” is Robert's latest single, reflecting his Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

Le Alice Cooper Band est de retour avec son line up d'origine et nous offre un premier titre, "Black Mamba", sur lequel figure Robby Krieger des Doors, extrait de "The Revenge Of Alice Cooper'', le premier album du groupe depuis "Muscle of Love" (1973). Le groupe français Indochine a offert une belle surprise à son public lors de son concert au Zénith de Nantes, en invitant sur scène Jenn Ayache, chanteuse de Superbus, pour interpréter "Le Grand Secret". A l'occasion du 50e anniversaire de son premier album, le chanteur Renaud, âgé de 72 ans, s'est confié au Parisien sur sa santé, son quotidien et son amour. Le dernier concert du le Prince des Ténèbres Ozzy Osbourne en solo, et ses adieux avec Black Sabbath, sont fixés au 5 juillet à Birmingham. Un nouvel album des Faces, le légendaire groupe anglais composé du chanteur Rod Stewart, du guitariste Ronnie Wood et du batteur Kenney Jones, le premier depuis ‘'Ooh La La'' en 1973, pourrait sortir l'année prochaine, selon Kenney Jones. Le trio californien Green Day s'apprête à recevoir un honneur prestigieux à Hollywood, le 1er mai prochain. Mots-Clés : guitariste, Michael Bruce, bassiste, Dennis Dunaway, batteur, Neil Smith, Gyasi Hues, Nashville, line up, mémoire, Glen Buxton, décédé, 1997, honoré, duo, chanteuse, nouvelle version, tube, Lola, featuring, Hoshi, Nicola Sirkis, icône, chanson française, addictions, équilibre, relation, Cerise, épousé, problèmes de santé, forme, jour J, scène, show complet, 2018, opérations chirurgicales, zéro, reformé, cérémonie de clôture, Brit Awards, Stay With Me, projet, interview, trio, participation, Jools Holland, chanson, étoile, célèbre, Walk of Fame, étape, carrière, riche, succès, création, attraction touristique, 1960, 6212 Hollywood Boulevard. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, en direct chaque jour à 7h30 et 18h30 sur votre radio rock'n'pop. Merci pour votre écoute Plus de contenus de Classic 21 sur www.rtbf.be/classic21 Ecoutez-nous en live ici: https://www.rtbf.be/radio/liveradio/classic21 ou sur l'app Radioplayer BelgiqueRetrouvez l'ensemble des contenus de la RTBF sur notre plateforme Auvio.be Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Découvrez nos autres podcasts : Le journal du Rock : https://audmns.com/VCRYfsPComic Street (BD) https://audmns.com/oIcpwibLa chronique économique : https://audmns.com/NXWNCrAHey Teacher : https://audmns.com/CIeSInQHistoires sombres du rock : https://audmns.com/ebcGgvkCollection 21 : https://audmns.com/AUdgDqHMystères et Rock'n Roll : https://audmns.com/pCrZihuLa mauvaise oreille de Freddy Tougaux : https://audmns.com/PlXQOEJRock&Sciences : https://audmns.com/lQLdKWRCook as You Are: https://audmns.com/MrmqALPNobody Knows : https://audmns.com/pnuJUlDPlein Ecran : https://audmns.com/gEmXiKzRadio Caroline : https://audmns.com/WccemSkAinsi que nos séries :Rock Icons : https://audmns.com/pcmKXZHRock'n Roll Heroes: https://audmns.com/bXtHJucFever (Erotique) : https://audmns.com/MEWEOLpEt découvrez nos animateurs dans cette série Close to You : https://audmns.com/QfFankxDistribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

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

In todays episode of the podcast I speak with 'Rock and Roll - Hall Of Fame inductee' - Mr Kenney Jones. Kenney is a British drummer/musician who rose to fame in the 60's as part of the famous 'mod scene' with his group 'The Small Faces', eventually went on to play alongside Ronnie Wood and Rod Stewart in 'The Faces' and even took up the drum position in 'The Who', after the unfortunate passing of original drummer Keith Moon. In addition to backing some of the biggest names on the planet - including Jerry Lee Lewis, Chuck Berry and Jeff Beck. In the eary 90's, Kenney also went on to form 'The Law' with Bad Company frontman, Paul Rodgers and even has an excellent book out called 'Let The Good Times Roll', which you can get via his website linked below. Lastly, please remember to leave us a rating, review and/or follow if you're getting anything from these interviews and don't forget to check out our partnership with the lovely folks over at Soundbrenner - ⁠https://www.soundbrenner.com/pages/affiliate-travis-marc⁠ For all additional info on Kenney Jones please visit - www.kenneyjones.com For all additional info on Travis Marc or The Musicians Mentor, please visit - www.musicians-mentor.com --- Support this podcast: https://podcasters.spotify.com/pod/show/musiciansmentor/support

Send us a textA special episode celebrating the 50th Anniversary of The Rolling Stones 1974 masterpiece, "It's Only Rock 'n Roll." I do a track by track deep dive into this often overlooked Stones classic. So come along for the ride and please subscribe! Check out TrackTalk With Kenney Jones! https://youtu.be/nTB67_pp5tk?si=3LBDJARo1Lej4p58 and Live From My Drum Room With Kenney Jones! https://youtu.be/XmjdFIWdrrM?si=HXNnKjXtvdzBsEsr Live From My Drum Room With John DeChristopher! is a series of conversations with legendary drummers and Music Industry icons, hosted by drummer and music industry veteran, John DeChristopher, drawing from his five decades in the Music Industry. Created in 2020, and ranked BEST Drum Podcast, "Live From My Drum Room With John DeChristopher!" gives the audience an insider's view that only John can offer. And no drummers are harmed on any shows! Please subscribe!Exciting news! 100% of the proceeds from Live From My Drum Room T-shirts goes toward a newly created Live From My Drum Room Scholarship with the Percussive Arts Society! https://pas.org/pasic/scholarships/ Live From My Drum Room T-shirts are made of soft 60%cotton/40% polyester. Available in XS-2XL. $25 includes shipping in the contiguous US. Payment with Venmo: @John-DeChristopher-2. Be sure to include your size and shipping address. Email: livefrommydrumroom@gmail.com. Thank you to everyone who's bought a shirt to help support this endeavor! https://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

Send us a textPart 2 of TrackTalk with legendary drummer, Dave Mattacks! In Part 2, we do a deep-dive into more of Dave's iconic tracks from XTC, Paul McCartney, Jethro Tull and more! Come along for ride for Part 2, thanks for watching and listening! Please subscribe! Be sure to check out Part 1! https://youtu.be/pDT7hrn0k1k?si=Acyd2jlMNC0O0845 Live From My Drum Room With John DeChristopher! is a series of conversations with legendary drummers and Music Industry icons, hosted by drummer and music industry veteran, John DeChristopher, drawing from his five decades in the Music Industry. Created in 2020, and ranked BEST Drum Podcast, "Live From My Drum Room With John DeChristopher!" gives the audience an insider's view that only John can offer. And no drummers are harmed on any shows! Please subscribe!Exciting news! 100% of the proceeds from Live From My Drum Room T-shirts goes toward a newly created Live From My Drum Room Scholarship with the Percussive Arts Society! https://pas.org/pasic/scholarships/ Live From My Drum Room T-shirts are made of soft 60%cotton/40% polyester. Available in XS-2XL. $25 includes shipping in the contiguous US. Payment with Venmo: @John-DeChristopher-2. Be sure to include your size and shipping address. Email: livefrommydrumroom@gmail.com. Thank you to everyone who's bought a shirt to help support this endeavor!https://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

Send us a textMy guest is returning champion, legendary drummer, Dave Mattacks for a special episode of TrackTalk! In Part 1, we do a deep-dive into some iconic tracks from Fairport Convention , Joan Armatrading and XTC, with Dave giving us incredible insights into how the songs were created. The show aired LIVE on Facebook for over two hours, so I split this into two episodes. So come along for ride for Part 1, thanks for watching and listening and stay tuned for Part 2! Please subscribe!Live From My Drum Room With John DeChristopher! is a series of conversations with legendary drummers and Music Industry icons, hosted by drummer and music industry veteran, John DeChristopher, drawing from his five decades in the Music Industry. Created in 2020, and ranked BEST Drum Podcast, "Live From My Drum Room With John DeChristopher!" gives the audience an insider's view that only John can offer. And no drummers are harmed on any shows! Please subscribe!https://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

Sami Ruokangas ja Juha Kakkuri käyvät läpi kesällä kokemiansa keikkoja ja festareita Chicagon Stones-keikasta Helsingin Storyvillen terassille ja Espanjan festareille. Tulevia julkaisujakin äimistellään. Kuuntele, viihdy ja sivisty! (kansikuvassa on Canned Heat Tampereella) Jakson soittolista: https://open.spotify.com/playlist/3BVTt0oy6MrjCdGY4Xdj1F?si=dd430ff4a12e44d5 Menossa ovat mukana Rolling Stones, Buddy Guy, Chess Records, Muddy Waters, Chuck Berry, Mick Jagger, Keith Richards, Lady Gaga, Stevie Wonder, Chanel Haynes, Trin-i-tee, Tina Turner, Charlie Watts, Metallica, Bruce Springsteen, Gary Clark Jr., Bettye LaVette, Lainey Wilson, Eric Clapton, Jimi Hendrix, Stevie Ray Vaughan, Tavastia, Led Zeppelin, Queen, Mavis Saples, Howlin´ Wolf, Lee Brilleaux, Dr. Feelgood, Esa Nieminen, Big Bill Morganfield, Sopranos, Rhiannon Giddens, Kulttuuritalo, Bruce Dickinson, Iron Maiden, Tanya O'Callaghan, Blaze Bayley, On The Rocks, Tom Petty, Stevie Nicks, Coldplay, Ross Halfin, Def Leppard, Lasipalatsi, Rob Trujillo, Kirk Hammett, Lars Ulrich, Slash, Jyrki Nivala, Pauli Kauppila, Ian Hunter, James Hetfield, Aerosmith, Jeff Beck, The Heartbreakers, Mike Campbell, Foo Fighters, Jimmy Page, The Who, Journey, Judas Priest, Canned Heat, Rod Stewart, Gröna Lund, Alice Cooper, Deep Purple, Ian Gillan, Jools Holland, Faces, Sam Cooke, Tina Turner, Tullikamarin Klubi, Woodstock, Seasick Steve, Sigue Sigue Sputnik, Black Keys, Little Steven, Friends Arena, Strawberry Arena, John Lee Hooker, ZZ Top, Saurom, Villena, Nightwish, Metsätöll, Jimmy Vivino, The Tonight Show with Conan O'Brien, Fito de la Parra, Robban Hagnäs, Wentus Blues Band, Samantha Fish, Warren Haynes, Brian Johnson, AC/DC, Gibson, Fu Manchu, Orange Goblin, BBC, Ronnie Wood, Kenney Jones, Thin Lizzy, Parliament, Funkadelic, Phil Lynott, Per Olsson, John Mayall (RIP), Rory Gallagher, Storyville, Unna Kortehisto, Helge Tallqvist, 22-Pistepirkko, Korso Rock, Link Wray, Bo Diddley, Liisa Akimof, Production House, Tommi E. Virtanen, Pasi Rytkönen, Rickie Lee Jones, Michael Monroe, Imelda May, Darrel Higham, Savoy-teatteri, GA-20, Malmitalo, Firefest, Lionheart, Sweet, Kari Pyrhönen, Dennis Stratton, Simon McBride, Ian Paice, Roger Glover, Don Airey, Nestor, Heavy Pettin, Coney Hatch, Sweden Rock, Queensrÿche, Night Demon, Udo Dirkschneider, The Dedication ja The Button Factory. https://www.facebook.com/RockAroundTheBlogFinland instagram.com/samiruokangas

Sami Ruokangas juttelee vaikutelmat heinäkuussa Espanjassa näkemästään Deep Purple -keikasta sekä uudesta Purple -albumista, joka nousi Suomessakin listakärkeen. Tämä on hurja suoritus vuonna 1968 perustetulta bändiltä, etenkin kun kokoonpanossa on ”jälleen” uusi kitaristi. Kuuntele, viihdy ja sivisty! Jakson soittolista: https://open.spotify.com/playlist/2jTN72tbcFHs9BmTI6dPPQ?si=0906a633dab14a99 Menossa ovat mukana Bruce Springsteen, Coldplay, Blaze Bayley, Iron Maiden, Bruce Dickinson, Bob Ezrin, Barcelona Rock Fest, Simon McBride, Don Airey, Led Zeppelin, Muddy Waters, Howlin´ Wolf, Ian Gillan, Lemmy Kilmister, Ritchie Blackmore, Rainbow, Steve Morse, Joe Bonamassa, Gary Moore, Black Sabbath, Colosseum II, Jethro Tull, Whitesnake, Judas Priest, Jon Lord, Nazareth, Carl Sentance, Roger Glover, Jimmy Page, Robert Plant, Pretty Maids, Manfred Mann´s Earth Band, Robert Hart, Bad Company, Kenney Jones, Small Faces, Faces, The Who, Thin Lizzy, Scott Gorham, Darren Wharton, Scott Travis, Judas Priest, Tom Hamilton, Aerosmith, Damon Johnson, Ricky Warwick, David Coverdale, PSOF (Perfect Strangers Of Finland), Juha Kakkuri, Guns N´Roses ja Jimi Hendrix.

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

This week Gary and Guy are in Munich as their European tour with ‘Nick Mason's Saucerful of Secrets' continues. They share tales of their jaunt round Germany and seeing as they are touring with one of the greatest drummers of all time, we thought we'd revisit some of those iconic guests such as Mick Fleetwood, Stewart Copeland, Kenney Jones and the guv'nor, Nick Mason!We'll be back with a brand-new episode very soon! Instagram: @rockonteurs @guyprattofficial @garyjkemp @saucerfulofsecretsofficial @stewart_copeland @kenneyjonesdrums @mickfleetwoodofficial @gimmesugarproductions YouTube: https://www.youtube.com/@rockonteursFacebook: https://www.facebook.com/RockonteursProduced by @thisBenJones for Gimme Sugar Productions Hosted on Acast. See acast.com/privacy for more information.

This week Gary and Guy are in Munich as their European tour with ‘Nick Mason's Saucerful of Secrets' continues. They share tales of their jaunt round Germany and seeing as they are touring with one of the greatest drummers of all time, we thought we'd revisit some of those iconic guests such as Mick Fleetwood, Stewart Copeland, Kenney Jones and the guv'nor, Nick Mason!We'll be back with a brand-new episode very soon! Instagram: @rockonteurs @guyprattofficial @garyjkemp @saucerfulofsecretsofficial @stewart_copeland @kenneyjonesdrums @mickfleetwoodofficial @gimmesugarproductions YouTube: https://www.youtube.com/@rockonteursFacebook: https://www.facebook.com/RockonteursProduced by @thisBenJones for Gimme Sugar Productions Hosted on Acast. See acast.com/privacy for more information.

As I approach the 4th anniversary of Live From My Drum Room and close in on 200 episodes, I've put together a "Best Of" show with clips from episodes going back as far as 2020. My guests include Stan Lynch, Gary Mallaber, Micky Curry, Steve Gadd, Vinnie Colaiuta, Rick Marotta, Andy Newmark, Jim Keltner, Joe Vitale, Simon Kirke, Kenney Jones, Dave Mattacks, Charley Drayton, Pete Thomas, Shawn Pelton, Anton Fig, Aaron Comess, Cathy Rich, Steve Smith, Danny Seraphine, Denny Tedesco, Shane Kinney, Stan & Jerry Keyawa, Joe Testa and more! All clips are from previously aired episodes and the complete episodes can be found on YouTube and on all podcast platforms. So come along for the ride and please subscribe! https://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

Ian and Sven start 2024 with a very special guest who has one of the most versatile and powerful voices in rock, Robert Hart. He has worked with or alongside, the likes of Whoopi Goldberg, Sly Stone, The Jacksons, Bad Company, Zak Starkey, Vince Gill, Chic, Kenney Jones, Manfred Mann, Russ Ballard….need I go on?  Have a listen to Robert discussing an incredible career in music and also talking about his new album, “Circus Life”. Manfred Mann in conversation with Robert Hart  “Don't think of me as your boss, think of me as a friend who can fire you”

An excerpt from "Live From My Drum Room With Kenney Jones" from November 2, 2021. In this segment, we discuss Kenney's drumming on Rod Stewart's "(I Know) I"m Losing You" and the Faces "Stay With Me." Both songs recorded in 1971 and both with iconic drum parts. Kenney talks about the drum solo in "I'm Losing You" and how it evolved during the Faces live shows and much more!  Watch the entire episode with Kenney:    • Episode 57: Live From My Drum Room Wi...  and please subscribe! "Live From My Drum Room" is hosted by drummer and music industry veteran, John DeChristopher, and is a series of intimate "conversations" with legendary drummers and music industry friends, drawing from John's five decades in the music industry. Voted the #5 Best Drum Podcast, it's a peek behind the curtain that only John can offer. And no drummers are harmed during any broadcasts!https://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

Interview by Peter Jonathan Robertson in Surrey in 2018 Hosted on Acast. See acast.com/privacy for more information.

John talks with legendary Faces and Who drummer, Kenney Jones about his iconic drum part on the Rolling Stones' song "It's Only Rock N Roll (But I Like It)." Kenney gives us the backstory on how this iconic song was recorded, and how he came to play on it! Watch the entire Kenney Jones episode:    • Episode 57: Live ...  and please subscribe to @livefrommydrumroom !https://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

On this day in 1979 The Who played their first live show since the death of Keith Moon. Kenney Jones was the man to take his place and on today's show you'll hear Kenney talking about how Pete Townshend talked him into joining the band! Learn more about your ad choices. Visit megaphone.fm/adchoices

On this day in 1991, aged just 44 years old, we lost the force of nature that was, Steve Marriott! On today's episode you'll hear from his friend and band mate in The Small Faces, Kenney Jones. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kenney Jones is rock and roll royalty. He's played drums with the Small Faces, the Faces, The Who and many others. He's in the Rock And Roll Hall Of Fame. He talks about those bands, the British Invasion era, Steve Marriott, Rod Stewart, Ronnie Wood, Pete Townshend, Keith Moon and much more.My featured song is “I Can't Explain” the live version of my reimagined version of The Who's classic, from the album Greetings From Serbia by my band, Project Grand Slam. Spotify link here.“Dream With Robert Miller”. Click here.---------------------------------------------If you enjoyed the show, please Subscribe, Rate, and Review. Just Click Here.Kenney and I discuss the following:The British Invasion era“Itchycoo Park”Ogdens Nut Gone FlakeSmall Faces“Tin Soldier”FacesRonnie Wood / Rod Stewart“Stay With Me”The Who“You Better You Bet”PP Arnold - “If You Think You're Groovy” BOBBY M AND THE PAISLEY PARADE is Robert's forthcoming album. Featuring 10 new songs and guest appearances by John Helliwell (Supertramp), Tony Carey (Rainbow) and international sitar sensation Deobrat Mishra. "ALBUM OF THE YEAR!" (Indie Shark)"Catchy and engaging with great tunes!" Steve Hackett (Genesis)"This album has life and soul!" John Helliwell (Supertramp)"Bobby M rocks!" Gary Puckett (Union Gap)"Nice cool bluesy album!" Jim McCarty (The Yardbirds)"Robert really really really rocks!" Peter Yarrow (Peter Paul and Mary)"Great songs. Great performances. It's a smash!" David Libert (The Happenings) LIVE AT STEELSTACKS is the 5-song EP by Robert and his band, Project Grand Slam. The release captures the band at the top of their game and shows off the breadth, scope and sound of the band. The EP has been highly praised by musicians and reviewers alike. “Captivating!” Elliott Randall (Steely Dan) “PGS burns down the house!” Tony Carey (Rainbow)“Full of life!” Alan Hewitt (The Moody Blues) “Virtuoso musicians!” (Melody Maker) “Such a great band!” (Hollywood Digest) The album can be streamed on Spotify, Amazon, Apple and all the other streaming platforms, and can be downloaded at The PGS Store.ALL OF THE TIME is Robert's recent single by his band Project Grand Slam. It's a playful, whimsical love song that's light and airy and exudes the happiness and joy of being in love. “Pure bliss…An intimate sound with abundant melodic riches!” Melody Maker/5 Stars) “Ecstasy…One of the best all-around bands working today!” (Pop Icon/5 Stars) “Excellence…A band in full command of their powers!” (Mob York City)Watch the video here. You can stream “All Of The Time” on Spotify, Apple or any of the other streaming platforms. And you can download it here.THE SHAKESPEARE CONCERT is the album by Robert's band, Project Grand Slam, recorded "live" in the studio. It's been praised by Mark Farner (Grand Funk Railroad), Jim Peterik (Ides Of March), Joey Dee (Peppermint Twist), Elliott Randall (Steely Dan) and Sarah Class (British composer). Reviews: “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE. THE FALL OF WINTER is Robert's single in collaboration with legendary rocker Jim Peterik of the Ides Of March and formerly with Survivor. Also featuring renowned guitarist Elliott Randall (Steely Dan/Doobie Brothers) and keyboard ace Tony Carey (Joe Cocker/Eric Burden). “A triumph!” (The Indie Source). “Flexes Real Rock Muscle!” (Celebrity Zone). Stream it on Spotify or Apple. Watch the lyric video here. Download it here.FOLLOW YOUR DREAM HANDBOOK is Robert's Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold.  Audio production:Jimmy RavenscroftKymera Films Connect with Kenney at:www.kenneyjones.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comFacebook - www.facebook.com/followyourdreampodcastEmail Robert - robert@followyourdreampodcast.comYouTubeLinkedIn Listen to the Follow Your Dream Podcast on these podcast platforms:CastBoxSpotifyApple Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comInstagramPGS Store - www.thePGSstore.comYouTubeFacebook - www.facebook.com/projectgrandslamSpotify MusicApple MusicEmail - pgs@projectgrandslam.com   

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

The Who were ready to call it a day in 1982 which makes It's Hard their swan song.  Of course they eventually came back but they were facing MTV, middle age, solo careers and examining life through different lenses.  Keith Moon died in 1978 after the release of Who Are You and The Who soldiered on with Kenney Jones (The Faces) on the drums.  But Pete Townshend's solo debut Empty Glass in 1980, which featured the mega-hit Let My Love Open The Door, put the band in an awkward position.The Who released Face Dances in 1981 but Pete was more keen on a solo career after the triple platinum Empty Glass.  But the record company wanted one more Who album and tour and It's Hard was to serve as The Who's swan song which it did for nearly a quarter of a decade.Radio hits Athena and Eminence Front are well known but diving deeper into the album unlocks some unheralded songs written by John Entwhistle, Pete's contemplation of himself as a middle age rock star and what their collective future might be with or without the band.  While some of the keyboards and synths might make this one sound dated, some of the themes of struggling to understand your place in the world are as poignant as ever.  It was fun to rediscover this one!Ugly American Werewolf in London WebsiteTwitterInstagramYouTubeLInkTreewww.pantheonpodcasts.com

The Who were ready to call it a day in 1982 which makes It's Hard their swan song.  Of course they eventually came back but they were facing MTV, middle age, solo careers and examining life through different lenses.  Keith Moon died in 1978 after the release of Who Are You and The Who soldiered on with Kenney Jones (The Faces) on the drums.  But Pete Townshend's solo debut Empty Glass in 1980, which featured the mega-hit Let My Love Open The Door, put the band in an awkward position.The Who released Face Dances in 1981 but Pete was more keen on a solo career after the triple platinum Empty Glass.  But the record company wanted one more Who album and tour and It's Hard was to serve as The Who's swan song which it did for nearly a quarter of a decade.Radio hits Athena and Eminence Front are well known but diving deeper into the album unlocks some unheralded songs written by John Entwhistle, Pete's contemplation of himself as a middle age rock star and what their collective future might be with or without the band.  While some of the keyboards and synths might make this one sound dated, some of the themes of struggling to understand your place in the world are as poignant as ever.  It was fun to rediscover this one!Ugly American Werewolf in London WebsiteTwitterInstagramYouTubeLInkTreewww.pantheonpodcasts.com

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!

Today is the second anniversary of the launch of Vintage Rock Pod! Episode 1, featuring an interview with Rock n Roll Hall of Famer, Kenney Jones, was released on October 5th, 2020! In this short episode I thought I'd play out a couple of fun short clips that never made the episodes, mostly for good reason! Here's to a more years and more great guests in the future!

One of the greatest drummers of all time - KEITH MOON - was cremated on this day in 1978. We remember the wild man of The Who and hear from his good friend, and the man that would replace him in the band, Kenney Jones, who tells the story of being with Keith the night he died. 

Englishman KENNEY JONES has spent the best part of five decades at the heart of the rock music industry. As drummer with the Small Faces, Faces and The Who, he has been involved in three of the biggest bands the music business has ever known. From the moment he started drumming in the front room of his parents home, Kenney became hooked on music. He shot to fame with the Small Faces in 1965 and had his first hit single when he was just 17. The band were at the heart of the Mod revolution that swept Britain and in the years that have followed they have been cited as a major influence on all sorts of musicians over the past 50 years. When the Small Faces eventually disbanded Jones was instrumental in forming The Faces featuring Rod Stewart as lead singer. The Faces took the rock world by storm and by the time they split in the mid 70's, Kenney was known far and wide for his drumming prowess and was asked to replace Keith Moon in The Who after Keith died. Meet Kenney Jones this week and enjoy his humorous story telling. He tells us about stealing money from his mum to kick off his drumming career, how Rod Stewart came to be involved in the band in the first place and how he never wanted to rival the drumming of his good friend, Keith Moon and had serious reservations about joining the Who. Kenney has incredible tales to tell. And did I mention the music? Kenney also has a new book out called 'Let the Good Times Roll: My Life in Small Faces, Faces, and The Who' that makes an incredible read. Kenney Jones: www.kenneyjones.com Check out my youtube channel for the video of the podcast: https://www.youtube.com/channel/UCa_p5zKTRrIfpAtwXVKBQVw And my website for more information www.abreathoffreshair.com.au Don't forget too - send me a message through the website if you'd like to hear from someone from the 60s 70s or 80s and I'll do my best to get them onto the show for you! Happy listening! Love Sandy

Recorded October 7, 2021. The first of a series of episodes devoted to Remembering Charlie Watts. A huge thanks to my friends Steve Gadd, Kenney Jones, Rick Marotta, Stan Lynch, Michael Shrieve, Andy Newmark, Steve Maxwell, John Ferraro and Yard Gavrilovic. The laughs and stories were non-stop! Check out Part 2! Check out John's other episodes of "Live From My Drum Room” and subscribe to his YouTube channel https://www.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

ABOUT THE PODCAST:Candid discussions with and about those behind the scenes in the music business including industry veterans representing the segments of: Musician, Design & Live ABOUT THE HOSTS:All three Music Buzzz Podcast hosts (Dane Clark, Hugh Syme and Andy Wilson) have spent their careers working with the biggest names in entertainment and have been, and still are, a fly on the wall.

ABOUT THE PODCAST:Candid discussions with and about those behind the scenes in the music business including industry veterans representing the segments of: Musician, Design & Live ABOUT THE HOSTS:All three Music Buzzz Podcast hosts (Dane Clark, Hugh Syme and Andy Wilson) have spent their careers working with the biggest names in entertainment and have been, and still are, a fly on the wall.

Steve Cooper talks with drummer Kenney Jones. Kenney is a member of the Rock & Roll HOF with his bands Faces and Small Faces. He replaced Keith Moon and played with The Who from 1978-1983, 1985, 1988 and in 2014.  His other bands he has been in are The Law and The Jones Gang and he has performed in various record sessions with people such as Rod Stewart, Ronnie Wood, Joan Armatrading, Roger Daltrey, Chuck Berry and Jerry Lee Lewis.

Kenney Jones, legendary drummer of The Faces, Small Faces & The Who, joins us to talk vinyl, the records of his career, recording with Paul McCartney, Mick Jagger, John Bonham PLUS the upcoming plans for The Faces & a limited vinyl pressing of a recently surfaced 1966 Small Faces gig.  Topics include: Interview startup The Small Faces 1966 recordings that just surfaced Led Zeppelin were influenced by early Small Faces Growing up in a house with 3 records Kenney originally wanted to play the Banjo The story of Kenney playing drums How did Kenney get records in his youth Pat Meehan / Don Arden discovering the Small Faces Negotiating with Don Arden / Carnaby Street Purchasing handfuls of records to make a single chart What was Don Arden like to work with? Ogden's Nut Gone Flake record package Immediate Records going bust What happened to the Ogden's master tapes Kenny is re-recording Ogden's Nut Gone Flake Location of the other master tapes Rare recordings and outtakes were sourced from stored tapes & acetates Kenney has loads of tapes to release on Nice Records The EU copyright laws Kenney's single “Ready or Not” Kenney's unreleased single with Paul McCartney Recording with Wings, John Bonham in the ‘Rockestra' The story of The Rolling Stones “It's Only Rock & Roll” session New recordings / upcoming record & tour from The Faces The night before Keith Moon died The Who wasn't sure they would continue after Keith Were there demos for "Face Dances" that Keith recorded before he died? The connection between Kenney & John Entwistle How did he compare between playing with John Entwistle and Ronnie Lane? Does Kenney still listen to records? Interview wrap up Nice Records - Small Faces 1966 vinyl Extended interview available here: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8 Follow our Podcast: https://linktr.ee/vinylguide Facebook: www.Facebook.com/VinylGuide Instagram: www.Instagram.com/VinylGuide Support our show: www.Patreon.com/VinylGuide If you like records, just starting a collection or are an uber-nerd with a house-full of vinyl, this is the podcast for you. Nate Goyer is The Vinyl Guide and discusses all things music and record-related

This week Gary Kemp and Guy Pratt welcome a true Mod legend to the show. How many people can say they've been in one great band let alone three! Well, Kenney Jones can! Drummer for The Small Faces, Faces and The Who, Kenney shares some excellent stories from the early days of being a mod, meeting Steve Mariott, rock and roll shenanigans with Rod and Ronnie and then getting the call to join The Who. But his greatest moment is surely flying Gary Kemp to Live Aid in his helicopter….This a good one!! Rockonteurs is produced by Ben Jones for Gimme Sugar Productions. See acast.com/privacy for privacy and opt-out information.

This week Gary Kemp and Guy Pratt welcome a true Mod legend to the show. How many people can say they've been in one great band let alone three! Well, Kenney Jones can! Drummer for The Small Faces, Faces and The Who, Kenney shares some excellent stories from the early days of being a mod, meeting Steve Mariott, rock and roll shenanigans with Rod and Ronnie and then getting the call to join The Who. But his greatest moment is surely flying Gary Kemp to Live Aid in his helicopter….This a good one!! Rockonteurs is produced by Ben Jones for Gimme Sugar Productions. Hosted on Acast. See acast.com/privacy for more information.

The Modcast Weekly, Tuesday 6-8pm Mod, Interview, Podcast https://totallywiredradio.com/modcast/ Become a Friend of Totally Wired Radio... https://totallywiredradio.com/support/

Great Rock Stories Volume 1 is a mix of some of amazing tales told by some legendary stars, including 3 Rock & Roll Hall of Fame Inductees! You'll hear about The Beatles before they were famous, kicking the door down for women in rock, an iconic song that helped to bring down the iron curtain, the early days of punk in the UK, how Sting came to sing on one of MTV's most played videos, how it felt to replace Keith Moon in The Who and how a now lauded and idolised album was pretty much disregarded on release – absolutely brilliant stories I promise you!My guests on this episode include Klaus Meine from The Scorpions, John Illsley from Dire Straits, Suzi Quatro, Kenney Jones from the Faces, Colin Blunstone from The Zombies and more!

Great Rock Stories Volume 1 is a mix of some of amazing tales told by some legendary stars, including 3 Rock & Roll Hall of Fame Inductees! You'll hear about The Beatles before they were famous, kicking the door down for women in rock, an iconic song that helped to bring down the iron curtain, the early days of punk in the UK, how Sting came to sing on one of MTV's most played videos, how it felt to replace Keith Moon in The Who and how a now lauded and idolised album was pretty much disregarded on release – absolutely brilliant stories I promise you! My guests on this episode include Klaus Meine from The Scorpions, John Illsley from Dire Straits, Suzi Quatro, Kenney Jones from the Faces, Colin Blunstone from The Zombies and more! Learn more about your ad choices. Visit megaphone.fm/adchoices

Great Rock Stories Volume 1 is a mix of some of amazing tales told by some legendary stars, including 3 Rock & Roll Hall of Fame Inductees! You'll hear about The Beatles before they were famous, kicking the door down for women in rock, an iconic song that helped to bring down the iron curtain, the early days of punk in the UK, how Sting came to sing on one of MTV's most played videos, how it felt to replace Keith Moon in The Who and how a now lauded and idolised album was pretty much disregarded on release – absolutely brilliant stories I promise you!My guests on this episode include Klaus Meine from The Scorpions, John Illsley from Dire Straits, Suzi Quatro, Kenney Jones from the Faces, Colin Blunstone from The Zombies and more!Part of Pantheon Podcasts

Great Rock Stories Volume 1 is a mix of some of amazing tales told by some legendary stars, including 3 Rock & Roll Hall of Fame Inductees! You'll hear about The Beatles before they were famous, kicking the door down for women in rock, an iconic song that helped to bring down the iron curtain, the early days of punk in the UK, how Sting came to sing on one of MTV's most played videos, how it felt to replace Keith Moon in The Who and how a now lauded and idolised album was pretty much disregarded on release – absolutely brilliant stories I promise you! My guests on this episode include Klaus Meine from The Scorpions, John Illsley from Dire Straits, Suzi Quatro, Kenney Jones from the Faces, Colin Blunstone from The Zombies and more! Part of Pantheon Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

Legendary drummer Kenney Jones and I talked about his early days with The Small Faces and later Faces. His drum solo on Rod Stewart's "I Know I'm Losing You," his epic drumming on the Faces "Stay With Me" and Rolling Stones "It's Only Rock N Roll (But I Like It)" and how he came to play on it, and his tenure with The Who after the passing of his friend, Keith Moon. 

In this episode, Pattie enjoys a Navy Grog with Kenney Jones, Drummer for The Small Faces, The Faces and The Who. Kenney explains why this cocktail is important and goes into great detail as he reflects on his extraordinary music career!Support this show http://supporter.acast.com/patties-podcast. See acast.com/privacy for privacy and opt-out information.

The first of a series of episodes devoted to Remembering Charlie Watts. A huge thanks to my friends Steve Gadd, Kenney Jones, Rick Marotta, Stan Lynch, Michael Shrieve, Andy Newmark, Steve Maxwell, John Ferraro and Yard Gavrilovic. The laughs and stories were non-stop! Stay tuned for Part 2! Don't forget to subscribe! 

Les grew up on a working pig farm, and talks about moving to London to get his career started... flying to LA from London to start a world-wide tour with literally one day's notice… working with Jack Bruce, Donovan, Pete Townshend & Snuffy Walden… lessons learned, some difficult low points in his life, seeing Led Zeppelin in concert during their first British tour… smart decisions he made in NOT taking certain gigs, humility, gratitude, awareness, following your heart, and SO much more cool stuff. You'll love this convo - Les is a first-class human If you'd like to support this show: http://www.everyonelovesguitar.com/support A first-call session player in the UK for 30+ years, Les has played with Leo Sayer, Joan Armatrading, Paul Rogers, Jack Bruce, Mick Taylor, Pete Brown, Bonnie Tyler, Snuffy Walden, The Corgies, Graham Bonnet, Tina Turner, Kenney Jones, Pete Townsend & loads of others, and has been a full band member of Sniff n The Tears since 1981 Subscribe YouTube: https://www.youtube.com/c/EveryoneLovesGuitar?sub_confirmation=1 Website:  https://www.everyonelovesguitar.com/subscribe

Welcome to the Instant Trivia podcast episode 162, where we ask the best trivia on the Internet. Round 1. Category: "Bell"S And "Whistle"S 1: To enter a pool of water....tummy first. Bellyflop. 2: Sailors wore these pants long before they became fashionable in the 1960s. Bell-bottoms. 3: They supply the weight in Olympic weightlifting. Barbells. 4: They're employees who go public with stories of their employers' wrongdoing. Whistleblowers. 5: Common name for deadly nighshade, a plant that's poisonous in all its parts. Belladonna. Round 2. Category: Parents Are People Too 1: Also a home for hummingbirds, it becomes "empty" when the last child leaves home. Nest. 2: It's what a lonely dad may want to be to you, or the name of the one on the left(President Clinton's dog). Buddy. 3: At least this restriction dad put on you isn't a dusk-to-dawn one, as in Warri, Nigeria. Curfew. 4: If you get one of these in your nose or navel, parents may let out the same kind of "shriek". Piercing. 5: This term for a right that divorcing parents may fight over comes from Latin for "guardian". Custody. Round 3. Category: Music Trivia 1: After the death of Keith Moon in 1978, Kenney Jones became this British group's drummer. The Who. 2: "The Camptown Racetrack" was this many "miles long". five. 3: It follows "Oh, give me land, lots of land under starry skies above". "don't fence me in". 4: This onetime drummer with Benny Goodman was portrayed by Sal Mineo in a 1959 film biography. Gene Krupa. 5: In 1929 this crooner began using "My Time Is Your Time" as his theme song. Rudy Vallee. Round 4. Category: Tiny Things 1: These minute grains link the flowers and the bees. pollen. 2: Mayonnaise is an example of an emulsion that is a suspension of tiny globules of this in water. oil. 3: Access time on hard drives isn't measured in minutes, but in these units abbreviated ms. milliseconds. 4: Present in minute amounts in soil and water, these "elements", such as copper and zinc, are essential for your good health. trace elements. 5: Those minute red blood cells are erythrocytes, white ones are leukocytes and these are thrombocytes. platelets. Round 5. Category: Urban Myths 1: It's not a croc, I heard it from a friend: these croc relatives are living in the New York City sewers. Alligators. 2: Because he's barefoot on the cover of "Abbey Road", I'm convinced this member of the Beatles is dead. Paul McCartney. 3: My cousin just told me that a man in a hotel room had this renal organ removed while he slept. Kidney. 4: Wow! A couple found this pirate prosthesis on their car door handle when they got home from a date. Hook. 5: Did you hear? This man had a congressional page fired for making a "Love Boat" joke. Fred Grandy. Thanks for listening! Come back tomorrow for more exciting trivia!

Les paroles de la première phrase de la chanson "Thunder Road" de Bruce Springsteen vont être éditées 46 ans après sa sortie. Il s'agit de la plage d'ouverture du célèbre album de 1975, Born To Run. Dans les versions officielles des paroles du titre, y compris sur l'édition vinyle pressée en 1975 et sur le site officiel de Springsteen en 2021, la première ligne est : “The screen door slams, Mary's dress waves.” Le débat a pourtant grandi depuis quelques semaines, lancé par ceux qui entendent "sways" au lieu de "waves". The New Yorker a décidé de contacter le manager du Boss, et co-producteur de l'album Born To Run, Jon Landau pour y voir plus clair et il a expliqué : "il s'agit bien de "sways" et nous allons corriger l'erreur partout." Le morceau "Crazy Little Thing Called Love" signé de la main de Freddie Mercury et sorti en 1979, est un hommage à Elvis Presley. C'est deux ans après son décès aux USA que le chanteur de Queen a écrit ce morceau dans son bain, ce qui ne lui aura pas pris plus de dix minutes. C'est dans le dernier épisode de Queen The Greatest, que Roger Taylor et Brian May ont reparlé de l'élaboration de ce morceau, devenu un incontournable de Queen. Brian May y explique notamment qu'ils voulaient changer le processus d'écriture des sept premiers albums et qu'ils ont décidé "d'aller simplement en studio, avec peu ou pas d'idées, et de voir ce qui surgirait." Et Roger Taylor a alors ajouté : “La première chanson qui est née est "Crazy Little Thing…", et Freddie l'a écrite dans son bain en dix minutes." Trois nouveaux puzzles Metallica viennent s'ajouter à la (déjà très complète) collection "Rock Saws series" de Zee Productions. Les trois nouveaux modèles de 500 pièces concernent les albums St. Anger (2003), Death Magnetic (2008) et Hardwired… To Self-Destruct (2016) et arriveront simultanément le 17 septembre. Les Faces, composé entre autres de Ron Wood et Rod Stewart, serait en train d'enregistrer de nouveaux morceaux. C'est au Times que le guitariste Ron Wood (également membre des Rolling Stones) a confié qu'il avait rencontré Rod Stewart et Kenney Jones récemment, en plus de travailler sur un projet particulier avec Mick Jagger des Stones. " Avec Mick, on a réenregistré 9 titres pour la réédition [40e anniversaire] de Tattoo You." "Et avec Rod et Kenney, on a travaillé sur de nouveaux titres des Faces." Les Faces s'étaient formés sur les cendres des Small Faces en 1969 avant de se séparer en 1975 suite au départ de Rod Stewart. Ron Wood était quant à lui parti rejoindre les Stones à peu près à la même époque. Le groupe a enregistré quatre albums en tout. "Kiss ne se reformera jamais avec ses membres originaux". C'est en tout cas ce qu'affirme Paul Stanley . "Je l'ai déjà dit auparavant : on n'en serait pas là sans Ace [Frehley, guitare] et Peter [Criss, batterie], mais on ne pourrait pas être ici aujourd'hui avec Ace et Peter," continue-t-il. "Je pense que les gens attendent quelque chose qui – j'allais dire, est "peu réaliste" – et j'ajouterais que c'est impossible. C'est chouette de repenser au passé, mais ce n'est pas si différent d'une rupture amoureuse. Vous ne vous dites pas des années plus tard : "Tiens ? Pourquoi est-ce arrivé ? Revenons en arrière." Cela ne sera plus jamais pareil. Et vous vous rendez ensuite compte, comme cela nous est arrivé, pourquoi cela n'a pas marché. Et c'est pour cela que cela ne fonctionnera pas une deuxième fois." Le groupe Manic Street Preachers a partagé un deuxième single, The Secret He Had Missed, sur l'album à venir le 3 septembre, The Ultra Vivid Lament. The Secret He Had Missed est un pur titre de pop avec en guest au chant Julia Cumming (Sunflower Bean), et des cascades au piano dignes d'ABBA. Le titre est accompagné d'une vidéo réalisée par Kieran Evans. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30.

Les paroles de la première phrase de la chanson "Thunder Road" de Bruce Springsteen vont être éditées 46 ans après sa sortie. Il s’agit de la plage d’ouverture du célèbre album de 1975, Born To Run. Dans les versions officielles des paroles du titre, y compris sur l’édition vinyle pressée en 1975 et sur le site officiel de Springsteen en 2021, la première ligne est : “The screen door slams, Mary’s dress waves.” Le débat a pourtant grandi depuis quelques semaines, lancé par ceux qui entendent "sways" au lieu de "waves". The New Yorker a décidé de contacter le manager du Boss, et co-producteur de l’album Born To Run, Jon Landau pour y voir plus clair et il a expliqué : "il s’agit bien de "sways" et nous allons corriger l’erreur partout." Le morceau "Crazy Little Thing Called Love" signé de la main de Freddie Mercury et sorti en 1979, est un hommage à Elvis Presley. C’est deux ans après son décès aux USA que le chanteur de Queen a écrit ce morceau dans son bain, ce qui ne lui aura pas pris plus de dix minutes. C’est dans le dernier épisode de Queen The Greatest, que Roger Taylor et Brian May ont reparlé de l’élaboration de ce morceau, devenu un incontournable de Queen. Brian May y explique notamment qu’ils voulaient changer le processus d’écriture des sept premiers albums et qu’ils ont décidé "d’aller simplement en studio, avec peu ou pas d’idées, et de voir ce qui surgirait." Et Roger Taylor a alors ajouté : “La première chanson qui est née est "Crazy Little Thing…", et Freddie l’a écrite dans son bain en dix minutes." Trois nouveaux puzzles Metallica viennent s’ajouter à la (déjà très complète) collection "Rock Saws series" de Zee Productions. Les trois nouveaux modèles de 500 pièces concernent les albums St. Anger (2003), Death Magnetic (2008) et Hardwired… To Self-Destruct (2016) et arriveront simultanément le 17 septembre. Les Faces, composé entre autres de Ron Wood et Rod Stewart, serait en train d’enregistrer de nouveaux morceaux. C’est au Times que le guitariste Ron Wood (également membre des Rolling Stones) a confié qu’il avait rencontré Rod Stewart et Kenney Jones récemment, en plus de travailler sur un projet particulier avec Mick Jagger des Stones. " Avec Mick, on a réenregistré 9 titres pour la réédition [40e anniversaire] de Tattoo You." "Et avec Rod et Kenney, on a travaillé sur de nouveaux titres des Faces." Les Faces s’étaient formés sur les cendres des Small Faces en 1969 avant de se séparer en 1975 suite au départ de Rod Stewart. Ron Wood était quant à lui parti rejoindre les Stones à peu près à la même époque. Le groupe a enregistré quatre albums en tout. "Kiss ne se reformera jamais avec ses membres originaux". C’est en tout cas ce qu’affirme Paul Stanley . "Je l’ai déjà dit auparavant : on n’en serait pas là sans Ace [Frehley, guitare] et Peter [Criss, batterie], mais on ne pourrait pas être ici aujourd’hui avec Ace et Peter," continue-t-il. "Je pense que les gens attendent quelque chose qui – j’allais dire, est "peu réaliste" – et j’ajouterais que c’est impossible. C’est chouette de repenser au passé, mais ce n’est pas si différent d’une rupture amoureuse. Vous ne vous dites pas des années plus tard : "Tiens ? Pourquoi est-ce arrivé ? Revenons en arrière." Cela ne sera plus jamais pareil. Et vous vous rendez ensuite compte, comme cela nous est arrivé, pourquoi cela n’a pas marché. Et c’est pour cela que cela ne fonctionnera pas une deuxième fois." Le groupe Manic Street Preachers a partagé un deuxième single, The Secret He Had Missed, sur l’album à venir le 3 septembre, The Ultra Vivid Lament. The Secret He Had Missed est un pur titre de pop avec en guest au chant Julia Cumming (Sunflower Bean), et des cascades au piano dignes d’ABBA. Le titre est accompagné d’une vidéo réalisée par Kieran Evans. --- Classic 21 vous informe des dernières actualités du rock, en Belgique et partout ailleurs. Le Journal du Rock, chaque jour à 7h30 et 18h30.

3 legendary british drummers share their thoughts and memories of performing at the iconic Live Aid Concert at Wembley in 1985.Charlie Morgan - Elton johnSteve White - The Style CouncilKenney Jones - The Who.

Join us as we discuss the iconic album (and cover) by the Who. Originally slated to be another Rock opera, what came out of its' ashes was a timeless classic. We discuss the Lifehouse project that would have been the follow up to Tommy, as well as touching on replacement drummer Kenney Jones and state of The Who in the current touring climate.Links:InstagramFacebookTwitterThe Lifehouse project (Wiki)Lifehouse Reconstructed (by Erik)

Today we are joined by a real legend and pioneer of the UK music scene - Kenney Jones - Join Kenney and myself as we chart about his incredible career from being a founder member of The Small Faces, through to The Faces and then the huge task of taking over the drum chair for The Who after Keith Moon sadly passed away. Huge thanks to kenney for giving his time so generously.

Rock Around The Blog paneutuu yleisön pyynnöstä klassikkobändiin The Who. Studiossa Sami Ruokangas, Pauli Kauppila ja Juha Kakkuri. Menossa ovat mukana myös Beatles, Rolling Stones, Pink Floyd, Jimi Hendrix, Led Zeppelin, Vintage Trouble, Gary Clark Jr, The Animals, The Jam, Oasis, Roger Daltrey, Queen, Pete Townshend, Fleetwood Mac, Peter Green, Keith Moon, John Entwistle, John Bonham, Zak Starkey, Nalle Wahlroos, Van Halen, Sammy Hagar, Kenney Jones, Small Faces, Faces, Johnny Kidd & The Pirates, Cream, Lemmy, Motörhead, Geezer Butler, Black Sabbath, Mose Allison, The High Numbers, Sly & The Family Stone, Jefferson Airplane, Abbie Hoffman, Stone Roses ja Eddie Cochran. Jakson soittolista: https://open.spotify.com/playlist/5p84mdSwVhj9Mbzuaqufud?si=FrF2aEbLS7iE73ScMOb7Hw

On this episode of the “It's Only Rock And Roll PODCAST”, legendary drummer KENNEY JONES talks about forming the British Invasion mod-rock band The Small Faces, getting Rod Stewart into the Faces, explaining how he ended up on a classic Rolling Stones recording “by accident”, and detailing his varied experiences as drummer for The Who. Previous three-time co-host and podcaster Dave Tate joins us to commemorate the show's milestone 20th episode. ° For Kenney's tour dates, music, discography and more - http://www.kenneyjones.com/ °To purchase Kenney's autobiography https://amzn.to/3psqqvf Visit the 'It's Only Rock And Roll PODCAST' online at: ° Homepage – www.ItsOnlyRockAndRollPodcast.com ° Facebook – facebook.com/ItsOnlyRockAndRollPodcast/ ° Instagram - itsonlyrockandrollpodcast

Rod Stewart, Ronnie Wood, Steve Marriott, Roger Daltrey, Pete Townshend and Paul Rodgers... hear all the rock n roll stories straight from one of the founders of the mod movement who was an instrumental member in bands containing legends like these. KENNEY JONES from the SMALL FACES / FACES / THE WHO / THE LAW and more joins us in episode 1! Learn more about your ad choices. Visit megaphone.fm/adchoices

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.

Harry Belafonte [00:31] "The Drummer and The Cook (Cockney Air)" An Evening with Belafonte RCA Victor LPM-1402 1957 I wonder if Harry was Dick Van Dyke's dialect coach. Miriam Makeba [04:25] "Beware, Verwoerd (Ndodemnyama)" An Evening with Belafonte/Makeba RCA Victor LSP-3420 1965 As the liner notes say, a warning to the Prime Minister of South Africa that the black man is on the move. Harry Belafonte [06:28] "Walking on the Moon" An Evening with Belafonte/Mouskouri RCA Victor LSP-3415 1966 From the film Never on a Sunday. Rod Stewart [10:02] "Maggy May" Every Picture Tells a Story Mercury SRM-1-609 1971 A number one hit from a number one album from Mssrs. Stewart and Wood and friends. Warren Zevon [17:13] "Lawyers, Guns and Money" Excitable Boy Asylum Records 6E-118 1978 Seems even more appropriate for this times. From the album that gave us "Werewolves of London" too. Rolling Stones [20:42] "Shake Your Hips" Exile on Main St. Rolling Stones Records COC 2-2900 1972 A fine stab at the Slim Harpo classic. Recorded by the boys when they were holed up in Nellcôte. Procul Harum [23:41] "Nothing but the Truth" Exotic Birds and Fruits Chrysalis CHT 1058 1974 A very meh album. Not sure how it came to be in my collection, but here it is. Bill Evans Trio [26:53] "Haunted Heart" Explorations Riverside Records RLP 351 1961 Recorded February 2, 1961 with Evans on piano, Scott La Faro on bass, and Paul Motian on drums. Rain Parade [31:26] "You Are My Friend" Explosions in the Glass Palace Enigma Records E 1081 1984 Some primo paisley underground from this LA quartet, released after David Roback departed the group. Robert Fripp [34:31] "You Burn Me Up I'm a Cigarette" Exposure EG PD EGLP 101 1979 Featuring Daryl Hall on vox, believe it or not. Love and Rockets [36:56] "Yin and Yang The Flower Pot Man" Express Big Time 6011-1-B 1986 I can neither confirm nor deny that I was once an industrial goth kid. Pretenders [43:50] "Message of Love" Extended Play Sire MINI 3563 1981 I mean really, how can you not pick this song? Extremity [47:14] "Bestial Destiny" Extremely Fucking Dead 20 Buck Spin SPIN 087 2017 Bay Area Death Metal supergroup featuring Shelby Lermmo on guitar and vox, Marissa Martinez-Hoadley on guitar and vox, Erika Osterhout on bass and Aesop Dekker on drums. Johnny Cash [52:05] "Frankie's Man, Johnny" The Fabulous Johnny Cash Columbia CL 1253 1958 Mono, man! Johnny's first outing with Columbia. The Who [54:21] "Don't Let Go the Coat" Face Dances Warner Bros. Records HS 3516 1981 The first full album withouth Keith Moon, with Faces' Kenney Jones in his place. Made it to number 4 on the US charts. The album cover features 4 portraits of each musician by different artists. My favorite is Howard Hodgkins' portrait of John Entwistle. Music behind the DJ: "À 200 à l'heure" by Francis Lai and Orchestra

Retomando la Sección "Presentando nuevos discos" esta vez indagamos en el álbum debut de Licia Svein "Where do I Belong", una muy joven artista independiente italiana de 25 años de edad, graduada en Beni Culturali e Spettacolo de su ciudad natal, Sanluri, perteneciente a la hermosa Isla de Cerdeña. En la tradicional "Sección Efemérides" celebramos el nacimiento de B B King, Richard Marx y Kenney Jones. Cerramos el programa con una simpática selección de temas de series para televisión no muy conocidas.

Kenney Jones is British Rock Royalty. He’s a member of the Rock 'N' Roll Hall of Fame, as a founding member of The Small Faces, and was the drummer with The Faces, and The Who.  His autobiography ‘Let the Good Times Roll’ is now available. Join us as Kenney shares classic rock ’n’ roll stories, about his time with The Faces, The Who, and playing practical jokes with Keith Moon! Learn more at www.kenneyjones.com  Thanks for listening! The MOTR Show is the audio podcast for Musicians On The Record with David Ward.  Please Subscribe now to be updated on the latest episodes! If you enjoy the content, please Like and Share the video and Subscribe to the channel. I read every comment and would love to hear from you. Please take a second and say ‘Hi’ in the comments and let me and my team know what you thought of the video, and what kind of content you would like to see more of.  Thanks, David  ✌️❤️

Modcast #060 The Modcast Weekender Q&A with Kenney Jones and Terry Rawlings by The Modcast

Pat invites Photographer Amy Lehman back to the Guest Co-Host chair so the two can play their favorite Who songs in alphabetical order.

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.

RADIO VERSION - LISTEN TO THE PODCAST FOR THE FULL INTERVIEW! INTERVIEWED BY GUEST HOST LA Personal Development Founder Mike Gormley Our VERY SPECIAL GUEST is Chairman/CEO/Founder of Panacea Entertainment Eric Gardner! Panacea Entertainment was founded in 1970 as the very first rock and roll tour coordination company by Eric Gardner, then a graduate student earning his Master of Fine Arts in playwriting at Columbia University. His early clients were the Jefferson Airplane, The Grateful Dead and KISS. By 1973 Panacea was coordinating tours for major bands in 23 countries. By 1974 Panacea's emphasis had shifted to talent management, and over the years Gardner has represented such diverse artists as Bill Wyman of the Rolling Stones, Max Weinberg and Steven Van Zandt (and the majority of the E Street Band), Donny Osmond, David Hasselhoff, Richard Belzer, Timothy Leary, Arianna Huffington, Richard Chamberlain, Firesign Theater, Ben Stein, Gabe Kaplan, Rick Wright of Pink Floyd, the Stray Cats, Kenney Jones of The Who/Faces/Small Faces, Jefferson Starship, the Sex Pistols, John Lydon, Hot Tuna, Blue Oyster Cult, Utopia, Cheech Marin, Bettye LaVette, Carmine Appice/Vanilla Fudge, The Jam, The Dictators, Jim Steinman, Ralph Bakshi, Grace Jones, and John Kricfalusi (the creator of “Ren & Stimpy”). In 1981 Gardner relocated Panacea from New York to Los Angeles to expand into film and television. His first foray was signing Cassandra "Elvira" Peterson in 1982 and over the next 26 years he produced her film and television projects. He has since produced over 200 hours of national television and several features. In 2016 "Hoff The Record", which Gardner executive produced, won Best Comedy Series at the International EMMY® Awards. In 2017 Gardner was inducted into The Personal Managers Hall of Fame Mike Gormley L.A. Personal Development Website: www.lapersdev.com Facebook: https://www.facebook.com/mike.gormley.10?fref=ts LinkedIn: https://www.linkedin.com/home Activity Breeds Activity

EXTENDED PODCAST VERSION - LISTEN TO THE PODCAST FOR THE FULL INTERVIEW! INTERVIEWED BY GUEST HOST LA Personal Development Founder Mike Gormley Our VERY SPECIAL GUEST is Chairman/CEO/Founder of Panacea Entertainment Eric Gardner! Panacea Entertainment was founded in 1970 as the very first rock and roll tour coordination company by Eric Gardner, then a graduate student earning his Master of Fine Arts in playwriting at Columbia University. His early clients were the Jefferson Airplane, The Grateful Dead and KISS. By 1973 Panacea was coordinating tours for major bands in 23 countries. By 1974 Panacea's emphasis had shifted to talent management, and over the years Gardner has represented such diverse artists as Bill Wyman of the Rolling Stones, Max Weinberg and Steven Van Zandt (and the majority of the E Street Band), Donny Osmond, David Hasselhoff, Richard Belzer, Timothy Leary, Arianna Huffington, Richard Chamberlain, Firesign Theater, Ben Stein, Gabe Kaplan, Rick Wright of Pink Floyd, the Stray Cats, Kenney Jones of The Who/Faces/Small Faces, Jefferson Starship, the Sex Pistols, John Lydon, Hot Tuna, Blue Oyster Cult, Utopia, Cheech Marin, Bettye LaVette, Carmine Appice/Vanilla Fudge, The Jam, The Dictators, Jim Steinman, Ralph Bakshi, Grace Jones, and John Kricfalusi (the creator of “Ren & Stimpy”). In 1981 Gardner relocated Panacea from New York to Los Angeles to expand into film and television. His first foray was signing Cassandra "Elvira" Peterson in 1982 and over the next 26 years he produced her film and television projects. He has since produced over 200 hours of national television and several features. In 2016 "Hoff The Record", which Gardner executive produced, won Best Comedy Series at the International EMMY® Awards. In 2017 Gardner was inducted into The Personal Managers Hall of Fame Mike Gormley L.A. Personal Development Website: www.lapersdev.com Facebook: https://www.facebook.com/mike.gormley.10?fref=ts LinkedIn: https://www.linkedin.com/home Activity Breeds Activity

A first-call session player in the UK for 30+ years, Les has played with Leo Sayer, Joan Armatrading, Paul Rogers, Jack Bruce, Mick Taylor, Pete Brown, Bonnie Tyler, Snuffy WG Walden, The Corgies, Graham Bonnet, Tina Turner, Kenney Jones, Pete Townsend & loads of others, and has been a full band member of Sniff n The Tears since 1981. Les grew up on a working pig farm, and talks about moving to London to get his career started... flying to LA from London to start a world-wide tour with Leo Sayer, with literally one day notice… working with Jack Bruce, Donovan, Pete Townshend & Snuffy Walden… lessons learned, some pretty difficult low points in his life, seeing Led Zeppelin in concert during their first British tour… some smart decisions he made in NOT taking certain opportunities, humility, gratitude, awareness, following your heart, and SO much more cool stuff. You’ll love this convo with a real First-Class human: Subscribe https://www.everyonelovesguitar.com/subscribe/ Facebook: https://www.facebook.com/EveryoneLovesGuitar/ Instagram: https://www.instagram.com/everyonelovesguitar/ Twitter: https://twitter.com/ELovesGuitar

Between 1977 and 1982, The Who changed in inconceivable ways. They were still a huge live draw, they were making massive hit records, and their tenure as stars of the silver screen was only seeming to grow, but this period certainly contained some of the saddest chapters in Who history: the death of the seemingly indestructible Keith Moon, the passing of previous manager Kit Lambert, and the Cincinnati stampede that left many fans injured or deceased. However, the records the group made during these trying times remain as solid as anything that any group of humans could hope to churn out under such dire circumstances.This transitional time that saw the band bring drummer Kenney Jones into the fray and allowing an outside keyboardist to appear on the stage with the group in the form of John "Rabbit" Bundrick. Meanwhile, Pete Townshend's solo successes sometimes overshadowed those of his main group. Join host, Marc With A C, for this highly emotional episode leading us into some of the most hotly debated moves that The Who would ever make. And to think... we're only half of the way through this season!This episode we explore Rough Mix, Who Are You, The Kids Are Alright, McVicar, the soundtrack version of Quadrophenia, Empty Glass, Face Dances, Too Late The Hero, All The Best Cowboys Have Chinese Eyes, and a few other assorted sundries from this era! Be sure to check out our full index of every record discussed - over in our Reverb LP record bin! See acast.com/privacy for privacy and opt-out information.

Drummer Kenney Jones comes on the Goldmine Magazine Podcast to talk about the 50th Anniversary of the Small Faces album "Ogdens' Nut Gone Flake"—among other topics.

Drummer Kenney Jones comes on the Goldmine Magazine Podcast to talk about the 50th Anniversary of the Small Faces album "Ogdens' Nut Gone Flake"—among other topics. Learn more about your ad choices. Visit megaphone.fm/adchoices

In episode 2, we speak to Small Faces drummer Kenney Jones on the classic Small Faces album Ogden's Nut Gone Flake. He tells us about the album origins, the bands struggle against their commercial image, and what the future holds for their legendary album. See acast.com/privacy for privacy and opt-out information.

Iain Lee's live on talkRADIO between 10pm-1am Monday to Fridays but, if for some inexplicable reason you miss the show, you can get the best bits every day right here.Or, to be absolutely certain you don't miss out, subscribe to the podcast on iTunes. Hosted on Acast. See acast.com/privacy for more information.

Drummer with the Small Faces, the Faces and the Who, supplier of the distinctive drum sound on the Rolling Stones' "It's Only 'N' Roll", guest at Mick Jagger's wedding in 1971, Kenney Jones is one of the few people born in Stepney in 1948 who wound up owning his own polo club. It's all in his newly-published autobiography "Let The Good Times Roll". He came to the Islington to talk to David and Mark about it. The new air conditioning was working and a splendid time was had by all. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Drummer with the Small Faces, the Faces and the Who, supplier of the distinctive drum sound on the Rolling Stones' "It's Only 'N' Roll", guest at Mick Jagger's wedding in 1971, Kenney Jones is one of the few people born in Stepney in 1948 who wound up owning his own polo club. It's all in his newly-published autobiography "Let The Good Times Roll". He came to the Islington to talk to David and Mark about it. The new air conditioning was working and a splendid time was had by all. Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

Drummer with the Small Faces, the Faces and the Who, supplier of the distinctive drum sound on the Rolling Stones' "It's Only 'N' Roll", guest at Mick Jagger's wedding in 1971, Kenney Jones is one of the few people born in Stepney in 1948 who wound up owning his own polo club. It's all in his newly-published autobiography "Let The Good Times Roll". He came to the Islington to talk to David and Mark about it. The new air conditioning was working and a splendid time was had by all.

Clive Anderson and Tom Allen are joined by Kenney Jones, Colm Toibin, Debbie Wiseman and Jon Sopel for an eclectic mix of conversation, music and comedy. With music from Etienne Charles and Tuuletar. Producer: Tim Bano.

We examine the 1983 benefit tour for Ronnie Lane, put on by "The best of British" rock. Eric Clapton, Jeff Beck, and Jimmy Page on the same bill, with Bill Wyman, Charlie Watts, Kenney Jones, et al as a stellar rhythm section. Ronnie Lane, former bassist for the Small Faces, and The Faces, was stricken with MS, and his famous friends held a benefit concert, and then tour, to raise money for research into Muscular Dystrophy.

Mr. Allan James of the BUT! Music Group is our VIP Super Guest Star on Tuesday's show!  Allan will talk about his career in the music business and share fun stories about working with some of the legendary icons of the last 50 years! Having enjoyed such great success in the music industry, "Jamesie" has brought established artists such as Kenney Jones and Justin Hayward and Partners such as Bob Harris and David Courtney into current BUT! Group projects. In a career spanning over 30yrs "The Man In Black", Allan James has promoted luminaries such as, “Steely Dan”, “Joe Walsh”, “Elton John”, “Tourists/Eurythmics”, “Yes”, “Rainbow”, “Whitesnake”, “Kim Wilde”, “Slade”, “Bryan Adams”, “Robert Plant”, “Foriegner”, “Van Halen”, “Chas ‘n Dave”, “Justin Hayward”, “The Cars” , “Toyah”... to name a few!!! Live Noon EST/9aPST.  Call 323 657-1493 to ask a question and join in the fun!

Mr. Allan James of the BUT! Music Group is our VIP Super Guest Star on Tuesday's show!  Allan will talk about his career in the music business and share fun stories about working with some of the legendary icons of the last 50 years! Having enjoyed such great success in the music industry, "Jamesie" has brought established artists such as Kenney Jones and Justin Hayward and Partners such as Bob Harris and David Courtney into current BUT! Group projects. In a career spanning over 30yrs "The Man In Black", Allan James has promoted luminaries such as, “Steely Dan”, “Joe Walsh”, “Elton John”, “Tourists/Eurythmics”, “Yes”, “Rainbow”, “Whitesnake”, “Kim Wilde”, “Slade”, “Bryan Adams”, “Robert Plant”, “Foriegner”, “Van Halen”, “Chas ‘n Dave”, “Justin Hayward”, “The Cars” , “Toyah”... to name a few!!! Live Noon EST/9aPST.  Call 323 657-1493 to ask a question and join in the fun!

Brilliant interview with Small Faces Legend Kenney Jones. Kenney talks about his time in three of the most influential bands ever. Co Hosted by the awesome Garry John Kane who joins me for the third time! Check it out xxx

Her role as Louise Raymond in BBC's EastEnders brought her stardom and notoriety, but Carol Harrison's true life story has been as gripping as the plot of any television soap opera. Born in London’s East End to a single mum, Carol grew up in abject poverty. It has been said that there are four main routes out of the East End - crime, sport, acting and rock'n'roll. Carol’s life connects three of those (she was once married to the son of one of Britain's best-known gangsters). Garry’s guest tonight opens her heart about her screen love affair with Ross Kemp's character Grant Mitchell... her crazy fans... and the dubious lure of celebrity TV. Yes, it’s a treat for EastEnders aficionados... but there’s a lot more besides... Carol’s life-long love of Mod culture, and especially Steve Marriott the singer with The Small Faces, has prompted her to become a theatrical producer. The stage musical All Or Nothing (which Carol wrote) opens in Worthing on 13th September, and tells the story of this iconic singer who inspired the Brit Pop phenomenon. You can buy tickets to a special star-studded showcase performance of All Or Nothing The MOD Musical, plus live music from Kenney Jones, Chris Farlowe, Mollie Marriot and The Small Fakers on this link. Download the show as mp3 file Subscribe in iTunes Be a wonderful human being and support us with a donation

Her role as Louise Raymond in BBC's EastEnders brought her stardom and notoriety, but Carol Harrison's true life story has been as gripping as the plot of any television soap opera. Born in London’s East End to a single mum, Carol grew up in abject poverty. It has been said that there are four main routes out of the East End - crime, sport, acting and rock'n'roll. Carol’s life connects three of those (she was once married to the son of one of Britain's best-known gangsters). Garry’s guest tonight opens her heart about her screen love affair with Ross Kemp's character Grant Mitchell... her crazy fans... and the dubious lure of celebrity TV. Yes, it’s a treat for EastEnders aficionados... but there’s a lot more besides... Carol’s life-long love of Mod culture, and especially Steve Marriott the singer with The Small Faces, has prompted her to become a theatrical producer. The stage musical All Or Nothing (which Carol wrote) opens in Worthing on 13th September, and tells the story of this iconic singer who inspired the Brit Pop phenomenon. You can buy tickets to a special star-studded showcase performance of All Or Nothing The MOD Musical, plus live music from Kenney Jones, Chris Farlowe, Mollie Marriot and The Small Fakers on this link. Download the show as mp3 file Subscribe in iTunes Be a wonderful human being and support us with a donation

In Had Me a Real Good Time: Faces Before, During, and After (Omnibus 2011) Andy Neill provides a detailed account of Faces, one of the most popular and critically acclaimed groups of the early seventies. Neill begins his story with biographies of those who would become Faces including, of course, sections about each of their early bands: Ronnie Lane, Kenney Jones, and Ian “Mac” McLagan with Small Faces; Rod Stewart and Ron Wood with the Jeff Beck Group. The book’s mid-section details Face’s career through four albums and countless tours of England and, essential for their commercial success, the United States. Also included is an analysis of the balance that was sometime kept and sometimes not, between Face’s career and the career of their superstar sfront man, Rod Stewart. Neill devotes the final part of his story to the band’s break-up and the individual members’ post-Faces careers. All-in-all, Neill provides a richly researched history of a band and all the people who went into making their tenure possible. Andy Neill is a music writer, researcher and historian who co-wrote Anyway Anyhow Anywhere: The Complete Chronicle of the Who as well as compiling Across the Universe: John, Paul, George, and Ringo on Tour and on Stage. He contributes liner notes for archive projects including the Who’s back catalogue, and is a consultant on numerous music biographies and documentaries. His writing has appeared in Mojo, Record Collector, and Ugly Things. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Had Me a Real Good Time: Faces Before, During, and After (Omnibus 2011) Andy Neill provides a detailed account of Faces, one of the most popular and critically acclaimed groups of the early seventies. Neill begins his story with biographies of those who would become Faces including, of course, sections about each of their early bands: Ronnie Lane, Kenney Jones, and Ian “Mac” McLagan with Small Faces; Rod Stewart and Ron Wood with the Jeff Beck Group. The book’s mid-section details Face’s career through four albums and countless tours of England and, essential for their commercial success, the United States. Also included is an analysis of the balance that was sometime kept and sometimes not, between Face’s career and the career of their superstar sfront man, Rod Stewart. Neill devotes the final part of his story to the band’s break-up and the individual members’ post-Faces careers. All-in-all, Neill provides a richly researched history of a band and all the people who went into making their tenure possible. Andy Neill is a music writer, researcher and historian who co-wrote Anyway Anyhow Anywhere: The Complete Chronicle of the Who as well as compiling Across the Universe: John, Paul, George, and Ringo on Tour and on Stage. He contributes liner notes for archive projects including the Who’s back catalogue, and is a consultant on numerous music biographies and documentaries. His writing has appeared in Mojo, Record Collector, and Ugly Things. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Had Me a Real Good Time: Faces Before, During, and After (Omnibus 2011) Andy Neill provides a detailed account of Faces, one of the most popular and critically acclaimed groups of the early seventies. Neill begins his story with biographies of those who would become Faces including, of course, sections about each of their early bands: Ronnie Lane, Kenney Jones, and Ian “Mac” McLagan with Small Faces; Rod Stewart and Ron Wood with the Jeff Beck Group. The book’s mid-section details Face’s career through four albums and countless tours of England and, essential for their commercial success, the United States. Also included is an analysis of the balance that was sometime kept and sometimes not, between Face’s career and the career of their superstar sfront man, Rod Stewart. Neill devotes the final part of his story to the band’s break-up and the individual members’ post-Faces careers. All-in-all, Neill provides a richly researched history of a band and all the people who went into making their tenure possible. Andy Neill is a music writer, researcher and historian who co-wrote Anyway Anyhow Anywhere: The Complete Chronicle of the Who as well as compiling Across the Universe: John, Paul, George, and Ringo on Tour and on Stage. He contributes liner notes for archive projects including the Who’s back catalogue, and is a consultant on numerous music biographies and documentaries. His writing has appeared in Mojo, Record Collector, and Ugly Things. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ronnie and Kenney chat about their careers and some of the music they've made together.