In 2006, while pregnant with her first son, Chef Nicole Patel made a batch of chocolate truffles as last-minute holiday gifts. To the delight of her friends and family, truffle-making became an enjoyable pastime for Nicole that relieved the stress of her corporate engineering job. In 2008, a serendipitous trip to the Texas Wine Country led to Nicole being the first person in Texas to make truffles using local wines. Thanks to her dedication and self-taught skills, Delysia Chocolatier quickly rose to become one of the Best Chocolatiers in the Americas, as recognized by the International Chocolate Salon and Taste TV. Nicole has most recently been named 2023's Best Chocolatier in the Americas with the highest honor, Six Star Award: Grand Master Chocolatier, an impressive designation she has received a total of ten times. Her most recent accolades comprise over 88 awards in total, among which are 20 gold medals and 22 silver medals. Notably, she has demonstrated unmatched mastery in the Spicy Chocolate, Hot Chocolate, Ruby Chocolate, and White Chocolate competition categories. Nicole now pairs the process efficiency skills from her Bachelor of Science and Master of Engineering degrees from Texas A&M University with unbound creativity in the kitchen to keep Delysia successfully moving forward. Nicole never could have imagined how her experience working at a Fortune 100 company as a supply chain, quality, and business process improvement expert would prime her for distributing her own products across the country. Nicole lives in Austin, Texas with her husband Rahul and their two sons, Sébastien and Colin. In this episode we discuss: How Nicole made the transition from a corporate career to chocolatier Juggling her day job with her chocolate business sideline The construction challenges of opening a brick-and-mortar business How she cultivates partnerships with other food artisans The big pivot: promoting virtual chocolate tastings during the pandemic How Nicole develops and maintains her corporate gift giving accounts Nicole's top tips for cleaning chocolate molds And much more! Episode Sponsored by Dobla - IRCA We know pastry chefs are busy. Ordering from Dobla and IRCA means not having to make everything from scratch, and instead spending time assembling final products for sale. It means getting more products in one place, which cuts down on the time spent browsing catalogs, placing orders and visiting with sales representatives. That means you spend less time focused on the business and more time on the thing you love: creating succulent sweets and savories that will keep your customers coming back for seconds. For more information, visit www.dobla.com.
This week, on a special episode of Inside Julia's Kitchen, we're taking you to the Santa Barbara Farmers' Market where host Todd Schulkin spoke with Krista Harris of Edible Santa Barbara and Sandra Adu Zelli of Gipsy Hill Bakery, as part of the second annual Taste of Santa Barbara, presented by the Santa Barbara Culinary Experience, in partnership with the Julia Child Foundation for Gastronomy and the Culinary Arts. They discuss what makes the Santa Barbara Farmers' Market so special, which local ingredients you can find there right now, and how the region's culinary and hospitality industries are faring post-pandemic. Plus, we get a double Julia Moment. Sandra Adu Zelli Photo Courtesy of Michelle Quirke.Heritage Radio Network is a listener supported nonprofit podcast network. Support Inside Julia's Kitchen by becoming a member!Inside Julia's Kitchen is Powered by Simplecast.
We spoke with Pedro Sousa from Puratos Canada about how he landed in our great neighbor to the north and his exciting journey in the world of the pasty arts. Find Puratos at:@PuratosUSA- Twitter@PuratosUS- Instagrampuratos.us
All about the Memorial Day picnic – one segment on the proteins and one segment on the side dishes // Co-founders of the Pastry Project, Emily Kim and Heather Hodge join us to talk about their job training program and the “perfect chocolate chip cookie” // The fun and joy of making sushi and onigiri at home // Customize your own quick pickles!See omnystudio.com/listener for privacy information.
It's Pastry week, and to kick things off, the girls lament their lack of love for this week's signature samosas. Lisa brings up the fact that deep frying isn't baking, and a reminiscence of the 1970's Fry Daddy ensues! The girls talk about the 'scandalous' technical bake and admit that neither would enjoy the showstopping banquet pie challenge. The topic of Octopuses comes up after Manon disappoints the judges with her sea creature bake called "Poppy". And, the girls step down a side street to find out just exactly who Oswald the Octopus is....Pastry Week!Connect with us:https://soggybottomgirls.com Follow us on social media:Facebook: https://www.facebook.com/soggybottomgirlsInstagram: https://www.instagram.com/soggybottomgirls/
En estos últimos días he recibido muchos mensajes que me llevan a crear este episodio para poderles ayudar. Si deseas la plantilla que te menciono, la podrás guardar desde mis redes sociales en una publicación que hicimos o escríbeme al DM o messenger para hacertela llegar. Llena la encuesta: https://forms.gle/KdhEi5qtN4YcyDqH7 Búscame en Fb: https://www.facebook.com/petitdelite Búscame en Ig: https://www.instagram.com/petitdelite/ Suscríbete a la membresía: https://petitdelite.com/zona-membresia/ Talleres presenciales: https://petitdelite.com Mi tienda de amazon: https://www.amazon.com/shop/petitdelite Cursos online: https://petitdelite.com/talleres-online/ Youtube: https://www.youtube.com/channel/UCPCdZfhtmS3BphQdFU0PiKA? Link página de empaques: https://www.clearbags.com/, usa el Promo Code PETIT10 para obtener un 10% en todas tus compras. Si estás escuchándome desde apple podcast te invito a dejarme tu reseña, que te pareció este episodio, tus dudas y otros temas quieres que te hable. Te invito a compartir este podcast en tus redes sociales para que personas como tú se beneficien de todas las cosas que quiero compartir contigo. Un abrazo
A certified pastry star, Kelly Nam is the Executive Pastry Chef and Partner at Joomak Banjum restaurant in New York City. She began her career as a pastry cook at Radius in Boston, and then went on to hone her skills at prestigious restaurants including L'Espalier in Boston and Nobu 57, Gordon Ramsay at The London Hotel, The Modern and Electric Lemon in New York City. She also served as Executive Pastry Chef at Frenchie in Paris. Last year she was named 2022 Pastry Chef of the Year by the Michelin Guide NY. Follow Kelly on Instagram at @shell.bugi or @joomakbanjum. In this episode we discuss: How Kelly first got interested in baking Her work experience at top restaurants and the chefs who inspired her How Joomak Banjum came to be Her innovative use of savory flavors in desserts Her thoughts on being named Michelin Guide NY Pastry Chef of the Year 2022 How she deals with the problem of finding and retaining team members Kelly's advice for those thinking about becoming pastry chefs Her tips for making a perfect meringue And much more! Episode Sponsored by Dobla - IRCA We know pastry chefs are busy. Ordering from Dobla and IRCA means not having to make everything from scratch, and instead spending time assembling final products for sale. It means getting more products in one place, which cuts down on the time spent browsing catalogs, placing orders and visiting with sales representatives. That means you spend less time focused on the business and more time on the thing you love: creating succulent sweets and savories that will keep your customers coming back for seconds. For more information, visit www.dobla.com.
For the most part, competitive trail running in the US is perceived to bias heavily toward the West Coast, with many of its marquee races and popular training hubs lying left of the Mississippi. This imbalance has stoked a gentle sense of rivalry in trail runners who call the East Coast home, an underdog mentality that many — including this week's guest, New York native and athlete for The North Face, Sarah Keyes — have turned into fuel. Sarah recently punched her ticket to Innsbruck, Austria to represent the US as part of their Long Distance team at this year's World Mountain Championships, a spot she earned with a podium finish at the Lake Sonoma 50 in Northern California. We talk about what it's like living and training in the Adirondacks year-round; East Coast vs. West Coast trail running scenes; the upcoming World Mountain Running Championships in Innsbruck, Austria; the latest hits (and misses) in her kitchen; and much more. TOPICS & TIMES:Sarah's Background & the Adirondacks (1:53)East Coast vs. West Coast Trail Scenes (14:14)Race Directing and Weed Whacking (19:48)ITRA (27:05)Making the US Long Distance Team (35:07) Joining The North Face (38:25)Pastry Making (41:50)International Racing (44:11) RELATED LINKS:Become a Blister MemberBLISTER+CHECK OUT OUR OTHER PODCASTS:CRAFTEDBlister PodcastGEAR:30Bikes & Big Ideas Hosted on Acast. See acast.com/privacy for more information.
Puntos claves al hacer un contrato de boda. Llena la encuesta: https://forms.gle/KdhEi5qtN4YcyDqH7 Búscame en Fb: https://www.facebook.com/petitdelite Búscame en Ig: https://www.instagram.com/petitdelite/ Suscríbete a la membresía: https://petitdelite.com/zona-membresia/ Talleres presenciales: https://petitdelite.com Mi tienda de amazon: https://www.amazon.com/shop/petitdelite Cursos online: https://petitdelite.com/talleres-online/ Youtube: https://www.youtube.com/channel/UCPCdZfhtmS3BphQdFU0PiKA? Link página de empaques: https://www.clearbags.com/, usa el Promo Code PETIT10 para obtener un 10% en todas tus compras. Si estás escuchándome desde apple podcast te invito a dejarme tu reseña, que te pareció este episodio, tus dudas y otros temas quieres que te hable. Te invito a compartir este podcast en tus redes sociales para que personas como tú se beneficien de todas las cosas que quiero compartir contigo. Un abrazo
Jaime and Matt connect with Danielle Carrino, pastry sous chef at Eleven Madison Park in NYC to talk all things plant-based in the world of three star Michelin pastries. Later in the episode, the chefs chat about the importance of being a sponge and buying in when working for the best.
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Importante, no lo puedes coger personal. Dale oído. Taller de boda: https://petitdelite.com/producto/ganache-wedding-design/ Llena la encuesta: https://forms.gle/KdhEi5qtN4YcyDqH7 Búscame en Fb: https://www.facebook.com/petitdelite Búscame en Ig: https://www.instagram.com/petitdelite/ Suscríbete a la membresía: https://petitdelite.com/zona-membresia/ Talleres presenciales: https://petitdelite.com Mi tienda de amazon: https://www.amazon.com/shop/petitdelite Cursos online: https://petitdelite.com/talleres-online/ Youtube: https://www.youtube.com/channel/UCPCdZfhtmS3BphQdFU0PiKA? Link página de empaques: https://www.clearbags.com/, usa el Promo Code PETIT10 para obtener un 10% en todas tus compras. Si estás escuchándome desde apple podcast te invito a dejarme tu reseña, que te pareció este episodio, tus dudas y otros temas quieres que te hable. Te invito a compartir este podcast en tus redes sociales para que personas como tú se beneficien de todas las cosas que quiero compartir contigo. Un abrazo
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Coast Mornings Podcasts with Blake and Eva
4 - 24 - 23 TODD'S PASTRIES AND RANDOM THINGS YOU BROUGHT BACK FROM ANOTHER COUNTRY by Maine's Coast 93.1
Rant and Rave With Becky and Erik
I am so excited to welcome back our segment, NolaPapa EATS! Everybody loves New Orleans cuisine. For me, my heart flutters when I'm able to find a real authentic and delicious French bakery. That is what led me to my next guest, chef, and owner Cara Benson of New Orleans' own French bakery, Tartine, New Orleans; a highly accomplished chef who has made a name for herself in the culinary world mWith her exceptional skills, creativity, and passion for food, she has established herself as one of the leading chefs in the city.Benson's culinary journey began at an early age. Despite her success, Benson remains humble and focused on her craft. She continues to experiment with new flavors and techniques, always striving to push the boundaries of what's possible in the kitchen. With her talent, passion, and commitment to excellence, Cara Benson is undoubtedly one of the most exciting chefs working in New Orleans today.LOCALS!! Her brand new location of her family favorite restaurant TOAST opens TODAY, Friday April 21st in Gretna, dahlin'! Then I welcome one of our brand new premium sponsors of nolapapa.com, Stephanie McKeough from Berkshire Hathaway realty, Steph joins me to talk about all things real estate! And not nationally. We're talking local. From the Garden District to Algiers and From North Shore to the Bywater.This new segment will welcome questions from our audience about interest rates, property management, the housing market, and everything in between. You can find all of Stephanie's work at realestatewithsteph.comPlease send any future questions to firstname.lastname@example.orgThank you to our family of amazing sponsors! Ochsner Hospital for ChildrenRouses MarkersWww.rousesmarkets.comKid's Dream Dress ShopWww.kidsdreamus.comSandpiper VacationsWww.sandpipiervactions.comPinxav Diaper Rash CreamWww.pinxav.comComfort Cases Www.comfortcases.orgNew Orleans Ice Cream Company
The Clydesdale, Fitness & Friends
Can't wait to catch up with this rising star in the sport. She attacked the off-season and we are anxious to hear how that went and see how it pays off this season. We talk about food, Montreal, Italy and Dubai, Getting competition experience in Miami and Dubai and how that will only assist her in punching that ticket back to the Games. What a delightful conversation with this young, up and coming superstar!
There are some restaurants where skipping dessert is just not an option—and if you're in New York City, Gage & Tollner is at the top of that list. Pastry chef Caroline Schiff has created an all-star lineup of sweets that nod to the chop house's historic past—it dates back to the late 1800s—while feeling totally fresh. On today's episode, she shares with Aliza her pastry philosophy, her take on the most iconic desserts in the city, the origin behind her book, The Sweet Side of Sourdough, and more. Caroline is a true pastry wizard, and I hope you'll enjoy this episode. Also on the show, Matt has Ellie Skrzat into the studio. Ellie is an illustrator, director, and the creative force behind much of the visual work we publish on TASTE, including all of the podcast illustrations that pop out in your feed. Some of her favorite guests to draw include Zosia Mamet, Ayo Edebiri, and Bartees Strange. Who does she want to draw? We find out in this run conversation. MORE FROM CAROLINE SCHIFF:Sourdough Has a Surprising Sweet Side [TASTE]Pastry Chef Caroline Schiff Ends Her Day with Sourdough Pancakes [Grub Street]A Day at a 143-Year-Old Restaurant With NYC's Most Iconic Desserts [Bon Appetit]Best New Chefs 2022: Caroline Schiff [Food and Wine]FOLLOW, FOLLOW, FOLLOW:instagram.com/pastryschiffinstagram.com/skrzatinstagram.com/alizaraeinstagram.com/mattrodbard
Quiero que con mi historia puedas levantarte y seguir adelante. Dios tiene un propósito contigo, no desmayes. Llena la encuesta: https://forms.gle/KdhEi5qtN4YcyDqH7 Búscame en Fb: https://www.facebook.com/petitdelite Búscame en Ig: https://www.instagram.com/petitdelite/ Suscríbete a la membresía: https://petitdelite.com/zona-membresia/ Talleres presenciales: https://petitdelite.com Mi tienda de amazon: https://www.amazon.com/shop/petitdelite Cursos online: https://petitdelite.com/talleres-online/ Youtube: https://www.youtube.com/channel/UCPCdZfhtmS3BphQdFU0PiKA? Link página de empaques: https://www.clearbags.com/, usa el Promo Code PETIT10 para obtener un 10% en todas tus compras. Si estás escuchándome desde apple podcast te invito a dejarme tu reseña, que te pareció este episodio, tus dudas y otros temas quieres que te hable. Te invito a compartir este podcast en tus redes sociales para que personas como tú se beneficien de todas las cosas que quiero compartir contigo. Un abrazo
Si quieres comenzar a tener tu negocio en ley, este es uno de los pasos. Llena la encuesta: https://forms.gle/KdhEi5qtN4YcyDqH7 Búscame en Fb: https://www.facebook.com/petitdelite Búscame en Ig: https://www.instagram.com/petitdelite/ Suscríbete a la membresía: https://petitdelite.com/zona-membresia/ Talleres presenciales: https://petitdelite.com Mi tienda de amazon: https://www.amazon.com/shop/petitdelite Cursos online: https://petitdelite.com/talleres-online/ Youtube: https://www.youtube.com/channel/UCPCdZfhtmS3BphQdFU0PiKA? Link página de empaques: https://www.clearbags.com/, usa el Promo Code PETIT10 para obtener un 10% en todas tus compras. Si estás escuchándome desde apple podcast te invito a dejarme tu reseña, que te pareció este episodio, tus dudas y otros temas quieres que te hable. Te invito a compartir este podcast en tus redes sociales para que personas como tú se beneficien de todas las cosas que quiero compartir contigo. Un abrazo
Quiero que conozcas cuales pueden ser los factores para que esto ocurra. Suscríbete a la membresía: https://petitdelite.com/zona-membresia/ Guía gratis: https://petitdelite.com/tienda-2/ Talleres presenciales: https://petitdelite.com Mi tienda de amazon: https://www.amazon.com/shop/petitdelite Instagram https://www.instagram.com/petitdelite/. Cursos online: https://petitdelite.com/talleres-online/ Youtube: https://www.youtube.com/channel/UCPCdZfhtmS3BphQdFU0PiKA? Link página de empaques: https://www.clearbags.com/, usa el Promo Code PETIT10 para obtener un 10% en todas tus compras. Si estás escuchándome desde apple podcast te invito a dejarme tu reseña, que te pareció este episodio, tus dudas y otros temas quieres que te hable. Te invito a compartir este podcast en tus redes sociales para que personas como tú se beneficien de todas las cosas que quiero compartir contigo. Un abrazo
Today Emma and Joe are joined by Megan Miranda, author of The Only Survivors. They talk about finding missing cell phones in the sand, crafting strong casts of characters, setting stories in small towns, and what Pop Tart flavors are key to Megan's writing process. Readers can sample and borrow the titles mentioned in today's episode on OverDrive.com or in Libby. Library friends can shop these titles in OverDrive Marketplace. We hope you enjoy this episode of the Professional Book Nerds podcast. Be sure to rate, review and subscribe on Apple Podcasts, Spotify, or wherever you listen! You can follow the Professional Book Nerds on Instagram, Twitter, and TikTok @ProBookNerds. Want to reach out? Send an email to email@example.com. We've got merch! Check out our two shirts in The OverDrive Shop (all profits are donated to the ALA Literacy Clearinghouse). Learn more about your ad choices. Visit megaphone.fm/adchoices
Cedric Barbaret, owner, operator and chef of Bistro Barbaret & Bakery in Lancaster, PA, has over 25 years of professional pastry experience as well as a Master's Degree in Pastry from Patisserie Chereau in France. His passion for pastry began at Patissrerie Barbaret, his family's bakery near Lyon, France, where he served his apprenticeship. Chef Barberet's experience includes a position as Executive Pastry Chef at Donald Trump's prestigious Mar-a-Lago Club in Palm Beach, Florida. While working in Palm Beach in 2005, he spent two months creating Donald Trump's five-foot high, seven-tier Grand Marnier chiffon wedding cake. Barberet has also worked at the Las Vegas M Resort Casino & Spa with Executive Pastry Chef Jean Claude Canestrier. In 2009, Barberet joined the prestigious team at Philadelphia's Le Bec-Fin as the Executive Pastry Chef and most recently served as the Executive Pastry Chef for Buddakan. Follow Chef Barbaret on Instagram at @cedricbarbaret or the business at @bistrobarbaretandbakery. In this episode we discuss: Cedric's pastry roots at his family's patisserie in France His decision to get a Master's degree in pastry at the age of 18 How he landed in America as a young pastry chef Designing and making Donald and Melania Trump's wedding cake Opening the luxury M Resort in Las Vegas: hello high volume! His days as Executive Pastry Chef at Le Bec Fin in Philadelphia Winning FoodNetwork's Chopped Sweets And much more! Episode Sponsored by Puratos Imagine a milk-alike, plant-based chocolate that tastes great and does good. That's what makes new Belcolade M. Plant Based Cacao-Trace Chocolate so exceptional. Our cocoa beans are carefully selected and fermented to perfection at our post-harvest centers across the globe. The result is a creamy, dairy-free chocolate like no other—and greater income for our cocoa farmers. Take your creations to the next level with Belcolade M. Plant-Based Chocolate. Great Taste, Doing Good. Learn more at https://www.puratos.us/en/chocolate/categories/real-belgian-chocolate/belcolade
Matthew Taylor Interview - Blueberry Cobbler Pastry Gose - Gotham The Fall and Rise of New York
Con esta estrategia que utilizo, te ayudará a poder crear un plan sin quemarte. Llena la encuesta para ayudarte: https://forms.gle/hHuZwsnEAeGGBV8LA Suscríbete a la membresía: https://petitdelite.com/zona-membresia/ Talleres presenciales: https://petitdelite.com Mi tienda de amazon: https://www.amazon.com/shop/petitdelite Instagram https://www.instagram.com/petitdelite/. Cursos online: https://petitdelite.com/talleres-online/ Youtube: https://www.youtube.com/channel/UCPCdZfhtmS3BphQdFU0PiKA? Link página de empaques: https://www.clearbags.com/, usa el Promo Code PETIT10 para obtener un 10% en todas tus compras. Si estás escuchándome desde apple podcast te invito a dejarme tu reseña, que te pareció este episodio, tus dudas y otros temas quieres que te hable. Te invito a compartir este podcast en tus redes sociales para que personas como tú se beneficien de todas las cosas que quiero compartir contigo. Un abrazo
On this episode, our guest has been keeping the Rockaway community filled with Butter and love since 2016. Tracy Obolsky reached the pinnacle of the New York Pastry world. Having worked at notable restaurants such as The General Greene, Esca, North End Grill and the Cookshop.Tracy eventually realized she wanted to control her own kitchen and slowdown her pace of living.She walked away from the high end food scene to start The Rockaway Beach Bakery. A spot that has now become a staple for locals and visitors. Surfer's replenish their burnt calories with delicious treats such as croissant loafs, gorgeous scones, and the ever popular Ham and Cheese Everything Croissant. She is our guest on this episode of the Swell Season Surf Podcast.For more information you can follow @rockawaybeachbakery on Instagram The Swell Season Podcast is recorded by The NewsStand Studio at Rockefeller Center in the heart of Manhattan and is distributed by The Swell Season Surf Radio Network. www.swellseasonsurfradio.comMusic: Song: J'ai mange un croissant et maintenant il est absentArtist: David fils de Momone & NerodAlbum: J'ai mange un croissant et maintenant il est absent
Encuenta para ayudarte: https://forms.gle/vQ1RF2fL8x1v3gch7 Comparte este episodio en tus redes sociales para beneficiar a mas personas y etiquetame como @petitdelite Deja tu reseña de este podcast en las estrellitas arriba Suscríbete a la membresía: https://petitdelite.com/zona-membresia/ Talleres presenciales: https://petitdelite.com Mi tienda de amazon: https://www.amazon.com/shop/petitdelite Instagram https://www.instagram.com/petitdelite/. Cursos online: https://petitdelite.com/talleres-online/ Youtube: https://www.youtube.com/channel/UCPCdZfhtmS3BphQdFU0PiKA? Link página de empaques: https://www.clearbags.com/, usa el Promo Code PETIT10 para obtener un 10% en todas tus compras. Si estás escuchándome desde apple podcast te invito a dejarme tu reseña, que te pareció este episodio, tus dudas y otros temas quieres que te hable. Te invito a compartir este podcast en tus redes sociales para que personas como tú se beneficien de todas las cosas que quiero compartir contigo. Un abrazo
When Phil Rosenthal, star of Somebody Feed Phil, comes to town, we did what we do best: Eat. Phil was in Paris recently on tour celebrating his book, Somebody Feed Phil, the companion to his Netflix series. The cookbook is a compilation of the most requested recipes from the show, which has become wildly popular, and we had a lot of fun catching up since we first met in Paris, back in 2014, when it all began for him.We dined well in a few great restaurants in Paris, but took a break from the savory side to enjoy some classic French pastries (from Maison Landemaine), which included Chouquettes and a Croissant aux amandes* (above), the latter of which I call the “slippery slope” of French pastries, because once you start eating one, you can't stop. This particular one also had chocolate in it, which made it extra irresistible. (While we were recording, Phil liked it so much, he almost ate the whole thing himself!)We also shared a classic Chocolate éclair as well as one of the lesser-known French pastries (outside of France, that is): Flan Parisien. Check out our chat, and our tasting of these sublime French pastries.Enjoy the podcast!-DavidThis post is for all subscribers. If you're not a subscriber, you can subscribe here! Feel free to subscribe to my podcast at your favorite podcast platform, including Apple Podcasts and Spotify.*There's a recipe for making these in my book, L'Appart. Get full access to David Lebovitz Newsletter at davidlebovitz.substack.com/subscribe
What happens when you take a lawyer turned pastry chef trained in France and mix in Egyptian flavors and heritage? Listen to find out. Beware: don't listen while hungry! After 10 years of experience in law (studying and working), El Charkawy first discovered her love of cooking while pursuing a Master's degree in Law in France. Prior to her move, she had hardly ever stepped foot in the kitchen.Created & hosted by Mikey Muhanna, afikra Edited by: Ramzi RammanTheme music by: Tarek Yamani https://www.instagram.com/tarek_yamani/About Matbakh:Matbakh is a conversation series that focuses on food and drink of the Arab world. The series will be held with food practitioners who study how food and the kitchen have evolved over time in the Arab world. The guests will be discussing the history of food and what its future might be, in addition to a specific recipe or ingredient that reveals interesting and unique information about the history of the Arab world. Guests will be chefs, food critics, food writers, historians, and academics. Following the interview, there is a moderated town-hall-style Q&A with questions coming from the live virtual audience on Zoom. Join the live audience: https://www.afikra.com/rsvp FollowYoutube - Instagram (@afikra_) - Facebook - Twitter Support www.afikra.com/supportAbout afikra:afikra is a movement to convert passive interest in the Arab world to active intellectual curiosity. We aim to collectively reframe the dominant narrative of the region by exploring the histories and cultures of the region- past, present, and future - through conversations driven by curiosity. Read more about us on afikra.com
Karen Krasne is the owner and Executive Pastry Chef of Extraordinary Desserts and the author of Extraordinary Cakes: Recipes for Bold and Sophisticated Desserts, which is in its third printing. Once called the “Queen of Cakes” by Gourmet magazine, Karen brings a fresh and contemporary sensibility to special occasion cakes. What makes her cakes showstoppers are their unexpected flavor combinations and vibrant touches using fresh fruit and real flowers, which add flair without being fussy. Karen's cakes have graced the cover of Bon Appetit, and Forbes recognized her as one of the country's ten best pastry chefs. Karen has been featured in The New York Times, Sunset, and The Los Angeles Times, among other national and international publications. Karen is an industry veteran having been in the industry for over 30 years. She studied pastry making at the Cordon Bleu and returns to Paris, France each year to train with the masters at LeNotre and Bellouet Conseil. In this episode we discuss: How Karen first became interested in pastry Her European training Why she decided to start her own business Her signature items at Extraordinary Desserts Her inspiration and process for creating new recipes Karen's priority of hiring and nurturing women employees Writing her book, Extraordinary Cakes Her thoughts on the latest pastry trends and the next generation of pastry chefs And much more! Episode Sponsored by Dobla - IRCA We know pastry chefs are busy. Ordering from Dobla and IRCA means not having to make everything from scratch, and instead spending time assembling final products for sale. It means getting more products in one place, which cuts down on the time spent browsing catalogs, placing orders and visiting with sales representatives. That means you spend less time focused on the business and more time on the thing you love: creating succulent sweets and savories that will keep your customers coming back for seconds. For more information, visit www.dobla.com.
McElroy and Cubelic in the Morning
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Pat Nourse, Creative Director for the Melbourne Food & Wine Festival, joined Philip Clark to explain what is behind the pastry passions in present-day Australia.
Fitness Confidential with Vinnie Tortorich
Episode 2299 - On this Wednesday's show, Vinnie Tortorich and Gina Grad discuss Gina's new book, "", Vinnie tries a popular toaster pastry, and more. https://vinnietortorich.com/2023/03/popular-pastry-review-episode-2299 PLEASE SUPPORT OUR SPONSORS A POPULAR TOASTER PASTRY REVIEW Vinnie and Gina open up the show with a little chat about Gina's brand new book called, . (2:00) Gina plans to continue with more books in the series. They also chat a bit about Vinnie and Serena's experience with Tallulah. Next up in the series of popular processed food taste-tests is a popular toaster pastry. Vinnie has some things to say about the popular "breakfast food." They read the ingredients list and chat about things like carnauba wax. PLUS... Vinnie reveals a Pure Vitamin Club FEBRUARY ONLY special Promo Code. (LISTEN FOR IT!) PURCHASE BEYOND IMPOSSIBLE The documentary launched on January 11! Order it TODAY! This is Vinnie's third documentary in just over three years. Get it now on Apple TV (iTunes) and/or Amazon Video! Link to the film on Apple TV (iTunes): Then, Share this link with friends, too! It's also now available on Amazon (the USA only for now)! Visit my new Documentaries HQ to find my films everywhere: REVIEWS: Please submit your REVIEW after you watch my films. Your positive REVIEW does matter! FAT: A DOCUMENTARY 2 (2021) Visit my new Documentaries HQ to find my films everywhere: Then, please share my fact-based, health-focused documentary series with your friends and family. The more views, the better it ranks, so please watch it again with a new friend! REVIEWS: Please submit your REVIEW after you watch my films. Your positive REVIEW does matter! FAT: A DOCUMENTARY (2019) Visit my new Documentaries HQ to find my films everywhere: Then, please share my fact-based, health-focused documentary series with your friends and family. The more views, the better it ranks, so please watch it again with a new friend! REVIEWS: Please submit your REVIEW after you watch my films. Your positive REVIEW does matter!
Brad Kintzer is the Chief Chocolate Maker at TCHO Chocolate, based in Berkeley, California. Prior to joining TCHO, Brad was chocolate maker and product developer at U.S. bean-to-bar chocolate pioneer, Scharffen Berger, acquired by The Hershey Company in 2005. Previous to his 20 years of chocolate making, Brad studied tropical botany and environmental studies at the University of Vermont, and spent months working on cacao plantations throughout Latin America to better understand the origins of chocolate flavor. At TCHO since 2009, Brad and his team are focused on innovating in every aspect of chocolate making; from cocoa genetics, fermentation and roasting, to creating unique and tasty chocolate products for market. Brad volunteers on the board of the Fine Chocolate Industry Association (FCIA) and also the Heirloom Cacao Preservation Fund (HCP). In this episode we discuss: How Brad's interest in botany became an obsession with the cacao plant Brad's first job at a chocolate factory His first job as a chocolate maker at Scharffen Berger in San Francisco Landing a job as Chief Chocolate Maker at TCHO in Berkeley, CA How TCHO partners with cacao farmers to produce better chocolate How TCHO transitioned to 100 percent plant-based Brad's favorite source for cacao beans His thoughts about eliminating heavy metal contamination in dark chocolate And much, much more! Episode Sponsored by Dobla - IRCA We know pastry chefs are busy. Ordering from Dobla and IRCA means not having to make everything from scratch, and instead spending time assembling final products for sale. It means getting more products in one place, which cuts down on the time spent browsing catalogs, placing orders and visiting with sales representatives. That means you spend less time focused on the business and more time on the thing you love: creating succulent sweets and savories that will keep your customers coming back for seconds. For more information, visit www.dobla.com.
'I'm number 12 of 13 siblings in my family, and yes I know all their names. I grew up on a small farm in Farmersville, Ohio....yes that is the real name of the town. Food has been a focus in my life since I was very young, and I mean good, fresh homegrown and homemade food. I loved helping my mom in the garden, making jams and jellies, canning tomatoes from the garden and baking bread, pies and many delicious recipes (often passed down from my Grandmothers.) Not surprisingly, Thanksgiving is my favorite holiday.I tried for many years to follow several different career paths. I originally planned to study Biology in College, then I worked as a photographer for my community college newspaper, I was a seamstress for the costume shop for the theater department, I worked for a daycare for a few months, worked at a radio station, bookstores, and of course had my stints in restaurants hosting/waiting tables and made donuts at a local bakery. All the time I was hosting dinner parties for friends and trying out new recipes. In 2004 I left small town Ohio for the big city of Boston. I worked for Bose Audio, and then for a publishing company, but I was never happy. I longed for a job that would allow me to be more creative. In 2008 I started taking some Wilton cake decorating classes, and baking courses at Cambridge School of Culinary Arts. Just as I was starting realize what I really wanted to do, I was serendipitously was layed off from my job. I took it as a sign to make the change and go to Culinary school. It was the best decision I've ever made. I now live in Paris (the World Capitol of Pastry) with my wonderful husband. I keep myself busy by teaching pastry classes, making pastries for a small cafe and constantly exploring my new city! Pastry chef and owner of Atelier L Paris. It's been more than 10 years since I decided to follow my dreams of becoming a professional pastry chef, and I've loved every moment.I received my formal training at The Cambridge School of Culinary Arts in Cambridge, MA under the guidance French pastry chef Delphin Gomes. I completed the Professional Pastry Program and graduated at the top of my class.I spent two consecutive summers in Paris, France completing pastry stages. The first was at The Cafe du Commerce in the 15th arrondisment, and the following year at the iconic pastry establishment Laduree. My love of French pastry (and a certain French man) lead me to moving permanently to Paris in 2010.Since moving to France, I have had the opportunity to work in a verity of establishments that have helped me hone my skills and led me to where I am today. After a decade of living in France, I have been able to adapt classic American recipes to French palates, and also adapt both styles of pastry to Gluten Free. Previous work experience also includes:Rose Bakery, KB cafe shop, La Cuisine Paris (cooking school where I helped develop classes along with teaching), Noglu and Farfelu Paris'Support the show
Keep Going: Small Business Motivation
Somewhere between avoiding flying objects being thrown a round her and a nonstop schedule, Nicole decided it was time for a career change. Her job as a pastry chief was quickly burning up her desire to cook, and she was considering leaving the industry all together. Then it happened—Nicole was laid off during the pandemic. But what may have seemed like an obstacle turned into the push Nicole needed to make the career change she always wanted. Listen as Nicole shares how she began Whisked Away, a home food delivery and pickup service. Website: https://www.whiskedawayatl.com/Find the show note for Nicole's "Keep Going" episode here:
Big Witch Energy: A Motherland Fort Salem Podcast
Bea is on a quest to get her beau, Ava and Michael go full Gryffindor, and the OCS ends up in the most unlikely getaway vehicle. Wanna talk queer media with us and our friends? Join our Discord: BGE Discord Link This episode along with all our other episodes are now available on YouTube: Check out the BGE Channel As always, please feel free to reach out to us on all the things. We love hearing from you! Twitter @biggayenergypod Instagram @biggayenergypod Tik Tok @Biggayenergypodcast Tumblr @biggayenergypod Gmail BigGayEnergyPod@gmail.com --- Send in a voice message: https://anchor.fm/bgepod/message Support this podcast: https://anchor.fm/bgepod/support
Josh Allen is the Founder of Companion Baking. Born and raised in St. Louis, MO, Allen was immersed in the food and baking industry from an early age. His great-grandfather founded Allen Foods, a well-known broadline food distributor with a large customer base across the Midwest. Allen spent much of his childhood delivering groceries to various foodservice operations, cleaning the freezers and sweeping the trucks for his family's business. Today, Companion's award-winning bread is served in more than 400 restaurants, grocery stores, and businesses around the Midwest and across the country. Allen credits his success to listening and nimbly adapting to his customers' wants and needs. In addition to their baking operations, Companion has two cafes in the St. Louis area and has expanded to offer a small line of pastries. In this episode we discuss: What inspired Josh to become involved in artisan bread baking How he started his first wholesale business, Companion Baking, at the age of 24 Josh's emphasis on “listening to his customers” How he cultivated the customized bread programs at Companion Baking Companion Baking's initiative to reduce waste across the board How Companion Baking has dealt with labor shortages, supply chain issues and inflation Josh's top tip for measuring fermentation And much more! Episode Sponsored by Puratos Imagine a milk-alike, plant-based chocolate that tastes great and does good. That's what makes new Belcolade M. Plant Based Cacao-Trace Chocolate so exceptional. The cocoa beans are carefully selected and fermented to perfection at their post-harvest centers across the globe. The result is a creamy, dairy-free chocolate like no other—and greater income for their cocoa farmers. Take your creations to the next level with Belcolade M. Plant-Based Chocolate. Great Taste, Doing Good. Learn more at https://www.puratos.us/en/chocolate/categories/real-belgian-chocolate/belcolade
Kelly came to play and thank goodness we double checked the score behind the scenes... Staci got 4 right answers and Carissa miscounted Kelly's score... So technically this game ended in a tie but we made sure to award Kelly the prize because woopsie! Can you get more than 4 right answers to be Smarter Than Staci today?
On this episode of the HWMF Podcast, Seth and Bob talk about Axe & Sledge's new thermogenic fat burner, 212 Thermo , Staying hydrated, Buying Guns and John Wick Energy!
00:26 NER és környezetvédelem. Bede Márton cikke. Hazaárulózták az főispánt. Létforgatag podcast Győrffy Dórával. 04:00 A hatalom nehézségei a környezetvédelemmel. A tatai népszavazás. A Sólyom Lászlót elnökké választó bánáti bazsarózsa. Nimbyzmus. 08:04 Mégis mi ebben a kormány oldaláról a ráció? Autóipar vagy atomerőmű? Xenofóba vs. gazdasági fejlődés. 12:25 Orbán Balázs uralná a gondolkodást. 14:20 László és Béla. A black metalos Kövér László. Mayhem a buszmegállóban, tényleg Euronymus és Necrobutcher azok. Varg Vikernes francia farmja. 18:35 Még hány évig kell hatalmon lennie a Fidesznek ahhoz, hogy összeérjenek ideológiailag a vikingekkel? És hogy az istenben jutottunk ide? 20:30 Hány óra elolvasni egy könyvet? Kissinger nehezen denácifikál. 24:10 Ahhoz képest még nem is vagyunk teljesen nácik. Gazdasági fellendülés és Hitler. Gazdasági válság és Gyurcsány. 27:20 Német kulturális ajánló. Wolfszeit. Az ember, aki mindent látni akart. Heinz Stücke világot lát. 31:10 A bicikli minden falat lebont. Bicikliző menekültek Oroszországból Norvégiába. 33:15 Köszönjük Scott Galloway Adrift című könyvét, akárki is küldte. 33:47 Bocuse D'Or-bronzérem. 36:30 A Bocuse D'Or abszurditása. Miért jobb ez a szakácsolimpiánál? Miért olyan, mint egy haute couture divatbemutató? 40:08 Mennyi pénzt rak a skandináv jóléti állam a csúcsgasztronómiába? SIRHA = Salon international de la restauration de l'hôtellerie et de l'alimentation. 43:20 Mekkora szerepe van a magyar sikerben Rasmus Kofoednak? Meilleur Ouvrier de France. Kings of Pastry. 49:50 A nagy spanyol Bocuse-balhé. Kinek éri meg ez egyáltalán? Mennyit lehet magyar étteremben ételre költeni? Salt Bae-nek derogál a Bocuse. 54:05 Uj Péter rasszista viccet talál a Hollán Ernő utcában. See omnystudio.com/listener for privacy information.
This week's "Naked Lunch" podcast episode is definitely one of our "Better Things" as Phil & David very gleefully break bread and -- for the first time ever -- receive the generous gift of baked goods -- from the wildly talented Pamela Adlon. Together they lovingly and laughingly trace Pamela and Phil's decades long friendship that started when they worked together on a Fox sitcom called "Down The Shore" -- which Phil wrote on and Pamela starred in . . . until she was insanely fired for "not being hot enough." Phil, David and Pamela discuss the genius of Pamela's Peabody-winning FX series "Better Things" which she brilliantly wrote, directed, produced and starred in. They also discuss her remarkable life in show business with amazing stories that feature everyone from Redd Foxx to Michelle Pfeiffer to Judy Gold to Lenny Kravitz. Food by Mizlala. Pastries by République. Fun for all. To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at philrosenthalworld.com.
Hosted by Jenn de la Vega Research by Alicia BookVideos edited by Chris De PewKnife logo by pixel artist Rachelle ViolaLinksSuggest a wordSupport the show on Patreon!Captioned video versions on Youtube Share this show with your friends Follow CulinaryWoTD on InstagramFollow CulinaryWoTD on Twitter
Pastry chef, entrepreneur and bon vivant, Cheryl Wakerhauser, sees every day as a chance to learn something new and contribute something else. After a short-lived career studying to be an astronaut, Cheryl received a degree in pastry arts from Vancouver's Pacific Institute of Culinary Arts and then headed straight to Southern France to further train at the prestigious pâtisserie of MOF Philippe URRACA. Her eccentric dessert restaurant, Pix Pâtisserie, was born in Portland, Oregon in 2002, where adventurous guests could enjoy bold flavored sweet treats paired with a Belgian ale late into the night. Bar Vivant was added to the space in 2012, bringing a savory menu of San Sebastián inspired tapas to pair with the ever growing, award-winning beverage selection, showcasing both champagne and sherry wines. The pandemic inspired a new business model – vending. The Pix-O-Matic debuted in 2020 selling the same fine French pâtisserie that was served in the restaurant, but in a 24-hour contactless vending machine. Her techniques, flavor combinations and whimsical design (along with a few parlor tricks!) can be discovered in her acutely instructional cookbooks, Modern French Pastry and Petite Pâtisserie, which have received accolades by France's two most prestigious professional cooking trade journals, Thuriès Gastonomie and Le Journal du Pâtissier. She also teaches food and wine master classes, where students can learn how to make a croquembouche, perfect their macarons or explore the different styles of sherry wine. In this episode we discuss: How Cheryl first became interested in pastry How she landed an internship with Phillipe Urraca, MOF What it was like to be one of the only women in a French pastry kitchen How she turned her dream of opening a pastry shop into reality The careful crafting of a fun atmosphere at Pix Patisserie Navigating the COVID pandemic and the brainstorm of the Pix-o-Matic How she was able to write two successful cookbooks Cheryl's secret for making pastry cream in record time and much more! Episode Sponsored by Dobla - IRCA We know pastry chefs are busy. Ordering from Dobla and IRCA means not having to make everything from scratch, and instead spending time assembling final products for sale. It means getting more products in one place, which cuts down on the time spent browsing catalogs, placing orders and visiting with sales representatives. That means you spend less time focused on the business and more time on the thing you love: creating succulent sweets and savories that will keep your customers coming back for seconds. For more information, visit www.dobla.com.
Make Every Day An Adventure Travel Podcast
If you're wondering where can you get some delicious coffee with the best french pastry in Antigua, then, Cafe Boheme is for you.in today's podcast, I'm going to talk about Cafe Boheme in Antigua, I'll let you know the ins and outs of this amazing place. About Marina 'Travel Experta'I am an Experience Collector, World Traveler, Expat Mama and WifeI have been an expat for over 20 years, raising 2 trilingual sonsMy family and I have traveled to over 40 countries and counting …I'm here to inspire you to travel, move internationally, have fun with your family and so much more!Did you enjoy the podcast?Leave a review on Apple Podcast! They are one of THE most important factors for podcasts, and it's super easy to do: Click on “View in iTunes” on the left-hand side under the picture. Leave an honest review.Thanks, you're super!
On today's episode of All in the Industry®, Shari Bayer's guest is Caroline Schiff, Executive Pastry Chef at Gage & Tollner in Downtown Brooklyn, NYC, and the author of The Sweet Side of Sourdough, a James Beard Outstanding Pastry Chef Award Nominee 2022, and Food & Wine Best New Chef 2022. Widely known under the Instagram moniker @pastryschiff, Caroline is a celebrated pastry chef, culinary consultant, and recipe writer and developer based in Brooklyn. She got her start in the restaurant industry over a decade ago and worked her way up through a number of acclaimed restaurants and bakeries before taking her current position at Gage & Tollner. Her signature gravity-defying hairdo is outsized only by her enormous heart; in her spare time you can find her either supporting charitable causes or running a marathon. Today's show also features Shari's PR tip to always have dessert; Industry News Discussion on the closing of Noma, Rene Redzepi's world-renowned Copenhagen restaurant; and Shari's Solo Dining experience at Major Food Group's Torrisi Bar & Restaurant in the iconic Puck Building, Soho, NYC. Photo Courtesy of Caroline Schiff.Listen at Heritage Radio Network; subscribe/rate/review our show at iTunes, Stitcher or Spotify. Follow us @allindustry. Thanks for being a part of All in the Industry®. Heritage Radio Network is a listener supported nonprofit podcast network. Support All in the Industry by becoming a member!All in the Industry is Powered by Simplecast.
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Rugelach is a beloved Jewish treasure originating from Eastern Europe. The cookie-pastry hybrid can be filled with anything from jam to chocolate and is the perfect two-bite treat fit for any holiday spread. This version, a classic chocolate rugelach bolstered with the flavors of creamy milk chocolate and malted milk powder, has a nostalgic flavor and tender, melt-in-your-mouth texture that will shine at any cookie swap.Recipe16 Rugelach Dough2 1/4 cups (288g) all-purpose flour, plus more for dusting1/4 cup (50g) granulated sugar1/4 cup (40g) malted milk powder1 teaspoon kosher salt1 cup (2 sticks/226g) cold unsalted butter, cut into ½-inch cubes8 ounces (226g) cold cream cheese, cut into ½-inch cubesMalted Milk Chocolate Filling4 ounces (about ⅔ cup/113g) milk chocolate chips or chopped milk chocolate1/3 cup (53g) malted milk powder1 tablespoon plus 1 teaspoon (6g) unsweetened natural cocoa powder1/2 teaspoon ground cinnamon1/4 teaspoon kosher salt1 large egg, for egg wash, plus more if neededsanding sugar, for sprinklingMake the dough: In the bowl of a food processor fitted with the blade attachment, combine the flour, sugar, ¼ cup malted milk powder, and salt. Process until combined, 10 to 15 seconds. Add the butter and cream cheese and process until a rough, shaggy dough forms that just starts to pull away from the sides of the food processor, 30 to 45 seconds. (If you don't have a food processor you can pinch and knead the butter and cream cheese into the dry ingredients using clean hands as if you are making pie dough.) Transfer the dough onto a lightly floured work surface, cut in half, and roughly form each half into a rectangle. (Wipe out the food processor, but don't wash it.) Tightly cover in plastic wrap and chill in the refrigerator for at least 2 hours, up to overnight.Make the filling: Place the chocolate chips, malted milk powder, cocoa powder, cinnamon, and salt in the bowl of a food processor fitted with a blade attachment and process until the mixture is the texture of coarse sand, 25 to 35 seconds. (Alternatively, chop the chocolate into a fine dust and mix with the other ingredients.) Transfer into a bowl and set aside. In another small bowl, crack the egg for the egg wash and beat with a fork until no streaks of unincorporated yolk remain.Unwrap one of the chilled doughs, generously dust with flour, and roll into a 11- by 8-inch rectangle. (The dough can get sticky, so use a bit more flour than normal.) Trim the edges to create crisp lines, if desired. Sprinkle about half of the filling onto the dough in an even layer leaving a ½-inch border on the top and bottom, pressing it in with your hands so it sticks and compacts slightly. Brush the top and bottom border with the egg wash. Roll into a spiral shape, brushing the underside of the dough with egg wash each time you roll it over, and transfer onto a sheet pan. Repeat with the remaining dough and filling and freeze both logs uncovered for 1 hour.As the cookie logs are chilling, preheat the oven to 350°F and set 2 racks at the upper-middle and lower-middle positions. Line 2 baking sheets (you can line the one in the freezer once the logs are done chilling) with parchment paper or nonstick baking mats.Brush the chilled dough logs with the egg wash on all sides. (If your egg wash has a lot of chocolate in it, it's best to make a new one.) Generously sprinkle the tops of the logs with the sanding sugar. Cut the logs into 1½-inch thick slices using a thin sharp knife and place onto the prepared baking sheets spacing at least 2 inches apart. Bake for 30 to 40 minutes until lightly browned, then let cool completely on the baking sheet before serving. (If any of the rugelach spread more than you would have liked, just use the back of a spoon to push them back together while still hot from the oven.)
A History Of Rock Music in Five Hundred Songs
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