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3 episodes with Rhinestone Cowboy
2 episodes with Rhinestone Cowboy
5 episodes with Rhinestone Cowboy
2 episodes with Rhinestone Cowboy
2 episodes with Rhinestone Cowboy
2 episodes with Rhinestone Cowboy
2 episodes with Rhinestone Cowboy
2 episodes with Rhinestone Cowboy
2 episodes with Rhinestone Cowboy
Yes, you know the opening line of Glen Campbell's Rhinestone Cowboy. Well, it's not the streets of Broadway, and I've not been walking them so long. This is Hot Springs Village, Arkansas, and I've been walking some streets here since I first visited in September 2018. Join me. With over 30 miles of hiking trails, Hot Springs Village offers many more unofficial trails, thanks to many streets barely occupied by homes. When you visit, venture around the neighborhood where you're staying, but be even more adventurous by searching for some remote areas where you can walk as much (or as little) as you want without seeing anybody. Here's the episode about creating your own trail inside Hot Springs Village. Thanks to our exclusive media partner, KVRE • Join Our Free Email Newsletter • Subscribe To Our YouTube Channel (click that bell icon, too) • Join Our Facebook Group • Support Our Sponsors (Click on the images below to visit their websites.) __________________________________________ __________________________________________
The Country Music Hall of Famer was one of the biggest crossover stars in the genre's history, selling millions of records and charting dozens of hits.
Disco Fever all the rage and how music is measured.Jerolyn Sue Adolph Evans, the Primary First Counselor, is in a bit of a pickle. Quentin Scott got poison ivy from picking blackberries, and she's clueless about what to do. Linda Talbot, Second Counselor, is also on the case. Quentin thought his mom was literally lost, and no one wants to go with Jerolyn because they're all swamped with work. Wendy and Larry Fitzgerald have such a lovely place. Quentin ended up sleeping at MawMaw's house. She misses Deron P. Scarabin and only has Rachel Guidry to hang out with. They even sang Rhinestone Cowboy a bit. Bill Evans mentioned that MawMaw said everyone missed church earlier, but now Uncle Bill says MawMaw didn't go to church. MawMaw is Quentin's Primary teacher. Sports banquet and Bill got something special and "Jerolyn hasn't matured yet." They gave all the coaches "Coach of the Year" plaques. Mikelson decided to go to Nashville and make $21K. Bill's dad retired and sold everything but one tractor. All his parents' bills paid and no debt so they should be fine. Jerolyn said she might be "fat" by the time Scarabins return. Jerolyn has to have a CB. Quentin is Steve Austin but now Evil Knievel and Jerolyn is Disco Lady. Helen on Mother's Day. Clarence sprained his ankle helping Larry move. Handful of "tomaters." Uncle Nicky gave some cucumbers. Many beans and squash is great. Eggplant and bell peppers everywhere. Clarence will start working on sewer line. Helen feels like Quentin wanting us to talk back on the tape. Helen is out of "draws." Loves to hear from Scarabins. Wendy's backyard is so pretty. Only bad part is rain piles up in one spot. MawMaw called to be Primary Teacher and Secretary. Accepted Teacher position but refused the Secretary position because she can't write. Go up and down the steps forty times a day but rarely sees neighbors. Twice she talked without recording. Clarence "hollering." They pay the bills for the Scarabins as they come in. Gail had to work so Helen is watching Brent Edward Portie. Larry had fallen down with baby (John Dirk). Baby was fine but Larry was banged up and bruised. Emmett Adolph giving well wishes. Yvonne got a CB radio and real proud of it, carrying on with Helen Mae. Drinking a cold beer after coming from the pumping station. Yvonne Adolph sends well wishes. Everyone giggling "trying to talk to the stupid thing." Bad weather. Yvonne is the Lollipop, the name Marilyn gave Annie Adolph Chapman. Janelle Adolph gets on and gives an update on shrimping and how Mrs. Lizzy is enjoying her new job. Said her doctor going to get on her about weight gain. Sally's been sick. E.J. and Sue looked at Marilyn's trailer and tired waiting on it. Carolyn and Kyle Bergeron. Carolyn cracks up over Marilyn's grocery experience. Said Gail is still sitting and Craig made a home run in baseball. Horace said they just made errors. Kyle gets on and says Mrs. Hernandez will write to Jason. Kyle's keeping bikes clean and can't wait for us to come home. Craig updates on baseball and how much fun he's having. Horace has flu. Wendy has moved in her trailer. Don't let D.D. get beat up by the rocks. Edna Adolph updates. Fresh peaches and going to visit Pam and baby. Everyone has CBs down there. She's Hunny Bunny and Ernest is Gingerbread Man. Carolyn is Bewitched and Yvonne is Lollipop. She almost bowled 200. Gail Portie, May 11. Spending night at Helen's with Brent. Eddie's horse had baby. Brent wants to talk but didn't know what to say. Wendy has such a nice trailer. Made Gail "plum sick." Only complaint is ugly green carpet. Brent talks about his horses. Ernest Adolph and Edna brought some delicious peaches. PawPaw soaking his foot and "sure looks bad." Tomatoes coming in. Brent says a few words. Someone mistakenly thought D.D. gone overseas on mission instead of working at copper mine. JoAnne Ragas Scarabin. May 13. Helen and Clarence finish tape with more talk on the trailer park.
Our guest this week is guitar virtuoso Dean Parks! Dean was one of the first call session guys in the 70s and 80s that helped make great artists even better. He worked for Motown with legends like Stevie and Marvin, took his turn with Steely Dan and played the iconic solo in "Haitian Divorce" and can be heard on classics like "Laughter in the Rain", "Rhinestone Cowboy" and "Here You Come Again". There are also stories with MJ and the Jacksons, Billy Joel, David Lee Roth, Seal and tons more! Dean is an extremely mild mannered guy, but is still in high demand with a full dance card. Enjoy! www.patreon.com/c/thehustlepod www.deanparks.com
TVC 675.2: Julie Rogers Pomilia, granddaughter of Roy Rogers and Dale Evans and the author of Your Heroes, My Grandparents: A Granddaughter's Love, talks to Ed about how why Roy Rogers and Dale Evans came to adorn their costumes with rhinestones; Dale's prolific writing career, which included thirty songs and many songs (including “Happy Trails” and “The Bible Tells Me So”); and why Roy and Dale didn't always comprehend the impact of their lives and career on the public at large. The Happy Trails exhibit at The Hollywood Museum features a host of never before seen personal items from the Roy Rogers collection, including an impressive array of vivid color movie posters, personal furniture made for Roy and Dale by actor George Montgomery, plus vintage photos, collectibles, costumes, merchandise, and more. For tickets and more information, go to TheHollywoodMuseum.com.
Playlist : So Macho > Sinitta 1986 / You Got What It Takes > Bobby Thurston 1980 / Rhinestone Cowboy… The post Le Musée des Oubliés-07-12-2024 first appeared on Radio Campus Angers.
➡︎ The Jubal Show's First Date Follow UpWhat happens when you get ghosted after a first date? You call The Jubal Show and have them find out why! It's like putting yourself in a situation to get roasted, when you really just want a second date.======This is just a tiny piece of The Jubal Show. You can find every podcast we have, including the full show every weekday right here… ➡︎ https://thejubalshow.com/podcasts======The Jubal Show is everywhere, and also these places: Website ➡︎ https://thejubalshow.com Instagram ➡︎ https://instagram.com/thejubalshow X/Twitter ➡︎ https://twitter.com/thejubalshow Tiktok ➡︎ https://www.tiktok.com/@the.jubal.show YouTube ➡︎ https://www.youtube.com/@JubalFresh ======Meet The Jubal Show Cast:====== Jubal Fresh - https://jubalshow.com/featured/jubal-fresh/ Nina - https://thejubalshow.com/featured/ninaontheair/ Victoria - https://jubalshow.com/featured/victoria-ramirez/ Brad Nolan - https://jubalshow.com/featured/brad-nolan/ Sharkey - https://jubalshow.com/featured/richard-sharkey/ See omnystudio.com/listener for privacy information.
➡︎ The Jubal Show's First Date Follow UpWhat happens when you get ghosted after a first date? You call The Jubal Show and have them find out why! It's like putting yourself in a situation to get roasted, when you really just want a second date.======This is just a tiny piece of The Jubal Show. You can find every podcast we have, including the full show every weekday right here… ➡︎ https://thejubalshow.com/podcasts======The Jubal Show is everywhere, and also these places: Website ➡︎ https://thejubalshow.com Instagram ➡︎ https://instagram.com/thejubalshow X/Twitter ➡︎ https://twitter.com/thejubalshow Tiktok ➡︎ https://www.tiktok.com/@the.jubal.show YouTube ➡︎ https://www.youtube.com/@JubalFresh ======Meet The Jubal Show Cast:====== Jubal Fresh - https://jubalshow.com/featured/jubal-fresh/ Nina - https://thejubalshow.com/featured/ninaontheair/ Victoria - https://jubalshow.com/featured/victoria-ramirez/ Brad Nolan - https://jubalshow.com/featured/brad-nolan/ Sharkey - https://jubalshow.com/featured/richard-sharkey/ See omnystudio.com/listener for privacy information.
➡︎ The Jubal Show's First Date Follow UpWhat happens when you get ghosted after a first date? You call The Jubal Show and have them find out why! It's like putting yourself in a situation to get roasted, when you really just want a second date.======This is just a tiny piece of The Jubal Show. You can find every podcast we have, including the full show every weekday right here… ➡︎ https://thejubalshow.com/podcasts======The Jubal Show is everywhere, and also these places: Website ➡︎ https://thejubalshow.com Instagram ➡︎ https://instagram.com/thejubalshow X/Twitter ➡︎ https://twitter.com/thejubalshow Tiktok ➡︎ https://www.tiktok.com/@the.jubal.show YouTube ➡︎ https://www.youtube.com/@JubalFresh ======Meet The Jubal Show Cast:====== Jubal Fresh - https://jubalshow.com/featured/jubal-fresh/ Nina - https://thejubalshow.com/featured/ninaontheair/ Victoria - https://jubalshow.com/featured/victoria-ramirez/ Brad Nolan - https://jubalshow.com/featured/brad-nolan/ Sharkey - https://jubalshow.com/featured/richard-sharkey/ See omnystudio.com/listener for privacy information.
Welcome to the August 5th, 2024 episode of the Rick's Rambles Podcast! In this week's episode, we kick things off with some fun facts about a city I visited with low expectations but ended up loving—Cleveland, Ohio. In my opinion, it's a very underrated destination! Next, in our good news segment, we explore some simple yet effective ways we can all positively impact our environment. Small changes can make a big difference! Then, we dive into the story behind the iconic song "Rhinestone Cowboy." Do you know where this song was written? The answer might surprise you. After that, we take a nostalgic look at some fast food items that don't exist anymore. Which ones do you remember? We wrap up this episode with our special days for the week, highlighting unique and fun observances. If you want to support the Rick's Rambles Podcast, the easiest thing to do is just share it on your social media! If you'd like to support financially, I'm doing something special in August. I do weekday segments of trivia and good news on Radio Mom, a family of radio stations in Central Indiana. But they're much more—they stream worldwide! If you buy me a cup of coffee during the month of August, I'll mention you on the radio! How cool is that? If you'd like to hear your name on the radio, you can buy me a cup of coffee here. Tune in and enjoy the ride!
GGACP celebrates the opening ceremony of the 2024 Summer Olympics by revisiting Gilbert and Frank's "tribute" to a slightly different (but no less entertaining) athletic competition, ABC's "Battle of the Network Stars." In this episode, Billy Crystal runs an obstacle course, Victor Buono sends up Raymond Burr, Telly Savalas locks horns with Robert Conrad and Gilbert tells one of the funniest jokes of all time. PLUS: "Murder by Death"! "Celebrity Bowling"! Wonder Woman takes a dip! Wayne Newton sings “Rhinestone Cowboy”! And "The Network Battle of the T's & A's"! Learn more about your ad choices. Visit megaphone.fm/adchoices
On this episode of Tent Show Radio, experience a heartwarming presentation of Glen Campbell's biggest hits and the stories behind them, delivered by the music legend's band leader and guitarist of 15 years, Jeff Dayton. Nashville artist Jeff Dayton's career is a success story built on hard work, faith and professionalism. The Minnesota native grew up heavily influenced by the music of guitar greats like Eric Clapton, Jerry Reed, Jimi Hendrix and, naturally, Glen Campbell. He formed the Jeff Dayton Band in Phoenix, Arizona in 1980. With a regional #1 hit under his belt, they opened shows for countless artists and major tours that passed through the city, eventually catching the eye of Glen Campbell who would quickly change his career forever. Dayton became Glen Campbell's right-hand man, spending 15 years as the legendary musician's guitarist and band leader. From the 1980's to the 2000's, they toured around the world and across all 50 states, performed at the White House, and appeared together on The Today Show and Glen's PBS special with the South Dakota Orchestra. In the years that followed, Dayton had the honor of backing artists including Vince Gill, Willie Nelson, Toby Keith, Buck Owens, Tracy Byrd, Bo Diddley, Dizzy Gillespie, Gene Autry, Mac Davis and would tour with megastar Kenny Chesney, Lee Greenwood, Sarah Darling, Tammy Cochran and others. After Glen Campbell's passing in 2017, Jeff got so many requests for a show of the icon's music that he launched “Salute to Glen Campbell,” an intimate, upbeat presentation of his hits and the first-person stories of their years together. Dayton has created a truly uplifting and sentimental first-person tribute to one of the greatest artists of all time; he shares the stories behind the songs, the records Glen played on as a member of the Wrecking Crew in his LA studio days, and of course, some of Campbell's classic country humor. Jeff Dayton continues to lead the band, which includes original drummer Tom Benton, as they perform to sold-out crowds across the country, playing hits like “Wichita Lineman,” “Gentle On My Mind,” “Rhinestone Cowboy,” and all the rest, just as they were performed with Glen Campbell. EPISODE CREDITSMichael Perry - Host Phillip Anich - Announcer Keenan McIntyre - Engineer Gina Nagro - Marketing Support FOLLOW BIG TOP CHAUTAUQUA https://www.facebook.com/bigtopchautauqua/ https://www.instagram.com/bigtopchautauqua/ https://www.tiktok.com/@bigtopchautauqua https://twitter.com/BigBlueTent FOLLOW HOST MICHAEL PERRYhttps://sneezingcow.com/ https://www.facebook.com/sneezingcow https://www.instagram.com/sneezingcow/ https://twitter.com/sneezingcow/ 2024 TENT SHOW RADIO SPONSORSAshland Area Chamber of Commerce - https://www.visitashland.com/ Bayfield Chamber and Visitor Bureau - https://www.bayfield.org/ Bayfield County Tourism - https://www.bayfieldcounty.wi.gov/150/Tourism The Bayfield Inn - https://bayfieldinn.com/ Cable Area Chamber of Commerce - https://www.cable4fun.com/ SPECIAL THANKSWisconsin Public Radio - https://www.wpr.org/
Emmett, Lt, and Murph head into the Bunker in part 1 of our livestreamed two year anniversary special. Follow us on X @dorkdaypodcast, on Facebook @dorkdayafternoon, or check out our website www.dorkdayafternoon.com. Join our Discord. Support us, check out our new Patreon. Find great DDA and TPM merch on Redbubble. Two Past Midnight is an actual play podcast of “Twilight: 2000, 4th Ed.”, produced by Dork Day Afternoon. “Twilight: 2000” is a role playing game about a “World War III that didn't happen”, created by Free League and published in partnership with GDW and Amargosa Press. For more information about Free League and other Free League products, visit freeleaguepublishing.com. The story, all names, characters, and incidents portrayed in this production are fictitious. No identification with actual persons (living or deceased), places, buildings, and products is intended or should be inferred. Credits: Music and Sound by Syrinscape. syrinscape.com The app putting sound into the hands of gamers. Theme song for Two Past Midnight by Mother Ghost. Check them out on spotify, they are the $hit. And follow them on Instagram @motherghostmusic. --- Send in a voice message: https://podcasters.spotify.com/pod/show/dork-day-afternoon/message
NOW YOU CAN CLICK ON THE TIMELINE TO FIND YOUR FAVORITE SEGMENT(S) OR LISTEN TO THE WHOLE SHOW! Please check out our full TWO-HOUR radio show, or snippets contained within, from Wednesday, June 26, 2024, wherein we discussed: 0:00 - Hello, Introduction, Update, and Today's Show Details 1:45 - Final Show Until September - Thank you! 3:23 - "Arrogant Al" Entered the Fray! 4:03 - Barry Bonds - HOME RUN! 7:55 - LIVE SINGING Segment, wherein "Paranoid Pete" and "Operatic Olivier" came in to sing, "The Best is Yet to Come". As Al always says, what could possibly go wrong? 25:29 - Part 1 of Paul's Interview With DEBORAH HENNE 54:22 - NAME THAT TUNE Segment, wherein "Battling Bubba" came in to try to identify three songs by "Linda Ronstadt". 1:07:51 - Part 2 of Paul's Interview With DEBORAH HENNE 1:38:20 - LIVE SINGING Segment, wherein the HOB Singing Group featuring "Hicksville Harry", "Operatic Olivier", and "Battling Bubba" came in to sing, "Rhinestone Cowboy". As Al always says, what could possibly go wrong? 1:58:40 - Goodbye Until September! As a reminder, you can catch all of our live shows on Wednesdays at 11:00 am (ET) on "Impact Radio USA", through the following site: http://www.ImpactRadioUSA.com (click on LISTEN NOW) (NOTE: Each live show is also repeated at 8:00 p.m. on the same day, and 5:00 am on the next day) Enjoy!
NOW YOU CAN CLICK ON THE TIMELINE TO FIND YOUR FAVORITE SEGMENT(S) OR LISTEN TO THE WHOLE SHOW! Please check out our full TWO-HOUR radio show, or snippets contained within, from Wednesday, June 26, 2024, wherein we discussed: 0:00 - Hello, Introduction, Update, and Today's Show Details 1:45 - Final Show Until September - Thank you! 3:23 - "Arrogant Al" Entered the Fray! 4:03 - Barry Bonds - HOME RUN! 7:55 - LIVE SINGING Segment, wherein "Paranoid Pete" and "Operatic Olivier" came in to sing, "The Best is Yet to Come". As Al always says, what could possibly go wrong? 25:29 - Part 1 of Paul's Interview With DEBORAH HENNE 54:22 - NAME THAT TUNE Segment, wherein "Battling Bubba" came in to try to identify three songs by "Linda Ronstadt". 1:07:51 - Part 2 of Paul's Interview With DEBORAH HENNE 1:38:20 - LIVE SINGING Segment, wherein the HOB Singing Group featuring "Hicksville Harry", "Operatic Olivier", and "Battling Bubba" came in to sing, "Rhinestone Cowboy". As Al always says, what could possibly go wrong? 1:58:40 - Goodbye Until September! As a reminder, you can catch all of our live shows on Wednesdays at 11:00 am (ET) on "Impact Radio USA", through the following site: http://www.ImpactRadioUSA.com (click on LISTEN NOW) (NOTE: Each live show is also repeated at 8:00 p.m. on the same day, and 5:00 am on the next day) Enjoy!
On a Friday Drive, Josh explains how the conversation seems to be changing around ACC commissioner, Jim Phillips, Josh can't believe what WD chooses for his best picture in The WDs, Josh explains why Robert Hunt and Jadeveon Clowney will end up being fan favorites for the Panthers, ponders whether or not JJ Reddick is the most accomplished former Duke basketball player, or if it's somebody else, and 6th man of the Tar Heels, BDaht, joins the show to see if Josh knows what "zesty" means and to sing Rhinestone Cowboy.
Our analysis of MF DOOM and Madlib's Madvillainy concludes with its final cut "Rhinestone Cowboy." However, this is not the last episode of the season. Next week, we begin our survey of MM...FOOD. Support Dissect by leaving a review or sharing this episode on social media. It really helps. Follow @dissectpodcast on Instagram, TikTok, and Twitter. Host/Writer/EP: Cole Cuchna Co-Writer: Camden Ostrander Additional Production: Justin Sayles Audio Editing: Kevin Pooler Theme Music: Birocratic Learn more about your ad choices. Visit podcastchoices.com/adchoices
I have heard of Glen Campbell, of course due to his song Rhinestone Cowboy, but have never ventured into his music. With this new posthumous release it seems like a good time to venture into his music. Tune in to hear my thoughts on this album. Glen Campbell - Ghost On The Canvas Sessions https://open.spotify.com/album/5YFkGhaiIJVkOqfmq3IvAw?si=A2VtzH4UQryQBB-B4GfC5g Discord https://discord.gg/4BRr3TWbC2 Instagram https://www.instagram.com/livelistenerased/ Twitter https://twitter.com/Livelisteneras1 Facebook https://www.facebook.com/groups/380146857215506/ #glencampbell #ghostonthecanvas #music #review #musicreview #5minutereview #livelistenerased #podcast #youtube #discord #trending
In this episode of Dem Vinyl Boyz, we delve into the enigmatic world of Madvillain and their acclaimed album "Madvillainy," released in 2004. This album is a monumental collaboration between two of hip-hop's most mysterious and respected figures, MF DOOM and Madlib. Known for its abstract lyrics, lo-fi production, and free-form jazz samples, "Madvillainy" stands as a titan in the underground hip-hop scene, influencing countless artists and albums since its release. From the haunting tracks "Accordion" and "Meat Grinder" to the introspective "Rhinestone Cowboy," "Madvillainy" is a tour de force of experimental hip-hop. Each track offers a glimpse into DOOM's complex lyrical prowess and Madlib's eclectic beat-making. This album is not just music; it's a piece of avant-garde art that challenges the boundaries of traditional hip-hop. Throughout this episode, we'll explore the creation process behind "Madvillainy," the unique synergy between DOOM's masked persona and Madlib's obscure samples, and the impact this album has had on the hip-hop industry. We'll discuss how "Madvillainy" has achieved cult status, becoming a benchmark for innovation in music production and lyrical storytelling. Join us on Dem Vinyl Boyz as we break down "Madvillainy," celebrating the genius of Madvillain and their indelible mark on music history. This episode is an homage to the art of collaboration and the enduring legacy of MF DOOM and Madlib's masterpiece.
This episode delves into the importance of gratitude in personal and professional life, discussing the benefits, effects on mental health, and practical strategies to incorporate gratitude. Dr. Peggy DeLong shares personal anecdotes, insights, and recommendations for building a gratitude practice, emphasizing its impact on individual well-being and workplace dynamics. About Our Guest: Dr. Peggy DeLong is a psychologist, known as The Gratitude Psychologist. She teaches people how to harness the power of gratitude, joy, and nature to live their best lives, especially through difficult times. She does this through speaking engagements, psychotherapy, on-line courses, books, and even bracelets. Peggy is the author of: 1) I Can See Clearly Now: A Memoir about Love, Grief, and Gratitude, 2) The Gratitude Journal: A 365 Day Gratitude Journey, and 3) Feeling Good: 35 Proven Ways to Happiness, Even During Tough Times. She is also the owner of LOVE in a Bracelet, where she designs bracelets for coping with grief and loss, mental health, and inspiration. When she's not focusing on her businesses, you'll find Peggy in the mountains, downhill or telemark skiing, kayaking, hiking, or mountain biking. Where to find Dr. Peggy: LinkedIn: Dr. Peggy DeLong Instagram: @The.Gratitude.Psychologist Website: Dr.PeggyDeLong.com Noted in Podcast: HR HOTSAUCE “Favorite song to bring you out of a funk playlist”: Rhinestone Cowboy, Glen Campbell 365 Day Gratitude Journal Our Sponsor: People Element Understand, engage, inspire, and retain your people like never before. People Element's employee experience and engagement solution delivers powerful intelligence, giving you the confidence to act. www.peopleelement.com LinkedIn: People Element Twitter: @People_Element
The Roku Skyline is always there for you, and now you've got it in song (Rhinestone Cowboy Parody)
On this episode of Tent Show Radio, experience a heartwarming presentation of Glen Campbell's biggest hits and the stories behind them, delivered by the music legend's band leader and guitarist of 15 years, Jeff Dayton. Nashville artist Jeff Dayton's career is a success story built on hard work, faith and professionalism. The Minnesota native grew up heavily influenced by the music of guitar greats like Eric Clapton, Jerry Reed, Jimi Hendrix and, naturally, Glen Campbell. He formed the Jeff Dayton Band in Phoenix, Arizona in 1980. With a regional #1 hit under his belt, they opened shows for countless artists and major tours that passed through the city, eventually catching the eye of Glen Campbell who would quickly change his career forever. Dayton became Glen Campbell's right-hand man, spending 15 years as the legendary musician's guitarist and band leader. From the 1980's to the 2000's, they toured around the world and across all 50 states, performed at the White House, and appeared together on The Today Show and Glen's PBS special with the South Dakota Orchestra. In the years that followed, Dayton had the honor of backing artists including Vince Gill, Willie Nelson, Toby Keith, Buck Owens, Tracy Byrd, Bo Diddley, Dizzy Gillespie, Gene Autry, Mac Davis and would tour with megastar Kenny Chesney, Lee Greenwood, Sarah Darling, Tammy Cochran and others. After Glen Campbell's passing in 2017, Jeff got so many requests for a show of the icon's music that he launched “Salute to Glen Campbell,” an intimate, upbeat presentation of his hits and the first-person stories of their years together. Dayton has created a truly uplifting and sentimental first-person tribute to one of the greatest artists of all time; he shares the stories behind the songs, the records Glen played on as a member of the Wrecking Crew in his LA studio days, and of course, some of Campbell's classic country humor. Jeff Dayton continues to lead the band, which includes original drummer Tom Benton, as they perform to sold-out crowds across the country, playing hits like “Wichita Lineman,” “Gentle On My Mind,” “Rhinestone Cowboy,” and all the rest, just as they were performed with Glen Campbell. EPISODE CREDITSMichael Perry - Host Phillip Anich - Announcer Keenan McIntyre - Engineer Gina Nagro - Marketing Support FOLLOW BIG TOP CHAUTAUQUA https://www.facebook.com/bigtopchautauqua/ https://www.instagram.com/bigtopchautauqua/ https://www.tiktok.com/@bigtopchautauqua https://twitter.com/BigBlueTent FOLLOW HOST MICHAEL PERRYhttps://sneezingcow.com/ https://www.facebook.com/sneezingcow https://www.instagram.com/sneezingcow/ https://twitter.com/sneezingcow/ 2024 TENT SHOW RADIO SPONSORSAshland Area Chamber of Commerce - https://www.visitashland.com/ Bayfield Chamber and Visitor Bureau - https://www.bayfield.org/ Bayfield County Tourism - https://www.bayfieldcounty.wi.gov/150/Tourism The Bayfield Inn - https://bayfieldinn.com/ Cable Area Chamber of Commerce - https://www.cable4fun.com/ SPECIAL THANKSWisconsin Public Radio - https://www.wpr.org/
Greeny reacts to the two biggest stories of the NFL weekend: the controversial ending to Chiefs / Bills and the Cowboys looking like legit Super Bowl contenders after drubbing the Eagles on SNF. Greeny and Hembo get into a debate about Shohei Ohtani's record-breaking contract and we have Ohtani-related trivia to answer. Greeny and the hashtag crew get into a little Overreaction Monday before our official Sneaky Hembo Trivia. We wrap up the show picking the MNF doubleheader and Cam singing Rhinestone Cowboy by Glen Campbell as punishment for his Eagles losing. Plus, Hembodamus' spot on prediction. Tune in tomorrow for Hembo's vocal punishment! Learn more about your ad choices. Visit megaphone.fm/adchoices
On a Friday Drive, Josh explains how the Panthers game against the Cowboys could be the nail in the coffin for Frank Reich, tells how Miles Bridges is an uncomfortable necessity for the Charlotte Hornets, right now, recaps Jim Harbaugh accepting his three game suspension and other events of the week, in Keep It Simple, voice of the High School Football Game of the Week, Dave Polaski, joins the show to set up tonight's playoff rematch between Grimsley and Hough, and Josh and WD talk sharks on the highway and sing Rhinestone Cowboy to ride off into the weekend sunset.
➡︎ The Jubal Show's First Date Follow UpWhat happens when you get ghosted after a first date? You call The Jubal Show and have them find out why! It's like putting yourself in a situation to get roasted, when you really just want a second date.======This is just a tiny piece of The Jubal Show. You can find every podcast we have, including the full show every weekday right here… ➡︎ https://thejubalshow.com/podcasts======The Jubal Show is everywhere, and also these places: Website ➡︎ https://thejubalshow.com Instagram ➡︎ https://instagram.com/thejubalshow X/Twitter ➡︎ https://twitter.com/thejubalshow Tiktok ➡︎ https://www.tiktok.com/@thejubalshow YouTube ➡︎ https://www.youtube.com/@JubalFresh See omnystudio.com/listener for privacy information.
➡︎ The Jubal Show's First Date Follow UpWhat happens when you get ghosted after a first date? You call The Jubal Show and have them find out why! It's like putting yourself in a situation to get roasted, when you really just want a second date.======This is just a tiny piece of The Jubal Show. You can find every podcast we have, including the full show every weekday right here… ➡︎ https://thejubalshow.com/podcasts======The Jubal Show is everywhere, and also these places: Website ➡︎ https://thejubalshow.com Instagram ➡︎ https://instagram.com/thejubalshow X/Twitter ➡︎ https://twitter.com/thejubalshow Tiktok ➡︎ https://www.tiktok.com/@thejubalshow YouTube ➡︎ https://www.youtube.com/@JubalFresh See omnystudio.com/listener for privacy information.
Jerolyn Sue Adolph Evans. Quentin Scott got poison ivy from picking blackberries. Jerolyn is the Primary First Counselor and she doesn't know what to do. Linda Talbot, the President. Quentin thought his mom was literally "lost." No one will go with Jerolyn because they're all too busy. Wendy and Larry Fitzgerald have such a nice place. Quentin slept at MawMaw's house. Misses Deron P. Scarabin and only has Rachel Guidry to hang out. They sing Rhinestone Cowboy a bit. Bill Evans said MawMaw said everyone missed church earlier but her and now Uncle Bill said MawMaw didn't go to church. Some in the branch should be more responsible with church duties. MawMaw is Quentin's Primary teacher. Sports banquet and Bill got something special and "Jerolyn hasn't matured yet." They gave all the coaches "Coach of the Year" plaques. Mikelson decided to go to Nashville and make $21K. Bill's dad retired and sold everything but one tractor. Have to get out of the California house by June 20. All his parents' bills paid and no debt so they should be fine. Jerolyn said she might be "fat" by the time Scarabins return. Jerolyn has to have a CB. Quentin is Steve Austin but now Evil Knievel and Jerolyn is Disco Lady. Bill refuses. Helen on Mother's Day. Kids had good time on Wendy's slab. Clarence sprained his ankle helping Larry move. Handful of "tomaters." Uncle Nicky gave some cucumbers. Many beans and squash is great. Eggplant and bell peppers everywhere. Clarence will start working on sewer line. Helen feels like Quentin wanting us to talk back on the tape. Helen is out of "draws." Loves to hear from Scarabins. Wendy's backyard is so pretty. Only bad part is rain piles up in one spot. MawMaw called to be Primary Teacher and Secretary. Accepted Teacher position but refused the Secretary position because she can't write. Go up and down the steps forty times a day but rarely sees neighbors. Twice she talked without recording. Clarence "hollering." They pay the bills for the Scarabins as they come in. Gail had to work so Helen is watching Brent Edward Portie. Larry had fallen down with baby (John Dirk). Baby was fine but Larry was banged up and bruised. Emmett Adolph giving well wishes. Yvonne got a CB radio and real proud of it, carrying on with Helen Mae. Drinking a cold beer after coming from the pumping station. Yvonne Adolph sends well wishes. Everyone giggling "trying to talk to the stupid thing." Bad weather. Yvonne is the Lollipop, the name Marilyn gave Annie Adolph Chapman. Janelle Adolph gets on and gives an update on shrimping and how Mrs. Lizzy is enjoying her new job. Said her doctor going to get on her about weight gain. Sally's been sick. E.J. and Sue looked at Marilyn's trailer and tired waiting on it. Carolyn and Kyle Bergeron. Carolyn cracks up over Marilyn's grocery experience. Said Gail is still sitting and Craig made a home run in baseball. Horace said they just made errors. Kyle gets on and says Mrs. Hernandez will write to Jason. Kyle's keeping bikes clean and can't wait for us to come home. Craig updates on baseball and how much fun he's having. Horace has flu. Wendy has moved in her trailer. Don't let D.D. get beat up by the rocks. Edna Adolph updates. Fresh peaches and going to visit Pam and baby. Everyone has CBs down there. She's Hunny Bunny and Ernest is Gingerbread Man. Carolyn is Bewitched and Yvonne is Lollipop. She almost bowled 200. Gail Portie, May 11. Spending night at Helen's with Brent. Eddie's horse had baby. Brent wants to talk but didn't know what to say. Wendy has such a nice trailer. Made Gail "plum sick." Only complaint is ugly green carpet. Brent talks about his horses. Ernest Adolph and Edna brought some delicious peaches. PawPaw soaking his foot and "sure looks bad." Tomatoes coming in. Brent says a few words. Someone mistakenly thought D.D. gone overseas on mission instead of working at copper mine. JoAnne Ragas Scarabin. May 13. Helen and Clarence finish tape with more talk on the trailer park. --- Send in a voice message: https://podcasters.spotify.com/pod/show/jason-scarabin/message
Today Arwen Lewis welcomes Larry Weiss. Larry is considered a legendary songwriter, who has had songs recorded by some of the biggest names in the Pop, R&B, Rock and the Country fields. Though internationally known for “Bend Me Shape Me' and Jeff Beck's ‘Hi Ho Silver Lining', in 1976, 'Rhinestone Cowboy' was awarded song of the year by the: CMA, ACM and American Music Awards, and proclaimed one of the top ten most performed songs of the 20th Century by ASCAP. Recently, Bruce Springsteen included it as part of his ‘Western Stars' documentary. Some of the artists who have sung Larry's songs include: Nat ‘King' Cole, Dionne Warwick, Eric Burdon (and The Animals), Glen Campbell, Neil Diamond, Dolly Parton, Loretta Lynn and many more. (larryweiss.com) Larry, also an abstract painter, resides in Nashville Tennessee has two daughters and a son. Find More of Larry Weiss Here: https://rhinestonecowboy.com The Arwen Lewis Show Host | Arwen Lewis Executive Producer | Jeremiah D. Higgins Producer - Sound Engineer - Richard “Dr. D” Dugan https://arwenlewismusic.com/ On Instagram, Follow Arwen Lewis Here: @thearwenlewisshow @arwenlewis www.thejeremiahshow.com On Instagram @jeremiahdhiggins https://linktr.ee/jeremiahdhiggins
A classic of mid-70s pop with a surprising — and amazingly serendipitous — origin. Also, the unlikeliest of covers. Rhinestone Cowboy, originally by Larry Weiss, covered by Glen Campbell and by Radiohead. Outro music is Bend Me Shape Me by The American Breed — and which is itself a cover, so keep an eye on that one.
Ross is back this week, we have another interview at the half for you as well! The homie Kevin V. joins the show for a lil' one on one! #WisconsinElectionResults #TriciaCotham #TrumpIndictment #TrophyRoom #FloridaGunLaw #AngelReese #DawnStaley And more..... --- Send in a voice message: https://podcasters.spotify.com/pod/show/saul-ure361a/message
First things first… Our Chrissie Hynde & Pretenders episode is only days away. Until then, get back in The Well Of Sound swing with this remastered episode from our archives. Tune in for your appreciation starter kit on the Rhinestone Cowboy himself... Glen Campbell. And if you don't know Jimmy Webb, this is a great way to find out more.This remaster was originally published on our Patreon page (patreon.com/wellofsound), where you can find more bonus content.Enjoy and don't forget our companion Glen playlist… Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
On a Friday Drive, live from the Greensboro Coliseum, Josh delivers a UNC post mortem, discusses a UNC reset, where Duke might find themselves in the NCAA Tournament, and reacts to the Carolina Panthers trading up to the #1 overall pick, with Brendan Marks of The Athletic, the Mayor of Greensboro, Nancy Vaughan, joins the show to discuss how close she thought Greensboro came to keeping the ACC Headquarters, Sports Director for WXII 12, Lauren Walsh, joins the show to break down Jim Boeheim's comments at his retirement presser, today, and Josh brings a special guest to sing "Rhinestone Cowboy" live on press row of the ACC Tournament.
Dog Gone is exactly the type of Rob Lowe-dog movie you'd expect if you were expecting him to quietly sing Rhinestone Cowboy to a yellow lab. If that's not what you were expecting then…one of us needs to recalibrate our expectations…anyway, let's find out if Netflix's new based-on-a-true-story-dog-film is good, shall we?
From the Smoky Mountains to the Hollywood Hills, join us as we discuss the successful and sometimes...not so great...Country Stars that gave it a shot in Tinseltown!
We talk defiance, joy, and Dolly Parton's closet in Part 1 of our interview with poet and memoirist Lynn Melnick. Buy Lynn's books here! Lynn Melnick is the author of the memoir, I've Had to Think Up a Way to Survive: On Trauma, Persistence, and Dolly Parton, from the University of Texas Press's American Music Series/Spiegel & Grau Audio (October 2022). She is also the author of three poetry collections, Refusenik(2022), Landscape with Sex and Violence (2017), and If I Should Say I Have Hope (2012), all with YesYes Books. She co-edited the volume Please Excuse This Poem: 100 Poets for the Next Generation (Viking, 2015). Check out her website here. Dolly Parton starred alongside Sylvester Stallone in the movie Rhinestone (1984), a musical based on the 1975 hit song "Rhinestone Cowboy" written by Larry Weiss. Although a critical and financial failure, the film spawned two top 10 country hits for Parton.Read more about Lucie Brock-Broido on her website here, at the Poetry Foundation here, or read her poem "Domestic Mysticism" here. Watch the clip of Reese Witherspoon / Dolly Parton's tea-and-closet moment referenced in the show (and in Lynn's book).Learn more (and donate to) the Sex Workers Project, a national organization advocating for the human rights of sex workers and others, at https://swp.urbanjustice.org
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
Patrick talks about Glen Campbell's career and analyzes selections from his autobiography, Rhinestone Cowboy.
Sports Gambler Lee Sterling is The Rhinestone Cowboy and gives you his best bets of the weekend.
In our newest segment, one which reflects on our complete lack of judgement and discernment, we present LIVE SINGING, the segment that features various singers "singing" (yes, that word was intentionally placed within quotation marks!) some of your favorite songs! On today's show, the HOB All-Stars,, featuring "Hicksville Harry", "Operatic Olivier", and "Battling Bubba" came in to sing, "Rhinestone Cowboy", by Glen Campbell. As Al often says, what could POSSIBLY go wrong???
The boys are back in town after a fun Nashville TN weekend getaway! Alex, James and Chris break down the long travels and what they got into all weekend; between bar hopping, live music, running into people we never expected to see, crazy Uber driver stories, hotels charging $29,000 to Chris' card, and almost going to CREATURES FEST; this is a pretty stacked episode! And with that tease, of course Alex and James weigh in on the outsider's perspective of what went down at CREATURES FEST between Ace Frehley, Vinnie Vincent, Bruce Kulick, and Peter Criss' sets and guest spots .. was it as badass as the promoter promised?ARTIST: Hank TrillSONG: Propane Money 2Listen to other shows on the SOMETHING GOOD NETWORK: https://linktr.ee/somethinggoodnetwork Join our Discord: https://discord.gg/Ge53Nu9SGFY Spotify Music Playlist: goo.gl/XemDeL
Your hosts @curlemd(Nygel) and @jaydelnegro(Jay) are back for episode 135. Like a Rhinestone Cowboy and in this episode we get into: - [ ] Going through your woman's phone and she's taking L's - [ ] Amnesia after Sex - [ ] Teenagers are dumb - [ ] A sheep gets 3 years - [ ] Women shouldn't wear Yoga pants in public All of that and a bunch of other filth flarn filth with a dash of concern including “YAS” “For Why” “Shooting Ppl Bail” & “Gentle Judgement” So join us in judgement and listen out for another fantastic episode of the Don't Jude Me Podcast, just as long as you Don't Judge Me for judging you. Support the show for as little as $1 per month: https://anchor.fm/dontjudgepod/support *Email us at DontJudgePod@gmail.com *Leave us a voicemail at 410-834-1562 *Follow us on IG @dontJudgePod *Visit our YouTube page by searching for Dont Judge Me Podcast Comment and Rate us on iTunes, Soundcloud, AnchorFM or wherever you're listening to us at. --- Send in a voice message: https://anchor.fm/dontjudgepod/message
Your hosts @curlemd(Nygel) and @jaydelnegro(Jay) are back for episode 135. Like a Rhinestone Cowboy and in this episode we get into: - [ ] Going through your woman's phone and she's taking L's - [ ] Amnesia after Sex - [ ] Teenagers are dumb - [ ] A sheep gets 3 years - [ ] Women shouldn't wear Yoga pants in public All of that and a bunch of other filth flarn filth with a dash of concern including “YAS” “For Why” “Shooting Ppl Bail” & “Gentle Judgement” So join us in judgement and listen out for another fantastic episode of the Don't Jude Me Podcast, just as long as you Don't Judge Me for judging you. Support the show for as little as $1 per month: https://anchor.fm/dontjudgepod/support *Email us at DontJudgePod@gmail.com *Leave us a voicemail at 410-834-1562 *Follow us on IG @dontJudgePod *Visit our YouTube page by searching for Dont Judge Me Podcast Comment and Rate us on iTunes, Soundcloud, AnchorFM or wherever you're listening to us at.
Kate tells the story of Dolly Parton vs. Porter Wagoner. Fun facts you will learn? How much a rhinestone suit costs. What show Kate got rushed home to watch. Lots of other fun facts and surprises. Bottom line, dont ever try to talk logic with someone who leaves the house in a rhinestone suit.Here is a link to the Simpsons clip from the episode. https://youtu.be/67boMa4IBPEAlso, the link to the Rhinestone Cowboy link from the movie High School High https://youtu.be/VNuonBzGcBsIf you have a petty story and would like us to discuss it, please be sure and send it in anywhere below (email preferred). Also, we'd love it if you'd subscribe and give us a review. It helps us a ton!Support The Show: Buy Us a CoffeeLets Talk Petty! Teepublic Store: Buy Our MerchWorld Wide Web: www.letstalkpetty.comTwitter: pettytalkpodInstagram: letstalkpettypodFacebook: facebook.com/letstalkpettypodEmail: letstalkpettypod@gmail.comCall/text: 1-904-446-8448 Hosted on Acast. See acast.com/privacy for more information.
Happy Birthday to us! To celebrate one year of P and P we bring back Taryn From Accounting as well as the podcast debut of the Rhinestone Cowboy Steven Crowe. They discuss first impressions of each other, Crowe's budding wrestling career and a lot more, plus more country music...
We honor Glen Campbell's Birthday, Today !
Heyyy yyoooo! We are baaaaackkkk with another Red Carpet review. This time it's the 2022 Grammys Fashions. There is A LOT to unpack: What we loved, what we hated and who needed a mirror. Nolan, our Fairy Gay Mother, returns with insights that only Nolan can share. As always, we offer our disclaimer up front: strong opinions usually require strong, yet hilarious, language. Get this episode today at https://apple.co/2XXKHfC! Ok, let's go: your favorite personal stylists Holly and Nolan share their LOVES and HATES, and of course, they rarely agree. Holly's LOVES Dua Lipa in a ‘90s Donatella Versace iconic bondage dress. This was supreme, and no argument here. Tiffany Haddish in a shimmering gold Prada statuesque gown. Tiffany's style is a favorite of Holly's, and this outfit reigns at “Queen” level! Olivia Rodrigo in Vivienne Westwood. Holly LOVES as she is giving off serious Morticia Addams vibes. She's here for it. Nolan is “Meh.” Giveon in custom Chanel for men. Nolan is loves this, but not dying over it.. Holly thinks Giveon is gorgeous, and that he is wearing that suit, honey. Chloe Bailey in Valentino with Tiffany & Co. jewelry. She looks like a disco ball, and Holly is all the way here for it. Allison Russell in Delcore. Holly can't say enough. GORG. GIN. A. Nolan basically says nothing…. Saweetie in custom pink Valentino. To. Die. For. Halsey in Pressiat with Tiffany & Co. jewelry. This was a hard “NO” for Nolan. Holly loves a hat moment, a glove moment, a Halsey moment…… Avril Lavigne, on her first Grammys red carpet in 19 years, stunned in a tulle gown that Holly LOVED, but the studded wedge sandals she paired with the dress made Nolan go ballistic. Nolan says wedges are for barbeques in the Hamptons. Period. Holly said that is completely rude. SZA in Jean Paul Gaultier tulle gown. Nolan feels it was cheaply made and looks like it. Holly: LOVING THIS. Cynthia Erivo in Louis Vuitton with Maison Boucheron jewelry. It's a look. Doja Cat in Atelier Versace. Holly thinks it looks like a leotard with a sheer overlay. I mean, okay, girl. However, she can pull it off. Nolan is sick of everyone over-doing every outfit with unnecessary accessories. Her pearl-encrusted sheer overlay was going to make for some uncomfortable sitting. #ouch Chrissy Teigan in pink (Oscars-type gown) from Nicole + Felicia (NOT couture, as Nolan notes). Chrissy always brings it, and this was no exception. Um, Chrissy can call it whatever she wants. Holly loves her, Kelsey Ballerini in Raissa Vanessa. Holly LOVES, OMG TO DIE. Nolan doesn't care. JUST MEH / We Disagree: Jared Leto in Gucci. Must he always be so trampy?? Lady Gaga: she was gorgeous, but missed the opportunity to be edgier, more rock-star. Carrie Underwood: Looks beautiful but dressed for high school prom, or British royalty in Dolce and Gabbana. Lil Nas X In Balmain. And moon boots. Are we done with moon boot yet? Please? Holly's HATES: Justin Bieber in Balenciaga and Hailey Bieber in Saint Laurent with Tiffany & Co. jewelry: his oversized suit is sloppy, and hers looks like a cheap wedding gown. #sorrynotsorry Jonie Mitchell: looks like she is wearing a Johnny Was outfit, which is waayy too Arizona hippy for us in her floral embroidered ensemble. But, at least she showed up! Brandy Carlisle in a custom Hugo Boss suit that screams the “Rhinestone Cowboy” song! But her suit weighed 30 pounds, so we gotta give her some cred for that. Kourtney Kardashian in Et Ochs. Holly says she looks like she needs some sleep. Not impressed. At. All. Travis Barker in Givenchy with Tiffany & Co. jewelry. Again, he looks like one of the “blind mice from the Shrek movie" and also, that he just got out of jail. Billy Porter: Valentino pink, but uggggly purple lipstick. If you are going to wear a statement color, just stick to one. Megan the Stallion in Roberto Cavalli. Cheap-looking fabric, always a big NO from Nolan. Billie Eilish in Rick Owens. Holly HATES it. Nolan almost liked it. He wanted to love it, but the choice of biker boots ruined the moment for him. And that's a wrap, people!! In the end, Holly loves red carpet fashions and all the pomp and circumstance. Nolan felt everyone took ‘one step too far' this year. Instead of stopping at “spectacular,” many chose to take things too far unnecessarily: over-doing it with accessories, bombastic boots, and clashing colors. Holly loves these opportunities to be judge-y, it's how we learn fashion's rights from wrongs. This is the end of the red carpet season and Nolan is SO happy (it's hard to be a fabulous fashion commentator). Except that we still have the Met Gala to review, and we can't wait for that. Get this episode today at https://apple.co/2XXKHfC! LINKS discussed in this show: See all of the Grammy fashions on our Pinterest Board: https://pin.it/1Hzf5sv Listen to the Fashion Crimes Podcast: https://apple.co/2XXKHfC Holly's Oscars Fashion Review via the AP Newswire: https://apnews.com/article/2022-grammys-fashion-photos-2679a2849f1b9f22f91309ac0c993d86 FASHION CRIMES PODCAST www.fashioncrimespodcast.com
The guys spend some time on Glen Campbell's 1975 crossover number 1 hit "Rhinestone Cowboy" --- Send in a voice message: https://anchor.fm/lyricsandlaughs/message
Producers of the The Goldbergs are still trying to use Jeff Garlin's likeness long after he left the TV show, but the results are upsetting. Luke and Andrew also discuss “frost quakes,” Superman's mustache, and the way Sylvester Stallone pronounced “butter” in Rhinestone Cowboy.
Producers of the The Goldbergs are still trying to use Jeff Garlin's likeness long after he left the TV show, but the results are upsetting. Luke and Andrew also discuss “frost quakes,” Superman's mustache, and the way Sylvester Stallone pronounced “butter” in Rhinestone Cowboy.
Producers of the The Goldbergs are still trying to use Jeff Garlin's likeness long after he left the TV show, but the results are upsetting. Luke and Andrew also discuss “frost quakes,” Superman's mustache, and the way Sylvester Stallone pronounced “butter” in Rhinestone Cowboy.
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