Podcasts about sorry now

Start Name Artist Album Year Comments Canadian Capers Reginald Dixon Blackpool Switchback, Vol 2 [Sterndale STE 3107] 1934 2-10 Wurlitzer, Tower Ballroom, Blackpool 3:12 Dixon Hits - No 8 Part 2: At the Café Continental; Empty Saddles; A Pretty Girl is Like a Melody Reginald Dixon Dixon Hits Vol. 1 [Sterndale STE 3100] 1936 3-13 Wurlitzer, Tower Ballroom, Blackpool 7:01 Gulliver's Travels - Part 1: Faithful Forever; It's A Hap-Hap-Happy Day; Bluebirds In The Moonlight; We're All Together Now Reginald Dixon Dixontime - Plays The Granada Wurlitzers [Grasmere GRCD106] 1940 4-14 Wurlitzer, Granada Theatre, Tooting, London 10:17 Dancing At The Tower - No 4 Part 1: Mary Rose; Life's Desires; Mockin' Bird Hill Reginald Dixon Transfers by Ross McNeillie 1951 3-14 Wurlitzer, Tower Ballroom, Blackpool 14:13 Dancing to Dixon - No 2 - Foxtrots: Lonely; If You Love Me; You, You, You Reginald Dixon Reginald Dixon 'at The Organ' [REXX 332] 1954 3-14 Wurlitzer, Tower Ballroom, Blackpool 17:28 Nights Of Gladness Reginald Dixon At The Blackpool Tower [WRC T 653] 1962 3-14 Wurlitzer, Tower Ballroom, Blackpool 21:09 Serenade To A Beautiful Day Reginald Dixon At Your Request [Columbia SCX 6131] 1967 3-14 Wurlitzer, Tower Ballroom, Blackpool 24:11 Deep Purple Reginald Dixon Back In Blackpool [World Record Club T875] 1971 3-14 Wurlitzer, Tower Ballroom, Blackpool 27:39 King Cotton Reginald Dixon This Is My Song [Columbia SCX 6496] 1972 3-13 Wurlitzer, BBC Playhouse Theatre, Manchester; ex-Empress Ballroom, Blackpool 30:25 Cuban Love Song; Indian Summer; There's A Rainbow 'Round My Shoulder Reginald Dixon Isn't This A Lovely Day [EMI NTS 205] 1980 3-19 Wurlitzer, Thursford Collection, Norfolk, England; ex Paramount/Odeon Leeds 34:41 Dancing Through The Years: See Me Dance The Polka; Stephanie Gavotte; Who's Sorry Now?; The Snake Horace Finch At the Organ of the Empress Ballroom Blackpool [BBC REC 129 M] 1959 3-13 Wurlitzer, Empress Ballroom, Blackpool 40:17 I Can Give You The Starlight Horace Finch Cinema Organ Encores Vol 57 [Deroy 1110] 1974 3-13 Wurlitzer, Empress Ballroom, Blackpool 43:41 Harry Warren Hits: September In The Rain; We re In The Money; I Only Have Eyes For You; Lullaby Of Broadway Horace Finch BBC Broadcast Excerpts: Empress Ballroom 3-13 Wurlitzer, Empress Ballroom, Blackpool 47:03 Finch Favourites, No. 9: The Singing Hills; Don't Ever Pass Me By; Shake Down The Stars Horace Finch REX 9832 1940 3-13 Wurlitzer, Opera House, Blackpool 51:06 Kiss Me Again Horace Finch Cinema Organ Encores Vol 70 [Deroy 1235] 1975 3-13 Wurlitzer, Empress Ballroom, Blackpool; recordings 1952 to 1960; LP released 1975 53:36 Loin Du Bal Watson Holmes Cinema Organ Encores Vol 10 [Deroy 886] 3-13 Wurlitzer, Opera House, Blackpool 56:32 Midnight Tango Watson Holmes Cinema Organ Encores Vol 10 [Deroy 886] 3-13 Wurlitzer, Opera House, Blackpool 58:26 Valse Bleue Watson Holmes Cinema Organ Encores Vol 77 [Deroy 1326] 3-13 Wurlitzer, Opera House, Blackpool 61:16 The Buzzing Bees (Samba) Watson Holmes Cinema Organ Encores Vol 77 [Deroy 1326] 3-13 Wurlitzer, Opera House, Blackpool 62:53 Musical Comedy: Hallelujah!; Lover, Come Back To Me; Who?; Gold And Silver Watson Holmes Cinema Organ Encores Vol 10 [Deroy 886] proc 3-13 Wurlitzer, Opera House, Blackpool

Sintonía: (Outro) - The Bellrays"Street Corner" - "Sister Disaster" - "You´re Sorry Now" - "Used To Be" - "Making Up For Lost Time" - "Some Confusion City" - "Black Is The Color", extraídas del álbum "The Red White And Black Remixed & Remastered" (2024) de The Bellrays"Needlessly Wild" - "Say It Like You Mean It" - "Don´t Feel Right" - "Hunt You Down" - "Hell", extraídas del álbum "Little Rope" (Loma Vista Recordings, 2023) de Sleater-Kinney"Remember" - "Stone Rain" - "Rude Awakening" - "Voodoo Train", extraídas de "The Red White And Black Remixed & Remastered" de The BellraysEscuchar audio

Vanessa Racci, the beloved jazzy Italian, takes center stage as we paint vivid portraits of Italian American music icons Bobby Darin and Connie Francis. Our heart beats with excitement as Vanessa unveils her latest passion project, "Forbidden Love," a mini musical poised to captivate audiences with its debut at Yorktown Stage in Westchester, New York. She shares her journey and collaboration with the talented Charlie Romo, all while nestled in the historical backdrop of Little Italy, thanks to the encouragement of Dr. Joseph Schelsa. Together, they breathe new life into the compelling and overlooked love story of Darin and Francis, adding depth to their legacies. Our conversation celebrates the indomitable spirit of Connie Francis, exploring her touching embrace of her Italian roots through music, even as she navigated personal trials and the challenging dynamics of fame. Her father's insistence on her mastering the accordion and the resulting success of "Who's Sorry Now?" serve as testament to her resilience and talent. We reflect on her extraordinary journey and ponder her mysterious exclusion from the Rock and Roll Hall of Fame. Vanessa and I weave personal anecdotes that underscore the lasting impact of these musical greats, as we announce the ambitious plans to elevate their story from a mini musical to a grand Broadway spectacle. Music becomes the powerful thread connecting past and present, as we reminisce about the resonant beauty of Italian songs like "Non pensare a me" and "Al di là." These melodies carry the weight of family memories, driven by the emotive power of the Neapolitan cry and the unique vocal qualities that define Italian music. We further explore the nurturing of future Italian American talents, celebrating figures like Charlie Romo who is staring in this production with Vanessa, and discuss the discipline and talent required to excel as a singer. As we traverse through genres, with nods to jazz and R&B legends like Alicia Keys and Etta James, this episode becomes a rich tapestry of music's enduring influence on our lives and the vibrant legacy of Italian American contributions to the musical landscape. To find out about the performance see the links below! Get tickets at: https://www.yorktownstage.org/forbidden-love-the-love-story-of-bobby-darin-and-connie-francis/ Vaness's Website: https://vanessaracci.com/ Vanessa's socials Youtube:  @vanessaracci  Instagram: @vanessaracci X: @vanessaracci --- Support this podcast: https://podcasters.spotify.com/pod/show/italianamerican/support

Grammy® Nom, New Music, Rock and Roll Hall of Fame & New Music, TV Appearances.My Grand Folks & Family always had the Rock n Roll/Soul Classics playing  when I went to Reunions & around the House during my Childhood. I consider this a GIFT!!  I ALSO get the gift of Interviewing one of my Favorites: Little Anthony!!Rock and Roll Hall of Fame inductee “Little Anthony” Gourdine is without question one of the most celebrated vocalists in the annals of popular music. His tender yet explosive delivery of a musical phrase leaves audiences spellbound with an impression so indelible that casual listeners never forget the ‘voice' or the tunes he immortalized. These songs consistently emanate from airwaves and are often lauded in music journals worldwide. Songs such as “Goin' Out Of My Head,” “I'm On The Outside Looking In,” “Hurt So Bad,” and “Take Me Back,” are simply four of a compendium of platinum hits performed by the extraordinarily gifted performer on national television and heard on classic and Top-40 radio spanning numerous decades. His latest blockbuster release is no will-o'-the-wisp, stab in the dark recording; it is a well-thought-out and substantive diary of songs, including many covers bearing his unmistakable vocal imprint. Producer Michael Miller spared no effort in tirelessly orchestrating a project that promises an enduring shelf-life titled LITTLE ANTHONY & THE MUSIC — AN ANTHOLOGY. Songs include the classics “A Lovely Way To Spend An Evening, ”Love is a Many Splendored Thing,” “What A Difference A Day Makes,” and “Who's Sorry Now.” Forty memorable selections should keep you and your significant other reminiscing for some time to come. And if you're not spoken for, you can enjoy it all to yourself for as long as you can imagine! There is something for everyone in these forever volumes.  Despite many of the songs being standards, you'll notice his articulate style blessing each track. Consider the infusive single and premier release "New York State of Mind." While some scratch their heads in wonderment upon hearing this cover for the first time, thinking: "That voice is familiar." And after a slight pause, like a ton of bricks it hits them: "That's Little Anthony!" For sure. And then they go on praising his vocal acumen, deservedly so. His R&B-laced rendering of "New York State of Mind" is a divergence from the perennial recording and sports an infectious 42nd Street vibe. It's performed so well that composer Billy Joel is likely to tip his hat. A popular legend recently said: "The Man's still got it!"  His new autobiography Little Anthony -- My Journey, My Destiny is not the traditional rags-to-riches -- cock-and-bull story and not the aimless tale landing everywhere.. “Little Anthony” Gourdine has brightened many a day for aficionados of ‘God's musical gift to mankind' everywhere with indescribably beautiful music that fills our hearts with Joy! .............. https://www.harmonystreet.biz/                                                           Phil C. Brown   © 2024 Building Abundant Success!!2024 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud   

Grammy® Nom,  Rock and Roll Hall of Fame & New Music, TV Appearances.......... Little Anthony Talks to Us about Life Success Lessons from his Elders & Touring with Ruth Brown, Sarah Vaughn,  Sam Cooke, Dr. Martin Luther King & MORE. His Awesome  LITTLE ANTHONY & THE MUSIC — AN ANTHOLOGY includes New Music & Classic Tunes. He Tours in concert in 2023My Grand Folks & Family always had the Rock n Roll/Soul Classics playing  when I went to Reunions & around the House during my Childhood. I consider this a GIFT!!  I ALSO get the gift of Interviewing one of my Favorites: Little Anthony!!Rock and Roll Hall of Fame inductee “Little Anthony” Gourdine is without question one of the most celebrated vocalists in the annals of popular music. His tender yet explosive delivery of a musical phrase leaves audiences spellbound with an impression so indelible that casual listeners never forget the ‘voice' or the tunes he immortalized. These songs consistently emanate from airwaves and are often lauded in music journals worldwide. Songs such as “Goin' Out Of My Head,” “I'm On The Outside Looking In,” “Hurt So Bad,” and “Take Me Back,” are simply four of a compendium of platinum hits performed by the extraordinarily gifted performer on national television and heard on classic and Top-40 radio spanning numerous decades. His latest blockbuster release is no will-o'-the-wisp, stab in the dark recording; it is a well-thought-out and substantive diary of songs, including many covers bearing his unmistakable vocal imprint. Producer Michael Miller spared no effort in tirelessly orchestrating a project that promises an enduring shelf-life titled LITTLE ANTHONY & THE MUSIC — AN ANTHOLOGY. Songs include the classics “A Lovely Way To Spend An Evening, ”Love is a Many Splendored Thing,” “What A Difference A Day Makes,” and “Who's Sorry Now.” Forty memorable selections should keep you and your significant other reminiscing for some time to come. Despite many of the songs being standards, you'll notice his articulate style blessing each track. Consider the infusive single and premier release "New York State of Mind." While some scratch their heads in wonderment upon hearing this cover for the first time, thinking: "That voice is familiar." And after a slight pause, like a ton of bricks it hits them: "That's Little Anthony!" For sure. And then they go on praising his vocal acumen, deservedly so. His R&B-laced rendering of "New York State of Mind" is a divergence from the perennial recording and sports an infectious 42nd Street vibe. It's performed so well that composer Billy Joel is likely to tip his hat. A popular legend recently said: "The Man's still got it!" “Little Anthony” Gourdine has brightened many a day for aficionados of ‘God's musical gift to mankind' everywhere with indescribably beautiful music that fills our hearts with Joy! .............. https://www.harmonystreet.biz/                                                           Phil C. Brown   © 2024 Building Abundant Success!!2024 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud   

The last tune from May 3rd, 1989, followed by the first two selections from the following week, at Ephraim's in Sudbury, Massachusetts. The musicians are Jimmy Mazzy (banjo/vocals), Fred Lind (cornet), Paul Meymaris (clarinet), John Kafalas (tuba), Milt Steinmetz and Don Frothingham (piano), and Stu Grover (drums). The selections are “Who's Sorry Now,” “Breezin' Along … Continue reading Program #173: 5/3/89 and 5/10/89

Harvey Brownstone conducts an in-depth Interview with the Legendary Marie Osmond About Harvey's guests: Today's special guest, Marie Osmond, is a superstar who's been dazzling audiences since she was 3 years old, as the only daughter in the legendary Osmond family.   At the age of 12, she recorded her first solo album “Paper Roses”, making her the youngest female to reach the #1 spot on TWO Billboard charts.  She was also the youngest female to co-host a television show, “Donny & Marie”, with her brother, Donny Osmond, which is one of the most popular and beloved TV variety shows of all time.   She's a multiple gold and platinum selling recording artist, with 12 solo albums and numerous Billboard chart-topping singles including “Paper Roses”, “In My Own Little Corner of the World”, “Who's Sorry Now”, “There's No Stopping Your Heart”, “Read My Lips”, and her iconic duets, not only with Donny, but “You're Still New to Me” and “Sweet Life” with Paul Davis, “It Wasn't Love Before” with Lee Greenwood, “The Way You Do the Things You Do” with Tom Jones, and, of course, “Meet me in Montana” with Dan Seals, which won the 1986 CMA Award for Duo of the Year.   Our guest has hosted numerous TV talk shows, she's had her own radio show, she's starred on Broadway in “The King and I”, and did national tours of “The King and I” and “The Sound of Music”, she's written THREE New York Times Bestselling books, she's starred in THREE Lifetime movies, she ran her own company for 25 years designing and sculpting the most beautiful dolls in the world, and her long running show with her brother Donny in Las Vegas won the award for the #1 Best Show for THREE years in a row.   Our guest is also a renowned philanthropist.  She co-founded the Children's Miracle Network Hospitals, raising over 9 billion dollars and helping over 12 million children in local hospitals every year.    In 2018 she received “The Secretary of Defense Medal for Outstanding Public Service”.   She's currently on a North American concert tour playing to sold-out audiences and getting rave reviews.   And her latest album, entitled, “Unexpected”, debuted at #1 on Billboard's Classical Crossover chart, and has re-entered Billboard's Top Ten a staggering 29 times.   And I can't resist adding that our guest was the FIRST celebrity Barbie doll created by The Mattel Toy Company.   For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Marie Osmond, go to:https://www.marieosmond.com/ https://www.facebook.com/marieosmondhttps://www.instagram.com/marieosmond/ http://twitter.com/marieosmondhttps://www.youtube.com/marieosmondvevohttps://www.pinterest.com/MarieOsmondOfficial/https://www.imdb.com/name/nm0005288/ #MarieOsmond   #harveybrownstoneinterviews

WARNING: this episode contains some adult language. We're back after our festive hiatus – and how better to start the year than with a rundown of some of the most-anticipated reads of 2024. This week, Jo and James are joined by journalist and TLS podcast host Alex Clark, so listen in as they discuss the books, by Booker Prize authors and beyond, that we should all keep an eye out for this year. 2024 reading list: Long Island by Colm Tóibín The Women Behind the Door by Roddy Doyle James by Percival Everett Choice by Neel Mukherjee What Will Survive of Us by Howard Jacobson Parade by Rachel Cusk The Spoiled Heart by Sunjeev Sahota The Heart in Winter by Kevin Barry The Underground Sea by John Berger The Summer We Crossed Europe in the Rain by Kazuo Ishiguro Knife by Salman Rushdie My Heavenly Favourite by Lucas Rijneveld, translated by Michele Hutchison The Road to the Country by Chigozie Obioma Parasol Against the Axe by Helen Oyeyemi Creation Lake by Rachel Kushner Mr Geography by Tim Parks Fourteen Days: A Collaborative Novel Day by Michael Cunningham Enlightenment by Sarah Perry Godwin by Joseph O'Neill Caledonian Road by Andrew O'Hagan   Other books mentioned: Brooklyn by Colm Tóibín The Woman Who Walked into Doors by Roddy Doyle Paula Spencer by Roddy Doyle The Committments by Roddy Doyle The Snapper by Roddy Doyle The Van by Roddy Doyle Paddy Clarke Ha Ha Ha by Roddy Doyle Two Pints by Roddy Doyle The Adventures of Huckleberry Finn by Mark Twain The Sellout by Paul Beatty The Trees by Percival Everett Erasure by Percival Everett Suder by Percival Everett The Lives of Others by Neel Mukherjee Who's Sorry Now? by Howard Jacobson Kalooki Nights by Howard Jacobson J by Howard Jacobson The Finkler Question by Howard Jacobson Live a Little by Howard Jacobson Mother's Boy by Howard Jacobson The Dog's Last Walk: (and Other Pieces) by Howard Jacobson The Outline trilogy by Rachel Cusk Into the Fold by Rachel Cusk Second Place by Rachel Cusk Self-Portrait by Celia Paul The Year of the Runaways by Sunjeev Sahota China Room by Sunjeev Sahota City of Bohane by Kevin Barry Beatlebone by Kevin Barry Night Boat to Tangier by Kevin Barry The Satanic Verses by Salman Rushdie The Discomfort of Evening by Lucas Rijneveld, translated by Michele Hutchison The Hours by Michael Cunningham The Essex Serpent by Sarah Perry Virginia Woolf's Nose by Hermione Lee Mayflies by Andrew O'Hagan   A full transcript of the episode is available at our website. You can listen to Alex's podcast here: https://podcasts.apple.com/ie/podcast/the-tls-podcast/id868068396   Follow The Booker Prize Podcast so you never miss an episode. Visit http://thebookerprizes.com/podcast to find out more about us, and follow us on Twitter, Instagram, Facebook and Tiktok @thebookerprizes. Learn more about your ad choices. Visit megaphone.fm/adchoices

Digital artist Amalia Soto, also known by the username Molly Soda, wants to show us how we portray ourselves, or perform ourselves, online. She says the images and videos we upload don't necessarily lie, but they do pose questions about the ways we curate our lives for unseen others. She also believes there is a lot we don't actually control when we hit the ‘post' button. With Glenn Kaino. See the artwork we discussed: Who's Sorry Now? (2017) Inbox Full (2012) My Apology (2022)

In Concert! ATOS Marketplace for 2023 Highlights CDs Start Name Artist Album Year Comments 0:00 Way Down Yonder In New Orleans George Wright Live At The Rialto [Banda 109759-2] 1971 2-10 Wurlitzer, Rialto Theatre, South Pasadena 1:56 Easy To Love Ed Gress Concert: Metropolitan Theatre, Boston 1958 1958 4-26 Wurlitzer, Metropolitan Theatre, Boston, MA 4:46 The Runaway Rocking Horse Simon Gledhill ATOS 2023 Chicago 2023 4-26 Barton hybrid, Rialto Square Theatre, Joliet, IL; final convention concert 2023-07-06 9:15 Till There Was You Zach Frame ATOS 2023 Chicago 2023 3-30 Wurlitzer, Organ Piper Pizza, Milwaukee, WI; console from Seneca Theatre, Buffalo, NY; concert 2023-07-07 14:53 I Go To Extremes Brett Valliant ATOS 2023 Chicago 2023 4-21 Hybrid, St. Mary of the Lake Seminary, Mundelein, IL; Concert 2023-07-06 17:42 Moonlight in Vermont Alec Leader Concert: Plough, Great Munden 1984 1984 3-12 Compton plus Melotone, Plough Public House, Great Munden, Herts; ex-Gaumont, Finchley, London 22:37 The Glow Worm Allen Mills Concert: NY Military Academy 1991-05-04 (Saying Goodbye) 1991 4-31 Moller, New York Military Academy, Cornwall-On-Hudson, NY; Recording © 1988-2021 Skilled Shot LLC - All Rights Reserved - Recording Engineer: Marc R. Erickson AES 27:47 Me Minus You Bill Vlasak ATOS 1996 Pasadena 1996 3-23 Wurlitzer, Sexson Auditorium, City College, Pasadena, CA; July 2, 1996 30:46 Kalmar and Ruby: Who's Sorry Now?; Nevertheless; Thinking Of You; I Wanna Be Loved By You; Three Little Words Bob Ralston Concert: Keystone Oaks High School 2000-09-09 2000 3-19 Wurlitzer, Keystone Oaks High School, Dormont, PA 35:59 Unknown Don Simmons Concert: Andriesian Residence 1965 1965 4-21 Barton-Wurlitzer Hybrid, Dr. Dan Andriesian Residence, Cottage Grove, OR; April 1965 39:43 Beautiful Love Chris Elliott ATOS 1994 Fresno 1994 2-10 Wurlitzer, Fox Theatre, Hanford, CA; 1 July 1994 43:28 Cavalcade of Martial Songs Dudley Savage Concert: Dreamland Margate 1993-06-06 1993 4-19 Compton Noterman, Dreamland Cinema, Margate; (8 Compton 11 Noterman) Installed 1935 48:10 I Dreamed A Dream David Redfern Concert: Astoria Centre, Barnsley 2021-02-12 (At The Astoria 3) 2021 3-18 Compton, Astoria Centre, Barnsley, Yorks 52:55 Poet and Peasant Overture Jonas Nordwall Omnificent [Organ Grinder JN-106] 1980 4-37 Wurlitzer, Organ Grinder Restaurant, Denver, CO (1979-1988); based on 4-20 Publix 1 from Paramount, Portland.

Rock and Roll Hall of Fame, Encore EpisodeMy Grand Folks & Family always had the Rock n Roll/Soul Classics playing  when I went to Reunions & around the House during my Childhood. I consider this a GIFT Interviewing one of my Favorites: Little Anthony!!Rock and Roll Hall of Fame inductee “Little Anthony” Gourdine is without question one of the most celebrated vocalists in the annals of popular music. His tender yet explosive delivery of a musical phrase leaves audiences spellbound with an impression so indelible that casual listeners never forget the ‘voice' or the tunes he immortalized. Songs such as “Goin' Out Of My Head,” “I'm On The Outside Looking In,” “Hurt So Bad,” and “Take Me Back,” are simply four of a compendium of platinum hits performed by the extraordinarily gifted performer on national television and heard on classic and Top-40 radio spanning numerous decades. His latest blockbuster release is a well-thought-out and substantive diary of songs, including many covers bearing his unmistakable vocal imprint. Producer Michael Miller spared no effort in tirelessly orchestrating a project that promises an enduring shelf-life titled LITTLE ANTHONY & THE MUSIC — AN ANTHOLOGY. Songs include the classics “A Lovely Way To Spend An Evening, ”Love is a Many Splendored Thing,” “What A Difference A Day Makes,” and “Who's Sorry Now.” . Consider the infusive single and premier release "New York State of Mind." While some scratch their heads in wonderment upon hearing this cover for the first time, thinking: "That voice is familiar." And after a slight pause, like a ton of bricks it hits them: "That's Little Anthony!" For sure. And then they go on praising his vocal acumen, deservedly so. His R&B-laced rendering of "New York State of Mind" is a divergence from the perennial recording and sports an infectious 42nd Street vibe. It's performed so well that composer Billy Joel is likely to tip his hat. He has been & remains an inspiration to many larger-than-life- acts, past and present: Silk Sonic, Billy Joel, Bruce Springsteen, and Michael Jackson, to name a few. Nearly every rock, pop, R&B, and jazz act who attained star status attribute a slice of their inspiration to the influence of Little Anthony as a lead vocalist and a solo artist. Alive and well, he is eager to take his show on the road and share as much as audiences can enjoy, He is busily working on other productions to be named later. His new autobiography Little Anthony -- My Journey, My Destiny is not the traditional rags-to-riches -- cock-and-bull story and not the aimless tale landing everywhere. It is a culmination of a lifetime of near embryonic experiences unlike many others -- and he is here to talk about it. Little Anthony Gourdine has brightened many a day for aficionados of ‘God's musical gift to mankind' everywhere with indescribably beautiful music that fills our hearts with Joy! .............. https://www.harmonystreet.biz/                                                           Phil C. Brown   © 2023 Building Abundant Success!!2023 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

 | Artist  | Title  | Album Name  | Album Copyright  |  | Dr Ross and the Hellhounds  | Memphis (You Rocked Me)  | Dr.Ross.And.The.Hellhounds.-.1988.-.Madison.To.Memphis.-.Vinyl | Eric Clapton  | Alabama Woman Blues  | I Still Do  |   |   |  | The Jake Leg Jug Band  | Who's Sorry Now¿  | EVERYTHIN'S JAKE  |   |  | Anthony Geraci  | Tomorrow May Never Come  | Daydreams In Blue  |   |  | The 2:19  |Best Suit  | We Will Get Through This  |  | Big Bone Daddy  | All I Got To Say  | Backroom Blues Vol. 1  |  | Anson Funderburgh & The Rockets  | Hard-Hearted Woman  | Live At The Grand Emporium  |  | Soft Shoe Sam  | The Roll Of The Dice  | National Debt  |   |  | Henri Herbert  |  Sweet Lorraine  | Boogie Till I Die  |   |  | John Hammond  |  Going Away Baby  | Timeless  |   |   |  | Concrete Prairie  |  I Wish You Well  | Concrete Prarie  |   |  | Joanna Connor  | It's Not The Rock  | Slidetime  |   |   |  | Chuck Berry  | Thirty Days  | The Ultimate Collection cd 1  |  | Chris Antonik  | How To Be Alone  | Morningstar  |   |  | Eddie Martin  | Silver Spoon  | THIRST  |   |   |  | Albert Castiglia  | Big Toe  | Leaflets II: A Blues Leaf Sampler 2000 -2006

| Feel Good Music  | Destiny La Vibe Music | Forever Yours (Remix)  | Hunter Rose | I Can't Call It  | Helen Bruner & Terry Jones | Touchin'  | Honey Bxby | Night Time  | Rich Prince | Meditate  | Suté Iwar, Tay Iwar, Lex Amor | It Ain't EZ  | Eddie Levert | Calm & Patient  | Jhené Aiko | No Man's Used To Be  | Rosalyn Candy | Certified Love  | Jay Lamont | Shine On Me  | Jay Lamont | Sorry Now  | LeMarvin | Gratitude  | Latocha | Better Late Than Never  | The Sextones | Therapy  | Jaz Karis | Right Now  | Nia Suhn | Love Around The Clock  | Raheem DeVaughn x Vandell Andrew x The Colleagues | Love Will Find A Way  | Melvin Sanders | Midday Thinking  | Michon Young | You Are  | Michon Young | Ride It Out  | Carys May | Temporary Low  | Soli | I Don't Want You!  | Latasha Lee | Changing Every Day  | Baltic Jazz Recordings feat. Ni Maxine | Loving On You, Loving On Me  | Evette Busby | W8  | Avery*Sunshine, Drew The Rew | Spiteful  | Haleylimyou | Touch  | Haleylimyou | Lady Love  | Kubla | More  | Tony Walk | Blame Me  | Aisyla Arriet | Come On Over  | Mr. Sipp | Tired, Do You Hear Me Now (The Realm Remix)  | Kim Tavar

Grammy® Nom,  Rock and Roll Hall of Fame & New Music, TV Appearances.......... Little Anthony Talks to Us about Life Success Lessons from his Elders & Touring with Ruth Brown, Sarah Vaughn,  Sam Cooke, Dr. Martin Luther King & MORE. His Awesome  LITTLE ANTHONY & THE MUSIC — AN ANTHOLOGY includes New Music & Classic Tunes. He Tours in concert in 2023My Grand Folks & Family always had the Rock n Roll/Soul Classics playing  when I went to Reunions & around the House during my Childhood. I consider this a GIFT!!  I ALSO get the gift of Interviewing one of my Favorites: Little Anthony!!Rock and Roll Hall of Fame inductee “Little Anthony” Gourdine is without question one of the most celebrated vocalists in the annals of popular music. His tender yet explosive delivery of a musical phrase leaves audiences spellbound with an impression so indelible that casual listeners never forget the ‘voice' or the tunes he immortalized. These songs consistently emanate from airwaves and are often lauded in music journals worldwide. Songs such as “Goin' Out Of My Head,” “I'm On The Outside Looking In,” “Hurt So Bad,” and “Take Me Back,” are simply four of a compendium of platinum hits performed by the extraordinarily gifted performer on national television and heard on classic and Top-40 radio spanning numerous decades. His latest blockbuster release is no will-o'-the-wisp, stab in the dark recording; it is a well-thought-out and substantive diary of songs, including many covers bearing his unmistakable vocal imprint. Producer Michael Miller spared no effort in tirelessly orchestrating a project that promises an enduring shelf-life titled LITTLE ANTHONY & THE MUSIC — AN ANTHOLOGY. Songs include the classics “A Lovely Way To Spend An Evening, ”Love is a Many Splendored Thing,” “What A Difference A Day Makes,” and “Who's Sorry Now.” Forty memorable selections should keep you and your significant other reminiscing for some time to come. And if you're not spoken for, you can enjoy it all to yourself for as long as you can imagine! There is something for everyone in these forever volumes. And I promise you: The fun verbal exchanges in the narration between Anthony and the producer are insightful as twists and turns unravel in the development of this contemporary musical masterpiece. Despite many of the songs being standards, you'll notice his articulate style blessing each track. Consider the infusive single and premier release "New York State of Mind." While some scratch their heads in wonderment upon hearing this cover for the first time, thinking: "That voice is familiar." And after a slight pause, like a ton of bricks it hits them: "That's Little Anthony!" For sure. And then they go on praising his vocal acumen, deservedly so. His R&B-laced rendering of "New York State of Mind" is a divergence from the perennial recording and sports an infectious 42nd Street vibe. It's performed so well that composer Billy Joel is likely to tip his hat. A popular legend recently said: "The Man's still got it!" A few days from scheduled release, we're anticipating a rush of accolades and interest in what comes next. After years of performing at arenas and concert halls, clubs and festivals, Anthony has acquired a wealth of experience that accompanies him as you flashback to his highly successful stint as lead singer with the Imperials on a few choice cuts. Following the release of this work, expect the entertainment icon and his band to visit a city near you with a live show embracing many of the tunes contained in this two-volume cache — and more. As an all-around artist in the studio and on stage, he has been and remains an inspiration to many larger-than-life- acts, past and present: Silk Sonic, Billy Joel, Bruce Springsteen, and Michael Jackson, to name a few. Nearly every rock, pop, R&B, and jazz act who attained star status attribute a slice of their inspiration to the influence of Little Anthony as a lead vocalist and a solo artist. Alive and well, he is eager to take his show on the road and share as much as audiences can enjoy, including numbers from the Anthology. Like a silver fox, he roams the stage, eyeing each participant as they sing along with the seasoned crooner and his dynamic band. Recently, the Brooklyn, NY, native said: “I'm anxious to share these songs with folks everywhere, and I'm so proud of the entire team that helped put it all together.” This is only the beginning of a succession of projects on tap for the foreseeable future. He is busily working on other productions to be named later. His new autobiography Little Anthony -- My Journey, My Destiny is not the traditional rags-to-riches -- cock-and-bull story and not the aimless tale landing everywhere. It is a culmination of a lifetime of near embryonic experiences unlike many others -- and he is here to talk about it. But whether sipping a cup of tea, tearfully empathizing with the subject, or pondering a musical concept, there's something for everyone in this one. One more thing: the fact that Anthony rhymes with anthology sounds cute and is coincidental, but the sterling quality of this 40-track-production is not(!) borne of luck. “Little Anthony” Gourdine has brightened many a day for aficionados of ‘God's musical gift to mankind' everywhere with indescribably beautiful music that fills our hearts with Joy! .............. https://www.harmonystreet.biz/                                                           Phil C. Brown   © 2023 Building Abundant Success!!2023 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud   

| There It Is (Original Mix)  | Kevin Yost | Edua (The Almighty) (Mijangos Afro House Remix)  | Jay B McCauley, Emiola Sunday | Keep It Coming (Original Mix)  | Dr Packer, Suki Soul | A.I.E. A Mwana (Afro Version)  | Monsieur Willy, Funky French League | What Did You Do Today (DJ Fella Retro House Radio Edit)  | The Ebonys  | Hey Baby (Gedi Edit)  | Yvonne J feat. Music Joseph Rodriguez | God Is Good  | Stanley Brown, Karen Clark-Sheard, Hezekiah Walker, Kierra Sheard | What's Good? (feat. Darien Dean)  | Soulpersona | Got To Be (Soul Mix - Radio Edit)  | Brian Power feat. Roachford  | Make A Move On Me  | Ernie & The Family McKone feat. Laura Jackson | Brighter Days  | Natasha Watts  | Whatcha Doin' To Me? (feat. Black Cafè)  | Massnada | Just Say The Word (Paul Simpson Re-edit)  | Trammps | Trammps Disco Theme (Paul Simpson Re-edit)  | Trammps | That's When I'll Stop Loving You  | Belita Woods | Magic Corner  | Belita Woods | Love On You  | Will Downing | For Crying Out Loud (2023)  | Larry Braggs | Mr. Big Stuff  | Evette Busby | Let's Stay In Tonight  | Dennis Taylor  | Flippin' (Gedi Clean Edit)  | Tribez | You Make Me Tremble  | Paul Kelly | Roll With Me  | Carlene Graham | Good Morning  | PJ Morton feat. Susan Carol | Grown Woman (Clean Version)  | Viktoria Vennice | Prom Night  | Justin Garner | Persuade Me  | Ivey Amour | That's On Me (Gedi Clean Edit)  | Jane Handcock with October London | Sorry Now  | LeMarvin | Louie, Louie  | Los Yesterdays | One More Chance  | The Masqueraders | Lover's Interlude  | October London | Make Me Wanna  | October London | Standing  | Loie | Unnecessary  | JKabel | Old News  | JKabel | Beautiful  | Kim Tavar

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

Grammy® Nom, Rock and Roll Hall of Fame & New Music, TV Appearances..........What was it Like Being a Rock & Soul Star & Tour BEFORE Integration? What was it like for a New Yorker Touring the segregated South n the late 50's early 60's? What was it like to hear your song on the radio & be on a Dance TV Show as Black a music act, yet the audiences & dancers in that studio were segregated ( No Blacks, Minorities allowed)?We discuss early Rock, Radio & icons of the past & present in this episodeAlthough his music pre-dates ME, My Grand Folks & Family always had the Rock n Roll/Soul Classics playing  when I went to Reunions & around the House during my Childhood. I consider this a GIFT!!  I ALSO get the gift of Interviewing one of my Favorites: Little Anthony!!Rock and Roll Hall of Fame inductee “Little Anthony” Gourdine is without question one of the most celebrated vocalists in the annals of popular music. His tender yet explosive delivery of a musical phrase leaves audiences spellbound with an impression so indelible that casual listeners never forget the ‘voice' or the tunes he immortalized. These songs consistently emanate from airwaves and are often lauded in music journals worldwide. Songs such as “Goin' Out Of My Head,” “I'm On The Outside Looking In,” “Hurt So Bad,” and “Take Me Back,” are simply four of a compendium of platinum hits performed by the extraordinarily gifted performer on national television and heard on classic and Top-40 radio spanning numerous decades. His latest blockbuster release is no will-o'-the-wisp, stab in the dark recording; it is a well-thought-out and substantive diary of songs, including many covers bearing his unmistakable vocal imprint. Producer Michael Miller spared no effort in tirelessly orchestrating a project that promises an enduring shelf-life titled LITTLE ANTHONY & THE MUSIC — AN ANTHOLOGY. Songs include the classics “A Lovely Way To Spend An Evening, ”Love is a Many Splendored Thing,” “What A Difference A Day Makes,” and “Who's Sorry Now.” Forty memorable selections should keep you and your significant other reminiscing for some time to come. And if you're not spoken for, you can enjoy it all to yourself for as long as you can imagine! There is something for everyone in these forever volumes. And I promise you: The fun verbal exchanges in the narration between Anthony and the producer are insightful as twists and turns unravel in the development of this contemporary musical masterpiece. Despite many of the songs being standards, you'll notice his articulate style blessing each track. Consider the infusive single and premier release "New York State of Mind." While some scratch their heads in wonderment upon hearing this cover for the first time, thinking: "That voice is familiar." And after a slight pause, like a ton of bricks it hits them: "That's Little Anthony!" For sure. And then they go on praising his vocal acumen, deservedly so. His R&B-laced rendering of "New York State of Mind" is a divergence from the perennial recording and sports an infectious 42nd Street vibe. It's performed so well that composer Billy Joel is likely to tip his hat. A popular legend recently said: "The Man's still got it!" A few days from scheduled release, we're anticipating a rush of accolades and interest in what comes next. After years of performing at arenas and concert halls, clubs and festivals, Anthony has acquired a wealth of experience that accompanies him as you flashback to his highly successful stint as lead singer with the Imperials on a few choice cuts. Following the release of this work, expect the entertainment icon and his band to visit a city near you with a live show embracing many of the tunes contained in this two-volume cache — and more. As an all-around artist in the studio and on stage, he has been and remains an inspiration to many larger-than-life- acts, past and present: Silk Sonic, Billy Joel, Bruce Springsteen, and Michael Jackson, to name a few. Nearly every rock, pop, R&B, and jazz act who attained star status attribute a slice of their inspiration to the influence of Little Anthony as a lead vocalist and a solo artist. Alive and well, he is eager to take his show on the road and share as much as audiences can enjoy, including numbers from the Anthology. Like a silver fox, he roams the stage, eyeing each participant as they sing along with the seasoned crooner and his dynamic band. Recently, the Brooklyn, NY, native said: “I'm anxious to share these songs with folks everywhere, and I'm so proud of the entire team that helped put it all together.” This is only the beginning of a succession of projects on tap for the foreseeable future. He is busily working on other productions to be named later. His new autobiography Little Anthony -- My Journey, My Destiny is not the traditional rags-to-riches -- cock-and-bull story and not the aimless tale landing everywhere. It is a culmination of a lifetime of near embryonic experiences unlike many others -- and he is here to talk about it. But whether sipping a cup of tea, tearfully empathizing with the subject, or pondering a musical concept, there's something for everyone in this one. One more thing: the fact that Anthony rhymes with anthology sounds cute and is coincidental, but the sterling quality of this 40-track-production is not(!) borne of luck. “Little Anthony” Gourdine has brightened many a day for aficionados of ‘God's musical gift to mankind' everywhere with indescribably beautiful music that fills our hearts with Joy! .............. https://www.harmonystreet.biz/                                                           Phil C. Brown   © 2022 Building Abundant Success!!2022 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Probably most fun show yet. Andrew spends an eventful day with Emmy-winning actor Joe Pantoliano. Learn how Tom Cruise indirectly inspired Joe to seek rhinoplasty while doing Risky Business. Hear tales of very bad mothering, the wiseguy who fathered him and how a dyslexic, ADD afflicted “closeted actor” came out as a thespian and made his escape from Hoboken. Hear insight on why Joey identified with his treacherous character in The Matrix. Get a masterclass on both acting and how to shoplift expensive shirts. Hear what a three valium can do to an interview subject. Learn the last thing you should ever say to your spouse, and why Joey let it rip right in front of guests at a dinner party. Mentioned: Recommended scene. Ralph Cifaretto confronts Tracee in The Sopranos https://www.youtube.com/watch?v=eYDbiodGMKk Joey's excellent memoirs: Who's Sorry Now, 2002, about his Hoboken childhood https://www.amazon.com/Whos-Sorry-Now-Story-Stand-up/dp/0525946772 Asylum, 2012, about his acting career and his mental and chemical struggles https://www.amazon.com/Asylum-Hollywood-Depression-Dis-Ease-Recovery/dp/B00ANY5RCY No Kidding, Me 2!, Joe's 2010 documentary seeking to destigmatize mental illness https://www.amazon.com/No-Kidding-Me-Illness-Documentary/dp/B003B3NGS6  

Grammy® Nom, Rock and Roll Hall of Fame & New Music, TV Appearances..........What was it Like Being a Rock & Soul Star & Tour BEFORE Integration? What was it like for a New Yorker Touring the segregated South n the late 50's early 60's? What was it like to hear your song on the radio & be on a Dance TV Show as Black a music act, yet the audiences & dancers in that studio were segregated ( No Blacks, Minorities allowed)? We discuss early Rock, Radio & icons of the past & present in this episodeAlthough his music pre-dates ME, My Grand Folks & Family always had the Rock n Roll/Soul Classics playing  when I went to Reunions & around the House during my Childhood. I consider this a GIFT!!  I ALSO get the gift of Interviewing one of my Favorites: Little Anthony!!Rock and Roll Hall of Fame inductee “Little Anthony” Gourdine is without question one of the most celebrated vocalists in the annals of popular music. His tender yet explosive delivery of a musical phrase leaves audiences spellbound with an impression so indelible that casual listeners never forget the ‘voice' or the tunes he immortalized. These songs consistently emanate from airwaves and are often lauded in music journals worldwide. Songs such as “Goin' Out Of My Head,” “I'm On The Outside Looking In,” “Hurt So Bad,” and “Take Me Back,” are simply four of a compendium of platinum hits performed by the extraordinarily gifted performer on national television and heard on classic and Top-40 radio spanning numerous decades. His latest blockbuster release is no will-o'-the-wisp, stab in the dark recording; it is a well-thought-out and substantive diary of songs, including many covers bearing his unmistakable vocal imprint. Producer Michael Miller spared no effort in tirelessly orchestrating a project that promises an enduring shelf-life titled LITTLE ANTHONY & THE MUSIC — AN ANTHOLOGY. Songs include the classics “A Lovely Way To Spend An Evening, ”Love is a Many Splendored Thing,” “What A Difference A Day Makes,” and “Who's Sorry Now.” Forty memorable selections should keep you and your significant other reminiscing for some time to come. And if you're not spoken for, you can enjoy it all to yourself for as long as you can imagine! There is something for everyone in these forever volumes. And I promise you: The fun verbal exchanges in the narration between Anthony and the producer are insightful as twists and turns unravel in the development of this contemporary musical masterpiece. Despite many of the songs being standards, you'll notice his articulate style blessing each track. Consider the infusive single and premier release "New York State of Mind." While some scratch their heads in wonderment upon hearing this cover for the first time, thinking: "That voice is familiar." And after a slight pause, like a ton of bricks it hits them: "That's Little Anthony!" For sure. And then they go on praising his vocal acumen, deservedly so. His R&B-laced rendering of "New York State of Mind" is a divergence from the perennial recording and sports an infectious 42nd Street vibe. It's performed so well that composer Billy Joel is likely to tip his hat. A popular legend recently said: "The Man's still got it!" A few days from scheduled release, we're anticipating a rush of accolades and interest in what comes next. After years of performing at arenas and concert halls, clubs and festivals, Anthony has acquired a wealth of experience that accompanies him as you flashback to his highly successful stint as lead singer with the Imperials on a few choice cuts. Following the release of this work, expect the entertainment icon and his band to visit a city near you with a live show embracing many of the tunes contained in this two-volume cache — and more. As an all-around artist in the studio and on stage, he has been and remains an inspiration to many larger-than-life- acts, past and present: Silk Sonic, Billy Joel, Bruce Springsteen, and Michael Jackson, to name a few. Nearly every rock, pop, R&B, and jazz act who attained star status attribute a slice of their inspiration to the influence of Little Anthony as a lead vocalist and a solo artist. Alive and well, he is eager to take his show on the road and share as much as audiences can enjoy, including numbers from the Anthology. Like a silver fox, he roams the stage, eyeing each participant as they sing along with the seasoned crooner and his dynamic band. Recently, the Brooklyn, NY, native said: “I'm anxious to share these songs with folks everywhere, and I'm so proud of the entire team that helped put it all together.” This is only the beginning of a succession of projects on tap for the foreseeable future. He is busily working on other productions to be named later. His new autobiography Little Anthony -- My Journey, My Destiny is not the traditional rags-to-riches -- cock-and-bull story and not the aimless tale landing everywhere. It is a culmination of a lifetime of near embryonic experiences unlike many others -- and he is here to talk about it. But whether sipping a cup of tea, tearfully empathizing with the subject, or pondering a musical concept, there's something for everyone in this one. One more thing: the fact that Anthony rhymes with anthology sounds cute and is coincidental, but the sterling quality of this 40-track-production is not(!) borne of luck. “Little Anthony” Gourdine has brightened many a day for aficionados of ‘God's musical gift to mankind' everywhere with indescribably beautiful music that fills our hearts with Joy! .............. https://www.harmonystreet.biz/                                                           Phil C. Brown   © 2022 Building Abundant Success!!2022 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

The Jazz Session No.276 from RaidersBroadcast.com as aired in Sep 2022, featuring a selection of exciting vintage tracks from a variety of Dixieland artists. TRACK LISTING: Laura - Bill Evans; Blues Five Spot - Thelonius Monk; High Society - Kid Ory & His Band; Who's Sorry Now? - Bob Crosby & The Bob Cats; Svantetic - Komeda Quintet; Soul of Things, Var.3 - Tomasz Stanko; None of My Jelly Roll - Pee Wee Russell; Cannon Ball Blues - Jerry Roll Morton; Three Clowns - Weather Report; One Word - Mahavishnu Orchestra w. John McLaughlin; Yaphet - Miles Davis; Peace Go With You Brother - Gil Scott-Heron; Back Water Blues - Bessie Smith & James P.Johnson; Riverboat Shuffle - Jack Hylton's Kit-Kat Band; Fantasy in D - Freddie Hubbard; Perdido - Dizzy Gillespie; Muskrat Ramble - Wild Bill Davison And His Commodores ; Got Butter On It - Banjo' Ikey Robinson & His Band; Joyful Spirits of the Universe - Matthew Halsall; To the Earth - Dinosaur (Laura Jurd).

Grammy® Nom, New Music, Rock and Roll Hall of Fame & New Music, TV Appearances..........My Grand Folks & Family always had the Rock n Roll/Soul Classics playing  when I went to Reunions & around the House during my Childhood. I consider this a GIFT!!  I ALSO get the gift of Interviewing one of my Favorites: Little Anthony!!Rock and Roll Hall of Fame inductee “Little Anthony” Gourdine is without question one of the most celebrated vocalists in the annals of popular music. His tender yet explosive delivery of a musical phrase leaves audiences spellbound with an impression so indelible that casual listeners never forget the ‘voice' or the tunes he immortalized. These songs consistently emanate from airwaves and are often lauded in music journals worldwide. Songs such as “Goin' Out Of My Head,” “I'm On The Outside Looking In,” “Hurt So Bad,” and “Take Me Back,” are simply four of a compendium of platinum hits performed by the extraordinarily gifted performer on national television and heard on classic and Top-40 radio spanning numerous decades. His latest blockbuster release is no will-o'-the-wisp, stab in the dark recording; it is a well-thought-out and substantive diary of songs, including many covers bearing his unmistakable vocal imprint. Producer Michael Miller spared no effort in tirelessly orchestrating a project that promises an enduring shelf-life titled LITTLE ANTHONY & THE MUSIC — AN ANTHOLOGY. Songs include the classics “A Lovely Way To Spend An Evening, ”Love is a Many Splendored Thing,” “What A Difference A Day Makes,” and “Who's Sorry Now.” Forty memorable selections should keep you and your significant other reminiscing for some time to come. And if you're not spoken for, you can enjoy it all to yourself for as long as you can imagine! There is something for everyone in these forever volumes. And I promise you: The fun verbal exchanges in the narration between Anthony and the producer are insightful as twists and turns unravel in the development of this contemporary musical masterpiece. Despite many of the songs being standards, you'll notice his articulate style blessing each track. Consider the infusive single and premier release "New York State of Mind." While some scratch their heads in wonderment upon hearing this cover for the first time, thinking: "That voice is familiar." And after a slight pause, like a ton of bricks it hits them: "That's Little Anthony!" For sure. And then they go on praising his vocal acumen, deservedly so. His R&B-laced rendering of "New York State of Mind" is a divergence from the perennial recording and sports an infectious 42nd Street vibe. It's performed so well that composer Billy Joel is likely to tip his hat. A popular legend recently said: "The Man's still got it!" A few days from scheduled release, we're anticipating a rush of accolades and interest in what comes next. After years of performing at arenas and concert halls, clubs and festivals, Anthony has acquired a wealth of experience that accompanies him as you flashback to his highly successful stint as lead singer with the Imperials on a few choice cuts. Following the release of this work, expect the entertainment icon and his band to visit a city near you with a live show embracing many of the tunes contained in this two-volume cache — and more. As an all-around artist in the studio and on stage, he has been and remains an inspiration to many larger-than-life- acts, past and present: Silk Sonic, Billy Joel, Bruce Springsteen, and Michael Jackson, to name a few. Nearly every rock, pop, R&B, and jazz act who attained star status attribute a slice of their inspiration to the influence of Little Anthony as a lead vocalist and a solo artist. Alive and well, he is eager to take his show on the road and share as much as audiences can enjoy, including numbers from the Anthology. Like a silver fox, he roams the stage, eyeing each participant as they sing along with the seasoned crooner and his dynamic band. Recently, the Brooklyn, NY, native said: “I'm anxious to share these songs with folks everywhere, and I'm so proud of the entire team that helped put it all together.” This is only the beginning of a succession of projects on tap for the foreseeable future. He is busily working on other productions to be named later. His new autobiography Little Anthony -- My Journey, My Destiny is not the traditional rags-to-riches -- cock-and-bull story and not the aimless tale landing everywhere. It is a culmination of a lifetime of near embryonic experiences unlike many others -- and he is here to talk about it. But whether sipping a cup of tea, tearfully empathizing with the subject, or pondering a musical concept, there's something for everyone in this one. One more thing: the fact that Anthony rhymes with anthology sounds cute and is coincidental, but the sterling quality of this 40-track-production is not(!) borne of luck. “Little Anthony” Gourdine has brightened many a day for aficionados of ‘God's musical gift to mankind' everywhere with indescribably beautiful music that fills our hearts with Joy! .............. https://www.harmonystreet.biz/                                                            Phil C. Brown    © 2022 Building Abundant Success!!2022 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud   

O Sonora hoje é todo sobre o agora, com um playlist onde todas as faixas têm a palavra “Now” no título. - Brandon Patton - Everybody Loves You Now - Maria Taylor - There's Only Now - Plushgun - Let Me Kiss You Now (And I'll Fade Away) - Kings Of Convenience - Heaven Knows I'm Miserable Now - Alice Russel - Hurry on Now - Nekta - Who's Sorry Now. - Stereo Dub feat. Karen Souza - Who Can It Be Now - Morcheeba - Undress Me Now - Chris Botti and Edie Brickell - Like I Do Now - Echo & The Bunnymen – It's All Over Now Baby Blue - Sara Lov - Hold Me Now - Ive Mendes - If You Leave Me Now - She & Him - Gonna Get Along Without You Now - Foxes - Dont Stop Me Now

Welcome to the Instant Trivia podcast episode 535, where we ask the best trivia on the Internet. Round 1. Category: Questionable Songs 1: Million seller in which Elvis Presley asks, "Are you sorry we drifted apart?". "Are You Lonesome Tonight?". 2: It's what Patti Page asked about "the one with the waggly tail". "(How Much Is) That Doggie In The Window?". 3: It followed Linda Ronstadt's lament "I've been cheated, been mistreated". "When Will I Be Loved?". 4: The Shirelles said, "Tonight you're mine completely" but weren't sure about this. "Will You Love Me Tomorrow?". 5: In her first top ten hit, Connie Francis asked this title question. "Who's Sorry Now?". Round 2. Category: Just Desserts 1: In England, a biscuit can be a cracker or one of these sweet treats. cookie. 2: The original Toll House cookies were this type. chocolate chip. 3: Sharing its name with a French novel, this candy bar was originally 3 nougat bars. Three Musketeers. 4: Shhh! A chocolate one of these is just out of the oven. soufflé. 5: It's the 2-word French name for a custard dessert with a hard, caramelized sugar topping. crème brûlée. Round 3. Category: Name That Roman Emperor 1: 54-68 A.D.:Presided during a big barbecue. Nero. 2: 117-138 A.D.:Had his own "wall" of fame. Hadrian. 3: 37-41 A.D.:Nutty guy who once "declared war" against the ocean. Caligula. 4: 306-337 A.D.:Converted to a non-Roman religion and moved the capital city. Constantine. 5: 27 B.C.-14 A.D.:His sister married Mark Antony and he defeated Mark Antony. Augustus. Round 4. Category: Eagle Hodgepodge 1: In 1782 the U.S. chose this eagle as its national bird. Bald eagle. 2: Young eagles are called eyases or these. Eaglets. 3: It's a synonym for sprawl. Spreadeagle. 4: The chapters of the Fraternal Order of Eagles are called these after the nests of eagles. Aeries. 5: Eddie "The Eagle" Edwards won the hearts of Englanders in 1988 competing in this Olympic event. Ski jumping. Round 5. Category: Tough Potpourri 1: Wow! This man bought Manhattan with trinkets worth about 60 guilders, usually quoted as $24. (Peter) Minuit. 2: It's the specific word for a person between 90 and 100 years old. nonagenarian. 3: If you've read "The Flame Trees of Thika" (or if you saw the miniseries) you know that Thika is in this country. Kenya. 4: She was the first African-American author to win a Pulitzer Prize; she won in 1950 for her poetry. Gwendolyn Brooks. 5: This explorer was the governor of the Louisiana territory when he died mysteriously at a Tennessee inn in 1809. Meriwether Lewis. Thanks for listening! Come back tomorrow for more exciting trivia!

På programmet er følgende: John macko var på Flynderupgård i Espergærde for at få lidt at vide om. at man har Carlsbergs bryggerheste på sommerfold. I indslaget vil vi hører Michael, medarbejder på Flynderupgård Poul-Erik Fredholm, kusk på Carlsberg Der fortælles bl. a. om De fire heste på sommerfol Poul-Eriks store interesse for heste At bruge hestene Pløjestævner Kørestævner John har også været til jazz i Rosenhaven lørdag den 2 juli. Her var Lars Dalsgaards New Orleans Five på scenen. Vi hører Stig Deichman, fra Jazz I Rosenhaven Lars Dalsgaard, orkesterleder Søren Marcher, fra Den lille færge – sponsor Samt lidt musik, 'Who's Sorry Now' og 'Apex Blues' Så har John været ude i naturen med naturvejleder Niels Henriksen. Denne gang i skoven ved Krogerup i Humlebæk. Vi hører om - Stedet og engene - At bevare naturen - Grønne områder og pletter - Skiltning ved indgang til skoven - restriktioner - Væltede træer – skovruin - De mange sten i skovbunden - Genetablering af skov for 200 år siden - Varieret skov Vi briger også cybervejret med Leif Jensen, der imod holder de lokale nyheder fra Humleborg Online sommerferie. Morgenkrydderen er tilrettelagt af Kurt Kammersgaard

Howard Jacobson has won major literary prizes and has a long history of writing splendid thoughtful comic novels. When David Freeman met him to discuss his novel 'Who's Sorry Now' it was back on the old favourite subject of sex ....... again.

Carol Decker is back on with Revenge of the 80s Radio for this episode to talk about T'Pau's new 3CD box set, The Essential T'Pau.The special edition set includes the hits, some deeper cuts, remixes and B-sides. The collection also features the band's newest tracks, "Run," "Be Wonderful" and this year's "Guess Who's Sorry Now?" We discuss the set and music with Carol also gives us an update on upcoming live shows and other fun and interesting things she has been up to

#629 - Connie Francis Connie Francis brings in 18 years of The Paul Leslie Hour. She is one of the most electrifying and illuminating singers the world has ever known. Connie Francis is in a class by herself. She is one of the most prolific recording artists and has sang in several languages (English, German, Italian, Spanish, Hebrew, Japanese). She is one of the great all-time concert draws. Since her 1958 debut LP "Who's Sorry Now," Connie Francis has one of the most impressive recording careers ever. It's a great pleasure to welcome a legend who somehow manages to remain humble. The legendary Connie Francis is right here on The Paul Leslie Hour. The Paul Leslie Hour is a talk show dedicated to “Helping People Tell Their Stories.” Some of the most iconic people of all time drop in to chat. Frequent topics include Arts, Entertainment and Culture.

Music can be therapeutic and evoke memories from the "good old days". But here's to Better Days. Come take a journey down memory lane. If you long to remember times gone by, listen to these memorable songs. Tap your feet, sing along, and smile. "Those were the days."  ***** Join the conversation on Facebook at https://www.facebook.com/profile.php?id=100008232395712 **** or by email at dannymemorylane@gmail.comIn this episode you'll hear: 1)     In The Mood by Glenn Miller & His Orchestra 2)     Fly Me To The Moon by Frank Sinatra (with Count Basie and his Orchestra) 3)     Rum And Coca-Cola by The Andrews Sisters 4)     Cab Driver by The Mills Brothers 5)     On The Atchison, Topeka And The Santa Fe by Johnny Mercer And The Pied Pipers 6)     Who's Sorry Now by Nat King Cole 7)     Opus No. 1 by Tommy Dorsey & His Orchestra 8)     Pretty Baby by Kay Starr 9)     New York, New York by Steve Lawrence 10) More by Perry Como 11) Old Cape Cod by Patti Page 12) Somewhere There's A Someone by Dean Martin 13) Only You (And You Alone) by The Hilltoppers 14) You'd Be So Nice To Come Home To by Nancy Wilson 15) Chattanooga Choo-Choo by Ray Anthony & His Orchestra 16) I'm Gonna Sit Right Down And Write Myself A Letter by Billy Williams 17) I Left My Heart In San Francisco by Tony Bennett 18) Sidewalks Of Cuba by The Woody Herman Orchestra 19) Every Day I Have The Blues by Count Basie & His Orchestra (featuring Joe Williams, vocal) 20) I'm Gonna Wash That Man Right Outa My Hair by Ella Fitzgerald 21) Till I Waltz Again With You by Teresa Brewer & Jack Pleis' Orchestra 22) Hot Toddy by Ted Heath's Orchestra 

Playlist: Mad Cobra - A Gal A ChatArno Vancolen - Venus Loop Revisité (Bryan Chapman Remix)DJ Seinfeld and Teira - U Already KnowJet Boot Jack - AllrightJuan Hansen - Cuatro BajosVarious Artists - Extra Credit - Drive MeAcidFlowerzz - UntitledBPrince Kaybee - I Will Fly (Feat. Sanda)Sarah Wild - Hundred Times Over My HeadK BESD - The Night (Bread N Butta Remix)D. Tiffany - Butterfly FoundationIsis Graham Feat. Miss Fudge - Cast AwayPolygonia - FoxfireNixego - The Recent FutureEvil Fred - The Evil DanceF.U.S.E., Richie Hawtin - Syntax [One]PYTKO - Save My DayMista Cain - RegardlessFlying Lotus - Black Gold (Feat. Thundercat)Busy Signal - Bang Bung (Feat. Bounty Killer)Stephan - RodmanGinesse - GatoradeHotboy Wes - Slum ChildTOFA - TeleportationMoyann - Vanilla (Raw)Sinzere - Stash PotLauren Martinez - FlyXo Slimo - Smoke Remix (Feat. Cinco Music)Shotto Guapo - breson (Feat. Vax)Rayne - Who's Sorry Now?Meg DeAngelis - Two SidesUhmekazet - Love Is The Way

You’ll know Carol Decker of T'Pau from their string of Top 40 hits in the ‘80s and ‘90s, including China in Your Hand, Heart and Soul and Valentine. Carol reflects on the way the band’s biggest hit, China in Your Hand, came together, comments on the way ‘80s music endures, and gets candid about the music industry. She explains how she put the lockdown period to good use by releasing new T'Pau single, Be Wonderful, and released brand new single, Guess Who’s Sorry Now, last week – which captures that classic T'Pau sound, with a modern fresh production.

The irreplaceable Carol Decker returns to kick off our very first show of Series 8! She's launching a brand new single, Guess Who's Sorry Now, as well as having a right royal winge about Covid - and Lockdown! https://www.tpau.co.uk/ https://www.gov.uk/coronavirus https://www.nhs.uk/conditions/coronavirus-covid-19/ SNS Online continues to offer an eclectic range of quality programming - free to download - to all like-minded people out there in cyber-space. These shows are independent podcasts produced to the highest professional standards and are non-profit making. So please enjoy, download and share these shows on all your lovely social media - as essentially that is our advertising! And please, please, please...offer feedback on the 'SNS Online' FB page or Twitter (ScratchNTweet).

Welcome to season 5 of the PDS! On this episode we dig in to the Wondery mini-series The Apology Line. The Apology line chronicles the story of a phone line in 1980s Manhattan where criminals could call in and apologize to those they hurt. It explores the people who called, the man who started the project, and the effects it had on the people closest to him. This weeks discussion : The Apology Line - Who's Sorry Now and Going Public Next weeks recommendation : The Bechdel Cast - Gigli with Josh Fadem     It would be great if you would leave us a review and follow The Podcast Discovery Show on: Spotify Apple Podcasts Google Podcasts Amazon Podcasts Twitter @thepdsofficial  Facebook - Podcast Discovery Club  Twitch -  PodcastDiscoveryShow Patreon - The Podcast Discovery Show Venmo - https://venmo.com/PDS_Crew Discord - The Podcast Discovery Chat  Any support, even just reviews or getting in touch on twitter is very appreciated.

Welcome to season 5 of the PDS! This week we are discussing a favorite of Kirk and Zach's the Lord of the Rings with the show Newcomers! Each season they pick a fandom they don't understand and deep dive the entire canon. Season 2 is about everything Lord of the Rings and this episode features the discussion of The Return of the King This weeks discussion : Newcomers - The Lord of the Rings- The Return of the King Next weeks recommendation : The Apology Line - Who's Sorry Now and Going Public     It would be great if you would leave us a review and follow The Podcast Discovery Show on: Spotify Apple Podcasts Google Podcasts Amazon Podcasts Twitter @thepdsofficial  Facebook - Podcast Discovery Club  Twitch -  PodcastDiscoveryShow Patreon - The Podcast Discovery Show Venmo - https://venmo.com/PDS_Crew Discord - The Podcast Discovery Chat  Any support, even just reviews or getting in touch on twitter is very appreciated.

This week, Justin & Gurdip are joined by Joe Shooman, author of "An A-Z of Elvis: Infrequently Asked Questions," a new short book highlighting trivia ranging from conspiracy theories to Elvis' genealogy, from ETAs to collectors and producers. Fittingly, our chapter of "Elvis What Happened" to cover this week as part of our TCBCast Book Club segment tackled some of Elvis' own interests in the unusual. Then, for Song of the Week, Gurdip went for the cute "Your Time Hasn't Come Yet Baby" from 1968's "Speedway" while Justin ponders "Who's Sorry Now" after hearing Elvis & Anita Hill's home recording of the 1958 Connie Francis hit. Joe's book will be available on Amazon both as a digital and physical release starting March 23, 2021.  If you enjoy TCBCast and would like to support us while receiving early access to episodes, bonus content like film commentaries and Justin's Blue Suede Reviews video essay series, you can support us on Patreon.com/TCBCast.

1 - I'm Sorry, Dear - Jacques Renard and his Orchestra – 19312 - I'm Sending Roses to Tell You I'm Sorry - Denver Darling with his Ozark Playboys - 19473 - Who's Sorry Now? - Irving Kaufman with Ben Selvin's Orchestra - 19234 - Who's Sorry Now? - Bob Burgess and The Nite Owls – 19385 - Who’s Sorry Now? - Isham Jones and his Orchestra – 19236 - Lonesome and Sorry - Cliquot Club Eskimos - 19267 - Lonesome and Sorry - Vic Berton and his Orchestra – 19358 - I'm Sorry I Made You Cry - Henry Burr - 19189 - I'm Sorry Sally - Maurice Gunsky – 192810 - Why Should I Say That I'm Sorry When Nobody's Sorry but Me - Ralph Pollock and his Orchestra - 192711 - You'll Be Sorry When I'm Gone - Sons of the Pioneers - 194612 - How Sorry You'll Be (Wait'll You See) - Esther Walker – 191913 - You'll Be Sorry from Now On - Elton Britt and the Skytoppers - 194914 - You'd Better Be Sure or You'll Be Sorry - Dave Denney – 194815 - After I Say I'm Sorry - Charles Kaley with Abe Lyman's California Orchestra - 192616 - Why Don't We Say We're Sorry - Jimmy Joyce and the Blue Rays with Alvino Rey and his Orchestra – 1946

For the video version, click here: https://youtu.be/B9qgXf96Qgc In 1958, Cashbox, Billboard and the Jukebox Operators of America named Connie Francis as the #1 Female Vocalist. She was named Top Female Vocalist by all the trades for six consecutive years – a record never surpassed. As well, England’s prestigious New Musical Express also named her the World’s #1 Female Vocalist. She earned two gold records for Who’s Sorry Now? and Stupid Cupid. ​ On a global scale, Connie Francis was the top-selling female vocalist of the Sixties and, despite the sensational advent of Madonna, the longevity of Diana Ross and the multi-format generations of the 80's and 90's, she remains the most commercially successful female singer of all time with an estimated world-wide sales figure well in excess of two hundred million. Today, Connie Francis is widely involved in some very interesting and diverse projects. Of greatest importance and passion is that of helping returning American Veterans of war. Connie Francis is the national spokeswoman for Mental Health America’s S.T.A.R.Campaign (Stress, Trauma, Awareness and Recovery) an important national campaign to raise awareness of what veterans are facing every day of their lives. Another long-awaited autobiography “Among My Souvenirs, The Real Story” will be officially released 2017.​​​ This is a celebration of Connie NOW with a look back. We are joined by Jenna Esposito, Nicolas King, Sue Matsuki, and Debbie Wiley. https://www.conniefrancis.com/

Rockin' Eddy playing the Golden Age of American Rock & Roll featuring The Fireballs - "Foot-Patter", Ruth Brown - "Oh What A Dream", Neil Sedaka - "Happy Birthday Sweet Sixteen", Jackie Wilson - "That's Why", The Righteous Brothers - "Try To Find Another Man", (Twin Spin) The Chantels - "Maybe" (A-side) / "Come My Little Baby" (B-side), The Everly Brothers - "Problems", Brook Benton - "Endlessly", The Passions - "I Only Want You", Wade Flemons - "What's Happening", The Drifters - "Some Kind Of Wonderful", Dion - "Be Careful of Stones You Throw", The Statues - "Blue Velvet", The Bay Bops - "To The Party", Connie Francis - "Who's Sorry Now", Billy Ward & His Dominoes - "Jennie Lee", Duke Savage & The Arribins - "Hey Baby", Tex Ritter - "I Dreamed Of Hillbilly Heaven", Lee Andrews & The Hearts - "Maybe You'll Be There ('54 Original Version), Louis Jordan - "Blue Light Boogie"

We chat with Tasha Baxter in the height of a world-wide lockdown. Here's a little bit about here.Baxter started her career in 2002 as a songwriter with the song 'In the Beginning' that made the UK Top 40 Official Charts. She released her first solo album, Colour of Me in 2007, produced by Noisia under the EMI label. The tracks ‘Who's Sorry Now', ‘The Journey', ‘Useless' and ‘Fade To Black' appeared on the South African radio top charts list. The two tracks from the album; 'The Journey' and 'Don't Believe in Love' appeared in the 2009 South African movie, "White Wedding". In 2010, Baxter performed the song, ‘Cloudburn' on Feed Me's (Jon Gooch) debut EP on Deadmau5's record label, "Mau5trap". ‘Cloudburn' was featured on Brian Transeau's (BT) compilation album ‘Laptop Symphony'. In 2011, Baxter performed the song,'Strange Behaviour', co-written and produced by Feed Me, and was released on his EP 'To The Stars' on "Mau5trap". She wrote the song 'Ebb & Flow' that was produced by Jon Gooch and added to his debut album, ‘Calamari Tuesday', in 2013. The song also appeared on the British TV show, "Youngers". In 2014, the song "Snowblind ft. Tasha Baxter" was co-written with record producer, Austin Collins (Au5). Baxter also performed the track and it was released on "Monstercat" label. Snowblind subsequently appeared on the American TV show, "So You Think You Can Dance". The following year, she independently released "Bigger than Me" with Collins as producer. In 2016, she was featured again on Monstercat with, "Just A Dream", performing and composing the vocals and lyric melody for the eighth track from Tut Tut Child's Come to the End; Then Stop LP. In 2017, she was a songwriter on Lil Wayne's "Tha Carter V" album on track "Hittas". In 2019, Baxter was the featured vocalist on Flux Pavilion ft. Craymak "Saviour" on Circus records. See acast.com/privacy for privacy and opt-out information.

Show 103, “B” Side Singles, explores 19 songs that record companies put on the back of their records, expecting them to flop. Some did, some didn’t. Titles include “Don’t Be Cruel,” “Who’s Sorry Now,” “Tequila,”... Read More The post Show 103, “B” Side Singles appeared first on Sam Waldron.

One of the most popular singers of all time, Connie Francis was the top charting female singer of the 1950’s and 1960’s. She has numerous hits, including “Who’s Sorry Now?”, “Where The Boys Are”, “Stupid Cupid”, and “Lipstick On Your Collar”. In this new show, taped in February, 2010, we discuss some of the difficulties Connie has had to deal with throughout her life, and how she has coped with them.

Show 69, “Connie Francis Bobby Darin,” focuses on two energetic entertainers and includes a few songs you’ve probably never heard. Connie Francis sings “Stupid Cupid,” “Who’s Sorry Now,” “Everybody’s Somebody’s Fool” (in two languages), and... Read More The post Show 69, “Connie Francis Bobby Darin,” appeared first on Sam Waldron.

Hi Friend, Welcome to a special 2018 Christmas Eve Episode of Sally’s Performing Arts Lab Podcast. Today, we’re going to talk about my upcoming guests now that 2019 is right around the corner. I’m your SallyPAL podcast host, Sally Adams. I talk to people about creating original work for a live audience. Send an email anytime to Sally@sallypal.com. Although I’ve been away from podcasting for a few months, I am still out here supporting new works wherever I see the opportunity. As 2018 draws to a close I wanted to share some thoughts before I kick into twice a month podcast uploads again. After producing over 50 episodes of SallyPAL, I took a break from podcasting. It was only supposed to last a month to make time for some other projects. But I got out of the habit of regularly editing and posting and after a few more weeks I was almost embarrassed to start again. It’s like that feeling you get when you forget to send a baby gift and then 2 years later you figure it’s probably too late to send that onesie you were maybe going to buy. But enough about me and my nieces… There are some things on the horizon that are really too exciting to ignore and I want to share them with my Sally PALS! So let me start by letting you know about the guests I have coming up in the next few months: Upcoming Guests Chris O’Rourke is a playwright, director, drama coach and critic with a Masters in Modern Drama. Chris was National Theatre Critic for com until July 2016 when Examiner.com ceased. During that time he extensively reviewed in Ireland and abroad. Chris is artistic director of Everything is Liminal and Unknown Theatre which specializes in originating works with young people from high risk backgrounds.  Peyton Storz performs with the groundbreaking comedy Splatter Theater in Chicago. Peyton graduated from Columbia College Chicago with a BA in Comedy Writing and Performance, and has trained at The Annoyance Theater and The Second City in Chicago. She hails from my hometown, Tulsa, Oklahoma. Amber Harrington teaches theatre at Edison Magnet School in Tulsa, Oklahoma. With nearly 18 years of experience she has been named Teacher of the Year, won countless awards with her students, and has created programs for her theatre kids that are imitated throughout the state. Her student playwriting program is the first of its kind in Oklahoma and has produced two national award-wining playwrights. Amber is also a Folger Shakespeare Teaching Artist. Reed Mathis is making fresh music in The Bay Area. Reed tours with his own band and works as a studio musician blending his love of classical music (Beethoven in particular) with his spectacular bass-playing skills. Reed is a former member of Tea Leaf Green. He’s also played bass with Grateful Dead members Phil Lesh, Mickey Hart, and Bill Kreutzmann. He has also played with the Steve Kimock Band, and was a founding member of Tulsa progressive jazz band Jacob Fred Jazz Odyssey. Stick close because I also have an interview promised with J.D. McPherson as soon as his touring schedule lets up.  Big news in public domain works and what it means for creatives: If you’re not sure exactly what the term public domain means, according to Google’s online dictionary, “public domain is the state of belonging or being available to the public as a whole, and therefore not subject to copyright.” This is a pretty big deal for creatives in general. But especially for arts teachers. Many of you may remember being admonished by your choir teacher or your drama director to get rid of your photocopies after a performance because the works were copyrighted and you did not have permission to keep those copies. In just a few days that will no longer be true for works published in 1923. Works published in 1922 and before have been available for 20 years. I know this because in 2013 I wrote a musical for my students that borrowed songs from 1922 and earlier including the well-known, “Be It Ever So Humble, There’s No Place Like Home”. A recent article in the Smithsonian magazine highlights a lot of the things that are important to artists regarding works in the public domain. According to the article on January 1, 2019, “all works first published in the United States in 1923 will enter the public domain.” Because of a weird discrepancy with the law, it’s been 20 years since there’s been any mass release of work into the public domain. The last time it happened was 1998 and Google didn’t even incorporate as a company until September of that year. That means the explosive growth of digital art hasn’t legally included variations on work from this period in part because works published in 1923 haven’t been in the public domain. Some of the work has been available, of course, without alteration, through publishers and for a price. 1998 was the year that public domain releases stopped because the Sonny Bono Copyright Term Extension Act added 20 years to the wait time for published works to enter the public domain. The bill was named for Congressman Bono posthumously although he did put his signature on the legislation. It’s complicated, just like copyright law so I’ve included some deep dive links for anyone who needs more. And don’t get me started on global copyright. It’s a hot mess. Next week, though, you’ll have total and free access to things like Robert Frost’s “Stopping by Woods on a Snowy Evening,” which, although written in 1922, was not published until 1923. The laws for these earlier works is different from works in the digital age. Nowadays, a work has a copyright as soon as it’s created. I’m not kidding when I say this stuff is ridiculously complicated. I’ll include a link to a great Brad Templeton website on copyright, plagiarism, and some other topics you might find interesting. Other things entering the public domain? Well, how about the unforgettable pop hit, “Yes, We Have No Bananas,” or the songs “Who’s Sorry Now?” and the flapper hit, “The Charleston”. The film debuts of Marlene Dietrich, Douglas Fairbanks, Jr. and Fay Wray will be available for general public use. There won’t be any Disney fare available until 2024. At the time the law changed, Mickey Mouse’s film debut, Steamboat Willie, would have been public domain in 2004. But the Disney Corporation lobbied to retain the rights to its creations over two decades into the next century. They didn’t have to lobby all that hard as both the House and Senate had corporate-leaning Republican majorities and President Clinton wasn’t looking to make public domain law a part of his platform. The 1998 law gave Steamboat Willie an extra 20 years before he would steer into un-copyrighted waters. What’s really exciting now is that digital collections like Internet Archive, Google Books and HathiTrust will be storing seminal works from the early days of American Modernism. D.H. Lawrence, Virginia Woolfe, Claude McKay, Sigmund Freud, George Bernard Shaw, Louis Armstrong, Gertrude Stein, and so many others. Members of the Harlem Renaissance, the DaDaist school, and the Algonquin Roundtable all feature prominently in 1923. This new surge of old works in the digital age allows for current creatives to freely play with the works of important artists of the era bridging WWI and the Great Depression. Works entering the public domain can be altered indiscriminately. You could even claim p.d. work as your own, but that’s not art, that’s plagiarism. As artists we are always standing on the shoulders of giants. Give attribution whenever you can. And do your homework. Look at the context for works that you use. Collaborating with ghosts expands our artistic horizons. It’s an exciting way to learn from our predecessors. Teachers will be free to share these works with their students and scholars can print important poems and essays many of us have never read. It’s only one year, but I think you’ll find that 1923 was a very good year, indeed. SallyPAL Shoppe opening – Stay on the lookout for the SallyPAL Shoppe. I’ll have t-shirts, coffee mugs, all the usual fun high-quality performing arts kitsch at decent prices. If you don’t see anything in the store yet, stay tuned!       You’ve heard from my son Will Inman before and he’s back to talk about the new release of 1923 published works into the public domain, plagiarism, sharing your work, educational theatre, and some other cool stuff. Will’s plays have been produced in theaters from Texas to New York. He is currently a Cadence Pipeline New Works Fellow with Cadence Theatre in Richmond, Virginia. He’s been a featured student playwright with the VSA Kennedy Center plays, been performed with Tulsa SummerStage and Fringe festivals, Writopia Labs Comedy Playwriting Festival Houston University, Rogers State University, a portion of his play, The Lesbian Exhibit,  was performed at Torrent Theatre in New York City, and last year he won the inaugural Edward Albee Playwriting Award by Theresa Rebeck for his play Winners. Concise Advice from the Interview - 5 bits of advice about using public domain work: DO give attribution when you use someone else’s work. It’s not a requirement, but it’s important to recognize the work of other artists, especially if it inspires you. Develop a sense of context for the work you are modifying. Find out something about the history and culture of the originating artists to give depth to your work Dig around in the available digital archives and learn more about public domain works. It’s creative, it’s fun and it’s educational! Learn more about copyright law. As an artist, it’s up to you to know the difference between plagiarism and responsible evolution of artistic work. Don’t just crib work, use the public domain to inspire all new original works of theatre, music, and dance. Check out the blog, SallyPAL.com, for articles and podcast episodes. You, too, can be a SallyPAL. Thank you for following, sharing, subscribing, reviewing, joining, & thank you for listening. If you’re downloading and listening on your drive to work, or commenting and reviewing like my sister does, let me know you’re out there. Storytelling through performance is the most important thing we do as a culture. That’s why I encourage you to share your stories because you’re the only one with your particular point of view. And SallyPAL is here with resources, encouragement, and a growing community of storytellers. All the stories ever expressed once lived only in someone’s imagination… Now… Go Pretend!

Spoiler alert for the 10/25/18 episode of Will & Grace, Who’s Sorry Now! David & Carolyn welcome special guest Tyler Dean Kempf (of episode 113 met-Debbie-Reynolds fame) who got to see the taping. He shares some insight with David & Carolyn, and yes, you can hear him laughing in the ep itself.Thank you to all of our Patrons so far, especially Patrick & Emily J. and Natalie G.! Please visit Patreon to become a supporter of Will & Grace & Vodka and get some cool merch!Follow our fabulous Spotify Playlist, featuring every song sung or played on Will & Grace.Follow us on Twitter, Instagram, & Facebook!Click here to give us a rating and a review! We'll love you forever for it, and maybe shout you out on the podcast!Theme Song by the magnificent PJ Hanke. And a huge thanks to Executive Producer, Sasha Gerritson!

In this episode, The Kvetching Professor talks about some songs you would certainly NOT want played for your first dance right after you've said, “I do.” You know, songs like "Who's Sorry Now?" and “Gonna Get Along Without Ya Now.” Of course, if you're not sure this is really the person for you, songs like this might be just right.   A special note: This is the concluding episode of Season 1. And it will, as always, bring a smile to your lips. After a two-week break, the Kvetching Professor returns for Season 2, with all new episodes – and some surprises!   In the meantime, listen to the episodes you missed – all 24 of them.

Concetta Rosa Maria Franconero started out as an accordion player, but when she changed her name to Connie Francis, the hits just wouldn't stop coming. With fifteen million sellers and a life story that has more ups and downs than the roller coaster at the Santa Cruz Boardwalk, Connie talks about “Who's Sorry Now”, which she only recorded at her father's insistence and the many recordings she's made in fifteen different languages. And her movie roles – remember Angie in Where The Boys Are?

How evil were Rodrigo and Cesare Borgia? Hear that and more on this 15th Century Holy Father and cruel son as Kevin, Toren, and Joe continue the Evil Duos in History series of Caustic Soda ! Part 1 of 2. Update: Hey, check out the new Caustic Soda Podcast Wiki! It needs help with content! Music: "Who's Sorry Now?" by The Rhythmakers Images

Judy Finnigan chooses Who's Sorry Now by Connie Francis, and Hey Jude, by The Beatles.

Fibber talks to Molly about a car, but is shortly interupted by the mailman, Gale Gordon. A guy who takes the liberty to filter through the junk mail, and read over Fibber's shoulder. A letter from city hall says that Fibber needs a new dog license. To ignore the law puts Fibber in position to face a stiff penalty. He is indignant and phones, but gets Mirt the Phone Operator instead. There's a couple political jokes in the mix that poke fun at the Postmaster General, and the President of the time, FDR.   There's just one problem that Fibber needs to make plain to City Hall, he doesn't even own a dog. Should be a simple chore, right?  On the way, Fibber meets up with Teeny. She tries to comfort the disgruntled Fibber, and get talking about her easter rabbit. Billy Mills transitions into Harlow Wilcox delivering a commercial break.   Old Timer jokes around about Fibber's license trouble. He somehow ends up talking about Bob Hope, and dentists. He points Fibber to the right office in City Hall. Will Fibber be able to keep his temper? Will Fibber be able to convince the bureaucrats that he doesn't even own a dog?   As Fibber and Molly try to find someone to help, they talk with Nick Deppoppolos about their dog dilemma. The Kingsmen sing, Old King Cole.   It's looking like Fibber is facing a jail sentence for not having his dog license, but Molly promises to stick by him. They run into Abigail Uppington, and try to explain why Fibber seems so disturbed. Next, Gildersleeves runs into our heros to antagonize Fibber. All the childish disputes aren't geting anywhere about the license.   Finally, Fibber gets to talk to the Mayor about his problem, but when things look futile, Fibber makes a break for it. What else can he do? If he's forced to buy a license for a dog that he doesn't have, he just goes and buys a dog to fit the license. I suppose that's one way to do it. Although in the end, Fibber has a different solution.   Bonus Tracks: Hillbilly Boys. 1939. Who's Sorry Now.   PS: Take part in my new promotion to get the word out about the podcast. Listen to today's show to hear all about it. It's as easy as telling 20 of your friends about the podcast. A special dedication podcast will be in store for the folks who get 20 referrals or more. Use the email form, or any of the comment fields for show notes located at:   http://retro-otr.com   Still confused? Just email me to learn all about it. 

Wii20101010-Entry094-Who's Sorry Now?

The show was started in 1931 with music provided by the Light Crust Doughboys. Around 1935 a reorganization took place, and the musical group reformed with some changes as the Hillbilly Boys. A band headed up by James Robert "Bob" Wills, with vocalist Leon Huff. W Lee O'Daniels was president of the Hillbilly Flour Company, and was the show MC. He used the radio show to promote his product, The show featured music, and occasional poems and helpful household tips, often written by O'Daniels, and letters sent in from listeners. The show launched the careers of the band members, and even helped to send O'Daniels to the governor's mansion in Texas, and later to the Senate. The show was broadcast through powerful border stations, and blanketed much of the United States, and had a listenership across the country.   First Show: 1. I Never Slept a Wink Last Night. 2. Chinese Honeymoon. 3. Way Down Yonder. 4. My Brown Eyed Texas Rose.   Second Show: 1. Fisher Hornpipe. 2. Sit Right Down, and Write Myself a Letter. 3. The Roses of Pickadee. 4. I Saw Your Face in the Moon. 5. Who's Sorry  Now. (cut slightly short due to time constraint.)   Bonus Tracks: Incredible But True. Beware My Son. Fred Allen. 1943. Answers a Letter from Al Jolson

Bruce Haack, Electric To Me TurnThe Intelligence, Like Like Like Like Like Like Like LikeDirty Beaches, Black Horses Take 1Women, Narrow with the HallTerror Bird, Who's Sorry Now?Isla Taco, Hot BathKeep Tidy, Goochie ManeLakefield, On the RadioWatermelon, How I CameStudent Teacher, Raw Tin ArmsYoung Liars, MarathonLaetitia Sadier, One Million Year TripFine Mist, Out of Love (No Kids remix)Rose Melberg, Things That We Do (Jay Arner remix)Las Robertas, Back To The End