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Listen to an interview with Todd Rundgren, a pioneering musician, songwriter, and producer known for his eclectic style and innovative approach to technology in music. Rising to fame in the late 1960s with the band Nazz, Rundgren gained widespread acclaim with his 1972 solo album Something/Anything? which included the hit singles “Hello It's Me” and “I Saw the Light.” Rundgren is also a sought-after producer, working on landmark albums by the New York Dolls, Hall & Oates, XTC, Meatloaf, The Psychedelic Furs, and Patti Smith. Rundgren has charted multiple Billboard hits and earned widespread critical acclaim. In 2021, he was inducted into the Rock and Roll Hall of Fame. Rundgren's genre-defying work spans rock, pop, soul, and experimental electronic music. He's been recognized as a visionary for his early adoption of music videos and interactive media. But his latest project looks into the past. Todd Rundgren will be performing music from the late songwriter Burt Bacharach in Indianapolis on April 18, as part of What The World Needs Now: The Burt Bacharach Songbook Live tour. Also hear an interview with Nnenna Freelon, a prolific jazz vocalist, whose career spans over three decades. She'll be performing at the Jazz Kitchen on April 18th. Freelon issued her debut LP on Columbia Records in 1992, marking the start of an accomplished recordings career. Freelon's music has attracted significant recognition, including seven Grammy nominations, and she's collaborated with numerous jazz luminaries, including Ray Charles, Ellis Marsalis, Kenny Baron, Pat Metheny, Christian McBride Al Jarreau, and Herbie Hancock. Hear music from Freelon's latest album, titled Beneath the Skin.
Todd Rundgren is responsible for producing some incredibly important records including Meatloaf and Jim Steinman's Bat out of Hell and the New York Dolls selt titled LP. He has also rubbed elbows with Beatles John Lennon and Paul McCartney. FRUMESS is POWERED by www.riotstickers.com/frumessJOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!!https://www.patreon.com/Frumess
For this months episode we head back to 1971 for a batch of epicly long prog epics, peppered with the occasional bit of folk rock, powerpop, metal, jazz, and afrobeat. Our longest playlist yet, and lots of fun along the way! We've each chosen our 10 favourite songs of the year and sent them over to Colin's wife Helen, who put the playlists together and distributed them so we were each given a playlist of the 20 songs from the other two hosts, along with our own 10. We then ranked the playlists in order of preference and sent them back to Helen, who totalled up the points and worked out the order.She also joined us on the episode to read out the countdown, which we found out as we recorded so all reactions are genuine.Now, admittedly, in parts we're a little bit brutal to some of the songs in the list as we're three separate people with differing music tastes, but please remember that to be in this episode at all the songs have to have been in one of our top 10's of that year.Bands featured in this episode include (In alphabetical order, no spoilers here!) - Badfinger, The Beach Boys, Black Sabbath, David Bowie, Can, Caravan, Neil Diamond, Nick Drake, Emerson, Lake & Palmer, Flower Travelin' Band, The Flying Burrito Brothers, Focus, Hampton Grease Band, Jimi Hendrix, The Hollies, Billy Joel, King Crimson, Mahavishnu Orchestra, Nazz, Harry Nilsson, The Norman Haines Band, Osibisa, Pink FLoyd, The Rolling Stones, Pharoah Sanders, Nancy Sinatra & Lee Hazlewood, Stephen Stills, Traffic, Van Der Graaf Generator & The WhoFind all songs in alphabetical order here - https://open.spotify.com/playlist/36GaQbyuHTepSEAQkXubCN?si=24673026411f4e51Find our We Dig Music Pollwinners Party playlist (featuring all of the winning songs up until now) here - https://open.spotify.com/playlist/45zfDHo8zm6VqrvoEQSt3z?si=Ivt0oMj6SmitimvumYfFrQIf you want to listen to megalength playlists of all the songs we've individually picked since we started doing best of the year episodes (which need updating but I plan on doing them over the next few months or so), you can listen to Colin's here – https://open.spotify.com/playlist/5x3Vy5Jry2IxG9JNOtabRT?si=HhcVKRCtRhWCK1KucyrDdgIan's here - https://open.spotify.com/playlist/2H0hnxe6WX50QNQdlfRH5T?si=XmEjnRqISNqDwi30p1uLqAand Tracey's here - https://open.spotify.com/playlist/2p3K0n8dKhjHb2nKBSYnKi?si=7a-cyDvSSuugdV1m5md9NwThe playlist of 20 songs from the other two hosts was scored as usual, our favourite song got 20 points, counting down incrementally to our least favourite which got 1 point. The scoring of our own list of 10 is now slightly more complicated in order to give a truer level of points to our own favourites. So rather than them only being able to score as many points as our 10th favourite in the other list, the points in our own list were distributed as follows -1st place - 20 points2nd place - 18 points3rd place – 16 points4th place – 14 points5th place – 12 points6th place – 9 points7th place – 7 points8th place – 5 points9th place – 3 points10th place -1 pointHosts - Ian Clarke, Colin Jackson-Brown & Tracey BGuest starring Helen Jackson-Brown.Playlist compiling/distributing – Helen Jackson-BrownRecorded/Edited/Mixed/Original Music by Colin Jackson-Brown for We Dig PodcastsThanks to Peter Latimer for help with the scoring system.Part of the We Dig Podcasts network along with Free With This Months Issue & Pick A Disc.Bluesky - https://bsky.app/profile/wedigmusic.bsky.socialInstagram - https://www.instagram.com/wedigmusicpcast/Facebook - https://www.facebook.com/wedigpusicpcast/Find our other episodes & podcasts at www.wedigpodcasts.com
Todd Rundgren is a true musical visionary whose career spans decades, influences multiple genres, and continues to inspire generations of music lovers. From his early days with the psychedelic rock band Nazz to his groundbreaking solo career and innovative work with Utopia, Rundgren has continually redefined what it means to be an artist. His work as a singer, songwriter, record producer, and multi-instrumentalist has left an indelible mark on rock, pop, progressive, and experimental music. In this in-depth feature, we explore the highs and lows of his storied career, highlighting his unique blend of catchy melodies, technical expertise, and bold experimentation that have made him a lasting icon in the music industry.Born into an era of musical revolution, Todd Rundgren's early years were shaped by the sounds of the 60s. Embracing the counterculture movement, he found his first taste of musical success with Nazz, where he served as the lead guitarist and primary songwriter, crafting songs that were both innovative and accessible. Tracks such as “Open My Eyes” and “Hello It's Me.” Rundgren's leap from band member to solo superstar came in the early 70s. It was the seminal album Something/Anything? that truly set him apart. It featured enduring hits like “I Saw the Light” and a reimagined version of “Hello It's Me,” songs that still resonate with fans today. The album was celebrated for its innovative production techniques and intricate arrangements. Never content to follow the status quo, Todd Rundgren has always been driven by a desire to experiment. His subsequent albums are celebrated as landmarks of avant-garde music production. He became one of the pioneers of home recording technology, demonstrating that innovative music could be produced outside the confines of a traditional studio. Todd's approach to music-making has inspired artists to take creative risks and explore uncharted sonic territories.In the mid-70s, seeking new avenues for creative expression, Rundgren formed the band Utopia. With them he crafted extended compositions that featured dynamic shifts, complex time signatures, and an eclectic mix of rock, pop, and classical influences. Beyond his achievements as a performer, Todd Rundgren is also revered for his pioneering work as a record producer. His studio prowess and keen musical instincts have made him one of the most sought-after producers in rock history. Rundgren's production credits include his work on Meat Loaf's album Bat Out of Hell. This record, one of the best-selling albums of all time, showcases his ability to harness raw talent and transform it into something transcendent. Todd also lent his production genius to artists such as Badfinger, Grand Funk Railroad, The New York Dolls, Hall & Oates, Patti Smith, XTC, and many more. A lifelong admirer of The Beatles, Todd's musical style and production techniques bear the unmistakable influence of the Fab Four. He has collaborated with Ringo Starr & His All-Starr Band and he has inspired a diverse array of artists across multiple genres. As we reflect on the life and career of Todd Rundgren, it becomes clear that his influence on music is both profound and far-reaching. He's a gifted performer, songwriter and trailblazer. His work continues to inspire musicians and captivate fans, ensuring that his contributions to rock, pop, and progressive music will be celebrated for generations to come.By exploring the life and work of Todd Rundgren in this feature episode, we celebrate not only his achievements but also the spirit of innovation that he has instilled in the world of music. His career serves as an inspiration to anyone who dares to dream, experiment, and redefine what is possible in the realm of sound. Whether you are a longtime fan or a newcomer to his music, this deep dive into his storied journey offers an invaluable glimpse into the mind of one of rock's most fearless innovators.#toddrundgren #RockLegend #Classicrock #Music
Label: SGC 001Year: 1968Condition: MPrice: $60.00This is the first release of this much-released single, on the light tan label with no horizontal lines. The single was released again in 1970 on a light green (with some yellow) label. Though the A side is the band's most famous song and was a hit again for Nazz's guitarist and songwriter, Todd Rundgren, in 1973 -- in fact, it was Rundgren's biggest hit and only top 10 single -- my personal fave is the terrific, snarly B side. Rundgren had clearly been listening to the Who, but that's OK: It's a great song and a great sound! That Nazz and SGC thought so, too, is evidenced by the fact that "Open My Eyes" was actually the original A side of the single. As the chart information shows, "Eyes" charted nearly 6 months before "Hello" started up the chart. All in all, this is a nearly Mint copy of a classic single, the first from a Pennsylvania band led by one of the most important figures in American rock'n'roll during the 1970's. Even though he wasn't a consistent hitmaker himself, Todd Rundgren brought a large number of important artists to the studio and became a studio engineer/producer of even higher esteem than as a solo singer/musician. Note: This copy looks new with a drillhole. The sleeve is Near Mint and also has a drillhole. (This scan is a representative image from our archives.)
“I've always been pretty attached to my dreams,” says singer-songwriter Jessica Pratt. “[Dreams have] consistently been this means of receiving symbolic information that feels important. They do feel somewhat connected — the mental space that I'm in when I'm writing and the way that I feel in certain kinds of dreams. Sometimes you have a dream where it feels very loaded and weighted in this way that you can't really argue with, and I look forward to those. And sometimes it's the same with songs, where you just get hit with something and you don't know where it came from, and it feels like there's no work involved, like it's just sort of this thing that is delivered, and then that's when you get really lucky.” It was a pleasure to have this conversation with Pratt, whose gorgeous fourth full-length, Here In The Pitch, is one of my favorite albums of this year, and has rightfully been among 2024's most critically lauded LPs. Given how often folks describe the album as dreamlike or hypnagogic, it was fascinating to hear Jessica talk about the similarities between her dream life and her songwriting process — one of the many subjects touched upon in this episode. I was also fascinated to hear from Jessica about how, growing up in the same household as her great-grandmother influenced her toward an early affinity with a bygone era of film and fashion, while her mother's adventurous taste in music inspired her own artful leanings toward “if you know, you know” type albums by Captain Beefheart or Nazz, at a time when other kids her age were probably listening to things like Eminem or Justin Timberlake. She also talks about how her songwriting process has evolved over the years and how her approach to making music continues to follow from intuition rather than ambition.
This week, DJ Kula Baker brings you "45s of Fury," a special all 7-inch episode of THE FAR OUT 'IN.' We hear all-time classics from the likes of Hot Chocolate, Nazz, James Brown, Sade and others, along with new music from the Emkays and Jalen NGonda.For more info and tracklisting, visit: https://thefaceradio.com/the-far-out-in/Tune into new broadcasts of The Far Out “In”, Opposite Tuesdays from 11 PM - Midnight EST / 4 - 5 AM GMT (Wednesday)//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.
Albums and All That, Starting with the letter S as in Sierra, Part 9 From Something to Shout About (Lulu) to Sophisticated Boom Boom (Dead or Alive) Oh hey, by the way... there is now a Vinyl-O-Matic Patreon (https://patreon.com/youroldpalwill) Lulu with The Luvvers [00:30] "Chocolate Ice" Something to Shout About Decca LK 4719 1965 Hey hey hey! It's Lulu! This is her debut album. Despite what you might guess from her voice, she was 17 when she recorded this album. "Chocolate Ice" is the excellent title song to the very weird Gonks Go Beat (https://youtu.be/XhozBIMplQA?si=ULHH1FdCqSWJPyJ5) (Hartford-Davis, 1964), featuring Lulu and The Luvvers, The Nashville Teens, and the Graham Bond Organisation Todd Rundgren [02:40] "Hello It's Me" Something / Anything? Bearsville 2BX 2066 1972 Rundgren's 3rd solo album, spreading his musical wings a bit more than previous releases. Todd had originally written the song as a very mellow ballad with the Nazz in 1967, and was released as a b-side (https://youtu.be/FmLnDL_pNZQ?si=enMwjWzgNe_iplus) to their psyche rocker "Open My Eyes". Usually I'd go with the power pop progenitor "Couldn't I Just Tell You (https://youtu.be/fosMLTCFKQ8?si=Dgn25DMa61xCFRbJ)", but well, I'm feeling more mid-tempo at the moment. Jimmy Buffett [07:29] "Cheeseburgers in Paradise" Son of a Son of a Sailor ABC Records AA-1046 1976 Let me be perfectly clear: I am not now, nor have I ever been a Parrot Head. However, I do love cheeseburgers. This is the lead single from Buffett's eighth solo album. The single made it to #32 on the Hot 100. There's also a much-watered-down version of "Livingston Saturday Night", which can be heard to greater effect (https://youtu.be/5uizFyDRxso?si=ZfVrun8krTdxzagG) on the Rancho Deluxe (Perry, 1975) soundtrack, see also: Season 5, Episode 76 (https://vinylomatic.com/s05e76). Harry Nilsson [10:20] "It Is He Who Will Be King/Daybreak" Son of Dracula Rapple Records ABL1-0220 1974 The only new Nilsson song on this soundtrack. The less said about the actual film. Count Downe (Nilsson) is invited to take over Count Dracula's throne by Merlin (Ringo Starr). Lots of monsters and lots of rock stars, including Keith Moon and John Bonham, Peter Frampton, Bobby Keys, Klaus Voorman, and Leon Russell. Watch at your own peril (https://youtu.be/IIik_o16sro?si=WvmR54QPJ16Qmd6s). Great packaging for the record though, includine a die-cut gatefold and an iron on transfer for the cover image with "Bite Me" written in goth script below. Julian Bahula's Jazz Africa [16:15] "Molebatsi" Son of the Soil Tsafrika Records TSA 001 1982 A great collective outing composed by this South African by way of Britain drummer/composer/bandleader. I picked this one up at Revolution Records in Amsterdam. If Google Translate isn't lying to me, this title translates to "Smoker" from Swati. And a smoker it is. The Temptations [21:46] "Shakey Ground" A Song for You Gordy G6-969S1 1975 One of several excellent P-Funk-backed tracks on this album. There's a pretty excellent Delbert McClinton version of this song as well (https://youtu.be/w7JCWoxtGLs?si=tLtnwaOT1j24Tgvy). The Exbats [25:47] "Like It Like I Do" Song Machine Goner Records GONE 192 2023 And boy do I like it! Another excellent outing from Bisbee AZ denizens Inez and Kenny and friends (https://youtu.be/l-Onx5zVfMs?si=OSeD0DJHPaOZ4NGW). They pretty much just keep getting awesomer and awesomer. Big Black [28:17] "L Dopa" Songs About Fucking Touch and Go T&G LP #24 1987 Scorching. And sadly, fare thee well, Steve. To anyone interested in recording, Steve and Electric Audio provided (and still provide) a wealth of information, as for instance: Everything you've ever wanted to know about tape alignment but were afraid to ask (https://youtube.com/playlist?list=PLXA7imybaTsFWOFpaeP8wgXNDlZ4Xc8yq&si=ZMsU_ifbEBbmp6Kh). THE FOLLOWING TRACK IS INTENDED FOR MATURE AUDIENCES. LISTENER DISCRETION IS ADVISED
Join Nazz Atlantic as he shares his inspirational journey from Penitentiary University in Jersey. In this episode, Nazz discusses the importance of starting where you are and taking advantage of every opportunity, regardless of your current circumstances. Nazz emphasizes the need to prepare for future success by putting in the work now, even while in prison. He shares his own experiences and challenges, offering insights and motivation for others who aspire to be entrepreneurs or pursue their dreams. Don't miss the exclusive preview of Nazz Atlantic new single, a remix of Rick Ross' "Amsterdam," titled "Atlantic City Mix." Tune in to hear his unique sound, crafted despite the limitations of recording over prison phones. Nazz invites listeners to connect with him on all major platforms under FreeNazz and support his ongoing hustle and grind. Tap in, vibe with Nazz Atlantic, and be inspired by his relentless pursuit of greatness.
Esta semana, en Islas de Robinson, territorio clásico, entre 1968 y 1969. Suenan: BLOOD SWEAT & TEARS - "I CAN'T QUIT HER" ("CHILD IS FATHER TO THE MAN", 1968) / THE IMPRESSIONS - "YOU WANT SOMEBODY ELSE" ("THIS IS MY COUNTRY", 1968) / JIMI HENDRIX EXPERIENCE - "HAVE YOU EVER BEEN (TO ELECTRIC LADYLAND)" ("ELECTRIC LADYLAND",1968) / THE ELECTRIC FLAG - "GROOVIN' IS EASY" ("A LONG TIME COMIN'", 1968) / CANNED HEAT - "TIME WAS" ("HALLELUJAH", 1969 ) / SLY & THE FAMILY STONE - "COLOR ME TRUE" ("DANCE TO THE MUSIC", 1968) / TRAFFIC - "WHO KNOWS WHAT TOMORROW MAY BRING" ("TRAFFIC", 1968) / SPIRIT - "UNCLE JACK" ("SPIRIT", 1968) / NAZZ - "NOT WRONG LONG" ("NAZZ NAZZ", 1969) / LOVE - "I'M WITH YOU" ("FOUR SAIL", 1969) / THE GUESS WHO - "6 A.M. OR NEARER" ("CANNED WHEAT", 1969) / THE CITY - "WHY ARE YOU LEAVING" ("NOW THAT EVERYTHING'S BEEN SAID", 1968) / BUFFALO SPRINGFIELD - "FOUR DAYS GONE" ("LAST TIME AROUND", 1968) / MOBY GRAPE - "HE" ("WOW", 1968) / JEFFERSON AIRPLANE - "GREASY HEART" ("CROWN OF CREATION", 1968) / Escuchar audio
Hey Guys! so I'm back with another episode of my podcast. I decided to take the week of Thanksgiving off but I still do appreciate all of you who continue to listen to this podcast even if the episodes are less frequent in terms of when I'm releasing them. I"m sure you guys know why that is by now but just in case you don't, I spend a lot of time deciding/figuring out what song by which artist/band to cover next on my podcast, and sometimes it takes me a little bit of time to make a decision on that, and I always decide that before I start to record my next episode. On top of everything else outside of my podcast that I have going on right now, it can be challenging to find the time to do this show, a long with figuring out what song and artist to cover next on my podcast. Since I have done so many episodes of this podcast, I still try to keep it fresh while still staying in my niche, which definitely isn't an easy task. but I do my best. anyways, I'm excited for this week's episode of my podcast, cause here I talk about a band from the 60's that you may not be aware, but you may be able to relate to their story. here's the link to last song I talked about just in case you wanted to listen to it: https://www.youtube.com/watch?v=iLH-9fiCTU0 don't forget to also follow me & reach out to me on Instagram & Tik Tok right here: https://www.instagram.com/iheartoldies/ https://www.tiktok.com/@iheartoldies would absolutely LOVE IT if you guys streamed my last EP. it's very rough for me right now because my songs don't have enough streams for me to make any money on Spotify, but you guys could easily change that. and hopefully someday soon when I start to get placements in Movies & TV shows, those streaming numbers will change. here's the link to that right here: https://distrokid.com/hyperfollow/samlwilliams/an-old-soul-with-new--remiagined-things please do also listen to the official Spotify & Youtube playlists for this podcast. here you'll be able to find all of the songs I have talked about on my podcast so far including some of the songs I have mentioned in some of the older interview episodes I did on my podcast a while back. hope you guys enjoy them, if you have any suggestions for songs I should cover next on my podcast that I haven't yet, please email those ideas to me at samltwilli@icloud.com: https://www.youtube.com/watch?v=CS1sYR7xky8&list=PL66sgq_GAmRcXy8yKZJfVmAD14HU Yj7Nf https://open.spotify.com/playlist/21f3uBS6kU4hUF6QAC5JMj?si=b81bac847a804d96 please do also check out the official Redbubble Merch store for this podcast. here you'll be able to find all of the official merch for this podcast, and maybe after checking this out you'll have an idea for a new logo for this podcast for new merch. if you do please send that idea over to me at samltwilli@icloud.com, & I"ll consider it for a logo idea: https://www.redbubble.com/shop/ap/36806158 if you found out some interesting information about the last group I talked about on my podcast in this episode, do email me at samltwilli@icloud.com, or maybe you were familiar with the 70's artist who was in this band but not the band he was in during the 60's. maybe you didn't know much about them.but anyways, I really hope you guys are enjoying these free episodes of this podcast, and please don't forget to also sign up for the premium version of my podcast so that way you guys don't miss out on all of this great interview content I have been putting out for that version of my podcast. here's the link to that & I will talk to you guys again next time: https://themillennialthrowbackmachine.supercast.com/
Hey Guys! So I'm back with another episode of my podcast. once again my apologies for the delay in terms of me putting out an episode of my podcast. this one took a while because this week's song has some pretty complex harmony going on with it, so it took me some time to try & analyze it, but I"m back with another premium episode for this podcast. I don't often get personal with my episodes but I can personally relate to this song & I dive into exactly how & why I'm able to relate to it in this episode. Plus it was my birthday a few weeks ago so normally I take the week of my birthday off for my podcast. I hope you guys enjoy this one & for the first time in a while, I'm somewhat dipping my toe into the 70's with this one, as this song is a hybrid 60's & 70's song. more on that for the next episode. but anyways, here's the link to the latest song for this episode just in case you wanted to listen to it: https://www.youtube.com/watch?v=iLH-9fiCTU0 don't forget to also follow me & reach out to me on Instagram & Tik Tok right here: https://www.instagram.com/iheartoldies/ https://www.tiktok.com/@iheartoldies?lang=en Please do also check out the premium subscription version of my podcast as well. I"m doing something special this month, I"m dropping two interview episodes since it's my birthday month & the second interview I will put out will be an indicator for an upcoming musical project I am working on right now. here's where you can subscribe to learn more about it: https://themillennialthrowbackmachine.supercast.com/ don't forget to also check out the official Spotify & Youtube playlists for this podcast. here you'll be able to find all of the songs that I have talked about on my podcast, but please send me some suggestions for songs I should talk about next that I haven't yet. you can do that by writing to me at samltwilli@icloud.com, you can also follow me & reach out to me on Instagram & Tik Tok @iheartoldies: https://www.youtube.com/watch?v=CS1sYR7xky8&list=PL66sgq_GAmRcXy8yKZJfVmAD14HUYj7Nf https://open.spotify.com/playlist/21f3uBS6kU4hUF6QAC5JMj?si=0e59321039e54195 also please do listen to my latest EP. it sucks guys, at this rate with the amount of monthly listeners I have on Spotify right now, I won't be able to make any money from royalties from my songs on Spotify but if you guys stream my music, that will ultimately change that. here's where you can do that right here: https://distrokid.com/dashboard/album/?albumuuid=32A9BB3B-B65B-4CC7-918A4344B4F035C2 please also check out the official Redbubble Merch store for this podcast. here you'll be able to find all of these super cool merch items with my own custom logo that is specific to my podcast. you can find it right here: https://www.redbubble.com/shop/ap/36806158 if you liked my analysis on this week's song & artist & you have never heard this tune before & your around my age, or maybe you weren't familiar with the 60's version of this song but you know it from the 70's version of it, please email me at samltwilli@icloud.com, you can also follow me & reach out to me on Instagram & Tik Tok @iheartoldies. I'm glad I'm somewhat branching out into the 70's with this podcast, while still keeping it in the 60's. the next episode will have some crossover into the 70's in terms of Rock & Roll History but it will still be interesting to listen to for sure. I think I'm gonna put out one more episode this month before Thanksgiving.
OUR SEASON FIVE DEBUT features an empowering discussion with Canadian born, Nashville musician Allison Russell about her inspiring (and funky) new album The Returner, the stunning followup to her award winning Outside Child. And as we begin a series of programs leading up to RSD Black Friday (November 24) Record Store Day co-founder Carrie Colliton spotlights a few titles from the recently announced list. For the full list go to RecordStoreDay.com. The Record Store Day Podcast is written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music. Sponsored by Dogfish Head Craft Brewery, Tito's Handmade Vodka, and Crosley turntables. This episode is dedicated to Robert "Stewkey" Antoni, former lead singer of Nazz who passed away on October 8 at the age of 75.
Desde sus primeros singles el grupo The Who dejó claras muchas de sus señas de identidad. Un estilo marcado por melodías brillantes, armonías vocales, feedback, acordes poderosos o esos sorprendentes y enloquecidos ritmos de batería. Echamos a la marmita un puñado de canciones de distintas épocas en donde encontramos influencias del sonido y las formas de Daltrey, Townshend, Entwisle y Moon. Playlist; THE WHO “Anyway, anyhow, anywhere” (1965) THE CREATION “Painter man” (1966) DAVY JONES and THE LOWER THIRD “You’ve got a habit of leaving” (1965) LOVE “The daily planet” (1967) POWDER “Gladly” (1968) GOLDEN EARRING “To the hilt” (1976) MC5 “Come together” (1969) BLONDIE “(I’m always touched by your) presence dear” (1978) CHEAP TRICK “Stiff competition” (1978) THE RASPBERRIES “I don’t know want I want” (1974) THE JAM “Away from the numbers” (1977) THE LEN PRICE 3 “The London institute” (2013) DOCTOR EXPLOSION “¿Quién quiere lo que tuvo ayer?” (2010) NAZZ “Under the ice” (1969) Escuchar audio
Ep. 118 - NESN Bruins Insider Billy Jaffe, Patrick J. Foley promotes fundraiser for Boston Marathon Steele, Nazz & Magic Mike we’re joined by NESN Bruins insider Billy Jaffe to talk about the season it has been for the Boston Bruins. (02:53 - 52:29) We touched upon Jaffe’s broadcasting career, how the Bs fare this postseason & a whole lot more. Afterwards, our sponsor Patrick J. Foley joins the boys to talk about his fundraiser on Saturday, April 1 at JJ Foleys for a charitable cause. Also shared our thoughts on the following sports topics. (53:40 - rest of show) - Lamar Jackson to Patriots? - Celtics slumping, deep playoff run in question? - Final Four Predictions - Red Sox Season Preview Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 116 - Ullmark or Swayman?, Celtics title or bust?, Japan wins WBC, March Madness upsets Steele, Nazz & Magic Mike ran a no-guest episode while debating the hottest sports topics around the area, including: - Bruins win 4 in a row, what should they do with the goalie situation come the postseason? - is it a failed season if the Celtics don’t win the NBA Finals? Thoughts on Jaylen Browns comments? - Mike Gesecki signs with Patriots, what else do the pats need to win? - Leon Edwards beats Usman again at UFC 286 - Team Japan beats USA in WBC Finals, is Ohtani the face of baseball? - Francis Hogan grabs another KO at Dana White boxing event - College basketball Picks for Sweet 16 weekend Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Steele, Nazz & Magic Mike ran a no-guest episode while debating the hottest sports topics around the area, including: - NFL/Patriots Free Agency - Bruins hit losing skid for first time all season - Are the Boston Celtics going to figure it out? - Oscars recap - UFC 286: Usman vs. Edwards III preview - World Baseball Classic recap - Magic Mike Minute Documentary recap Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 114 - Celtics hit a losing skid, who can challenge the Bruins, UFC Jon Jones recap Steele, Nazz & Showtime Craig ran a no-guest episode while debating the hottest sports topics around the area, including: - Bruins on quest for history, who can stop them? - Celtics hit losing skid, how can they stop blowing leads? - Jon Jones prevails at UFC 285 - Bobby “Lights Out” Laing loses first match at Rough N’ Rowdy 20 - World Baseball Classic Preview Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 112 - Rolling Releaf CEO Devin Alexander, Bruins score at trade deadline The boys including Steele, Nazz, Magic Mike & Showtime Craig were joined by Quincy, MA product and recurring guest, CEO/Founder of the Marijuana Delivery Operator “Rolling Releaf”, Devin Alexander. (03:26 - 50:59) We talked about Rolling Releaf officially opening their doors for business in Newton, MA, the grind it took to make Dev’s dream a reality and much more. Afterwards, Steele, Nazz, Showtime & Magic Mike (52:11 - rest of show) got into the following: - Bruins win out at trade deadline - Jake Paul vs. Tommy Fury preview - Tatum wins ASG MVP - Celtics stride for 2nd half of season success - Rough N’ Rowdy talk Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 111 - Celtics atop the NBA at All-Star Break, Super Bowl Recap, Bruins get back on track Steele, Nazz & Showtime Craig ran a no-guest episode while debating the hottest sports topics around the area, including: - Celtics atop the NBA, takes on strong first half - Joe Mazzulla inked as C’s permanent head coach - Super Bowl Recap, Vacation stories - Bruins find big Ws over Dallas, Nashville - Red Sox start spring training, does anyone care?!? Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Nico was a no show again. We got our man Crypto Craig of the Steele & Nazz podcast to fill in and talk foursomes, flatlands and the greatness of Tony Romo. We do our Super Bowl draft and discuss Barbarian and Killer Joe for our movies this week.
Recordamos al genial guitarrista Jeff Beck, fallecido el 10 de enero de 2023, a través de su corta pero influyente trayectoria con The Yardbirds. Beck se incorporó a la banda británica en marzo de 1965, con solo 20 años, y salió del grupo en otoño de 1966. Apenas año y medio fue suficiente para convertirlo en uno de los guitarristas más innovadores y carismáticos de su tiempo. Playlist; (sintonía) JEFF BECK “Beck’s bolero” (grabada en mayo 1966, editada en marzo de 1967) THE YARDBIRDS “I ain’t done wrong” (editado en agosto 1965) THE YARDBIRDS “I’m not talking” (editado en agosto 1965) THE YARDBIRDS “Heart full of soul (sitar versión)” (junio 1965) THE YARDBIRDS “Steeled blues” (junio 1965) THE YARDBIRDS “Evil hearted you” (octubre 1965) THE YARDBIRDS “Still I’m sad” (octubre 1965) THE YARDBIRDS “I’m a man” (octubre 1965) THE YARDBIRDS “Shapes of things” (febrero 1966) THE YARDBIRDS “Lost woman” (Roger the engineer, julio 1966) THE YARDBIRDS “Over, under, sideways, down” (Roger the engineer, julio 1966) THE YARDBIRDS “The Nazz are blue” (Roger the engineer, julio 1966) THE YARDBIRDS “I can’t make your way” (Roger the engineer, julio1966) THE YARDBIRDS “Hot house of Omagarashid” (Roger the engineer, 1966) THE YARDBIRDS “Stroll on” (de la película “Blow Up”, 1966) THE YARDBIRDS “Happening ten years time ago” (Roger the engineer, julio 1966) THE YARDBIRDS “Turn into Earth” (Roger the engineer, julio 1966) Escuchar audio
Ep. 110 - Prosciutto Papi, Super Bowl preview, Tom Brady Retires The boys including Steele, Nazz, Magic Mike & Showtime Craig were joined by social media cooking star “The Prosciutto Papi.” We talked about the East Boston natives story from working at the Post Office to cooking for star athletes such as Devante Parker, Damien Harris & Payton Prichard. (02:38 - 53:44) Afterwards, Antan joined the boys to converse about Tom Brady retiring from the NFL at 23 seasons, NFL Conference Championship Sunday recap & our predictions for Super Bowl Sunday. From game picks to what Gatorade is going to be poured on the winner, we got it all here. (54:55 - rest of show) Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley. The “Prosciutto Papi” interview is sponsored by “Seaport Social.” A new restaurant in the Seaport of Boston, located at 225 Northern Ave.
Ep. 109 - NFL Conference Championship Sunday, Bruins & Celtics Update Steele, Nazz & Antan Steele, Nazz ran a no-guest episode while debating the hottest sports topics around the area, including: - Bruins handle Montreal, stay golden - Celtics hit a 3-game losing skid - NFL Divisional Round Recap, Conference Championship Sunday Picks - Red Sox recent transactions, Mondesi & Duval Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 108 - Weymouth, MA native hockey star Tyler Piacentini, Bruins are flying high, NFL playoff Divisional Round picks Steele & Nazz were joined by Weymouth, MA native and professional hockey player for the Huntsville Havoc Tyler Piacentini. We talked about playing pro hockey in Alabama in the Southern Professional Hockey League, winning a Division III National Championship & his friendship with Bruins’ Charlie Coyle. (02:29 - 32:30) Afterwards, Steele, Nazz & Magic Mike (33:30 - rest of show) got into the following: - Bruins take down Maple Leafs, run NHL - NFL Wild Card Recap, Divisional Round picks - Celtics run the East, Tatum for MVP? - Magic Mike returns from San Diego - Movie reviews - Fan Mail questions Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley. The Tyler Piacentini interview is sponsored by “Seaport Social.” A new restaurant in the Seaport of Boston, located at 225 Northern Ave.
Ep. 107 - Buffalo Bills ambassador “Tee” Forton-Barnes, Patriots season wrap up, NFL Wild Card Weekend Predictions Steele & Nazz were joined by leader of the Buffalo Bills club “The Water Buffalo Club,” Tee Forton-Barnes. We talked about the week it was for Bills Mafia, with the ups and downs of the Damar Hamlin horrific injury to smashing the Patriots & what exactly there is to do in Buffalo besides drink. (02:58 - 24:53) Afterwards, the boys were joined by Patrick Foley of “The Law Offices of Patrick J. Foley” to talk about what’s going on at the practice, we break down the Patriots season with things in question & give our predictions for each game for NFL Wild Card Weekend. (26:05 - rest of show) Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 106 - Steele & Nazz Awards, can the Patriots make the playoffs? Steele, Nazz, Magic Mike, Antan & Showtime Craig ran a no-guest episode, featuring our 2nd annual Steele & Nazz Awards. Congrats to the following winners: Guest of The Year - Scott Zolak Fighter of the Year - Bobby “Lights Out” Laing Best Moment - Billy Tibbetts Saga Local Guest of the Year - Dakota from Braintree Cocktail of the Year - Mr Martini Boys Hairstyle of the year - Kyle Ciquera Underdog Story of the Year - Andrew Jamiel Worst bet of the Year - Nazz: Japan loses in first round of LLWS Rizz of the Year- Jeff Nadu Caller of the Year - Club Alex’s Afterwards, the boys got into the hottest topics in Boston sports, including: - Patriots/Bengals recap, can the Pats make the playoffs? - NFL Week 17 Picks - Celtics take down Giannis on Christmas - Bruins or Celtics, better chance to win a title? Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 105 - Christmas Episode, Patriots disaster in Vegas recap, Bruins are a wagon Steele, Nazz and Showtime Craig ran a no-guest, Christmas episode, while debating the hottest sports topics around the area, including: - Patriots disaster in Vegas recap - Top Christmas movies - Pats/Bengals Preview, NFL Week 16 picks - Celtics continue to struggle, lost 4 of 5 - Bruins stay hot, can Ullmark win the Vezina? - Judge named Yankees captain - World Cup Final recap Presented by HedgeBettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA, The Law Offices of Patrick J. Foley & Seaport Social.
Ep. 104 - Rough N’ Rowdy Champion Bobby “Lights Out” Laing, Pats/Raiders preview Nazz, Magic Mike & Showtime Craig were joined by recurring guest, Rough N’ Rowdy heavyweight champion Bobby “Lights Out” Laing (9-0). We talked about Laing’s most recent title defense against Adam “Pacman” Jones at Rough N’ Rowdy 19 in Providence, RI. (02:29 - 53:13) Afterwards, Steele, Nazz, Antan & Showtime Craig got after it discussing the hottest topics in the sports world (54:25 - rest of show), including: - Pats beat Cardinals, can they still make the playoffs? - Pats/Raiders Preview, NFL Week 15 preview - Celtics, Bruins remain top teams in NBA, NHL - Red Sox lose Xander Bogaerts - And more… Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Adam gives a recap of his packed weekend consisting of watching hours of volleyball and Seth MacFarlane's Christmas party. Chris presents some ‘Trending Topics' including: R. Kelly saying he had nothing to do with a new album, Grant Wahl's brother blaming Qatar for the journalist's death, Zion Williamson closing out a game with a 360 windmill dunk, Elon Musk targeting Dr. Anthony Fauci in a tweet, and Elton John leaving Twitter. PLUGS: Check out Todd Rundgren's new album ‘Space Force' wherever you find music To see Todd Rundgren's live dates visit Todd-Rundgren.com THANKS FOR SUPPORTING TODAY'S SPONSORS: SimpliSafe.com/ADAM Geico.com SoloStove.com enter ADAM NextEvo.com, enter ADAM The Jordan Harbinger Show
Adam is joined by legendary musician, Todd Rundgren, to talk about his new album, ‘Space Force' which he collaborated on with Sparks, The Roots, and Cheap Trick's Rick Nielsen. Todd breaks down some of his past hits and recounts his experiences with Janis Joplin and John Lennon before telling the story of how he ended up the adopted father of Liv Tyler. Gina Grad reports the news of the day including: Elon Musk getting booed by a crowd after Dave Chappelle brought him on stage, the Golden Globes announcing their 2022 nominations, Kanye being named 'Antisemite of the Year', and Dyson releasing air-purifying headphones. PLUGS: Check out Todd Rundgren's new album ‘Space Force' wherever you find music To see Todd Rundgren's live dates visit Todd-Rundgren.com THANKS FOR SUPPORTING TODAY'S SPONSORS: SimpliSafe.com/ADAM Geico.com SoloStove.com enter ADAM NextEvo.com, enter ADAM The Jordan Harbinger Show
Ep. 103 - XFL WR Andrew Jamiel, Bobby “Lights Out” Laing vs. Adam “Pacman” Jones Preview Steele, Nazz, Magic Mike & Showtime Craig were joined by Cape Cod native and current wide receiver for the Orlando Guardians, Andrew Jamiel. We talked about his true underdog story, from breaking records at Stonehill College, playing in the “Fan Controlled League” for Richard Sherman’s team to getting a workout with the New England Patriots. (03:49 - 33:14) Afterwards, Steele & Nazz got after it discussing the hottest topics in the sports world (34:25 - rest of show), including: - Rough N’ Rowdy Preview: Laing vs. Pacman II - Pats fall to Bills, can they still make the playoffs? - Pats/Cardinals Preview, NFL Week 14 preview - Aaron Judge re-signs with Yankees - Bruins (20-3-1) still hot despite loss to Vegas Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley. Andrew Jamiel interview sponsored by “Seaport Social.” A new restaurant in the Seaport of Boston, grand opening on December 1st, located at 225 Northern Ave.
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
Ep. 102 - MMA fighter Tommy Pagliarulo, Antan goes in on USA Soccer, Bills/Patriots Preview Steele, Nazz, Magic Mike & Antan were joined by MMA fighter & New England Cartel member Tommy Pagliarulo. We talked about Pagliarulo’s MMA career, training with UFC greats Rob Font & Calvin Kattar & what his future holds (04:06 - 34:37) Afterwards, Steele & Nazz got after it discussing the hottest topics in the sports world (35:48 - rest of show), including: - Team USA Soccer prevails over Iran, advances - Pats/Vikings recap, Tom Brady to the Pats? - Pats/Bills Preview - Showtime Craig hits Hawaii - Bruins, Celtics continue to dominate Presented by HedgeBettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley. Tommy Pagliarulo interview sponsored by “Seaport Social.” A new restaurant in the Seaport of Boston, grand opening on December 1st, located at 225 Northern Ave.
Ep. 101 - Boston Bruins National Anthem Singer Todd Angilly, Pats/Vikings Thanksgiving night preview Steele, Nazz & Magic Mike were joined by Boston Bruins National Anthem Singer Todd Angilly. (03:08 - 49:13) We talked about Angilly rise to the Bruins, his relationship with former singer Rene Rancourt, his singing career and even sang the National Anthem for us. Afterwards, Steele & Nazz got after it discussing the hottest topics in the sports world (49:52 - rest of show), including: - Pats find a way to win against Jets, - Pats/Vikings preview, NFL Week 12 Picks - The Boston Bruins are 17-2 - College Football Playoff Rankings - Aaron Judge to San Francisco? - Thanksgiving table talk Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley. Todd Angilly interview sponsored by “Seaport Social.” A new restaurant in the Seaport of Boston, grand opening on December 1st, located at 225 Northern Ave.
Ep. 100 - Steele & Nazz hit the century mark, Pats/Jets preview, Bruins & Celtics so hot right now Steele, Nazz and Producer Justin ran a no-guest show, celebrating the podcasts 100th episode, while debating the hottest sports topics around the area, including: - Steele & Nazz memorable moments through 100 episodes - Patriots first half review, NFL midseason overview - Pats/Jets Round 2, NFL Week 11 Locks of the Week - Boston Celtics & Bruins, best records in respective leagues - Steele’s Salute: Anthony Rizzo re-signs with Yankees - Nazz’s Action: A trip to Big 12 football in Austin, TX Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 99 - Patriots get back on track, Bruins best team in NHL, Udoka to Brooklyn? Steele, Nazz and Showtime Craig ran a no-guest show, debating the hottest sports topics around the area, including: - Patriots down Jets, Pats/Colts preview - NFL Week 8 recap, Week 9 Locks of the Week - Ime Udoka to be named head coach of Nets - The Boston Bruins are the best team in the NHL - World Series Recap (PHI leads 2-1) Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 98 - Patriots in shambles, Yankees swept, Bruins & Celtics off to hot starts Steele, Nazz and Showtime Craig ran a no-guest show, debating the hottest sports topics around the area, including: - Patriots blown out by Bears, who to blame? - Patriots/Jets preview, NFL Week 8 picks - Bruins riding above expectations - Celtics, Tatum making a statement early - Yankees swept, Phillies/Astros World Series picks - UFC 280 recap, Oliveira upset Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 97 - Spittin’ Chiclets producer Mike Grinnell, Jones vs. Zappe QB Controversy?, will the Celtics live up to big expectations? Steele & Nazz were joined by recurring guest, producer of the top hockey podcast “Spittin Chiclets” of Barstool Sports, Mike Grinnell. (01:59 - 40:30) We talked about his recent trip to Pittsburgh, their new official beer “Big Deal Brewing” & expectations for the Boston Bruins this upcoming season. Afterwards, Steele & Nazz got after it discussing the hottest topics in the sports world (41:09 - rest of show), including: - Pats smoke Browns, QB controversy in New England? - Pats/Bears Predictions, NFL Week 7 Locks of the Week - Boston Celtics season preview - MLB Divisional Round Playoff recap - UFC 280 predictions Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
The boys including Steele, Nazz, & Antan shared our takes on the hottest topics in the sports world, including: - Patriots lose to Packers, NFL Week 4 recap - Patriots/Lions preview, NFL Week 5 Picks - MLB Playoff Wild Card Weekend preview - Boston Bruins Season Preview - Aaron Judge makes baseball history with No. 62 Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 95 - ESPN Announcer Mike Monaco, Are the Patriots in trouble?, NFL Week 4 Picks The boys including Showtime & Nazz were joined by ESPN “play-by-play” announcer & backup Red Sox broadcaster Mike Monaco. We discussed Monaco’s broadcasting career, growing up in the south shore, covering the Little League World Series, Red Sox games and a whole lot more. (02:02 - 38:35) Afterwards, Steele, Nazz, Magic Mike & Showtime Craig dug into the top news in sports world around the area (39:14 - rest of show), including: - Patriots drop one to Baltimore, lose Mac Jones - NFL Week 4 Picks, Pats/Packers prediction - Aaron Judge hits home run #61 - Charity Softball Tournament Wrap up Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 94 - Super Bowl Champion Ali Marpet, Ime Udoka suspended, NFL Week 3 Picks The boys including Steele, Nazz, Magic Mike & Showtime Craig were joined by Super Bowl Champion & former Tampa Bay Buccaneers OL Ali Marpet. (03:07 - 42:30) We talked about his rise from D3 football, getting into the NFL, playing with Tom Brady and winning a Super Bowl & his mental health awareness. Afterwards, the boys got to business, giving our best takes on the following: (43:08 - rest of show) - Celtics HC Ime Udoka suspended - Pats/Steelers & NFL Week 2 recap - Pats/Ravens & NFL Week 3 preview - Aaron Judge chasing history - Softball Classic preview Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 93 - Patriots/Steelers Preview, NFL Week 2 Picks, Nate Diaz tribute The boys including Steele, Nazz, Magic Mike & Showtime Craig shared our takes on the hottest topics in the sports world, including: - NFL Week 1 Wrap up, Patriots lose your Dolphins - Patriots/Steelers game preview/picks - NFL Week 2 Locks of the Week - Nate Diaz tribute after UFC 279 win - Aaron Judge, Albert Pujols chasing baseball history Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 92 - Pro Boxer Francis Hogan, NFL Week 1 picks The boys including Nazz, Magic Mike & Showtime Craig were joined by recurring guest, professional boxer Francis “Frank The Tank” Hogan (12-0, 11 KOs). (03:05 - 39:29) We talked about Hogan’s new deal with CES boxing, his most recent knockout at Mohegan Sun, his ballsy weigh-in outfits and a whole lot more. Afterwards, the boys broke down NFL Week 1, in particular, the Patriots heading on the road to take on the Miami Dolphins in their regular season opener. (40:08 - rest of show)
Ep. 91 - Boston College football WR Zay Flowers, Layin’ Down The Law is back The boys including Steele, Nazz, Showtime Craig & Producer Justin took their talents on the road to Chestnut Hill to visit Boston College football star wide receiver Zay Flowers. (02:08 - 25:07) We talked about the expectations for the upcoming season for Flowers and the Eagles, his friendship with Antonio Brown, interest in fishing and a whole lot more. Afterwards, Patrick J. Foley came in studio to help deliver our picks for the upcoming college football Week 1 & discussed our expectations for the Patriots for the upcoming season. (25:46 - end of show) Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 90 - Edmonton Oilers prospect Vinny Desharnais, Patriots head to Vegas, UFC upset of the century The boys including Steele, Nazz, Magic Mike & Antan were joined by former Providence College hockey product and current Edmonton Oilers prospect, Vinny Desharnais. (02:23 - 28:08) We talked about “Big Vin’s” new NHL contract, playing alongside Connor McDavid, charity work and James Nazz makes a quick appearance. Afterwards, the boys gave their takes on how the Patriots preseason is shaking out, Leon Edward’s pulling a major upset over Kamaru Usman at UFC 278, Nazz’s LLWS meltdown and our thoughts on Kevin Durant deciding on returning to Brooklyn. (28:46 - end of show) Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 89 - New England Free Jack’s Kyle Ciquera, Pats brawl with Panthers, LLWS preview The boys including Nazz, Magic Mike & Showtime Craig were joined by member of the New England Free Jack’s of “Major League Rugby,” Kyle Ciquera. We talked about Ciquera’s experience in the sport of rugby, his award winning mullet and mustache combo and what it meant to play in front of Quincy, MA faithful at Veterans Memorial Stadium this past season. (02:45 - 39:25) Afterwards, the boys gave their takes on the Patriots drama with the Panthers at joint practices, UFC 278 preview, Manti Te’o’s documentary review, Little League World Series Preview and Showtime Craig is running in the Falmouth Road Race for a great cause this upcoming weekend. (40:04 - end of show)
Steele & Nazz ran a no-guest show, giving our best takes on this weeks rundown, including: - Patriots Preseason game #1 - James White retires - Cancel the Red Sox, Yankees slumping - “The Captain” documentary review - Bruins re-sign Bergeron & Krejci - NBA to retire Bill Russell’s #6 jersey Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
Ep. 87 - Pro Boxer Mike O’Han Jr., Magic Mike’s KOC reaction, MLB Trade Deadline The boys including Nazz, Magic Mike & Showtime Craig were joined by Holbrook, MA native and (15-1, 9 KOs) pro boxer Mike O’Han Jr. (02:07 - 31:15) We talked about his upbringing into the sport of boxing, getting into the professional ranks and his upcoming fight this weekend. Afterwards, Antan joined the boys as Magic Mike ends his silence and tells us what went wrong in his match at “Kings Of Combat, Antan & Nazz discussed the MLB Trade Deadline and what is going on early at training camp with this Patriots offense? (31:53 - rest of show) Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
The boys including Steele, Nazz, Showtime Craig & Antan were joined by “New England Football Journal’s” Kevin Stone to discuss the upcoming season for the New England Patriots. (01:02 - 36:05) Afterwards, we got into some heated discussions about Kevin Durant coming to Boston?, the AL East race in the MLB, can Tom Brady win his eighth?, Kings of Combat wrap up and we announce our 2nd annual charity softball classic. (36:35 - rest of show) Presented by Hedgebettor. Sponsored by Slight Edge Fitness & Performance in Braintree, MA & The Law Offices of Patrick J. Foley.
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