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2 episodes with ronnies
2 episodes with ronnies
Recovery Lab Sweden (@recoverylabsweden) slår upp sina portar 1 april 2025 i Gamlestaden, Göteborg. Duon bakom är Göteborgs egna Ronnie Borelius & Joel Rizk, som nu satsar allt på sin toppmoderna anläggning med fokus på idrottares prestation & återhämtning. Med ett förflutet inom träningen och framförallt kampsporten vill de nu samla allt under samma tak: de mest drivna idrottarna och den mest högteknologiska utrustningen som proffsen använder.Handlar återhämtning mer om att lägga till eller om att ta bort? Hur kan vi tänka med återhämtning både på individ- och gruppnivå? När återhämtar vi på riktigt och när maskerar vi bara trötthetssymptom?Lyssna på ett en timma långt samtal om allt från Hyperbaric Chambers (tryckkamare) till en vision om ett friskt Göteborg!---------------------------------------------------------------------Timeline för avsnittet:00:00 Intro/försnack02:20 Presentation av gästerna04:00 Hur går arbetet med Recovery Lab? Vad är ens Recovery Lab i Gamlestaden, Göteborg?06:50 Ronnies & Joels origin story10:40 Kampsportare inflytande över andra idrottare - innovatörer och trendsättare12:00 Tema återhämtning för idrottare: vad kan vi lära oss om återhämtning som inte bara är sömn och mat?15:00 Den moderna människan och återhämtning18:00 Återhämtning & individen: när handlar det om att lägga till och när handlar det om att ta bort?20:20 Objektiv och subjektiv data på återhämtning - hur mäter vi? Hur kan vi använda data på individ- och gruppnivå?27:00 Återhämtningsmetoder - återhämtning på riktigt eller bara maskera symptom?29:10 En vandring genom olika återhämtningsmaskiner och behandlingar på Recovery Lab: Joels & Ronnies topp 339:00 Den psykologiska återhämtningen: hur t.ex fighters kan skaffa sig en fördel42:00 Hur kan gymråttor bäst återhämta?43:20 Återhämtningens optimering: vilka metoder fungerar bäst i kombination?46:00 Social återhämtning49:50 Själslig återhämtning51:40 Avslutande ord/brandtal/något som inte blev sagt idag55:40 Kom i kontakt med Joel & Ronnie / Recovery Lab57:10 Utro/eftersnack---------------------------------------------------------------------Kom i kontakt med Recovery Lab Sweden och Joel & Ronnie:https://recoverylab.se/ besök hemsidan@Recoverylabsweden på Instagram @Recoverylabsweden på TikTok Recovery Lab Sweden på LinkedIn ...Öppningserbjudande: Vår pre-sale deal! Om man signar upp för vårt årsabonnemang innan 1 april, får man det för endast 899 kr/mån (ord. pris 1500 kr). Det inkluderar tre behandlingar i veckan och ett års medlemskap.---------------------------------------------------------------------Kom i kontakt med FFF@henrikvalis@fitnessfilosofiflosklerfitnessfilosofifloskler@gmail.comKöp Fitness, Filosofi & Floskler från Instagram-butiken här------------------------------------------------------------------Kom i kontakt med mig som Personlig TränareE-post: henrik@vagnhallencrossfit.seVagnhallen CrossFit i Göteborg @vagnhallencrossfit på InstagramVagnhallen CrossFit på FacebookYouTube - Fråga Coach ValisYouTube - Ett År av Mobility Flow-videos------------------------------------------------------------------Hjälp oss gärna genom att lämna en review av podden:https://podcasts.apple.com/se/podcast/fitness-filosofi-floskler/id1664145080
Battle of Botnia och Fight Club Rush tar armkrok för att erbjuda en unik produkt för fighters och fans, vilket bäddar för ett spännande 2025. Först ut i samarbetet blir en gala i Malmö den 24 Maj! Vi får möjlighet att få en blick bakom kulisserna i hur MMA-organisationer kan drivas i Sverige samt utmaningarna och belöningarna som tillkommer. Vilka förväntningar finns från fighters, fans och promotorer? Hur kan man leva upp till de? Vilken låt hade en promotor velat gå ut till? Det är bara några av frågorna vi får svar på i dagens avsnitt med Ronnie Bergsstrand, Davor och Zlatko Ostrogonac och Oskar Backman. Battle of botnia och Ronnie på sociala medier: https://www.instagram.com/ronkan_ynwa/ https://www.instagram.com/battleofbotnia.mma/ FCR och Zlatko på sociala medier: https://www.instagram.com/fcr.mma/ https://www.instagram.com/zlatkoostrogonac90/ Rondvilan på sociala medier: Rondvilan YouTube Rondvilan Instagram Rondvilan TikTok Timestamps: (0:00) Intro (0:20) Davors intryck av Malmö (1:00) Ronnys syn och koppling till Södern (2:05) Skottsäkra västar är multifunktionella (2:45) Trophy MMA och gamla goda dagar med MMA i Malmö (3:40) Ilir Latifis match på Rumble of the Kings (4:30) cameo från Adal Langari (OBS: Endast video) (4:45) Ali är pretentiös (5:10) Varför ser Ronnie och Davor fram emot Malmö så mycket? (7:55) Zlatko och Davors resa i MMA (9:45) Ronnie är obesegrad på gatan (10:36) Ali bytte ut sin garderob efter en månads thaiboxning (12:10) En ny era i Kampsport - nu med 50% mindre white trash (12:44) Ronnies syn på kampsporten i Sverige 2025 (14:30) Blomkålsöron (och fighters) genom tiderna (15:55) Redline High School self promotion (17:25) Ungdomarna visar på en ljus framtid för MMA (21:00) De olika rollerna FCR & BoB tagit (24:15) Malmönärvaron i FCR & BoB (26:00) Hur svenska galor har vuxit i Sverige (27:45) Danskar och dansk MMA (28:45) FCR & BOB:s fighterkontrakt (30:30) Hur Ronnie tog tillbaks MMA till Norrland (32:20) Jidder & rivalitet i svensk MMA (33:20) Inspiration från andra organisationer (35:25) Att inte ta vatten över huvudet men samtidigt tänka nytt (37:10) Hade Davor och Ronny velat fightas? (39:05) Ronnys brors första MMA-event (41:10) Tre MVP:s vad gäller svensk MMA-kunskap (43:09) Davor och Ronny svarar INTE på frågan (46:45) Blir man inte miljardär i Svensk MMA?!?!?! (49:10) MMA är inte jobb för Ronny (51:25) Favoritdel av MMA-showen (53:15) Ali kan inte lyssna på musik utan att tänka kampsport (53:40) Vad hade Ronnie, Davor & Ali & Adal haft för ingångslåt (58:50) PRIDE och dess ingångar (59:30) Baksmällan efter MMA-galor (1:02:17) Zlatko "Kan man se mer slavisk ut?" Ostrogonac hoppar in (1:03:50) Lyssnarfrågor
This is it - the final episode :(. Of course, it's up a little later than we'd hoped (someone should end this podcast...)We hope you enjoy our longest podcast episode EVER - we really left it all out on the field for our Ronnies. I don't know if that's how the saying works, but hey.If you wanna keep in touch, we will still check the email canwehelpyoupodcast.com or our individual instagrams are available:Sach: @sachbarbourJax: @madeforamericaFranco: @camerondantoneLove ya Ronnies always - and stay subscribed cos ya never know what's gonna hit your ears in the near future! Merry the Christmas and Happy the New Year! Hosted on Acast. See acast.com/privacy for more information.
This is it - the final episode :(. Of course, it's up a little later than we'd hoped (someone should end this podcast...)We hope you enjoy our longest podcast episode EVER - we really left it all out on the field for our Ronnies. I don't know if that's how the saying works, but hey.If you wanna keep in touch, we will still check the email canwehelpyoupodcast.com or our individual instagrams are available:Sach: @sachbarbourJax: @madeforamericaFranco: @camerondantoneLove ya Ronnies always - and stay subscribed cos ya never know what's gonna hit your ears in the near future! Merry the Christmas and Happy the New Year! Hosted on Acast. See acast.com/privacy for more information.
[TOTB/DISCUSSION] Merry Christmas and a Happy New Year! Did you think it was all over? That there'd be no forth annual AARGH! MY OPTICS! Top Of The Bots Podcast? So did we! Surprise! Virtual Dave and Orion Ghia once again get all festive and discuss the previous year.. it may not be 'in real life' but the good tidings are as real as the come as they run down their favourite action figures of the year and award someone with their brand new Wooden Spoon awards!Credits:Hosts: Virtual Dave and Orion GhiaEditing and Production: Orion GhiaInto Music and Stings: Oliver PrimeOutro Music: The VidiprinterRetro by Ronnies: https://retrobyronnie.co.ukBrighton Intergalactic Toy Store https://www.facebook.com/modelshobbiestoysgamesJay of Robot Garbage Brighton https://www.instagram.com/robotgarbagebrighton/TFNation: https://tfnation.com Hosted on Acast. See acast.com/privacy for more information.
Today, we dive into the incredible journey of Ronald Withaeger. Join us as we chat about his fascinating experience as he went from working for a firm to managing and growing a full-fledged tax practice. We'll explore the challenges and strategies he employed in client retention and how purchasing a small practice became a game changer for him. Ronald shares his insights on scaling and then selling parts of the business. He also reveals his passion for empowering employees to start their own firms!Balancing family and business is no easy feat, and Ronald discusses the importance of finding that perfect equilibrium. We also delve into his outreach and community engagement efforts, highlighting the impact of giving back. Don't miss Ronald's introduction of his latest project, Prosperity Society, and get an inside look at his "Launch Your Firm" event, designed to inspire and guide aspiring accountants.Tune in to hear Ronald's story and learn valuable lessons on managing a thriving tax practice while maintaining a healthy work-life balance. This episode is packed with actionable advice for anyone looking to make their mark in the accounting industry!What you'll hear in this episode:[0:30] Meet Ronnie Withaegar[2:15] Building a side practice and taking the leap[2:50] Managing and growing a tax practice[5:25] Challenges and strategies in client retention[7:45] How purchasing a small practice can be a game changer [12:40] Scaling and selling parts of the business[13:15] Empowering employees to start their own firms[17:20] The importance of balancing family and business[21:05] Outreach and community engagement[21:55] Launch your firm event[24:10] Introduction of Ronnies' project, Prosperity Society Connect with Ronald https://www.linkedin.com/in/ronaldwithaegerConnect with Kelly https://www.linkedin.com/in/kellyrohrs/Connect with Bilal https://www.linkedin.com/in/bmehanna/
Idag har vi med oss Zlatko Ostrogonac aka Dana Balkan/Bijelo och Ronnie Bergstrand aka Dana North för att gå igenom helgens MMA-kalas som de promotar, FCR 21 och Battle of Botnia 11. Ett samarbete mellan arrangörerna har pågått länge men först nu har de beslutat sig för att slå samman sina krafter och kvaliteter ordentligt och offentligt för att erbjuda utövarna och åskådarna den bästa möjliga produkten de kan. Vi pratar allt om samarbetet, låsta kontrakt, galor på samma datum, hur 2025 kommer se ut samt helgens galor då BoB intar Skellefteå för första gången och FCR intar huvudstaden igen. Ronnie och Battle of Botnia på sociala medier: https://www.instagram.com/ronkan_ynwa/ https://www.instagram.com/battleofbotnia.mma/?hl=en FCR och Zlatko på sociala medier: https://www.instagram.com/zlatkoostrogonac90/ https://www.instagram.com/fcr.mma/ https://www.youtube.com/channel/UCKWfbP1MoxPpWnTuvbzX5gg https://www.tiktok.com/@fcrmma Rondvilan på sociala medier: Rondvilan YouTube Rondvilan Instagram Rondvilan TikTok Timestamps: (00:00) Intro (00:15) BoB och FCR inleder samarbete (04:00) Alis åsikt om låsta kontrakt (05:21) Det positiva med kontrakten (08:35) Varför gala samma datum ? (18:00) Största huvudvärken med fightweek (18:18) BoB på teater/gladiator arena (18:56) Ronnies främsta huvudvärk (21:05) Zlatkos främsta huvudvärk (23:03) JDZ managements första UFC fighter (27:22) Vad Ronnie ser fram emot på BoB 11 (33:26) Hur FCR ser på BoB 11 efter helgen (35:19) Vad Zlatko ser fram emotpå FCR 21 (37:18) Doldisar på FCR kortet (39:25) Alexander Yakub vs Kevin Törö (41:13) Proffsmatch på FCR som Ali ser fram emot (44:56) Lyssnarfrågor: Nya städer nästa år? (48:54) Om utöka verksamheten, hur skulle det se ut? (54:08) Planerför 2025 (56:16) Slut på alkhol i hela Silo när han åkte därifrån? (57:00) Vilka svenskar sannolikt nästa i UFC? (58:25) Hur många matcher innan Theodor Berggren slåss i UFC? (1:01:18) Moe Ahmadi välförtjänt main event (1:04:48 ) Welterweightbälte i FCR? Isåfall Champ vs champ?
I was a pretty little guy, and my dad thought I should meet Paul Bunyan. You know, the legendary giant lumberjack. We were vacationing in Minnesota and there was this tourist attraction there, in Brainerd. Inside was this huge animated figure of Paul Bunyan. I mean, he's massive! He's sitting down with his giant ax and his giant ox next to him and a little log cabin at his feet. My dad paid for our tickets and I walked in unsuspectingly, and suddenly Paul's voice boomed out across the park, "Hellooo, Ronnie!" Man, you talk about unsettling! This guy knew my name. It took me a lot more birthdays to figure out that the man at the ticket booth had gotten my name from my Dad and then relayed it to the Paul guy in the cabin. Yeah, he was hiding in the little log cabin to frighten little Ronnies. I'm Ron Hutchcraft and I want to have A Word With You today about "Discovering Your Worth." Our word for today from the Word of God, Luke 19, beginning in verse 1: "Jesus entered Jericho and was passing through. A man was there by the name of Zaccheus. He was a chief tax collector and was wealthy. He wanted to see who Jesus was, but being a short man he could not because of the crowd. So he ran ahead and climbed a sycamore tree to see Him once Jesus was coming that way. When Jesus reached the spot, He looked up and said to him, 'Zaccheus, come down immediately! I must stay at your house today.'" So he came down at once and welcomed Him gladly. This turned out to be the most life-changing day Zaccheus ever had. He not only invited Jesus into his house, but ultimately into his life that day! A man who had felt small his whole life, and as a greedy tax collector treated other people as if they were small, suddenly became a really "big" man. In verse 8, he says, "Look, Lord, here and now I give half of my possessions to the poor, and if I've cheated anybody out of anything I will pay back four times the amount." That's a changed life! But it all began when Jesus called Zaccheus by name. They'd never met (like a certain lumberjack and me), but although Zaccheus didn't know Jesus, Jesus knew Zaccheus. And He knows you! Jesus has been lovingly pursuing a relationship with you for a long time. 1 John 4:19 in the Bible says, "We love Him because He first loved us." He knows a lot more than your name. He knows your pain, your dreams, your past, all the details of your life. He knows your failures and your sins. He has seen them. He has felt them all. You say, "Well, He wouldn't be interested in a relationship with me then." Don't you underestimate His love! Romans 5:8 says "God demonstrated His love for us in this way: While we were still sinners, Christ died for us." Because of His deep, deep love for you, God's Son gave His life as the payment for the death penalty that you and I deserve, and for quite awhile now He's been trying to get your attention. Today, even as you're listening to my voice, you may be hearing His voice in your heart, and He's calling you by name. He's inviting you to respond to His love, to put all your trust in Him, to have your sins erased from God's Book forever and to receive eternal life in heaven. Look, it's been one-way love long enough? In your heart, the tug you feel, that might be Jesus calling you by name, as He did "Zaccheus." He's saying, "I want you to belong to Me!" The Savior's coming one on one to you, in your heart today. The day when He calls your name can be your "God" day; the one when you open your life to the greatest love a man or woman can ever experience. Would you tell Him today, "Jesus, I'm Yours." And please go to our website and let me help you be sure you've begun that relationship. It's ANewStory.com. The bible says this, "Today, if you hear His voice, do not harden your heart." If Jesus is calling, answer Him. You can't afford to miss His call!
We're baaaaack after our short break and we are LOOOSE today. You'd think we'd never done a poddy before. We're also doing a bit of a longer one just for you. So we have two questions! One from a Ronnie who isn't sure whether to break it off with the boyf and pursue a girl... and another from two Ronnies trying to figure out what to spend on their rings.Send your questions over! @canwehelpyoupodcast on your socials, canwehelpyoupodcast.com or canwehelpyoupodcast@gmail.com. Don't forget to mark it as urgent. Hosted on Acast. See acast.com/privacy for more information.
We're baaaaack after our short break and we are LOOOSE today. You'd think we'd never done a poddy before. We're also doing a bit of a longer one just for you. So we have two questions! One from a Ronnie who isn't sure whether to break it off with the boyf and pursue a girl... and another from two Ronnies trying to figure out what to spend on their rings.Send your questions over! @canwehelpyoupodcast on your socials, canwehelpyoupodcast.com or canwehelpyoupodcast@gmail.com. Don't forget to mark it as urgent. Hosted on Acast. See acast.com/privacy for more information.
Happy Day! This week Jef Jones is back and we talk about Ronnies bday, Griffs concerts / zztop and share some 90s lies that kids from the 90s talked about. Missing your laugh? Lost after loss? Website for healing sessions: www.jenny-mckinney.com Credits: Music by Yurii Semchyshyn from Pixabay Music by Patrick A. from Pixabay Avacado commercial music: Music by Umasha Pros from Pixabay 90s music: Music by Mikhail Smusev from Pixabay
'Monkey Man' hits theaters April 5th, 2024! Mostly Superheroes was invited to screen the new movie directed by Jordan Peele and starring and produced by Dev Patel. Shoutout to the local theater where we saw the movie, Ronnies at Marcus Theaters. Hear our reaction recorded just as we walked out of the theater and into the lobby. Featuring reviews from Logan, Andy, and Scotty. Will you be watching 'Monkey Man'? Let us know at www.mostlysuperheroes.com/contact. Watch for more bonus episodes and timely reviews like this one in the future! Mostly Superheroes is an independent podcast owned and operated by Carrogan Studios in St. Louis Missouri. Hosted by Logan Janis, Andy Hunn, Scott Swanguarim Creative by Carrie Clark Design Music by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Artist: http://audionautix.com/ Funded in part by Paying Patrons – Early, Ad-Free, and Exclusive Episodes Funded in part by our Sponsors. https://mostlysuperheroes.com/ ©2024 Carrogan Ventures, LLC
In todays episode I welcome Ronni Rice, aka Marvelous Mrs. Mahj to the podcast. Ronni is a mahj teacher who brings her love of the game to players in the Los Angeles area. Get ready to listen in to another episode of Mah Jongg Mondays with conversation and topics that's all about our favorite game! Ronnies's website can be found at www.marvelousmrsmahj.com Fern's interview on Sylvia & Me Lorraine Urist can be contacted for the upcoming mahj event on 4/7/2024 at maloram@aol.com or at (818) 419-9167 Fern's two books, Mah Jongg Mondays (her memoir) and Staunch (a historical fiction book), can both be purchased on Amazon.com or from your local independent bookseller.
Långt in i Småländska skogarna sitter en vithårig farbror på en hel hög med sjuka historier. Han har kört F3 på Ronnies tid och gjort massor med bus. Utanför inspelning hittade vi ett skåp med dekaler på. Då drog han historier om varje dekal. En mycket intressant man som idag bygger och reparerar historiska F3 bilar och Radical bland annat.
Because he revealed where Ronnies big wedding pool party was going to be.. YOU IDIOT!!! Copyright Disclaimer under section 107 of the Copyright Act of 1976, allowance is made for “fair use” for purposes such as criticism, satire, comment, parody, news reporting, teaching, education and research. Fair use is a use permitted by copyright statute […]
Sounds like a lot, but really, just an awful day of radio. We listen to the complaints of a man who had a bladder stone, the reasons why Beth is now not going to Paris (to scope it out, lol) and we just touch on Ronnies wedding until I get more first hand accounts on […]
Ronnie Kinsey, MBA is well-credentialed as a seasoned leader with a breadth of experience in highly recognized academic and specialty medical centers, as well as in the corporate arena, and startups. As an Executive coach, trained through the College of Executive Coaching and a member of the International Coaching Federation Ronnie is focused on leadership and executive development, and coaching that has the power to develop and support bold, informed leaders who can lead us on the path to sustainable solutions to the outsized concerns seen in our modern society and leadership today. Ronnie is available for corporate engagements, team and 1:1 coaching, as well as Keynote speaking. Ronnies recent LI Post: The brain has the ability to rewire itself. When you maintain a positive outlook, you are more likely to achieve your goals. When you practice optimism consistently, you strengthen neural pathways associated with positive thinking, making it easier to maintain an optimistic mindset. Ronnie's Links: https://www.linkedin.com/in/ronniekinseymba/ ronnie@ronniekinsey.net Please subscribe James Youtube channel here! https://tinylink.net/XSGqL Featured song for this episode is "Ride On", check it out on Spotify here https://open.spotify.com/track/5VQzjlHv7qZzyZIOSGkhjU?si=eb0d5a683f2e43d8 For a custom-branded song you can reach James at james@thejamesoconnoragency.com If you wish to have an appointment with James about coaching, use this link. www.calendly.com/dharmic Apple podcast review link Please leave us a 5 Star review, its easy to do, and really helps us out to grow the show! https://digitalhealthtoday.com/support/how-to-review-itunes/ Thank you for doing this my friends!
In this episode we discuss what we have been up to, Ronnies rental renovation checklist, and share our thoughts on Festools latest tool launch lineup. Join our Podcast Community on Patreon!! - www.patreon.com/greensuiterspodcast For your chance to win awesome prizes every month, be sure to become a Patron. Our giveaways are specifically for our Patrons, and they are automatically enrolled every month. This is our way of saying thank you to all those that support us! Find more of Jason's content here: www.instagram.com/bentswoodworking www.youtube.com/c/bentswoodworking www.bentswoodworking.com Find Sedge's content here: www.instagram.com/sedgetool www.youtube.com/c/sedgetool www.sedgetool.com Find Ronnie's content here: https://www.instagram.com/fultonfinewoodworks/ https://www.youtube.com/@fultonfinewoodworks https://fultonfinewoodworks.com --- Support this podcast: https://anchor.fm/greensuiterspodcast/support --- Support this podcast: https://podcasters.spotify.com/pod/show/greensuiterspodcast/support
Ronnies, WE NEED YOUR QUESTIONS! Send 'em through @canwehelpyoupodcast and canwehelpyoupodcast.com. Meantime, we're talking all things queueing and when exactly is a good time to queue. Plus Jax needs all the tips for Eras prep! Hosted on Acast. See acast.com/privacy for more information.
Ronnies, WE NEED YOUR QUESTIONS! Send 'em through @canwehelpyoupodcast and canwehelpyoupodcast.com. Meantime, we're talking all things queueing and when exactly is a good time to queue. Plus Jax needs all the tips for Eras prep! Hosted on Acast. See acast.com/privacy for more information.
If dealing with Brian and Kevin on a weekly basis isn't stressful enough, Finey is moving house and he seems to have misplaced his children. Brian hasn't moved though, he is still on the bottom of the footy tipping competition. This week the boys unveil their top five all time British comedies and it ain't half hot as Basil, Black Adder and bigotry battle with a Partridge, Porridge and a pair of Ronnies for top spot. == Kevin Hillier, Brian Mannix, Mark Fine Subscribe in iTunes!https://apple.co/2LUQuix Listen on Spotifyhttps://spoti.fi/2DdgYad Follow us on Facebook...https://bit.ly/2OOe7ag Post-production by Steve Visscher | Southern Skies Media for Howdy Partners Media | www.howdypartnersmedia.com.au/podcasts © 2023See omnystudio.com/listener for privacy information.
Ronnies, head over to The Ronnie Room on Facebook at canwehelpyoupodcast.com/room and make sure you vote for whether you want trivia to be livestreamed! Meantime, we have a question from a DESPERATE Ronnie who needs some advice about their CV. Keep your questions coming @canwehelpyoupodcast or canwehelpyoupodcast.com Hosted on Acast. See acast.com/privacy for more information.
Ronnies, head over to The Ronnie Room on Facebook at canwehelpyoupodcast.com/room and make sure you vote for whether you want trivia to be livestreamed! Meantime, we have a question from a DESPERATE Ronnie who needs some advice about their CV. Keep your questions coming @canwehelpyoupodcast or canwehelpyoupodcast.com Hosted on Acast. See acast.com/privacy for more information.
In this episode we will discuss our love hate relationship with setting up new tools/jigs and what lengths we go to, in an effort to get the tools dialed in. Also, Jason shares a new obsession in his shop and changes Ronnies mind on it. Join our Podcast Community on Patreon!! - www.patreon.com/greensuiterspodcast For your chance to win awesome prizes every month, be sure to become a Patron. Our giveaways are specifically for our Patrons, and they are automatically enrolled every month. This is our way of saying thank you to all those that support us! Find more of Jason's content here: www.instagram.com/bentswoodworking www.youtube.com/c/bentswoodworking www.bentswoodworking.com Find Sedge's content here: www.instagram.com/sedgetool www.youtube.com/c/sedgetool www.sedgetool.com Find Ronnie's content here: https://www.instagram.com/fultonfinewoodworks/ https://www.youtube.com/@fultonfinewoodworks https://fultonfinewoodworks.com --- Support this podcast: https://anchor.fm/greensuiterspodcast/support --- Support this podcast: https://podcasters.spotify.com/pod/show/greensuiterspodcast/support
Radial y radiofónico, dos besitos, la otra cuenta de Instagram, "aquel que no desea ser fotografiado", Lungarini y Finkel, el amor y el dinero, Pentium 5, Divina Gloria, Los Melly y las Ricuritas, casting de Ronnies, Franco Massini, Bb y Ronnie en el escenario con un pianista, whisky y puchos, el casino de Gorlero, "Todo Viejo", "Sanzo es un pussy", LA GRAN PREGUNTA.
In this episode, Ben and Stephen sit down with Donnie Griggs and Ronnie Martin to discuss their excellent new book Pastoring Small Towns: Help and Hope for Those Ministering in Smaller Places. As you listen, you'll sense Donnie and Ronnies zeal for the Lord and their passion for his church. We hope this episode is an encouragement to you no matter where you serve. For more information on Small Town Summits, please visit our website here: www.smalltownsummits.com To partner with us financially, give here: https://www.smalltownsummits.com/give To see more details regarding next steps and financial needs, view this PDF. To volunteer your time and talents, email us here: SmallTownSummits@gmail.com To stay up to date on how to pray, subscribe to our newsletter here: https://www.smalltownsummits.com/contact
The podcast has an ending but it isn't read by Roddy McDowell or either of the two Ronnies.Batty McBatShelf WarsSuecas FilmThe Nonexistant Editions
Neil, Ronnie & Skip, this time in better quality, discuss a very honest Sparkie from Wolli Creek, Spurs' dismal effort against Milan - is it time for Conte to go and just who do Tottenham go for?? Everton are also on the agenda as the glimmers of hope seem to fade each week. With Hull City destined to be in the Championship still next year, will they have a trip to Goodison???
Yeah Jax went a little loco this week.... I don't know what happened but he just went weird. Make sure you tune in to listen to all the weirdness. And apologies that you can't unhear it afterwards. We also have questions from two lovely Ronnies! The first Ronnie wants some advice on navigating a tricky work situation; the other I think just wanted to get her baby on a podcast. As always send your questions through to us @canwehelpyoupodcast on all your socials and canwehelpyoupodcast.com!See omnystudio.com/listener for privacy information.
Yeah Jax went a little loco this week.... I don't know what happened but he just went weird.Make sure you tune in to listen to all the weirdness. And apologies that you can't unhear it afterwards.We also have questions from two lovely Ronnies! The first Ronnie wants some advice on navigating a tricky work situation; the other I think just wanted to get her baby on a podcast.As always send your questions through to us @canwehelpyoupodcast on all your socials and canwehelpyoupodcast.com!See omnystudio.com/listener for privacy information. Hosted on Acast. See acast.com/privacy for more information.
Wie jedes Jahr verleihen wir die Ronnies! Wir widmen diesem Preis nicht nur dem legendären Filmemacher Ron Howard, sondern allen Filmfans da draußen, die immer wieder okaye Filme sehen, die nicht gut genug sind, um im Gedächtnis zu bleiben... aber auch nicht schlecht genug, um sich über sie aufzuregen. Heute sind Filme mit dabei wie UNCHARTED, AVATAR 2: THE WAY OF WATER oder DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS aber auch Serien wie THE PERIPHERAL, WEDNESDAY oder 1899. Jonas, Alper und Lenny vergeben heute zum zweiten Mal ihren Filmpreis für die okayesten Filme des Jahres. Es gibt nicht nur den "Sonder-Bryce der Community", sondern auch die Ronnies für das okayeste Franchise, die okayeste Performance, die okayeste Serie und den Hauptkreis: den okayesten Film des Jahres 2022. Außerdem gibt es heute unseren Ersteindruck von THE LAST OF US! Damit ein herzliches Willkommen hier auf Cinema Strikes Back! Podcast zum Anhören: Spotify: https://go.funk.net/csb_spotify iTunes: https://go.funk.net/csb_itunes RSS-Feed: https://go.funk.net/csb_rss Podcast Timestamps: 00:00:00 - Anmoderation 00:02:32 - Intro 00:02:47 - Moderation 00:04:14 - Was ist überhaupt ein okayer Film? 00:06:01 - Rückblick Ronnys 2021 00:07:33 - Nominierte: Okayeste Performance 2022 00:28:06 - Gewinner: Okayeste Performance 2022 00:31:16 - Nominierte: Okayestes Franchise 2022 00:44:47 - Gewinner: Okayestes Franchise 2022 00:45:36 - Nominierte: Okayeste Serie 2022 00:52:47 - Gewinner: Okayeste Serie 2022 00:54:23 - Sonder-Bryce der Community 00:54:59 - Nominierte: Sonder-Bryce der Community 00:59:58 - Gewinner: Sonder-Bryce der Community 01:02:50 - Preis fürs Lebenswerk 01:05:25 - Nominierte: Okayester Film 2022 01:17:43 - Gewinner: Okayester Film 2022 01:19:22 - Zusammenfassung Ronnys 2022 01:20:19 - Critics Choice Award 01:24:09 - Filmstarts 01:24:11 - Babylon 01:24:33 - The Last Of Us 01:32:03 - Abmod #film #ronnies Moderation: Jonas Ressel, Lennart Schmitz, Alper Turfan Kamera & Ton: Laura Lang Schnitt: Patrik Hochnadel Instagram: https://www.instagram.com/cinemastrikesback/ Twitter: https://twitter.com/csb_de Letterboxd: https://letterboxd.com/CSB_DE/ Cinema Strikes Back gehört zu #funk. YouTube: https://www.youtube.com/funkofficial Instagram: https://www.instagram.com/funk TikTok: https://www.tiktok.com/@funk Website: https://go.funk.net https://go.funk.net/impressum
And other completely inane BS, we also discover Ronnies big announcement, as if any one of us cares. Doing the lords work since 2016… Join us for discussion at www.radiogunk.com/forums Follow us on Twitter @RadioGunk @arm34 (john) @330SMG (dennis) @bonjovial2 Follow John & Sara's Show The Deppening at https://www.youtube.com/channel/UCHVi0zT32e6TBYbCxa1tYaw Follow me on Instagram @radiogunk Buy […]
Comedy writer, author, podcaster and musician Joel Morris is our special guest this week and what could be more Christmassy than a chat about The Phantom Raspberry Blower Of Old London Town? (Plenty - Ed.) Originally conceived by Spike Milligan as a vehicle for him, Peter Sellers and Harry Secombe, this proposed Goons special was stymied early on by Sellers' filming commitments elsewhere. A couple of years later Milligan dusted off the script and repurposed it for an episode of Six Dates With Barker, Ronnie Barker's 1971 series of one-off plays (similar to the Comedy Playhouse format which spawned a number of sitcoms) and if it had been left at that then it's highly likely that few people would remember it today. However, in 1976 Ronnie Barker collaborated with Milligan to expand the length of the play and serialise it in weekly episodes for the fifth series of The Two Ronnies. It is this version that is most fondly remembered by the public and is generally considered to be the strongest of the Ronnies' serials. Joel joins Tyler to laud the lost art of the comic play and talks about Milligan's genius, with a few caveats (Joel presents a strong argument that when writing without the grounding influence of collaborators Spike's ideas were often in danger of becoming loosed from their moorings) and there's also plenty of time to talk about other comedy too, including Peter Cook, The Office and Python. Joel is currently writing a book about comedy and is the host of the podcast Comfort Blanket: https://pod.link/1614879928
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
Be a birdie on AL's shoulder as he take the mic for a walk around Shrewsbury Abbey as we celebrate another year of Abbey Fest 2022, a charity even put together by Lingen Davies.We speak to some new people and some good old friends like Darren from Gindifferent, Liam Tinsley and of course the wonderful team at Lingen Davies. Anna Williams guides AL around the Abbey through the stunning ambience, supplied by The Ronnies who were performing in the background. Anna introduces AL to some important figures in the Chronicles of Lingen Davies.This a candid bit of audio, no plan, just a collection of conversations with lovely people on a lovely evening. Thanks Lingen Davies for the invite and for all that you do! - AL
Tiny and Super Nash have a great time tasting and rating all 3 2022 batches of Bookers. Ronnies Batch Kentucky Tea And Lumber Yard all three batches the boys break down and give you a background along with all the vital information in this podcast of the Scotchy Bourbon Boys! www.logstilldistillery.comSupport the show
Rob Brydon opens his swiss army knife of impression and talks to Kate about working with Chris Evans at CarFest; duetting with Chris Martin; meeting the two Ronnies; the 'pinch me' moment of being on stage in Vegas & the many successful women in his life.White Wine Question Time with Kate Thornton is the podcast that brings together well-known guests to answer three thought-provoking questions over three glasses of wine. Discover the friendships behind the entertainment headlines, and listen in on their conversations for a side to the celebrities you've never heard before. Listen on Apple Podcasts, Spotify or wherever you get your podcasts, and follow on Instagram (@whitewineqt) & Twitter (@WhiteWineQT) to keep up to date with the latest guests, news and more. Hosted on Acast. See acast.com/privacy for more information.
In this special episode of The Going Places Podcast, Camden Clark sits down with Artist, Author, Musician, Pastor, and co- host of the Happy Rant Podcast: Ronnie Martin. We interview Ronnie on his life and career, talk his time in the music industry, the books he's wrote; as well as his call to ministry. We also talk podcasting and what it's like on The Happy Rant podcast and get some backstories. Ronnie also gives Camden some great advice for podcasting. Listen to Ronnies new album Bells Merrily on November 22nd and his new book God With Us. Listen to The Happy Rant with Ronnie Martin, Barnabus Piper, and Ted Kluck. Sponsored by Sweet Peach Boutique, Wisefire Café, Yellowwood Photography, and Stop 2 Shine. Made Possible by Anchor F.M.
== Marco is high and halfway on his journey with Bree -Marco fills us ion on the events that happen leading up to & the first leg of the trip all the way to Ronnies -including loosing A/C before setting off -Fighting with Bree -sleeping in Walmarts -Going to various shops and selling the books. -dealing with “a homeless” on the road. -Part 2 will come on Thursday! Powered by Firstory Hosting
We've got an update on the taste-ability (that's a word, right?) of Sacha's buds. Her tastebuds.Franco stops by for about 7 minutes, and of course as always we have our lovely questions from our lovely Ronnies.This week, we have a question from an organised Ronnie who is a little concerned about her bridesmaids. And one from a British Ronnie (you right?!) who apparently does alright in TV. But they may be interested in a change of scenery.Keep your questions, comments, feedback and anything else coming through @canwehelpyoupodcast on all your socials, canwehelpyoupodcast.com and canwehelpyoupodcast@gmail.comSee omnystudio.com/listener for privacy information.
We've got an update on the taste-ability (that's a word, right?) of Sacha's buds. Her tastebuds. Franco stops by for about 7 minutes, and of course as always we have our lovely questions from our lovely Ronnies. This week, we have a question from an organised Ronnie who is a little concerned about her bridesmaids. And one from a British Ronnie (you right?!) who apparently does alright in TV. But they may be interested in a change of scenery. Keep your questions, comments, feedback and anything else coming through @canwehelpyoupodcast on all your socials, canwehelpyoupodcast.com and canwehelpyoupodcast@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices
We've got an update on the taste-ability (that's a word, right?) of Sacha's buds. Her tastebuds.Franco stops by for about 7 minutes, and of course as always we have our lovely questions from our lovely Ronnies.This week, we have a question from an organised Ronnie who is a little concerned about her bridesmaids. And one from a British Ronnie (you right?!) who apparently does alright in TV. But they may be interested in a change of scenery.Keep your questions, comments, feedback and anything else coming through @canwehelpyoupodcast on all your socials, canwehelpyoupodcast.com and canwehelpyoupodcast@gmail.comSee omnystudio.com/listener for privacy information. Hosted on Acast. See acast.com/privacy for more information.
Alright everybody, this is your last meal so eat up—this week we're talking about Weight Loss from Season 5, with a special focus on the newly released superfan edition! We go through all of the storylines in this episode, including Michael and Holly's budding relationship, Pam going to art school, Andy making non-refundable deposits at four totally different wedding venues, and how the new scenes affect those plot lines. And of course we make sure to highlight all of the Michael Klump appearances, Rice-a-Ronnies, and alarm clocks set to Zapf Chancery as well. Then in the Conference Room we check a listener-submitted MSPC Top Ten list before wrapping with trivia! Over thirty-one thousand businesses already use NetSuite. This summer, NetSuite has a special financing program for those ready to upgrade at NetSuite.com/SCOTT Support our show and become a member of Scott's Tots on Patreon! For only $5/month, Tots get ad-free episodes plus exclusive access to our monthly Mailbag episodes where we casually pick through every single message/question/comment we receive. We also have Season 2 of our Ted Lasso podcast Biscuits with the Boss available to our Patrons. On top of that, a portion of all show proceeds are donated every month to organizations that help fund education opportunities for minority students. Help us serve the mission that Michael Scott could not. You can also rep our show with some merch! Head over to mspcstore.com and get your hands on some nifty gifties. Learn more about your ad choices. Visit megaphone.fm/adchoices
Brandon and Kenny return after a two-month hiatus to watch the second episode of "The Outlaws." They explain that they had already watched this episode back in May, but the day they were set to record, Brandon's wife was admitted to the hospital for complications with her pregnancy. Regardless, Brandon has a healthy baby boy, and is ready neglect him to watch more Christopher Walken projects. After shoutouts to the Ronnies, Brandon and Kenny dive into the second episode of "The Outlaws," which they admittedly are starting to enjoy. Afterwards, they briefly touch on Chet Hanks and Tom Hanks news, and close out the show digging into the mysterious past of Tom Cruise.
Join us this week as we talk about Ronnies episode, the VID and meditation for Men- how to avoid the clap! OHP! Have a great week!
Tiny Has the first release of Bookers' in 2022 "Ronnies Batch" 2022-01 and he is sharing tasting notes in this podcast of The Scotchy Bourbon Boys www.logstilldistillery.com Support the show
Sach and Jax are alone again... yes, all on their lonesome. Just the two of them. But it's okay because we still had a heap of fun this week! Lots of chat about renting, plants, pets, weddings (of course) and a little celeb update at the end. Make sure you send your questions through @canwehelpyoupodcast on all your socials and canwehelpyoupodcast.com And, of course, don't forget to hit up canwehelpyoupodcast.com/room to connect with us and your fellow Ronnies. Learn more about your ad choices. Visit megaphone.fm/adchoices
Sach and Jax are alone again... yes, all on their lonesome. Just the two of them. But it's okay because we still had a heap of fun this week!Lots of chat about renting, plants, pets, weddings (of course) and a little celeb update at the end.Make sure you send your questions through @canwehelpyoupodcast on all your socials and canwehelpyoupodcast.comAnd, of course, don't forget to hit up canwehelpyoupodcast.com/room to connect with us and your fellow Ronnies.See omnystudio.com/listener for privacy information.
Sach and Jax are alone again... yes, all on their lonesome. Just the two of them. But it's okay because we still had a heap of fun this week!Lots of chat about renting, plants, pets, weddings (of course) and a little celeb update at the end.Make sure you send your questions through @canwehelpyoupodcast on all your socials and canwehelpyoupodcast.comAnd, of course, don't forget to hit up canwehelpyoupodcast.com/room to connect with us and your fellow Ronnies.See omnystudio.com/listener for privacy information. Hosted on Acast. See acast.com/privacy for more information.
Ronnie Moas explains where he believes the price of Bitcoin will be in the next few years and his reasons why. Ronnie also shares his thought on the S&P500 and at what levels he would be happy to start buying companies on sale again. Ronnie explains when he uses ETF's and why they can be a good strategy to use when it is not so easy to pick the winners from a sector. Ronnie is the founder of standpoint research and has ranked one of the top-ranking stock pickers on Tip-ranks against more than 3,500 analysts for his 2008-2017 performance, which covers more than 500 recommendations he has issued since 2008, and Since 2004. Ronnie beat the S&P-500 by at least 500 bps with 66% of his recommendations Ronnie became interested in cryptocurrencies in July of 2017 when Bitcoin was trading around $2,500, Ronnie set a price target of $50,000 for 2027 in his newsletter which bitcoin reached by 2021. Ronnie Moas believes Bitcoin can still go a lot higher from where it is now. Fund Your Retirement is an investment research and online financial media publisher sharing strategies and insights about finance, the markets, and the many different solutions for funding your long-term retirement, by showcasing experts in the field of finance and wealth-building strategies. Timestamps: 0:00 to 1:20 Introduction 1:21 to 2:41 How Ronnie got started in the investment world 2:42 to 5:00 The similarities of the dot com bubble to the altcoin space. 5:01 to 11:21 Ronnies Bitcoin price prediction 11:22 to 15:50 Bitcoin as a digital store of wealth vs a payment system 15:51 to 17:44 Regulating the crypto space 17:45 to 19:22 When the intuitions step into Bitcoin at volume 19:21 to 22:14 Ronnies thoughts on Ethereum and Dogecoin 22:45 to 26:01 Money printing and the stock market 26:02 to 29:20 How Ronnie Moas uses ETF's 29:21 to 32:10 Ronnies big takeaway for the audience don't invest what you can't afford to lose. 32:11 to 33:29 How you can learn more about Ronnie and wrap up. Hope you enjoy and have a wonderful day. The FYR team. Guest Links & Resources: Visit Standpoint Research Follow Ronnie on Twitter Follow Ronnie on Instagram Visit Fund Your Retirement Disclaimer: This presentation is for educational purposes only. All opinions and information are for demonstrational purposes and do not constitute investment advice. Trading and investing carries a high level of risk and are not right for everyone. If you need financial advice, consult with a regulated financial adviser in your country before making any decisions.
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