Podcasts about Long John Baldry

Blues is the Truth is back with edition 765 and it is overflowing with great music and pure blues spirit. This week's playlist takes you from gritty roadhouse grooves to soul-soaked vocals and hard-hitting guitar licks. We open with the powerhouse playing of Popa Chubby and keep the energy high with Sister Suzie and Papa George. Jimmie Vaughan and Koko Taylor bring the Texas and Chicago flavours, while Bad Temper Joe and Buddy Guy deliver the kind of deep emotional playing only the blues can give. The Rolling Stones show their love for the genre, Garry Burnside and Kent Burnside keep the Mississippi juke joint spirit alive, and Bobby Blue Bland shows why he is one of the great soul-blues voices. Shannon Curfmann and The Cinelli Brothers bring fresh fire, while The Bobettes and Mike Henderson add their own unique twists. Smokin' Joe Kubeck and Bnois King, Albert Collins, and Bob Margolin keep the guitar greatness flowing. We also feature John Christopher Morgan, Long John Baldry, The Untouchables, Yates McKendree, The Altered Five Blues Band, Quintus McCormick Blues Band, and Larry McCray to round out a packed set. As always we are proudly supported by the Tuesday Night Blues Jam at the Rising Sun in Isleworth. There is no better place to experience the blues up close and personal.

News:Well, for better or worse, here we are again with the new episode of my Love Bubble, Time Tunnel of joy I call The Good man's Radio Show. Bringing you another 2hrs (just over) of tunes from the 1960's & 70's archives with a Radio show that I feel is truly unique and 100% non Corporate or professional. No team of people helping, picking tunes, finding information and editing for a super polished, slick production. Just me, one pc, a heck of a lot of tunage and a willingness to look things that I don't know up. Consequently, absolutely NO Ads so please support your local amateur talent by having a good listen and leaving me some feedback. Hope you enjoy the show.Tracklist: Love Comes, Love Dies – The Troyes Secret Police – The Belfast Gypsies Don't Start Me Talkin' – The Sorrows Mercy, Mercy – The Athenians Everything That Touches You – The Association I Want To Go Back There Again – B.J. Arnau I Can Take Care of Myself – Spyders Do It – Neil Diamond Editorial – Chad & Jeremy Ferris Wheel – Donovan Caught in a Dream – Alice Cooper Tune In – Poe See See Rider – The Music Machine The Family Way – The Kompany You're So Rude – Faces Straight Down The Line – Mr. Bloe Bright Lights, Big City (live) – Long John Baldry & The Hoochie Coochie Men Music Talk – Beryl Marsden Gotta Have a New dress – Curtis Knight She is Beautiful – Genesis Poet – Audience Mother Goose – Jethro Tull Child of The Moon – The Rolling Stones Around The World in Eighty Days – Stray Der L.S.D Marsch – Guru Guru Suicide – Dust Letter to Hermoine – David Bowie Nice – Bridget St. John My Ways Are Set – John Williams Plastic Man – The Temptations Hot Pants Pt 1 – James Brown Don't You Have Feelings – Little Joe Cook Seeing is Believing – The Golden Dawn Marcia 2 A.M. – The First Edition Live For Today – Morning Glory I Don't Care – The Outsiders Sleep – The Savage Rose 

Epysode 32: "Silent Song Through The Land" In this epysode we dive into Ron Davies' 1973 album "Silent Song Through the Land", a stunning blend of folk and rock that showcases his incredible storytelling. Known for his songs being covered by legends like David Bowie, Three Dog Night, Dolly Parton, Joe Cocker, Long John Baldry, Dave Edmunds, and many others, Ron Davies' impact on music is undeniable. We'll also treat you to an exclusive, never-before-released track from Ron himself, offering a rare glimpse into his creative process. Don't miss this chance to discover a hidden gem of the 70s and hear a song that's never been heard—until now! I hope you dig "Silent Song Through The Land" as much as I do. -Farmer John ===CONNECT/SUPPORT=== Transport yourself into the realm of grooviness by supporting us on Patreon using this link --> patreon.com/FarmerJohnMusic Use this link to follow us on Facebook --> https://www.facebook.com/farmerjohnmusic/ Use this link to follow us on Instagram --> https://www.instagram.com/vinyl.relics.podcast/ Use this link to follow us on TikTok --> https://www.tiktok.com/@vinylrelicspodcast Use this link to follow us on BlueSky --> https://bsky.app/profile/farmerjohnmusic.bsky.social And find us on X here --> @VinylRelicsPod Email me here --> farmerjohnmusic@gmail.com ===LINKS=== Listen to the full interview with Eric Apoe on KUOW Radio here: https://www.youtube.com/watch?v=vXGrv2Zp79s Buy Gail's book "The Last of The Outlaws" and other great stuff at www.gaildavies.com Check out Ron's albums and other information at wwwrondavies.com My band is Newport Electric. Check out our music here: https://open.spotify.com/artist/5y6kGmYnS4SWvqAfijhDdp?si=5gUMW013TPGCBI2yiaJA7w ===THE MUSIC=== Songs used in this Epysode, in order of appearance. Here's a link to a Spotify playlist for all the tracks featured ( *denotes track is not available on Spotify): https://open.spotify.com/playlist/6Xq5koBXcoGLzvnsjTK5aJ?si=c01bd731696a436d *BULLANGUS "No Cream For The Maid" HANK WILLIAMS "Jambalaya" ELVIS PRESLEY "That's All Right Mama" *ANDRES SEGOVIA "Prelude In Chords" THE WAILERS "Tall Cool One" *THE WAILERS "Hold" *THE WAILERS "My Girl" *THE WAILERS "Tears (Don't Have To Fall)" *THE WAILERS "Think Kindly Baby" *THE WAILERS "It's You Alone" *RON AND GAIL DAVIES "Yesterday's Blues" (exclusive track, never before released) THREE DOG NIGHT "It Ain't Easy" LONG JOHN BALDRY "It Ain't Easy DAVID BOWIE "Ziggy Stardust" DAVID BOWIE "Amsterdam" DAVID BOWIE "It Ain't Easy" RON DAVIES "It Ain't Easy" SON HOUSE "Death Letter Blues" RON DAVIES "What Life Must Be Like For Some" RON DAVIES "Change" RON DAVIES "The Clown" THE ROLLING STONES "Gimme Shelter" RON DAVIES "Silent Song Through The Land" RON DAVIES "Yesterday Is All I Want" RON DAVIES "Open Road, The Open Sky" RON DAVIES "Lover And The Loved" *RON DAVIES "Misty Roses" *RON DAVIES "It Ain't Easy" (second version) *RON DAVIES "I Don't Believe It" JOAN BAEZ "Steal Across The Border" RON DAVIES "Cool, Southern Breeze" RON DAVIES "Tie It In A Knot" GAIL DAVIES "Grandma's Song" *RON AND GAIL DAVIES "It's You Alone" *JOHN PRINE "You Stayed Away Too Long" *DOLLY PARTON "It's Too Late" *RON DAVIES "Sittin' On Top Of The Clouds" ??MYSTERY ARTIST?? tune into next week's epysode to find out... NEWPORT ELECTRIC "So It Goes" (This is my band. Shameful self-promotion...) Learn more about your ad choices. Visit megaphone.fm/adchoices

**It's The Relax With Rendell Show Replay On Trax FM & Rendell Radio. Rendell Featured 60's/70's/Easy Listening Cuts From Roy Orbison, Unit 4 2, Springfields, Spinners, Scaffold, Ricky Nelson, Platers, Marvin Gaye, Long John Baldry, Marcels, Little Richard, Lesley Gore, Johnny Cymbal, Jim Reeves, Jan & Dean, Gary Puckett & The Union Gap, Four Pennies, Equals, Eddie Cochran, Chiffons, Brenton Wood, Bobby Vee, The Beatles, Archies & More. #originalpirates #60s #70s #retro #popmusic #easylistening Catch Rendell Every Saturday From 8PM UK Time The Stations: Trax FM & Rendell Radio Listen Live Here Via The Trax FM Player: chat.traxfm.org/player/index.html Mixcloud LIVE :mixcloud.com/live/traxfm Free Trax FM Android App: play.google.com/store/apps/det...mradio.ba.a6bcb The Trax FM Facebook Page : https://www.facebook.com/profile.php?id=100092342916738 Trax FM Live On Hear This: hearthis.at/k8bdngt4/live Tunerr: tunerr.co/radio/Trax-FM Radio Garden: Trax FM Link: http://radio.garden/listen/trax-fm/IEnsCj55 OnLine Radio Box: onlineradiobox.com/uk/trax/?cs...cs=uk.traxRadio Radio Deck: radiodeck.com/radio/5a09e2de87...7e3370db06d44dc Radio.Net: traxfmlondon.radio.net Stream Radio : streema.com/radios/Trax_FM..The_Originals Live Online Radio: liveonlineradio.net/english/tr...ax-fm-103-3.htm **

The boys are courting Canada to claim Minnesota as the 11th province, playing very ride-worthy deep Canadian tracks from names you've never heard. Included: Bif Naked; Tire Pump; Hemingway Corner; July Talk; Long John Baldry; Junkhouse; The Pursuit of Happiness; Spirit of the West; Bif Naked (again); Emma Albani; Amanda Marshall; Tom Green

The gruesome twosome have a fun episode for you with some funny WDYLTW, Jordan is all set, and Alex delivers the Top 10 largest concerts of time

Peter Sears (born 27 May 1948) is an English rock music musician. In a career spanning more than six decades, he has been a member of many bands and has moved through a variety of musical genres, from early R&B, psychedelic improvisational rock of the 1960s, folk, country music, arena rock in the 1970s, and blues. He usually plays bass, keyboards, or both in bands. Pete Sears played on the Rod Stewart albums Gasoline Alley, Every Picture Tells A Story (which was listed high in Rolling Stone's top 500 best albums of all time), Never a Dull Moment, and Smiler. He also played on the hit singles "Maggie May", and "Reason to Believe". During this period, Sears toured the US with Long John Baldry blues band, and played with John Cipollina in Copperhead. Sears joined the band Jefferson Starship in 1974 and remained with the group through the transition to Starship, before departing in 1987. After leaving Starship he worked with bluesman Nick Gravenites, and many other artists including Jerry Garcia, Mickey Hart, Bob Weir, Maria Muldaur, Rich Kirch, Taj Mahal, and Mimi Farina. (1992 to 2002) he played keyboards in the Jorma Kaukonen Trio with Kaukonen and Michael Falzarano, and with Kaukonen, Falzarano, and Jack Casady and Harvey Sorgen in Hot Tuna. Sears has played with many other musicians through the years, including Dr. John, John Lee Hooker, Leigh Stephens and Micky Waller in Silver Metre; Long John Baldry, Copperhead with John Cipollina, Jerry Garcia, Chris Robinson Brotherhood, Levon Helm, Steve Kimock, Dave Hidalgo, Sons of Fred, Fleur de Lyse, Sam Gopal Dream, Jimi Hendrix, Pete Brown, Bob Weir, Los Cenzontles, Phil Lesh, Leftover Salmon, and Los Lobos.[5][6] Currently, he divides his time between the David Nelson Band, Chris Robinson and Green Leaf Rustlers, Zero, California Kind, Harvey Mandel, and Moonalice. Sears has also written and recorded the original score for many documentary films, including the award-winning "The Fight in the Fields" – Cesar Chávez and the Farmworkers Struggle directed by Ray Telles and Rick Tehada Flores. His most recent film, also directed by Ray Telles and co-produced by Ken Rabin, is called The Storm That Swept Mexico (2011) about the Mexican Revolution.

This brilliant Brian Auger joins Gary and Guy this week for another must listen episode of Rockonteurs.Brian is a total gent and was there from the earliest days of Rock and Roll as the go to organ and piano guy.He formed The Steampacket with Long John Baldry, Julie Driscoll, and Rod Stewart in 1965. His influence is felt far and wide in the business and artists like Elton John and Jools Holland cite Brian as a massive influence.He's funny, charming, and hugely entertaining and his music is well worth a listen. Instagram: @rockonteurs @guyprattofficial @garyjkemp @brianaugerb3 @gimmesugarproductionsYouTube: https://www.youtube.com/@rockonteursFacebook: https://www.facebook.com/RockonteursProduced by Ben Jones for Gimme Sugar Productions Hosted on Acast. See acast.com/privacy for more information.

This brilliant Brian Auger joins Gary and Guy this week for another must listen episode of Rockonteurs.Brian is a total gent and was there from the earliest days of Rock and Roll as the go to organ and piano guy.He formed The Steampacket with Long John Baldry, Julie Driscoll, and Rod Stewart in 1965. His influence is felt far and wide in the business and artists like Elton John and Jools Holland cite Brian as a massive influence.He's funny, charming, and hugely entertaining and his music is well worth a listen. Instagram: @rockonteurs @guyprattofficial @garyjkemp @brianaugerb3 @gimmesugarproductionsYouTube: https://www.youtube.com/@rockonteursFacebook: https://www.facebook.com/RockonteursProduced by Ben Jones for Gimme Sugar Productions Hosted on Acast. See acast.com/privacy for more information.

Paul Myers is a music and comedy encyclopedia with stories galore! He's toured with the Barenaked Ladies. He's worked with the Kids In The Hall. He's stayed at Todd Rundgren's Kauai residence (OK, he was interviewing the maestro for a book). You get the idea! Paul waxed poetic on his time in the Gravelberrys (Check out "Wonder Where You Are Tonight." It is a vibe!) and as a radio personality and writer. He has tremendous stories that can be found within this podcast! Give it a listen! Also, check out the Record Store Day Podcast biweekly wherever you get your podcasts!

Edition 703 of "Blues is the Truth," curated and presented by the incomparable Ian McHugh, marks a historic moment as it becomes the inaugural show to grace the airwaves of Buddy Guy Radio. As always, McHugh delivers an electrifying blend of blues classics, deep cuts, and emerging talents, promising listeners an unforgettable journey through the soul-stirring landscape of blues music. The episode features the beloved regular segments that fans have come to cherish, including "The Song Remains the Same," where timeless tracks are revisited and celebrated, and "The Title Track Tango," a segment that delves into a pair of albums by spotlighting their titular tracks. Additionally, the revered Paul Michael introduces a standout selection in "Blues Driver," ensuring that each moment of the show is filled with sonic treasures waiting to be unearthed. Buddy Guy's unmistakable touch graces the airwaves with soulful melodies and searing guitar licks, setting the stage for an unforgettable musical odyssey. Among the luminaries featured are Connolly Hayes, Otis Grand, Big Harp George, Jimmie Vaughan, Johnny Guitar Watson, Doug Macleod, The Guv'Nors, T Bone Walker, The Cinelli Brothers, Billy Bragg, Brigitte Purdy, Paul Cook Blues Band featuring Katie Bradley, David Sinclair 4, Long John Baldry, Linsey Alexander, Mississippi Heat, Steve Purcell, Big Mama Thornton, BB King, Richard Townend and the Mighty Bosscats, Travelling Blue Kings, Duke Robillard, Amba Tremain, and the Steady Rollin' Revue. With a lineup as rich and diverse as the blues itself, edition 703 of "Blues is the Truth" is a testament to the genre's enduring power to captivate, inspire, and move audiences of all backgrounds. So, tune in, turn up the volume, and let the blues wash over you in all its raw, unfiltered glory.

☕️ Buy me a coffee: https://www.everyonelovesguitar.com/s...

 | Artist  | Title  | Album Name  | Album Copyright  | JJ Grey & Mofro  | Olustee  | Olustee  |   |   | Sam Mitchell  | Come On In My Kitchen  | Shake That Thing [The Blues In Britain 1963-1973]  | Deb Ryder  | 1. A Storm's Coming  | Enjoy The Ride  | Vizztone  |   | Killing Floor  | Lou's Blues  | Shake That Thing [The Blues In Britain 1963-1973]  | Struggle Buggy  | Tear 'Em Down  |   | Billy Thompson  | That Devil  | Billy Thompson BT 2018 release  | Alexis Korner  | Steal Away  | Shake That Thing [The Blues In Britain 1963-1973]  | Mark Hummel  | I Didn't Need Another Heartache  | Ain't Easy No More  |   | Long John Baldry  | It Still Ain't Easy  | It Still Ain't Easy  |   | Trond Olsen Band  | Lonelyhearted Blues  | A New Day Coming  |   | The Golden Gate Quartet  | Lord, Am I Born to Die.  | Gospel Masters: Rock My Soul  | Freddie Bell And The Bellboys  | Rompin And Stompin  | Debut Recordings (1956-57)  | Vince Eager  | This Should Go On Forever  | The Best Of British Rock 'n' Roll [Disc 2)  | Animals  | See See Rider  | Shake That Thing [The Blues In Britain 1963-1973]

 | Artist  | Title  | Album Name  | Album Copyright  |  | Phil Doleman  | Shake That Thing  | Gonna Tip Out Tonight  |   | Jackie Mc Auley  | Poor Howard  | Shake That Thing [The Blues In Britain 1963-1973]  | Travis Bowlin & Single  | Four Four Fever  |   |   |   | James Pitts Band  | Let's Talk  | Come To Play The Blues  |   | Struggle Buggy  | Blues For Sunrise  | Tear 'Em Down  |   |   | Delta Moon  | Coolest Fools  | Cabbage Town  |   |   | Peter Frampton, Rob Arthur, Adam Lester, Dan Wojciechowski, Dav  | Me And My Guitar  | All Blues Feter Frampton and Friends (2019)  | Long John Baldry  | Shake That Thang  | It Still Ain't Easy  |   |   | Cripple Clarence Lofton  | Sweetest Thing Born  | Complete Recorded Works, Vol. 1 (1935-1939)  | J. J. Cale & Eric Clapton  | Heads In Georgia  | The Road To Escondido  |   | Robert Hill & Joanne Lediger  | Nobody's Fault But Mine  | Revelation  |   |   | Adam Faith  | Ah, Poor Little Baby  | The Best Of British Rock 'n' Roll [Disc 2)  | Bo Diddley  | Hey! Bo Diddley  | Jungle Music (The Blues Collection)  | Lurrie Bell  | Somebody Help Me  | Kiss of Sweet Blues  |   |   | Katie Henry  | Love Like Kerosene  | Get Goin'  |   |   | 

Here is my radio show "Bluesland" from February 15, 2024. Just click on the link/picture. The music includes Janis Joplin, Long John Baldry, Taj Mahal, The J. Geils Band, Robert Cray, Gary Moore, George Thorogood and The Destroyers plus more fine blues, soul and rock n roll. See you next Thursday 7-9 PM on the radio at KMRE 88.3 FM or www.kmre.org. 

•He's played with Jimi Hendrix, Sonny Boy Williamson, Paul McCartney, Rod Stewart, Jimmy Page, Billy Cobham, Spencer Davies, Long John Baldry, Rod Stewart, John McLaughlin, Tom Jones, Eric Burdon and many, many more. •With Julie Driscoll he had a huge hit with a masterful psychedelic rendition of Dylan's "This Wheel's on Fire”    •He's been hailed as the godfather of acid jazz, sampled by hip hop stars and nominated for a Grammy Award.   •At 82, BRIAN AUGER is still moving, grooving, sharp as a pin - and 'beginning again' as he says.   •We hear his extraordinary story and of the sign posts pointing the way on his musical journey - from the London Blitz - through the Soho jazz clubs of the 60s - to Venice Beach.   •Thanks to Greg Boroman and Karma Augur for making this happen.   *For More on Brian    * For more on the Auger Incorporated Archive release   *Let us know where you are at(a few questions about you) *Get Our Bulletin   #counterculture #music #hammondorgan #soho #sohoclubs #soho #sohohistory #londonhistory #juliedriscoll #brianauger #hendrix #6oslondon #acidjazz

The Manfreds start their 60th Anniversary Tour in September with Paul, Mike D'Abo and Tom McGuinnness in the line-up. He talks to us here about the first and best shows he's seen and …   … being told “there's a soul/R&B singer in Birmingham and if he ever comes to London you're finished”. … how Brian Jones “opened up a secret door”. ... “stealing from Tennyson” for the lyrics of 5-4-3-2-1. … being with Mick Jagger and Long John Baldry watching Alexis Korner calling up guest “shouters” and all thinking “pick me!” … what T-Bone Walker taught him. … seeing Lonnie Donegan at the Kings Theatre, Southampton, and the absurdity of doing ‘It Takes A Worried Man' in your skiffle band when you're only 15. … Bob Dylan at Earl's Court. … the earth-shifting impact of the Modern Jazz Quartet. … and the early adventures of ‘Blues Boy' Jones.   Tickets for the Manfreds' 60 Anniversary tour here …https://myticket.co.uk/artists/the-manfredsTickets for Word In The Park in London on June 3rd here!: https://www.eventbrite.co.uk/e/the-happy-return-of-word-in-the-park-tickets-576193870377Subscribe to Word In Your Ear on Patreon for early and ad-free access to all of our content!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The Manfreds start their 60th Anniversary Tour in September with Paul, Mike D'Abo and Tom McGuinnness in the line-up. He talks to us here about the first and best shows he's seen and …   … being told “there's a soul/R&B singer in Birmingham and if he ever comes to London you're finished”. … how Brian Jones “opened up a secret door”. ... “stealing from Tennyson” for the lyrics of 5-4-3-2-1. … being with Mick Jagger and Long John Baldry watching Alexis Korner calling up guest “shouters” and all thinking “pick me!” … what T-Bone Walker taught him. … seeing Lonnie Donegan at the Kings Theatre, Southampton, and the absurdity of doing ‘It Takes A Worried Man' in your skiffle band when you're only 15. … Bob Dylan at Earl's Court. … the earth-shifting impact of the Modern Jazz Quartet. … and the early adventures of ‘Blues Boy' Jones.   Tickets for the Manfreds' 60 Anniversary tour here …https://myticket.co.uk/artists/the-manfredsTickets for Word In The Park in London on June 3rd here!: https://www.eventbrite.co.uk/e/the-happy-return-of-word-in-the-park-tickets-576193870377Subscribe to Word In Your Ear on Patreon for early and ad-free access to all of our content!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

The Manfreds start their 60th Anniversary Tour in September with Paul, Mike D'Abo and Tom McGuinnness in the line-up. He talks to us here about the first and best shows he's seen and …   … being told “there's a soul/R&B singer in Birmingham and if he ever comes to London you're finished”. … how Brian Jones “opened up a secret door”. ... “stealing from Tennyson” for the lyrics of 5-4-3-2-1. … being with Mick Jagger and Long John Baldry watching Alexis Korner calling up guest “shouters” and all thinking “pick me!” … what T-Bone Walker taught him. … seeing Lonnie Donegan at the Kings Theatre, Southampton, and the absurdity of doing ‘It Takes A Worried Man' in your skiffle band when you're only 15. … Bob Dylan at Earl's Court. … the earth-shifting impact of the Modern Jazz Quartet. … and the early adventures of ‘Blues Boy' Jones.   Tickets for the Manfreds' 60 Anniversary tour here …https://myticket.co.uk/artists/the-manfredsTickets for Word In The Park in London on June 3rd here!: https://www.eventbrite.co.uk/e/the-happy-return-of-word-in-the-park-tickets-576193870377Subscribe to Word In Your Ear on Patreon for early and ad-free access to all of our content!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

A native of Vancouver but currently residing in Nashville, where he works as a solo artist, sideman, and record producer,  Steve has forged an impressive career full of highlights and awards, including:  7 Juno Awards as artist/producer, 18 times nominated 3 times named "Producer Of The Year" at Western Canadian Music Awards 4 times named "Producer Of The Year" at Canadian Folk Music Awards Recipient of many other awards including Maple Blues Awards, Grand Prix De Jazz De Montreal, Blues Blast Awards, and many Western Canadian Music Awards and Canadian Folk Awards as an artist and producer Steve's multi-faceted career has brought him to countless international festivals, working on the stage and in the studio with an extensive cast of musicians, including John Hammond, Sonny Landreth, Van Dyke Parks, David Hidalgo, Colin James, Jim Byrnes, Jill Barber, Dave Alvin, Joe Henry, Tim O'Brien, Fats Kaplin, Colin James, The McCrary Sisters, Matt Chamberlain, Del Rey, Birds of Chicago, Allison Russell, Long John Baldry, Bruce Cockburn, Kelly Joe Phelps, Linda McRae, CR Avery, Alvin Youngblood Hart, Geoff Muldaur, Scott Amendola, Danny Barnes, The Deep Dark Woods, Colin Linden, Big Dave McLean, and many others. Steve's studio, The Henhouse, located in Nashville (and previously in Vancouver)  has hosted countless artists and been the home to over 80 releases. With a beautifully warm and organic setting to stay and record, it promises to become a destination for many more to come. His groundbreaking work with Jesse Zubot in Zubot and Dawson kicked things off in 1998, leading to 2 albums with Toronto jazz stalwarts Andrew Downing and Kevin Turcotte in the award-winning Great Uncles of the Revolution. Steve's solo recording output started with 2001's award-winning acoustic “Bug Parade”, he next explored blues and Hawaiian influences in depth with “We Belong To The Gold Coast” in 2005. 2008 saw the release of 2 albums – “Telescope” which was the culmination of studies with Greg Leisz and featured music written for the pedal steel guitar, and “Waiting For The Lights To Come Up”, a collection of new songs. He followed that with 2011's acclaimed "Nightshade", which Acoustic Guitar magazine named to it's Top-10 guitar albums of the year. 2014's “Rattlesnake Cage” – was an award-winning exploration of solo acoustic and slide guitar. Dawson's 2018 release “Lucky Hand” is a mesmerizing collection of original fingerstyle and slide guitar instrumentals, 5 of which feature Dawson reuniting with his old cohort Jesse Zubot, who arranged incredible string quartet parts to flow with the music. Recorded live off the floor it brings together the American Primitive style Steve has often explored and cutting-edge strings to create music unlike anything you've heard before. Birds of Chicago, Allison Russell, Matt Anderson, etc.  Steve is also host and producer of the podcast Music Makers and Soul Shakers. 135 episodes in 6 years. Steven has worked with artists from all over the world, and continues to work as a side-person and freelance musician both on stage and in the studio. Steve is also the creator of the well-loved Music Makers and Soul Shakers podcast, which has been going for over 6 years and 135 episodes. He spent the last few years pre-pandemic on the road playing guitar, steel and dobro with Allison Russell's band Birds of Chicago, and Canadian powerhouse Matt Andersen. He has produced, engineered and mixed over 100 albums for many artists from all over the world, and continues to work as a side-person and freelance musician both on stage and in the studio. Steve is also the creator of the well-loved Music Makers and Soul Shakers podca In 2022/2023, Steve released 3 albums throughout the year - “Gone, Long Gone” is the first. From gentle fingerstyle folk tunes to blazing, funky Americana grooves, to Hawaiian-style slide guitar instrumentals, this album covers a lot of sonic territory. The second album, “Phantom Threshold” came out on August 12, 2022 and is an all-instrumental sonic trip featuring the Telescope Three - Jay Bellerose on drums, Jeremy Holmes on bass, and Chris Gestrin on keyboards. All driven by the melodies and improvisations of Steve's pedal steel guitar. Now comes the promised third album Eyes Closed, Dreaming.  It's filled with Albertan friend  Matt Patershuk co-writes and well chosen covers. Bobby Charles Small Town Talk, Ian Tyson's  Long time to get old, Cowboy Jack Clements Guess things happen that way and the classic Singing the Blues. Lots to talk about with long time friend Steve Dawson. Steve's current tour dates April 20  Dream Cafe  Penticton April 21 Rogue Folk Club Vancouver April 22 Bozzini's Chilliwack April 28  First Church of Christ Scientist Victoria May 3 The Basement Saskatoon May 4 The Aviary Edmonton May 5 Festival Hall Calgary

This week we discuss dip, Smurfs, Long John Baldry, Rosie O'Donnel, Roseanne Barr's "Cancel This!", Bethany Mandel, Dave Mustaine, Black Sabbath, and Kamen Rider toys. Please help our friend and Jortscentrist Laura if you can. https://gofund.me/92e54c8e https://podvoices.help https://donations4abortion.com Please help support our friend Tim! https://www.gofundme.com/f/tims-head-trauma-and-living-expenses Join our Peloton!   https://www.patreon.com/JortsCenter Facebook group  https://www.facebook.com/groups/342135897580300 Subreddit  https://www.reddit.com/r/jortscenter Follow us on Twitter at @JortsCenterPod  Will is @wapplehouse  Josh  is @otherjrobbins  Ryan is @ryhanbeard  Vic is @Dokktorvikktor  Dan  is @motleycruedetat

This is a programme dedicated to the cool sounds of the mods. A genuine youth movement originated in Great Britain in the swinging sixties years. London was the coolest place on earth between 1962 to 1964 when young people flew there in hordes to hang around the smokey jazz clubs in Soho. Vespas riding through the narrow streets of Central London and mini skirts wore by the thin London young girls. Jazz, Blues and Soul was the music to listen and great bands were emerging every day immersed in these sounds. Small Faces, Graham Bond Organisation, The Artwooods, Rod Stewart the Mod singing in the Steampacket of Long John Baldry, The Birds (with the right spelling and counting with future Rolling Stone Ronnie Wood), the Action, The Attacks, The Zoot Money Big Roll band, The Creation, the Who, etc. Even the non-mod bands were influenced and the rest of the world was soon catching up and following all the action happening in London. Even Bob Dylan changed his folk days attire for the Carnaby Street style. So please stay connected, relax and enjoy the cool sounds of the Mods! A podcast programme dedicated to Russell Taylor who passed away 4 years ago and is missed so much by friends and music lovers. He was the founder of Crocodile records and the best man to be found behind a counter in a record shop. His encyclopaedic knowledge of the best music was the best guide to browsing among piles of records. Essential info  email - ndfm@mail.com Website - https://www.nudirectionsfm.com NDFM Music player - https://pod.co/nudirections Please enjoy the music We love. NDFM Playlist 1- My generation (instrumental) - THE WHO (in the introduction) 2- When I'm in the crowd - THE JAM 3- Organ grinder's - JIMMY SMITH 4- Wade in the Water - RAMSEY LEWIS TRIO 5- Route 66 - NAT KING COLE 6- In and out - RICHARD “GROOVES” HOLMES 7- Where you belong - EDDIE BOYD 8- I'm with you all the way - DOROTHY BERRY & JIMMY NORMAN 9- Watch your step - BOBBY PARKER 10- My babe - LITTLE WALTER 1 1- Can I get a witness - MARVIN GAYE 12- Time is on my side - IRMA THOMAS 13- I'm the one who loves you - THE IMPRESSIONS 14- Going to a go-go - SMOKEY ROBINSON & THE MIRACLES 15- This old heart of mine (is weak) - THE SUPREMES 16- Cool Jerk - THE CAPITOLS 17- Who's makin love - JOHNNIE TAYLOR 18- Liquidator - HARRY J ALL STARS 19- Summer breeze - JACKIE MITTOO 20- Bring down the birds - HERBIE HANCOCK 21- Keep on Running - THE SPENCER DAVIS GROUP 22- Sweet thing - GEORGIE FAME & THE BLUE FLAMES 23- Come home baby - ROD STEWART & P P ARNOLD 24- In my lonely room - THE ACTION 25- I'm looking for a saxophonist doubling French horn wearing size 37 boots - THE ARTWOODS 26- No good without you - THE BIRDS 27- Zoot suit - THE HIGH NUMBERS (later know as THE WHO) 28- I gotta move - THE KINKS 29- Biff bang pow! - THE CREATION 30- Oh Baby! - THE GRAHAM BOND ORGANISATION 31- You need loving - SMALL FACES 32- Shout - LULU & THE LUVVERS 33- Head over heels - THE STYLOS 34- Stop stop stop - GRAHAM GOULDMAN 35- It's all over now baby blue - THEM 36- Everybody needs somebody to love - THE ROLLING STONES 37- Shake - OTIS REDDING 38- Call me lightning - THE WHO

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

In this episode we invite esteemed author RJ Smith to tell us about his career, his adopted Los Angeles, and his new biography of Chuck Berry.We start in Detroit, where RJ was raised on a diet of AM radio, the Stooges and Creem magazine, then follow him to New York and his decade of writing for the Village Voice. He talks about the impact of Lester Bangs and Robert Christgau before explaining why he followed the Voice's executive editor Kit Rachlis to California and the L.A. Weekly. We hear how he became fascinated by the pre-rock history of African-American L.A. and how that led to the publication of The Great Black Way (2008). His fourth book, Chuck Berry: An American Life, gives us the opportunity to discuss the problematic brilliance of St. Louis's "Black bard of white teen angst", a half-century after the creepy novelty comedy of 'My Ding-a-Ling' gave the Black-rock pioneer a No. 1 hit on both sides of the Atlantic.We return to our L.A. theme to hear clips from a 1991 audio interview in which Tracy "Ice-T" Marrow talks to Andy Gill about the birth of gangsta rap and his thrash-metal side project Body Count. RJ recalls his own writing about West Coast hip hop before we say a sad goodbye to the great Wilko Johnson and hear the-then Dr. Feelgood guitarist speaking to Mick Gold in 1975.Mark quotes from some of the pieces he's added to the RBP library, including interviews with Long John Baldry and Olivia Newton-John, after which Jasper wraps matters up with remarks on articles about Deadmau5 and Asian Dub Foundation.Many thanks to special guest RJ Smith. Chuck Berry: An American Life is published by Omnibus in the UK and Hachette in the US and is available now from all good bookshops.Pieces discussed: Chuck Berry, Chuck Berrier, Chuck Berriest, Interview with RJ Smith, Charles Brown, N.W.A., Ice-T audio, Dr. Feelgood, Wilko Johnson, Rab Noakes, Long John Baldry, Free, Captain Beefheart, B. Bumble and the Stingers, Simon and Garfunkel, Olivia Newton-John, Deadmau5 and Asian Dub Foundation.

In this episode we invite esteemed author RJ Smith to tell us about his career, his adopted Los Angeles, and his new biography of Chuck Berry.We start in Detroit, where RJ was raised on a diet of AM radio, the Stooges and Creem magazine, then follow him to New York and his decade of writing for the Village Voice. He talks about the impact of Lester Bangs and Robert Christgau before explaining why he followed the Voice's executive editor Kit Rachlis to California and the L.A. Weekly. We hear how he became fascinated by the pre-rock history of African-American L.A. and how that led to the publication of The Great Black Way (2008). His fourth book, Chuck Berry: An American Life, gives us the opportunity to discuss the problematic brilliance of St. Louis's "Black bard of white teen angst", a half-century after the creepy novelty comedy of 'My Ding-a-Ling' gave the Black-rock pioneer a No. 1 hit on both sides of the Atlantic.We return to our L.A. theme to hear clips from a 1991 audio interview in which Tracy "Ice-T" Marrow talks to Andy Gill about the birth of gangsta rap and his thrash-metal side project Body Count. RJ recalls his own writing about West Coast hip hop before we say a sad goodbye to the great Wilko Johnson and hear the-then Dr. Feelgood guitarist speaking to Mick Gold in 1975.Mark quotes from some of the pieces he's added to the RBP library, including interviews with Long John Baldry and Olivia Newton-John, after which Jasper wraps matters up with remarks on articles about Deadmau5 and Asian Dub Foundation.Many thanks to special guest RJ Smith. Chuck Berry: An American Life is published by Omnibus in the UK and Hachette in the US and is available now from all good bookshops.Pieces discussed: Chuck Berry, Chuck Berrier, Chuck Berriest, Interview with RJ Smith, Charles Brown, N.W.A., Ice-T audio, Dr. Feelgood, Wilko Johnson, Rab Noakes, Long John Baldry, Free, Captain Beefheart, B. Bumble and the Stingers, Simon and Garfunkel, Olivia Newton-John, Deadmau5 and Asian Dub Foundation.

Nos rockeuses et rockers se dévoilent, ils se laissent lire comme un livre ouvert, ils nous révèlent ce qui se cache dans leur vie, ce qu'ils ont traversé. Ils partagent leur souvenir avec nous en musique ! Sur son album " Not Too Late ", Norah Jones revient sur cette période charnière, en 1999, où elle venait de quitter Dallas pour s'établir à New York dans un tout petit appartement (une little room) du fameux Greenwich Village. En tant que chanteur de Queen, Freddie Mercury n'aimait pas trop parler de lui, mais lorsqu'il lance sa carrière solo en 1985, il lève un peu le voile sur certains traits de sa personnalité. Ozzy Osbourne, en 1991, publie sur son album " No More Tears ", le très autobiographique " Road To Nowhere " dans laquelle il revient sur les moments " down " de sa vie : la drogue, l'alcool, les excès de rock star capricieuse aussi. 1975, " Someone Saved My Life Tonight "… Elton John et son fidèle parolier Bernie Taupin évoquent un " Sugar Bear ", petit surnom de leur ami et musicien Long John Baldry, Elton John, qui n'assume pas encore totalement son homosexualité, est sur le point de se marier avec Linda Woodrock, tout cela sonne faux et ses amis lui conseillent d'arrêter ce cirque… Deux semaines avant le mariage, Elton John annule tout ! --- Du lundi au vendredi, Fanny Gillard et Laurent Rieppi vous dévoilent l'univers rock, au travers de thèmes comme ceux de l'éducation, des rockers en prison, les objets de la culture rock, les groupes familiaux et leurs déboires, et bien d'autres, chaque matin dans Coffee on the Rocks à 6h30 et rediffusion à 13h30 dans Lunch Around The Clock.

The Dean Von Music Podcast Show Premiers Season #2 Episode #11 - Mick Clark played with some of Blues Legends of Rock & Roll like Roy Young, Jon Entwistle, Chuck, Billy Ocean, Jeff Beck, Deep Purple's Jon Lord, Long John Baldry, Tony Ashton, Hudson Ford Band, Wings Howie Casey, Foreigner's Dennis Elliott, The Les Humphries Singers, Davey Pattison, John Lawton and many others. Mick talks about the Beatles, Jimmy Hendrix, Kathi McDonald and many more. You don't want to miss this rare and once in a lifetime interview, Dean sits down with Mick Clarke and asks some very deep questions as to how Mick got started and who he played with during his music career.  We are giving away a Music Download to the first 100 Subscribers of Youtube or Spotify and a FREE T-Shirt to the lucky winner of the Drawing November 1, 2022, GOOD LUCK!  --- Support this podcast: https://podcasters.spotify.com/pod/show/deanvonmusicpodcastshow/support

Jack Lavin is an accomplished, multi-talented producer, singer songwriter, bassist, harmonic player, guitarist, drummer and founding member of the Powder Blues Band. In this chat with Dan Hare, Jack talks about living in San Francisco in the late ‘60s and a commune in Oregon in the early ‘70s; why he moved to Vancouver and why he continues to live in Canada; the not-so-great experience of playing with Chuck Berry; his involvement in Prism's first album and why he was replaced; the birth of Powder Blues Band, where the band name came from and why the members sold records out of the back of a station wagon; hanging out with Long John Baldry and Jeff Healey; what he is doing now and so much more. Find out about Jack and his new album @ jacklavin.com

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

De Britse bluesmuzikant Long John Baldry is Dood maar niet vergeten. Hij overleed op 21 juli 2005 in het General Hospital in Vancouver na een longontsteking. Hij was 64 jaar oud. Long John Baldry heet…Continue Reading "IM: Long John Baldry"

Today we welcome a musical legend to the show. Keyboardist Brian Auger is a musician steeped in the golden age of rock n roll. They say you can judge a man on the company he keeps and Brian Auger has worked with some of the greatest of all time. The Yardbirds, Rod Stewart, Julie Driscoll, Jimi Hendrix, Long John Baldry, Eric Burdon, Alphonse Mouson and a whole host of others. Through his band Brian Augers Oblivion Express he has shared a stage with everyone from Earth Wind and Fire to Led Zepplin and Frank Zappa. After over 50 years performing at the top level we are more than excited to talk to Brian about his Phonographic Memories. We also talk a little bit of politics, Joe Strummers politics in fact. Gregor Gall pops in to talk about his new book 'The Punk politics of Joe Strummer".But we kick off with the glorious news that Eamon has risen from the DJ ashes.Please like, subscribe and tell your friends about us. Deb has written a lovely article about Brian Auger for the Big Issue:https://www.bigissue.com/culture/music/the-legendary-brian-auger-has-a-goldmine-of-tracks-and-rock-anecdotes/You can buy Gregor Gall's book here:https://lighthousebookshop.com/events/the-punk-rock-politics-of-joe-strummerThe Black Wax Solution now lives at The Phoenix Bristol, 'We Climb Disco Mountain' is on the last Friday of every month.https://www.facebook.com/BlackwaxsolutionSee ya in about a month. See acast.com/privacy for privacy and opt-out information.

Tom Lavin is guitar, vocals, front man and founding member of the Legendary Powder Blues, the 1981 Juno award-winner for best new band. Over the course of his career, he has been a performer, writer, arranger, composer, publisher, manager, and educator. As a record producer, Tom has over a dozen gold, and platinum records for Powder Blues, Prism, April Wine, others.In this chat with host Dan Hare Tom talks about: why he moved to Canada from the U.S.-and why he was arrested the first time he returned; playing with Prism in the band's early days; putting together Powder Blues; building Blue Wave Studio; working with B.B. King and Long John Baldry among others; living in Hollywood; the song idea ZZ Top took from Tom; upcoming shows for Powder Blues, and much more. Find out about Tom and Powder Blues @ powderblues.net

Mike McCartney's Early Liverpool (Genesis Publications, 2021), brings together all of his finest work including a wealth of previously unseen photographs and treasured drawings. McCartney takes us from his very first photograph, taken with the family Kodak Brownie box camera, to experimenting with his Rollei Magic camera and finding a love in surrealism, through to capturing the Merseybeat scene in Liverpool. The venues that were at the heart of the city are all featured, including the Casbah Club, the Jacaranda Club, Hope Hall, the Tower Ballroom and the legendary Cavern Club. This signed, limited edition book reveals the secrets of the Sixties and Seventies Liverpool through McCartney's photography, illustrations, and commentary.  In a commentary that is honest, revealing and often humorous, McCartney describes growing up in a post-war Liverpool and the cultural sensation that followed. McCartney shares his love of satire, poetry and music, and his experience of being there to photograph the talent that came out of Liverpool, including his own group, the Scaffold. From the Beatles to the Fourmost, and from the Roadrunners to Rory Storm and the Hurricanes, McCartney captured the local bands as well as Liverpool's poets and artists, including Adrian Henri, Sam Walsh and Maurice Cockrill, RA. In Mike McCartney's Early Liverpool the incredible visiting acts that Liverpool welcomed are also celebrated, including Little Richard, Gene Vincent, Jerry Lee Lewis and Long John Baldry. With each photograph, McCartney gives a fascinating insight into the history of the vibrant city. Rebekah Buchanan is an Associate Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Mike McCartney's Early Liverpool (Genesis Publications, 2021), brings together all of his finest work including a wealth of previously unseen photographs and treasured drawings. McCartney takes us from his very first photograph, taken with the family Kodak Brownie box camera, to experimenting with his Rollei Magic camera and finding a love in surrealism, through to capturing the Merseybeat scene in Liverpool. The venues that were at the heart of the city are all featured, including the Casbah Club, the Jacaranda Club, Hope Hall, the Tower Ballroom and the legendary Cavern Club. This signed, limited edition book reveals the secrets of the Sixties and Seventies Liverpool through McCartney's photography, illustrations, and commentary.  In a commentary that is honest, revealing and often humorous, McCartney describes growing up in a post-war Liverpool and the cultural sensation that followed. McCartney shares his love of satire, poetry and music, and his experience of being there to photograph the talent that came out of Liverpool, including his own group, the Scaffold. From the Beatles to the Fourmost, and from the Roadrunners to Rory Storm and the Hurricanes, McCartney captured the local bands as well as Liverpool's poets and artists, including Adrian Henri, Sam Walsh and Maurice Cockrill, RA. In Mike McCartney's Early Liverpool the incredible visiting acts that Liverpool welcomed are also celebrated, including Little Richard, Gene Vincent, Jerry Lee Lewis and Long John Baldry. With each photograph, McCartney gives a fascinating insight into the history of the vibrant city. Rebekah Buchanan is an Associate Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Mike McCartney's Early Liverpool (Genesis Publications, 2021), brings together all of his finest work including a wealth of previously unseen photographs and treasured drawings. McCartney takes us from his very first photograph, taken with the family Kodak Brownie box camera, to experimenting with his Rollei Magic camera and finding a love in surrealism, through to capturing the Merseybeat scene in Liverpool. The venues that were at the heart of the city are all featured, including the Casbah Club, the Jacaranda Club, Hope Hall, the Tower Ballroom and the legendary Cavern Club. This signed, limited edition book reveals the secrets of the Sixties and Seventies Liverpool through McCartney's photography, illustrations, and commentary.  In a commentary that is honest, revealing and often humorous, McCartney describes growing up in a post-war Liverpool and the cultural sensation that followed. McCartney shares his love of satire, poetry and music, and his experience of being there to photograph the talent that came out of Liverpool, including his own group, the Scaffold. From the Beatles to the Fourmost, and from the Roadrunners to Rory Storm and the Hurricanes, McCartney captured the local bands as well as Liverpool's poets and artists, including Adrian Henri, Sam Walsh and Maurice Cockrill, RA. In Mike McCartney's Early Liverpool the incredible visiting acts that Liverpool welcomed are also celebrated, including Little Richard, Gene Vincent, Jerry Lee Lewis and Long John Baldry. With each photograph, McCartney gives a fascinating insight into the history of the vibrant city. Rebekah Buchanan is an Associate Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Mike McCartney's Early Liverpool (Genesis Publications, 2021), brings together all of his finest work including a wealth of previously unseen photographs and treasured drawings. McCartney takes us from his very first photograph, taken with the family Kodak Brownie box camera, to experimenting with his Rollei Magic camera and finding a love in surrealism, through to capturing the Merseybeat scene in Liverpool. The venues that were at the heart of the city are all featured, including the Casbah Club, the Jacaranda Club, Hope Hall, the Tower Ballroom and the legendary Cavern Club. This signed, limited edition book reveals the secrets of the Sixties and Seventies Liverpool through McCartney's photography, illustrations, and commentary.  In a commentary that is honest, revealing and often humorous, McCartney describes growing up in a post-war Liverpool and the cultural sensation that followed. McCartney shares his love of satire, poetry and music, and his experience of being there to photograph the talent that came out of Liverpool, including his own group, the Scaffold. From the Beatles to the Fourmost, and from the Roadrunners to Rory Storm and the Hurricanes, McCartney captured the local bands as well as Liverpool's poets and artists, including Adrian Henri, Sam Walsh and Maurice Cockrill, RA. In Mike McCartney's Early Liverpool the incredible visiting acts that Liverpool welcomed are also celebrated, including Little Richard, Gene Vincent, Jerry Lee Lewis and Long John Baldry. With each photograph, McCartney gives a fascinating insight into the history of the vibrant city. Rebekah Buchanan is an Associate Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Mike McCartney's Early Liverpool (Genesis Publications, 2021), brings together all of his finest work including a wealth of previously unseen photographs and treasured drawings. McCartney takes us from his very first photograph, taken with the family Kodak Brownie box camera, to experimenting with his Rollei Magic camera and finding a love in surrealism, through to capturing the Merseybeat scene in Liverpool. The venues that were at the heart of the city are all featured, including the Casbah Club, the Jacaranda Club, Hope Hall, the Tower Ballroom and the legendary Cavern Club. This signed, limited edition book reveals the secrets of the Sixties and Seventies Liverpool through McCartney's photography, illustrations, and commentary.  In a commentary that is honest, revealing and often humorous, McCartney describes growing up in a post-war Liverpool and the cultural sensation that followed. McCartney shares his love of satire, poetry and music, and his experience of being there to photograph the talent that came out of Liverpool, including his own group, the Scaffold. From the Beatles to the Fourmost, and from the Roadrunners to Rory Storm and the Hurricanes, McCartney captured the local bands as well as Liverpool's poets and artists, including Adrian Henri, Sam Walsh and Maurice Cockrill, RA. In Mike McCartney's Early Liverpool the incredible visiting acts that Liverpool welcomed are also celebrated, including Little Richard, Gene Vincent, Jerry Lee Lewis and Long John Baldry. With each photograph, McCartney gives a fascinating insight into the history of the vibrant city. Rebekah Buchanan is an Associate Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

 | Artist  | Title  | Album Name  | Album Copyright | Half Deaf Clatch  | Pea Vine Blues  | A Tribute To Charley Patton | The Blues Against Youth  | Goin' To Chicago  | As The Tide Gets High And Low | Gov't Mule  | If Heartaches Were Nickels  | Heavy Load Blues  |  | Richard Grosso  | Nadine  | The Road and the Ring | The Cinelli Brothers  | Choo Ma Gum  | Villa Jukejoint  |  | Matt Backer  | I Wish You Would Ft Sarah Jane Morris  | BACKERNALIA  |  | Prakash Slim  | Blues Raga  | Country Blues From Nepal | Andy Lindquist  | That Old Crow  | My Name Is Mud  |  | Floyd Dixon  | Let's Dance  | Gems From The Peacock Vaults | Chickenbone Slim  | Wild Eyed Woman  | Serve It To Me Hot  |  | Brian Auger  | Up Above My Head feat. Long John Baldry & Rod Stewart & The Ste  | Auger Incorporated  |  | Chuck Berry  | Johnny B. Goode  | Chuck Berry  |  | Tornadoes w Billy Fury  | That's Alright Mama  | John, Paul, George, Dave, Brian, Tony & More; The Birth of the  | Albert Collins  | My Woman Has A Black Cat Bone.wav  | Live 1992-1993  | 

In this episode, we chat about another Long John Baldry album, self titled called Long John Baldry, an epic Pink Floyd album called The Wall and a pleasant surprise of an album by an artist called Lene Lovich called Stateless. --- Send in a voice message: https://anchor.fm/reviewsfromthecrawlspace/message

Author and podcaster Paul Myers wanted to be a rock star, not a journalist and storyteller. But his career has taken him to some amazing places. He's written books about Long John Baldry, Todd Rundgren, the Barenaked Ladies, and The Kids in the Hall. He's interviewed Elton John, and spent time in Alcatraz with Stevie Nicks. He's working on a new book about comedian John Candy. And he's the host of the fascinating Record Store Day podcast. In this episode of Digging Deep, we learn about Paul's creative family, where his love of music began, and delve into the connection between music and memory. He also talks about luck, taking chances, and embracing change. Paul speaks candidly about his relationship with alcohol, and how a question from his wife more than 20 years ago put him on the path to sobriety. And, he tells the story of how an interview with the legendary Randy Bachman ended up with Paul joining him on stage for a concert and even getting an invitation to his wedding. See omnystudio.com/listener for privacy information.

It was wonderful to sit down at last with multi-BMI Award-winning composer, conducted, arranger, and multi-instrumentalist, Bennett Salvay. Scheduled to join me on March 11th, 2020, I chickened as he and wingman, Pete George, had very r4ecnt;y flown (and boy were their arms tired), and the COVID threat was ever-growing. Two days later we were in lockdown. Here, 19 months later we be. Some things, and people, are worth waiting for. Bennett was working on the Linda Ronstadt doc, Linda and The Mockingbirds, with Jackson Browne, a follow-up doc to Linda Ronstadt: The Sound Of My Voice, which Bennett scored, which won the Critics Choice award for Best Music Documentary of 2019, when the crazy hit. We talked about the projects Bennett's completed during the pandemic, including a new feature, Bonded as well as various and sundry other projects. What makes it all so stunning is that he's doing all this, as well as playing, keys and golf, fishing, all after a nearly fatal accident which affected... well, no spoilers. Please watch. Bennett's resilience, courage, and gratitude saved the man, the music, the links, but has cost some fish their lives. And, is inspiration almost beyond compare. Playing keys, sax, and flute, Bennett began playing in his teens, his first professional gig was with Long John Baldry. he had a hit with Bang Bang but it was working for Garry Marshall that turned out to be the Game Changer. At 21, Bennett was hired as a PA (translation:: gofer) for Garry Marshall's shows. Within months he was the music coordinator for Mork And MIndy, Happy Days, Laverne and Shirley, where he segued to composer. He jammed with Robin Williams, arranged a singing Anson Williams, and Lenny and the Squidtones, where as fate would have it he would meet guitarist, one day to become a close friend, and an Emmy-Winning composer hisself, Snuffy Walden, who, after a string of smash hit sitcoms, including Full House, and Perfect Strangers, moved Bennett into hour-long drama with their collaborations on Friday Night Lights, Providence, and Early Edition to name but three. There were films to score, the Jeepers Creepers series, #1 at the box office, The Wolf of Wall Street, five James Keach docs to date, as well working with The Brian Setzer Orchestra, Rob Zombie, Motley Crue, and continues to work extensively with Cheap Trick. Bennett Salvay has stories to spare, perseverance to admire, and talent out the wazoo. I'll be thinking twice about complaining and whimping out on anything, any time soon. Bennett Salvay Live on Game Changers with Vicki Abelson Wed, 10/20/21/, 5 pm PT, 8 pm ET Streamed Live on my Facebook Replay here https://bit.ly/3nceg9u All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Stitcher bit.ly/2h3R1fla tunein bit.ly/2gGeItj Also on iHeartRadio, SoundCloud, Voox, OwlTail, Backtracks, PlayerFM, Himalaya, Podchaser, and Listen Notes Thanks to Rick Smolke of Quik Impressions, the best printers, printing, the best people people-ing. quikimpressions.com Nicole Venables of Ruby Begonia Hair Studio Beauty and Products, for tresses like the stars she coifs, and regular people, like me. I love my hair, and I love Nicole. http://www.rubybegoniahairstudio.com/ Blue Microphones and Kevin Walt

Professional musician/saxophonist Johnny Ferreira has a long association of recording and touring with Colin James and Long John Baldry and has written several courses and books on how to play a saxophone. He has also toured with such heavyweights as The Rolling Stones, ZZ Top, Robert Plant and others. In this chat with Dan Hare Johnny shares: why he started playing sax in high school; how he connected with Colin James; the expenses of touring; what he sacrificed along the way, and what he is doing now.

One FM presenter Josh Revens and Steve present 'Whatever Happened To?' This week's topic is singer Long John Baldry. This program originally aired on Monday the 9th of August, 2021. Contact the station on admin@fm985.com.au or (+613) 58313131 The ONE FM 98.5 Community Radio podcast page operates under the license of Goulburn Valley Community Radio Inc. (ONE FM) Number 1385226/1. PRA AMCOS (Australasian Performing Right Association Limited and Australasian Mechanical Copyright Owners Society) that covers Simulcasting and Online content including podcasts with musical content, that we pay every year. This licence number is 1385226/1.

Urodzeni: Cat Stevens / Yusuf Islam, Eric Bazilian (Hooters), Tommy Shaw (Styx), Charlotte Gainsbourg, “The Diary of Horace Wimp”, Ania Wyszkoni (foto).Zmarli: Jerry Goldsmith, Long John Baldry, Wojciech Przybylski.Nagranie z roku 2021.

Paul Myers is an author (books about The Kids in the Hall, Long John Baldry, Todd Rundgren, and Barenaked Ladies), a musician (The Gravelberrys, Flam!, and The Paul and John), a podcaster (The Record Store Day Podcast), and more. Part of that "more" includes being a big They Might Be Giants fan, which is why Paul joined cohosts John Walker and Jon Uleis for this special episode. So pull the blanket over your withered legs, get comfy, and train your ears on a discussion about the longterm appeal of this singular band, using Paul's song picks as a guide. Did we mention you should e-mail us? No? Well you should. (9secreteps@gmail.com)

Ella Fitzgerald, Sarah Vaughan, Billie Holiday Dizzy Gillespie, Rod Stewart, Otis Redding, Wilson Pickett, Eric Clapton, the Moody Blues, Mick Fleetwood, Pink Floyd, Georgie Fame, Ginger Baker, Long John Baldry, the Small Faces … the roll call of those who played in the Soho basement called The Flamingo is a who's who of 50s and 60s cool.    Journalist and author Pete Watts takes us on a trip through time and down the stairs of 33 Wardour Street to hear stories of one of London's most important lost and legendary venues.   We hear how the Flamingo was hugely influential on up and coming musical stars of the 60s like Pete Townsend and The Rolling Stones, how it played an influential roll in the history of black music in the city and how you can perhaps still catch its spirit in the gents' loos of the Irish theme pub that now occupies the site..   For more on Pete Watts: the great wen   For more on the Bureau of Lost Culture www.bureauoflostculture.com 

Episode 123 of A History of Rock Music in Five Hundred Songs looks at “You've Lost That Lovin' Feelin'", the Righteous Brothers, Shindig! and "blue-eyed soul".  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Wooly Bully" by Sam the Sham and the Pharaohs. 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/ Erratum I say the music in the bridge drops down to “just the bass”. Obviously there is also a celeste on that section. Resources No Mixcloud this week due to the number of Righteous Brothers songs. A lot of resources were used for this episode. Time of My Life: A Righteous Brother's Memoir is Bill Medley's autobiography. Always Magic in the Air: The Bomp and Brilliance of the Brill Building Era by Ken Emerson is a good overview of the Brill Building scene, and I used it for bits about how Mann and Weil wrote their songs. I've referred to two biographies of Spector in this episode, Phil Spector: Out of His Head by Richard Williams and He's a Rebel by Mark Ribkowsky. This two-CD set contains all of the Righteous Brothers recordings excerpted here, all their hits, and a selection of Medley and Hatfield's solo work. It would be an absolutely definitive set, except for the Spector-era tracks being in stereo. There are many compilations available with some of the hits Spector produced, but I recommend getting Back to Mono, a four-CD overview of his career containing all the major singles put out by Philles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today we're going to look at a record that according to BMI is the most-played song of the twentieth century on American radio, and continued to be the most played song for the first two decades of the twenty-first as well, a record that was arguably the artistic highpoint of Phil Spector's career, and certainly the commercial highpoint for everyone involved. We're going to look at "You've Lost That Lovin' Feelin'" by the Righteous Brothers: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] In this episode we're going to take one of our first looks at an American act who owed their success to TV. We've seen these before, of course -- we've talked in passing about Ricky Nelson, and there was an episode on Chubby Checker -- but there have been relatively few. But as we pass into the mid-sixties, and television becomes an even more important part of the culture, we'll see more of this. In 1964, ABC TV had a problem. Two years before, they'd started a prime-time folk TV show called Hootenanny: [Excerpt: Jack Linkletter introducing Hootenanny] That programme was the source of some controversy -- it blacklisted Pete Seeger and a few other Communist folk musicians, and while Seeger himself argued against a boycott, other musicians were enraged, in part because the term Hootenanny had been popularised by Seeger, Woody Guthrie, and other Communist musicians. As a result, several of the top names in the folk scene, like Joan Baez and Ramblin' Jack Elliott, refused to appear on the show.  But plenty of performers did appear on the show, usually those at the poppier end of the spectrum, like the New Christie Minstrels: [Excerpt: The New Christie Minstrels, "This Train (live on Hootenanny)"] That lineup of the New Christie Minstrels featured, among others, Barry McGuire, Gene Clark, and Larry Ramos, all of whom we should be seeing in future episodes.  But that in itself says something about the programme's problems, because in 1964, the music industry changed drastically. Suddenly, folk music was out, and rock music was in. Half the younger musicians who appeared on Hootenanny -- like those three, but also John Sebastian, John Phillips, Cass Elliot, and others -- all decided they were going to give up singing mass harmony versions of "Go Tell it on the Mountain" accompanied by banjo, and instead they were going to get themselves some electric guitars. And the audience, likewise, decided that they'd rather see the Beatles and the Stones and the Dave Clark Five than the New Christie Minstrels, the Limeliters, and the Chad Mitchell Trio, if that was all the same to the TV companies. And so ABC needed a new prime-time music variety show, and they needed it in a hurry. But there was a problem -- when the music industry is shifting dramatically and all of a sudden it's revolving around a style of music that is based on a whole other continent, what do you do to make a TV show featuring that music? Well, you turn to Jack Good, of course.  For those of you who haven't listened to all the earlier episodes, Jack Good had basically invented rock and roll TV, and he'd invented it in the UK, at a time when rock and roll was basically a US-only genre. Good had produced a whole string of shows -- Six-Five Special, Oh Boy!, Boy Meets Girls, and Wham! -- which had created a set of television conventions for the presentation of rock and roll, and had managed to get an audience by using a whole host of British unknowns, with the very occasional guest appearance by a visiting American rocker. In 1962, he'd moved to the US, and had put together a pilot episode of a show called "Young America Swings the World", financed with his own money. That programme had been on the same lines as his UK shows, and had featured a bunch of then-unknowns, like Jackie DeShannon. It had also featured a band led by Leon Russell and containing Glen Campbell and David Gates, none of whom were famous at the time, and a young singer named P.J. Proby, who was introduced to Good by DeShannon and her songwriting partner Sharon Sheeley, whose demos he worked on. We talked a bit about Proby back in the episode on "LSD-25" if you want to go back and listen to the background on that. Sheeley, of course, had known Good when he worked with her boyfriend Eddie Cochran a few years earlier. "Young America Swings the World" didn't sell, and in 1964, Good returned to England to produce a TV special for the Beatles, "Around the Beatles", which also featured Millie singing "My Boy Lollipop", Cilla Black, Sounds Incorporated, the Vernons Girls, and Long John Baldry singing a Muddy Waters song with the Beatles shouting the backing vocals from the audience: [Excerpt: Long John Baldry, "Got My Mojo Working"] The show also featured Proby, who Good had brought over from the US and who here got his first TV exposure, singing a song Rufus Thomas had recorded for Stax: [Excerpt: P.J. Proby, "Walking the Dog"] Around the Beatles obviously sold to the US, and ABC, who bought it, were suddenly interested in Jack Good's old pilot, too. They asked him to produce two more pilots for a show which was eventually named Shindig! Incidentally, I've seen many people, including some on the production staff, say that the first episode of Shindig! was an episode of Ready Steady Go! with the titles changed. It wasn't. The confusion seems to arise because early in Shindig's run, Around the Beatles was also broadcast by ABC, and when Dave Clark later bought the rights to Around The Beatles and Ready Steady Go!, he released a chunk of Around the Beatles on VHS as a Ready Steady Go special, even though it was made by a totally different production team. Good got together with Sharon Sheeley and her husband, the DJ Jimmy O'Neill, and they started collaborating on the pilots for the show, which eventually credited the three of them as co-creators and producers. The second pilot went in a very different direction -- it was a country music programme, hosted by Roy Clark, who would later become a household name for co-hosting Hee-Haw, and featuring Johnny Cash, along with PJ Proby doing a couple of cover versions of old folk songs that Lonnie Donegan had made famous -- "Rock Island Line" and "Cumberland Gap".  But for the third pilot, Good, Sheeley, and O'Neill went back to the old Oh Boy! formula -- they got a couple of properly famous big guest stars, in this case Little Richard and the Angels, who had had a number one the previous year with "My Boyfriend's Back", and a rotating cast of about a dozen unknown or little-known musical acts, all local, who they could fill the show with. The show opened with a medley with all or most of the cast participating: [Excerpt: Shindig Pilot 3 Opening Medley] And then each artist would perform individually, surrounded by a dancing audience, with minimal or no introductions, in a quick-paced show that was a revelation to American audiences used to the polite pacing of American Bandstand. For the most part, they performed cover versions -- on that pilot, even the Angels, rather than doing their own recentish number one record, sang a cover version of "Chapel of Love" -- and in a sign of the British influence, the pilot also featured what may be the first ska performance by an American group -- although they seem to think that "the ska" is a dance, rather than ska being a style of music: [Excerpt: the Hollywood All-Stars, "Jamaica Ska", plus Jimmy O'Neill intro] That show featured Delaney Bramlett, who would later go on to become a fairly well-known and important performer, and the Blossoms, who we've talked about previously. Both of those would become regular parts of the Shindig cast, as would Leon Russell, Bobby Sherman, Jackie and Gayle, Donna Loren, and Glen Campbell. That pilot led to the first broadcast episode, where the two main star acts were Sam Cooke, who sang a non-waltz version of "The Tennessee Waltz" and "Blowin' in the Wind", both from his cabaret act, and the Everly Brothers -- who as well as doing their own songs performed with Cooke at the end of the show in a recording which I only wish wasn't so covered with audience screams, though who can blame the audience? [Excerpt: Sam Cooke and the Everly Brothers, "Lucille"] Shindig was the first prime-time pop music show in the US, and became massively popular -- so much so that it quickly spawned a rival show on NBC, Hullabaloo. In a sign of just how much transatlantic back-and-forth there was at this time, and possibly just to annoy future researchers, NBC's Hullabaloo took its name, though nothing else, from a British TV show of the same name. That British TV show was made by ABC, which is not the same company as American ABC, and was a folk and blues show clearly patterned after Hootenanny, the show Shindig had replaced on American ABC. (And as a quick aside, if you're at all interested in the early sixties British folk and blues movements, I can't recommend Network's double-DVD set of the British Hullabaloo highly enough). Shindig! remained on air for two years, but the show's quality declined markedly after Jack Good left the show a year or so in, and it was eventually replaced on ABC's schedules by Batman, which appealed to largely the same audience. But all that was in the future. Getting back to the first broadcast episode, the Everlys also appeared in the opening medley, where they sang an old Sister Rosetta Tharpe song with Jackie and Gayle and another unknown act who had appeared in the pilot -- The Righteous Brothers: [Excerpt: Jackie and Gayle, The Righteous Brothers, and the Everly Brothers, "Gonna Build a Mountain/Up Above My Head"] The Righteous Brothers would appear on nine out of sixteen episodes broadcast between September and December 1964, and a further seventeen episodes during 1965 -- by which time they'd become the big breakout stars of the show, and had recorded the song that would become the most-played song, *ever*, on American radio, beating out such comparatively unpopular contenders as "Never My Love", "Yesterday", "Stand By Me" and "Can't Take My Eyes Off of You", a record that was played so much that in thirty-six years it had clocked up forty-five years of continuous airtime.  The Righteous Brothers were a Californian vocal duo consisting of baritone Bill Medley and tenor Bobby Hatfield. Medley's career in the music business had started when he was nineteen, when he'd just decided to go to the office of the Diamonds, the white vocal group we mentioned in passing in the episode on "Why Do Fools Fall in Love?" who much like the Crew Cuts had had hits by covering records by Black artists: [Excerpt: The Diamonds, "Little Darlin'"] Young Bill Medley fancied himself as a songwriter, and he brought the Diamonds a few of his songs, and they ended up recording two of them -- "Chimes of My Heart", which remained unreleased until a later compilation, and "Woomai-Ling", which was the B-side to a flop single: [Excerpt: The Diamonds, "Woomai-Ling"] But Medley was inspired enough by his brief brush with success that he decided to go into music properly. He formed a band called the Paramours, which eventually gained a second singer, Bobby Hatfield, and he and Hatfield also started performing as a duo, mostly performing songs by Black R&B artists they grew up listening to on Hunter Hancock's radio show. While Medley doesn't say this directly in his autobiography, it seems likely that the duo's act was based specifically on one particular Black act -- Don and Dewey. We've mentioned Don and Dewey before, and I did a Patreon episode on them, but for those who don't remember their brief mentions, Don "Sugarcane" Harris and Dewey Terry were an R&B duo signed to Specialty Records, and were basically their second attempt at producing another Little Richard, after Larry Williams. They were even less successful than Williams was, and had no hits themselves, but they wrote and recorded many songs that would become hits for others, like "Farmer John", which became a garage-band staple, and "I'm Leaving it Up to You", which was a hit for Donny and Marie Osmond. While they never had any breakout success, they were hugely popular among R&B lovers on the West Coast, and two of their other singles were "Justine": [Excerpt: Don and Dewey, "Justine"] And "Ko Ko Joe", which was one of their few singles written by someone else -- in this case by Sonny Bono, who was at that time working for Specialty: [Excerpt: Don and Dewey, "Ko Ko Joe"] Hatfield and Medley would record both those songs in their early months working together, and would also perform them on Shindig! The duo were different in many ways -- Medley was tall and Hatfield comparatively short, Medley sang in a deep bass-baritone and Hatfield in a high tenor, and Hatfield was gregarious, outgoing, and funny while Medley was self-effacing and shy. The duo would often perform comedy routines on stage, patterned after Dean Martin and Jerry Lewis, and Hatfield was always the comedian while Medley was the straight man. But on the other hand, Hatfield was actually quite uncomfortable with any level of success -- he just wanted to coast through life and had no real ambition, while Medley was fiercely driven and wanted to become huge. But they both loved R&B music, and in many ways had similar attitudes to the British musicians who, unknown to them at the time, were trying to play R&B in the UK. They were white kids who loved Black music, and desperately wanted to do justice to it. Orange County, where Medley and Hatfield lived, was at the time one of the whitest places in America, and they didn't really have much competition on the local scene from authentic R&B bands. But there *was* a Marine base in the area, with a large number of Black Marines, who wanted to hear R&B music when they went out. Medley and Hatfield quickly became very popular with these audiences, who would address them as "brother", and called their music "righteous" -- and so, looking for a name for their duo act, they became The Righteous Brothers. Their first single, on a tiny local label, was a song written by Medley, "Little Latin Lupe Lou": [Excerpt: The Righteous Brothers, "Little Latin Lupe Lou"] That wasn't a success to start with, but picked up after the duo took a gig at the Rendezvous Ballroom, the surf-rock venue where Dick Dale had built his reputation. It turned out that "Little Latin Lupe Lou" was a perfect song to dance the Surfer's Stomp to, and the song caught on locally, making the top five in LA markets, and the top fifty nationally. It became a standard part of every garage band's repertoire, and was covered several times with moderate success, most notably by Mitch Ryder and the Detroit Wheels, whose cover version made the top twenty in 1966: [Excerpt: Mitch Ryder and the Detroit Wheels, "Little Latin Lupe Lou"] The Righteous Brothers became *the* act that musicians in Southern California wanted to see, even though they were very far from being huge -- Elvis, for example, would insist on his friends coming to see the duo when he was in LA filming, even though at the time they were playing at bowling alleys rather than the more glamorous venues his friends would rather visit. Georgie Woods, a Black DJ in Philadelphia who enjoyed their music but normally played Black records coined a term to describe them -- "blue-eyed soul" -- as a way of signalling to his listeners that they were white but he was going to play them anyway. The duo used that as the title of their second album, and it soon became a generic term for white people who were influenced by Black music -- much to Medley's annoyance. As he put it later "It kind of bothers me when other singers call themselves “blue-eyed soul” because we didn't give ourselves that name. Black people named us that, and you don't just walk around giving yourself that title." This will, of course, be something that comes up over and over again in this history -- the question of how much it's cultural appropriation for white people to perform in musical styles created by Black people, and to what extent it's possible for that to be given a pass when the white musicians in question are embraced by Black musicians and audiences. I have to say that *to me*, Medley's attempts to justify the duo's use of Black styles by pointing out how much Black people liked their music don't ring *entirely* true, but that at the same time, I do think there's a qualitative difference between the early Righteous Brothers singles and later blue-eyed soul performers like Michael Bolton or Simply Red, and a difference between a white act embraced by Black audiences and one that is mostly appealing to other white people. This is something we're going to have to explore a lot more over the course of the series, and my statements about what other people thought about this at the time should not be taken as me entirely agreeing with them -- and indeed it shouldn't be taken as me agreeing with *myself*. My own thoughts on this are very contradictory, and change constantly. While "Little Latin Lupe Lou" was a minor hit and established them as locally important, none of their next few singles did anything at all, and nor did a solo single that Bobby Hatfield released around this time: [Excerpt: Bobby Hatfield, "Hot Tamales"] But the duo picked up enough of a following as a live act that they were picked for Shindig! -- and as an opening act on the Beatles' first US tour, which finished the same week that Shindig! started broadcasting. It turned out that even though the duo's records hadn't had any success, the Beatles, who loved to seek out obscure R&B records, had heard them and liked them, and George Harrison was particularly interested in learning from Barry Rillera, the guitarist who played with them, some of  the guitar techniques he'd used. Shindig! took the duo to stardom, even though they'd not yet had a hit. They'd appear most weeks, usually backed by a house band that included Delaney Bramlett, James Burton, Russ Titelman, Larry Knechtel, Billy Preston, Leon Russell, Ray Pohlman, Glenn Hardin, and many other of the finest studio musicians in LA -- most, though not all, of them also part of the Wrecking Crew. They remained favourites of people who knew music, even though they were appearing on this teen-pop show -- Elvis would apparently regularly phone the TV company with requests for them to sing a favourite song of his on the next week's show, and the TV company would arrange it, in the hopes of eventually getting Elvis on the show, though he never made an appearance. Medley had a certain level of snobbery towards white pop music, even after being on that Beatles tour, but it started to soften a bit after the duo started to appear on Shindig! and especially after meeting the Beach Boys on Shindig's Christmas episode, which also featured Marvin Gaye and Adam Faith. Medley had been unimpressed with the Beach Boys' early singles, but Brian Wilson was a fan of the Righteous Brothers, and asked Medley to accompany him into the men's toilets at the ABC studios -- not for any of the reasons one might imagine, but because the acoustics in the room were so good that the studio had actually installed a piano in there. There, Wilson asked Medley to listen to his group singing their version of "The Lord's Prayer": [Excerpt: The Beach Boys, "The Lord's Prayer"] Medley was blown away by the group's tight harmonies, and instantly gained a new respect for Wilson as an arranger and musician. The two became lifelong friends, and as they would often work in adjoining rooms in the same studio complex, they would often call on each other to help solve a musical problem. And the reason they would work in the same studios is because Brian Wilson was a huge admirer of Phil Spector, and those were the studios Spector used, so Wilson had to use them as well. And Phil Spector had just leased the last two years of the Righteous Brothers' contract from Moonglow Records, the tiny label they'd been on to that point. Spector, at this point, was desperate to try something different -- the new wave of British acts that had come over were swamping the charts, and he wasn't having hits like he had been a few months earlier. The Righteous Brothers were his attempt to compromise somewhat with that -- they were associated with the Beatles, after all, and they were big TV stars. They were white men, like all the new pop stars, rather than being the Black women he'd otherwise always produced for his own label, but they had a Black enough sound that he wasn't completely moving away from the vocal sound he'd always used.  Medley, in particular, was uneasy about working with Spector -- he wanted to be an R&B singer, not a pop star. But on the other hand, Spector made hits, and who didn't want a hit? For the duo's first single on Philles, Spector flew Mann and Weil out from New York to LA to work with him on the song. Mann and Weil took their inspiration from a new hit record that Holland-Dozier-Holland had produced for a group that had recently signed to Motown, the Four Tops: [Excerpt: The Four Tops, "Baby I Need Your Loving"] Mann and Weil took that feeling, and came up with a verse and chorus, with a great opening line, "You never close your eyes any more when I kiss your lips". They weren't entirely happy with the chorus lyric though, considering it a placeholder that they needed to rewrite. But when they played it for Spector, he insisted that "You've Lost That Lovin' Feelin'" was a perfect title, and shouldn't be changed. Spector added a long bridge, based around a three-chord riff using the "La Bamba" chords, and the song was done. Spector spent an inordinate amount of time getting the backing track done -- Earl Palmer has said that he took two days to get one eight-bar section recorded, because he couldn't communicate exactly how he wanted the musicians to play it. This is possibly partly because Spector's usual arranger, Jack Nitzsche, had had a temporary falling out with him, and Spector was working with Gene Page, who did a very good job at copying Nitzsche's style but was possibly not as completely in tune with Spector's wishes. When Spector and Mann played the song to the Righteous Brothers, Bill Medley thought that the song, sung in Spector and Mann's wispy high voices, sounded more suitable for the Everly Brothers than for him and Hatfield, but Spector insisted it would work. Of course, it's now impossible to think of the song without hearing Medley's rich, deep, voice: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] When Mann first heard that, he thought Spector must have put the record on at the wrong speed, Medley's voice was so deep. Bobby Hatfield was also unimpressed -- the Righteous Brothers were a duo, yet Medley was singing the verses on his own. "What am I supposed to do while the big guy's singing?" he asked. Spector's response, "go to the bank!" But while Medley is the featured singer during Mann and Weil's part of the song, Hatfield gets his own chance to shine, in the bridge that Spector added, which for me makes the record -- it's one of the great examples of the use of dynamics in a pop record, as after the bombast of the chorus the music drops down to just a bass, then slowly builds in emotional intensity as Medley and Hatfield trade off phrases: [Excerpt: The Righteous Brothers, "You've Lost That Lovin' Feelin'"] The record was released in December 1964, and even though the Righteous Brothers didn't even perform it on Shindig! until it had already risen up the charts, it made number one on the pop charts and number two on the R&B charts, and became the fifth biggest hit of 1965 in the US.  In the UK, it looked like it wasn't going to be a hit at all. Cilla Black, a Liverpudlian singer who was managed by Brian Epstein and produced by George Martin, rushed out a cover version, which charted first: [Excerpt: Cilla Black, "You've Lost That Lovin' Feelin'"] On their second week on the charts, Black was at number twelve, and the Righteous Brothers at number twenty. At this point, Andrew Oldham, the Rolling Stones' manager and a huge fan of Spector's work, actually took out an ad in Melody Maker, even though he had no financial interest in the record (though it could be argued that he did have an interest in seeing his rival Brian Epstein taken down a peg), saying: "This advert is not for commercial gain, it is taken as something that must be said about the great new PHIL SPECTOR Record, THE RIGHTEOUS BROTHERS singing ‘YOU'VE LOST THAT LOVIN' FEELING'. Already in the American Top Ten, this is Spector's greatest production, the last word in Tomorrow's sound Today, exposing the overall mediocrity of the Music Industry. Signed Andrew Oldham P.S. See them on this week's READY, STEADY, GO!" The next week, Cilla Black was at number two, and the Righteous Brothers at number three. The week after, the Righteous Brothers were at number one, while Black's record had dropped down to number five. The original became the only single ever to reenter the UK top ten twice, going back into the charts in both 1969 and 1990. But Spector wasn't happy, at all, with the record's success, for the simple reason that it was being credited as a Righteous Brothers record rather than as a Phil Spector record. Where normally he worked with Black women, who were so disregarded as artists that he could put records by the Ronettes or the Blossoms out as Crystals records and nobody seemed to care, here he was working with two white men, and they were starting to get some of the credit that Spector thought was due only him.  Spector started to manipulate the two men. He started with Medley, who after all had been the lead singer on their big hit. He met up with Medley, and told him that he thought Bobby Hatfield was dead weight. Who needed a second Righteous Brother? Bill Medley should go solo, and Spector should produce him as a solo artist. Medley realised what was happening -- the Righteous Brothers were a brand, and Spector was trying to sabotage that brand. He turned Spector down. The next single was originally intended to be a song that Mann and Weil were working on, called "Soul and Inspiration", but Spector had second thoughts, and the song he chose was written by Goffin and King, and was essentially a rewrite of "You've Lost That Lovin' Feelin'". To my mind it's actually the better record, but it wasn't as successful, though it still made the US top ten: [Excerpt: The Righteous Brothers, "Just Once in My Life"] For their third Philles single, Spector released "Hung on You", another intense ballad, very much in the mould of their two previous singles, though not as strong a song as either. But it was the B-side that was the hit. While Spector produced the group's singles, he wasn't interested in producing albums, leaving Medley, a decent producer in his own right, to produce what Spector considered the filler tracks. And Medley and Hatfield had an agreement that on each album, each of them would get a solo spot.  So for Hatfield's solo spot on the first album the duo were recording for Philles, Medley produced Hatfield singing the old standard "Unchained Melody", while Medley played piano: [Excerpt: The Righteous Brothers, "Unchained Melody"] That went out on the B-side, with no production credit -- until DJs started playing that rather than "Hung on You". Spector was furious, and started calling DJs and telling them they were playing the wrong side, but they didn't stop playing it, and so the single was reissued, now with a Spector production credit for Medley's production. "Unchained Melody" made the top five, and now Spector continued his plans to foment dissent between the two singers. This time he argued that they should follow up "Unchained Melody" with "Ebb Tide" -- "Unchained Melody" had previously been a hit for both Roy Hamilton and Al Hibbler, and they'd both also had hits with "Ebb Tide", so why not try that? Oh, and the record was only going to have Bobby Hatfield on. It would still be released as a Righteous Brothers record, but Bill Medley wouldn't be involved. That was also a hit, but it would be the last one the duo would have with Philles Records, as they moved to Mercury and Medley started producing all their records. But the damage had been done -- Spector had successfully pit their egos against each other, and their working relationship would never be the same. But they started at Mercury with their second-biggest hit -- "Soul and Inspiration", the song that Mann and Weil had written as a follow-up to "You've Lost That Lovin' Feelin'": [Excerpt: The Righteous Brothers, "(You're My) Soul and Inspiration"] That went to number one, and apparently to this day Brian Wilson will still ask Bill Medley whenever they speak "Did you produce that? Really?", unable to believe it isn't a Phil Spector production. But the duo had been pushed apart. and were no longer happy working together. They were also experiencing personal problems -- I don't have details of Hatfield's life at this period, but Medley had a breakdown, and was also having an affair with Darlene Love which led to the breakup of his first marriage. The duo broke up in 1968, and Medley put out some unsuccessful solo recordings, including a song that Mann and Weil wrote for him about his interracial relationship with Love, who sang backing vocals on the record. It's a truly odd record which possibly says more about the gender and racial attitudes of everyone involved at that point than they might have wished, as Medley complains that his "brown-eyed woman" doesn't trust him because "you look at me and all you see are my blue eyes/I'm not a man, baby all I am is what I symbolise", while the chorus of Black women backing him sing "no no, no no" and "stay away": [Excerpt: Bill Medley, "Brown-Eyed Woman"] Hatfield, meanwhile, continued using the Righteous Brothers name, performing with Jimmy Walker, formerly the drummer of the Knickerbockers, who had been one-hit wonders with their Beatles soundalike "Lies": [Excerpt: The Knickerbockers, "Lies"] Walker and Hatfield recorded one album together, but it was unsuccessful, and they split up. Hatfield also tried a solo career -- his version of "Only You" is clearly patterned after the earlier Righteous Brothers hits with "Unchained Melody" and "Ebb Tide": [Excerpt: Bobby Hatfield, "Only You"] But by 1974, both careers floundering, the Righteous Brothers reformed -- and immediately had a hit with "Rock and Roll Heaven", a tribute to dead rock stars, which became their third highest-charting single, peaking at number three. They had a couple more charting singles, but then, tragically, Medley's first wife was murdered, and Medley had to take several years off performing to raise his son. They reunited in the 1980s, although Medley kept up a parallel career as a solo artist, having several minor country hits, and also having a pop number one with the theme song from Dirty Dancing, "I've Had the Time of My Life", sung as a duet with Jennifer Warnes: [Excerpt: Bill Medley and Jennifer Warnes, "I've Had the Time of My Life"] A couple of years later, another Patrick Swayze film, Ghost, would lead to another unique record for the Righteous Brothers. Ghost used "Unchained Melody" in a crucial scene, and the single was reissued, and made number nineteen in the US charts, and hit number one in many other countries. It also sparked a revival of their career that made "You've Lost That Lovin' Feelin'" rechart in the UK.  But "Unchained Melody" was only reissued on vinyl, and the small label Curb Records saw an opportunity, and got the duo to do a soundalike rerecording to come out as a CD single. That CD single *also* made the top twenty, making the Righteous Brothers the only artist ever to be at two places in the top twenty at the same time with two versions of the same song -- when Gene and Eunice's two versions of "Ko Ko Mo" had charted, they'd been counted as one record for chart purposes. The duo continued working together until 2003, when Bobby Hatfield died of a cocaine-induced heart attack. Medley performed as a solo artist for several years, but in 2016 he took on a partner, Bucky Heard, to perform with him as a new lineup of Righteous Brothers, mostly playing Vegas shows. We'll see a lot more blue-eyed soul artists as the story progresses, and we'll be able to look more closely at the issues around race and appropriation with them, but in 1965, unlike all the brown-eyed women like Darlene Love who'd come before them, the Righteous Brothers did become the first act to break free of Phil Spector and have hits without him -- though we will later see at least one Black woman Spector produced who became even bigger later. But still, they'll always be remembered primarily for the work they did with Spector, and somewhere, right now, at least one radio station is still playing "You've Lost That Lovin' Feelin'", and it'll probably continue to do so as long as radio exists. 

Gestur Rokklands að þessu sinni er Jakob Frímann Magnússon, Stuðmaður með meiru. Við ætlum að hlusta saman á plötuna Horft í roðann sem hann gerði 23 ára gamall árið 1976, en Horft i roðann er mikil uppáhalds plata margra og merkileg að mörgu leyti. Þegar Horft í roðann var tekin upp voru fyrstu tvær plötur Stuðmanna komnar út, Sumar á Sýrlandi og Tívolí. Jakob var búinn að vera í talsverðan tíma í Bretlandi og spila með hljómsveit Long John Baldry. Hann gerði samning við Steinar Berg um að hefja plötuútgáfu, en splunkuný útgáfa Steinars (Steinar) gaf út plötur Stuðmanna, Spilverks Þjóðana og sólóplötu Jakobs - Horft í roðann. Platan var tekin upp í Los Angeles, London og í þá nýopnuðum Hljóðrita í Hafnarfirði. Platan fékk góðar viðtölur þegar hún kom út, fékk talsverða spilun í útvarpinu sem þá var eingöngu Rás 1 (Útvarpið). Platan seldist ágætlega og fólk um alt land söng með lögum eins og Sól í dag og Röndótta mær. Horft í roðann er konseptplata og fjallar í raun um líf eftir dauðann. Og á plötunni eru til skiptis lög sem hefðu sómt sér vel á plötum Stuðmanna, og svo Jazz-fusion rokk. Ansi sérstök og kannski sérkennilega blanda sem þó sýnir tvær mest áberandi hliðar Jakobs. Jakob segir frá plötunni og lögunum í Rokklandi vikunnar.

Lögin í þættinum tengjast söngvaranum Long John Baldry: She Broke My Heart með Stuðmönnum, How Lond, How Long Blues með Alexis Korner's Blues Incorporated, Hoochie Coochie Man með Hoochie Coochie Men, Roll 'em Pete með Hoochie Coochie Men, Gee Baby Ain't I Good To You með Steam Packet, Cuckoo með Long John Baldry, Come Back Baby með Bluesology, Let The Heartache Begin með Long John Baldry og (Under The Sun In) Mexico með Long John Baldry.