Podcasts about Tin soldier

In this episode, we explore the life and career of Kenney Jones, the legendary drummer who played a crucial role in shaping the sound of British rock music during the '60s and '70s. From his early days with The Small Faces, through the raucous years with The Faces, to his tenure with The Who, Jones's rhythmic prowess and adaptability made him a sought-after musician in the evolving rock landscape.Born in Whitechapel, London, Kenney Jones grew up immersed in the vibrant music scene of post-war Britain. Influenced by the burgeoning British Invasion, Jones was drawn to the energetic rhythms of bands like The Beatles and The Rolling Stones, as well as the soulful sounds of American R&B. His early exposure to these genres laid the foundation for his distinctive drumming style, characterized by a blend of precision and flair.In 65, Jones co-founded The Small Faces alongside Steve Marriott, Ronnie Lane, and Jimmy Winston. The band quickly became emblematic of the Mod movement, delivering hits like "Itchycoo Park," "Tin Soldier," and "All or Nothing." Their music, a fusion of psychedelic rock and soulful melodies, resonated with a generation seeking a fresh, dynamic sound.Jones's drumming provided a solid backbone for the band's intricate arrangements. The Small Faces' influence extended beyond their music, impacting fashion and youth culture in '60s Britain.The departure of Steve Marriott in '69 marked a turning point for the band. The remaining members—Jones, Lane, and keyboardist Ian McLagan—joined forces with Rod Stewart and Ronnie Wood, both from the Jeff Beck Group, to form The Faces. The Faces quickly gained a reputation for their electrifying live performances and unpretentious style. Albums like "A Nod Is As Good As a Wink... to a Blind Horse" and "Ooh La La" captured their energetic spirit and musical prowess. Rod Stewart's simultaneous solo career, particularly the success of "Every Picture Tells a Story" and the hit single "Maggie May," brought additional attention to The Faces. However, this dual focus eventually led to tensions within the group.The Faces' blend of rock, soul, and blues, combined with their charismatic stage presence, earned them a devoted fan base. Tracks like "Stay with Me," "Cindy Incidentally," and "Ooh La La" became anthems of the era, showcasing the band's versatility and Jones's dynamic drumming.Despite their success, internal tensions and the members' individual pursuits led to the band's dissolution in '75. In '78, following the death of drummer Keith Moon, Jones was invited to join The Who. His tenure with the band included contributions to albums like Face Dances and It's Hard, as well as performances at significant events such as Live Aid in '85.While his drumming style differed from Moon's, Jones brought a steady, reliable rhythm to the band's music during a period of transition. His professionalism and experience were invaluable assets to The Who during this time.Beyond his musical endeavours, Jones authored an autobiography titled "Let the Good Times Roll: My Life in Small Faces, Faces, and The Who", providing an in-depth look at his life and career. Kenney Jones's contributions to music have been recognised with inductions into the Rock and Roll Hall of Fame as a member of both The Small Faces and The Faces. His influence continues to inspire musicians and fans alike, ensuring his legacy endures in the annals of music history.Join us as we delve into the remarkable journey of Kenney Jones, exploring his impact on British rock music and the enduring legacy of The Small Faces, The Faces, and The Who. Whether you're a longtime fan or new to his story, this episode offers a comprehensive look at one of rock's most influential drummers.#thesmallfaces #thefaces #thewho #britishinvasion

Welcome to the One Piece at a Time Podcast where I'm joined by Brandon Bovia to read and discuss 5 chapters of the One Piece manga every week. And Operation S.O.P. is in full effect with so many things riding on a certain liar, and the frustration that he should be better than this by this point. Fortunately, it's the only sour note as Tin Soldier's identity is revealed, the tournament begins its final round, and the confrontation with Doflamingo grows closer. So join us as we discuss everything from Chapters 736-740 of One Piece!Support the One Piece at a Time Patreon! https://www.patreon.com/DerrickBitnerCheck out more from Brandon Bovia! https://twitter.com/brandonboviahttps://bsky.app/profile/brandonbovia.bsky.social

Pat Arnold has had quite a life. Born in 1946 she grew up in LA, and was in an abusive marriage with two kids while still a teenager. In 1965 she got a chance to audition for Ike and Tina Turner's band as an “Ikette”. She got the gig and left her children in the care of her parents. This eventually took her to London where she fell into the orbit of The Rolling Stones, and she decided to stay behind there to establish herself as a solo artist, signing to Stones' manager Andrew Loog Oldham's label Immediate Records, home of the Small Faces, members of whom ended up writing songs for her and backing her on some of her recordings. She also toured with them, and is the backing vocalist on Itchycoo Park and Tin Soldier, two of their biggest hits. She had hits under her own name too, including her recordings of Angel Of The Morning and The First Cut Is The Deepest. She also recorded with Rod Stewart. In the 70s she appeared on recordings by the likes of Nick Drake, Graham Nash, and Nils Lofgren. She toured with Eric Clapton and recorded with Barry Gibb although most of these recordings remained unreleased for decades. She sadly lost a daughter in a car accident in the mid-70s, and along with not being able to further her career as a solo artist, she seems to view this as somewhat of a lost decade. As well as being cast in Starlight Express, the 80s saw her work with Steel Pulse, The Beatmasters and Roger Waters, as well appearing on Peter Gabriel's smash hit Sledgehammer. She first came into my orbit in the late 90s through her collaboration with Ocean Colour Scene, and the early 2000s saw her tour extensively with Roger Waters. In recent years she finally completed the album she started with Barry Gibb and Eric Clapton decades earlier, as well as a brand new studio album recorded and produced by former podcast guest Steve Craddock of Ocean Colour Scene and Paul Weller fame. She has a new career spanning box set entitled “Soul Survivor - A Life In Song” and I had a fantastic time talking to Pat about her life and career. Instagram: @sendingsignalspodcast

Send us a textMy guest is legendary drummer, author and educator, Rod Morgenstein! In this episode we do a deep dive into Rod's incredible 50 year career, including Dixie Dregs, Steve Morse Band, Winger, The Jelly Jam and much more! We played tracks from the aforementioned bands with Rod offering commentary. We also talk about a new drum tool developed by Rod called the "Wing Thing" - a must for every drummer and drum tech! So come along for the ride and thanks for watching and listening, and please subscribe! The Wing Thing: https://morgensteintool.comWinger "Tin Soldier" https://youtu.be/20xl9x8BhUM?si=rC5h3tDQA2F3VZ2kRod's Berklee College online drum course: https://online.berklee.edu/courses/rock-drumsThe Drum Set Musician: https://hudsonmusic.com/product/the-drumset-musician/?wcacra=7305119Exciting news! 100% of the proceeds from Live From My Drum Room T-shirts goes toward a newly created Live From My Drum Room Scholarship with the Percussive Arts Society! https://pas.org/pasic/scholarships/ Live From My Drum Room T-shirts are made of soft 60%cotton/40% polyester. Available in XS-2XL. $25 includes shipping in the contiguous US. Payment with Venmo: @John-DeChristopher-2. Be sure to include your size and shipping address. Email: livefrommydrumroom@gmail.com. Thank you to everyone who's bought a shirt to help support this endeavor!Live From My Drum Room With John DeChristopher! is a series of conversations with legendary drummers and Music Industry icons, hosted by drummer and music industry veteran, John DeChristopher, drawing from his five decades in the Music Industry. Created in 2020, and ranked BEST Drum Podcast, "Live From My Drum Room With John DeChristopher!" gives the audience an insider's view that only John can offer. And no drummers are harmed on any shows! Please subscribe!https://linktr.ee/live_from_my_drum_roomwww.youtube.com/c/JohnDeChristopherLiveFromMyDrumRoom

Andrew Darlington is the author of the brand new book The Small Faces and The Faces: Every Album, Every Song.They started out as a mod fourpiece with Steve Marriott on lead vocals. With hit singles including “Itchycoo Park”, “Lazy Sunday”, “All Or Nothing”, and “Tin Soldier”, they evolved into one of the UK's most successful bands by the end of the 60s. After Marriott left the band to form Humble Pie, the remaining members Ronnie Lane, Ian McLagan, and Kenney Jones joined forces with singer Rod Stewart and guitarist Ronnie Wood to start a new era as Faces. The band's 1971 album A Nod Is As Good As a Wink... to a Blind Horse, became a worldwide hit, thanks to the single, "Stay with Me". But by the mid-70s, Faces was no more and the members would go on to forge new phases of their careers, most notably Rod Stewart. But the music of the Small Faces and Faces is not forgotten. In the latest book in Sonicbond's On Track series, Darlington lays out the full story of the Small Faces and Faces song-by-song, from the very start, to the very end. Purchase a copy of The Small Faces and The Faces: Every Album, Every Song in the USPurchase a copy of The Small Faces and The Faces: Every Album, Every Song in the UKFollow Andrew Darlington on XFollow Andrew Darlington on Facebook Episode Playlist---------- BookedOnRock.com The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:FACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

Singles Going Around- Summer (1967 Version)The Beatles- "I Am The Walrus"Captain Beefheart- "Sure "Nuff 'N Yes, I Do"The Small Faces- "Tin Soldier"Pink Floyd- "Astronomy Domine"Love- "Alone Again Or"The Electric Prunes- "I Had Too Much To Dream Last Night"Bob Dylan- "All Along The Watchtower"Jimi Hendrix- "Manic Depression"The Beach Boys- "Heroes and Villains"The Amboy Dukes- "Baby Please Don't Go"The Rolling Stones- "2000 Light Years From Home"The Who- "Armenia City In The Sky"Buffalo Springfield- "Expecting To Fly"13th Floor Elevators- "Levitation"The Balloon Farm- "A Question Of Temperature"The Byrds- "So You Want To Be A Rock and Roll Star"The Doors- "Back Door Man"Cream- "Sunshine Of Your Love"The Monkees- "What Am I Doing Hanging Around"The Velvet Underground- "All Tomorrow's Parties"Vanilla Fudge- "You Keep Me Hanging On" (Quentin Tarantino Edit)

Pat Arnold (born Patrica Ann Cole in 1946 in Los Angeles), professionally known as P.P. Arnold, is a soul singer who enjoyed considerable success in the United Kingdom in the 60s and beyond. Born into a family of gospel singers, PP married early, had two children, worked a series of menial jobs until the early 60s, when her friends contacted her with an offer she couldn't refuse. The girls had managed to arrange an audition for them to replace the original Ikettes, the vocal and dancer/singer troupe behind the Ike and Tina Turner Revue. One of the girls didn't show up and PP was asked to fill in. The three girls were offered the job on the spot. PP defied her husband, placed her children in the care of her parents and joined Ike & Tina Turner. She came to England in 1966 on tour in support of The Rolling Stones. Mick Jagger was impressed by her soulful voice and convinced Stones manager Andrew Oldham to sign PP to record with his newly founded record label. PP quit the Turner band to establish a solo career. She also had a fling with Jagger. PP enjoyed several major British hits, including songs written for her by Steve Marriott of The Small Faces. She also sung backing vocals on the their hit "Tin Soldier" and toured with them in 68. PP toured with Jimi Hendrix, The Who, The Kinks, Blind Faith, David Bowie and others, and scored several hits including a cover version of "The First Cut Is the Deepest" and "Angel of the Morning". After the collapse of record label in the late 60s, PP released two singles produced by Barry Gibb of The Bee Gees, but a planned album with Gibb was never completed. In 1970 she moved to the musical stage, and contributed session musician backing vocals to many notable UK sessions. During these sessions she met bassist Fuzzy Samuels of Crosby, Stills, Nash & Young. They married and had a son. The couple returned to Los Angeles. PP''s marriage to Samuels ended and two weeks after the split, her daughter Debbie was killed in a car accident. She withdrew from public life, re-emerging in 1978 when she was reunited with Barry Gibb and teamed up with Andy Gibb for a duet recording of the Carole King song "Will You Still Love Me Tomorrow". She returned to England in 1982 to raise her son there. In 1984 she joined the cast of the musical Starlight Express. She appeared on Roger Waters' album in 1992, providing vocals on the song "Perfect Sense". In 1994 she joined the cast of the award-winning musical Once On This Island. While the production was playing in Birmingham she met leading UK band Ocean Colour Scene, one of the new wave of latter-day mod groups who (like their mentor Paul Weller), idolised The Small Faces. Her friendship with OCS led to her singing the lead vocal, backed by Primal Scream, on a cover of The Small Faces' "Understanding", which was included on a successful Small Faces tribute album. She also worked extensively with Ocean Colour Scene on their 1997 album. This success led to plans for her to record her first solo album in decades, but once again it was not completed. Deciding to put together a new band to promote her material, Arnold joined forces with Chaz Jankel, former pianist with Ian Dury and The Blockheads. This was followed by an invitation to tour widely with Roger Waters. She was a backup vocalist on his 1999–2000 tour as well as the 2006–2008 tour, Dark Side of the Moon Live. In mid 2007 she released her first recorded work for several years. The album is a duet with The Blow Monkeys frontman Dr. Robert and has been met with critical acclaim, as have their live performances at several venues.

In the fifty-eighth episode of the Better Eyesight Podcast, Esther Joy van der Werf, Nathan Oxenfeld, and Ruth Andreu read through the fifty-eighth Better Eyesight magazine that was originally published in April 1924 by Dr. William H. Bates, the pioneer of natural vision improvement. Exactly 100 years later, these three natural vision educators breathe life back into the words of Dr. Bates, and also provide some modern commentary on the topics brought up in each article. Better Eyesight, April 1924 "A monthly magazine devoted to the prevention and cure of imperfect sight without glasses" Article 1 [2:10] Distance of the Snellen Test Card Discussion 1 [5:10] Article 2 [15:45] Concentration by W. H. Bates, M.D. Discussion 2 [29:45] Article 3 [45:45] Stories From The Clinic ~ 50: The Blind Girl by Emily C. Lierman Discussion 3 [53:00] Article 4 [1:03:45] Nancy's Mental Pictures by Florian A. Shepard Discussion 4 [1:10:15] Article 5 [1:20:40] Report of the February Meeting by Miss May Secor, Secretary Discussion 5 [1:24:55] Article 6 [1:32:32] Bates' Evening at the Psychology Club Discussion 6 [1:33:30] Article 7 [1:51:30] The Tin Soldier by George Guild Discussion 7 [1:59:10] Article 8 [2:08:50] In The Office by Emily A. Meder Discussion 8 [2:11:25] —BETTER EYESIGHT LEAGUE ONLY— Article 9 & Discussion 9 [2:19:25] Questions And Answers   Contact us at bettereyesightpodcast@gmail.com Esther's website - https://visionsofjoy.org Nathan's website - https://integraleyesight.com Ruth's website - https://visionsacredcircle.com Join the Better Eyesight League - https://patreon.com/bettereyesight

Singles Going Around- Back To Mono Vol. 6Mono records, recorded and transferred in mono. PLAY LOUD!The Rolling Stones- "We Love You"The Byrds- "Wasn't Born To Follow"Bob Dylan- "It's Alright Ma (I'm Only Bleeding)"13th Floor Elevators- "Baby Blue"The Beatles- "I Am The Walrus"The Mamas & The Papas- "Twelve Thirty"The Small Faces- "Tin Soldier"Them- "Mystic Eyes"The Rolling Stones- "Paint It Black"The Faces- "Had Me A Real Good Time"The Kinks- "Dandy"Bob Dylan- "Like A Rolling Stone"The Beatles- "Baby Your A Rich Man"The Small Faces- "The Universal"The Doors- "Back Door Man"

Sadly Helena got attacked by a rat this week so we have no new episode, though please enjoy this Patreon episode from last year looking back at one of the Once Upon A Time Story Tapes, The Brave Tin Soldier. If you'd like to hear more episodes like this and more, please consider signing up to our Patreon at the Cat God level, a reference to the Catwoman episode I'm sure nobody remembers as fondly as we do. Theme music by @themenniss.  Follow @HiltMpod on social media https://linktr.ee/hiltmpod  Join our Patreon https://www.patreon.com/hiltmpod  Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Episode 618 Hour 1: The host kicks off the show by discussing Veterans Day, a news clip about Veterans getting their lives back together in court, followed by a clip of George Carlin talking about PTSD. The host then celebrates that the classic rock station he's apart of is now on Live365.com. The host also celebrates the new platform for his podcast, Stewie gives the host crap for using clips of him without his knowledge in promotional material, he then makes fun of him for what might happen once the host reaches certain milestones. This is followed by a commercial for a new podcast, "The Last Trip". The host reflects on the 5 year anniversary of meeting YouTuber Trisha Paytas. Sports - "Ross Rides The Lightning", this leads to Stewie and the host going back and forth over the song "Surfin' U.S.A." History for November 10-12. The same AI program that was used for online dating was also used for adoption. the host tells the audience to not get so comfortable with technology, he then explains for the new listeners why he stopped promoting "Dateability", this is then followed by 3 bits. "Self Checkout Fights Back" from "Escape From Leavenworth" track 10, "Google Pizza" from "The starving Artist" track 8, and "EHarmony Song" from "The Blind Man Cometh" track 5. "Stewie Reacts - A Few Good Men" from "The Starving Artist", track 7 closes out the first hour. Hour 2: The host comments on the rejoiner music, he really enjoyed the Jimmy Buffett tribute the other night on the Country Music Awards, Stewie brings up when the host covered one of Jimmy's songs, the host then plays his version of "Margaritaville". Some stories about Ohio, the host plays the time his sister talked about medical marijuana on Alabama TV. Parents getting charged if they're kids are out of control at a restaurant. Supreme court and dometic abusers with guns. Bodies not getting taken care of properly. The true story o "iller Of The Flower Moon" from the Weird History channel. The host responds to a comment he got a previous story. The show closes with "High On The Plane" from George Carlin. Break music - "one Tin Soldier" by Coven Rejoiner music - "A Pirate Looks At 40" by Jimmy Buffett

Caroline Stafford is this episode's guest. Caroline and David Stafford are authors of the brand-new book Anymore for Anymore: The Ronnie Lane Story. This is the biography of British singer/songwriter Ronnie Lane. In the 60s he co-founded Small Faces, who recorded several hit singles including “Itchycoo Park”, “Lazy Sunday”, “All or Nothing”, and “Tin Soldier”. But before long, singer Steve Marriott left the band to form Humble Pie, and the band would morph into Faces with Rod Stewart on lead vocals. That lineup would record future classics including “Stay With Me”, “I Know I'm Losing You”, and “Ooh La La”. Anymore for Anymore charts the fortunes of Lane throughout that period, his later work with his band Slim Chance, and his unfortunate early death. Caroline is here to share her experience in writing the book and to talk about the career of the late great Ronnie Lane.Purchase a copy of Anymore for Anymore: The Ronnie Lane Story through Omnibus Press HEREWatch Omnibus Press's animated videos for the Anymore for Anymore book HERE Find out more about Caroline and David Stafford from Omnibus Press HEREListen to a playlist of the Ronnie Lane's music HERE Visit the Booked On Rock Website HERE Watch exclusive video segments from the Booked On Rock podcast HERE Follow The Booked On Rock with Eric Senich:FACEBOOKTWITTERINSTAGRAMTIKTOK Support Your Local Bookstore! Find your nearest independent bookstore HERE Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

When a little tin soldier, fashioned out of a spoon, is given as a birthday gift to a little boy, he finds himself taken with a ballerina. But when he is accidentally lost, the little tin soldier goes on an adventure he could never have imagined ... See omnystudio.com/listener for privacy information.

Nick gets a box of tin soldiers, one of them only has one leg. One day, this one-legged soldier has been blown out of building. Two children pick one-legged tin soldier and put him a paper boat. They send this paper boat to a long dark sewer. If you like this story, subscribe to the podcast and share it with your friends to enjoy more free episodes together. We're also looking forward to your valuable reviews ⭐⭐⭐⭐⭐, let us know your opinion!

I'd recognize the sound of the wooden leg anywhere! We're back to discuss the finale to the Baltimore book with guest host, Wes Mattice! Enjoy some listener feedback, lots of recommendations and our discussion of the final chapters of "Baltimore (or The Steadfast Tin Soldier & the Vampire!" Baltimore Bros Unite!   01:35 - Listener Feedback 20:09 - Whaddya see, whaddya say? 30:54 - Baltimore Finale!   Check out T Shirts by Jesse Lonergan https://www.teepublic.com/user/jesse-lonergan https://www.jesselonergan.com/ Banner image by Matt Strackbein - https://linktr.ee/TheLetterhack Logo by Ross Radke https://www.rossradke.com/ Also check out and like Ross Radke's Webtoon "SpandEX" https://www.webtoons.com/en/challenge/spandex/list?title_no=785312 opening and closing theme by https://onlybeast.com/ 

Bust out that charcuterie board, because we're hungry for some "actual bookclub" goodness! Guest host, Wes Mattice, joins us to discuss some Superman thoughts, comic recommendations and our discussion of "The Savior's Tale: Benedictus" from the Baltimore novel! Harpoon time, yay! 03:01 - Listener Feedback 12:16 - Whaddya see, whaddya say? 20:09 - Baltimore - The Savior's Tale   "Save Me," by Remy Zero used for educational purposes only Banner image by Matt Strackbein - https://linktr.ee/TheLetterhack Logo by Ross Radke https://www.rossradke.com/ Also check out and like Ross Radke's Webtoon "SpandEX" https://www.webtoons.com/en/challenge/spandex/list?title_no=785312 opening and closing theme by https://onlybeast.com/ 

My Bruv! Let us embark again on another set of tales revolving around our peg-legged grumpy boy. Check out the bookclub gang, joined by guest host, Wes Mattice, as they discuss controversial media, listener feedback and "The Soldier's Tale" from the "Baltimore" novel by Mignola and Golden! Indy! 02:38 - Listener Feedback 06:49 - Whaddya See, Whaddya Say? 16:00 - The Soldier's Tale   Show Links Easy Graham Cracker Recipe https://docs.google.com/document/d/1RZr4_pft9mpfLgWnKPGH7djX9vo3S0PB/edit?usp=sharing&ouid=115669133959737779158&rtpof=true&sd=true Mignola Pinocchio Kickstarter http://kck.st/3ZPV57E Check out a previous episode where we discussed Baltimore "The Tank," which is referenced in this episode https://www.podbean.com/ew/pb-ewwxh-11dab85 "Indiana Jones Theme," by John Williams used for educational purposes only. Banner image by Matt Strackbein - https://linktr.ee/TheLetterhack Logo by Ross Radke https://www.rossradke.com/ opening and closing theme by https://onlybeast.com/       

A little tin soldier with only one leg goes on a huge adventure. He falls our of the window and by the end of the day he's arrived back in the nursery in the stomach of a fish. Listen to find out what happens to him inbetween. --- Support this podcast: https://podcasters.spotify.com/pod/show/sarah25628/support

Bros! Welcome back to Actual Bookclub! This week we chat with our good bro, Wes Mattice about listener feedback, the new Hellboy movie and our discussion of "The Sailor's Tale: Sanctus" from the Baltimore novel! I'm a real leg!  04:40 - Listener Feedback 14:48 - Whaddya See, Whaddya Say? 30:48 - The Sailor's Tale: Sanctus   Banner image by Matt Strackbein - https://linktr.ee/TheLetterhack Logo by Ross Radke https://www.rossradke.com/ opening and closing theme by https://onlybeast.com/ 

Two children pick one-legged tin soldier and put him a paper boat. They send this paper boat to a long dark sewer. If you like this story, subscribe to the podcast and share it with your friends to enjoy more free episodes together. We're also looking forward to your valuable reviews ⭐⭐⭐⭐⭐, let us know your opinion!

Nick gets a box of tin soldiers, one of them only has one leg. One day, this one-legged soldier has been blown out of building. If you like this story, subscribe to the podcast and share it with your friends to enjoy more free episodes together. We're also looking forward to your valuable reviews ⭐⭐⭐⭐⭐, let us know your opinion!

Ay Boo-Boo! The gang are joined by Wes Mattice this week for another edition of Actual Bookclub! Join us for some listener feedback, a special comic book haul and our discussion of "The Surgeon's Tale: Offertorino" from the Baltimore Novel!  08:38 - Listener Feedback 27:32 - The Surgeon's Tale Check out Nick Warmack's Original Art collection (including Baltimore illustrations) on CAF https://www.comicartfans.com/galleryroom.asp?gsub=29587 "Kyrie" by Mr. Mister and "Yakety Sax" by Boots Randolph and James Rich used for educational purposes only Banner image by Matt Strackbein - https://linktr.ee/TheLetterhack Logo by Ross Radke https://www.rossradke.com/ opening and closing theme by https://onlybeast.com/ 

Denzale Whitehead and Jonny Houser discuss The Steadfast Tin Soldier with comedian Tim Locke

Suspense, originally broadcast December 21, 1950, Christmas for Carole starring Dennis Day. A serious drama about a bank teller determined to get some needed cash, by dealing with a notorious criminal. Also The Cinnamon Bear, originally broadcast December 21, 1937, The Bad Dolls. The Bad Doll steals the Silver Star, but Santa sends the Tin Soldier in hot pursuit.Visit my web page - http://www.classicradio.streamWe receive no revenue from YouTube. If you enjoy our shows, listen via the links on our web page or if you're so inclined, Buy me a coffee! https://www.buymeacoffee.com/wyattcoxelAHeard on almost 100 radio stations from coast to coast. Classic Radio Theater features great radio programs that warmed the hearts of millions for the better part of the 20th century. Host Wyatt Cox brings the best of radio classics back to life with both the passion of a long-time (as in more than half a century) fan and the heart of a forty-year newsman. But more than just “playing the hits”, Wyatt supplements the first hour of each day's show with historical information on the day and date in history including audio that takes you back to World War II, Korea, and Vietnam. FDR, Eisenhower, JFK, Reagan, Carter, Nixon, LBJ. It's a true slice of life from not just radio's past, but America's past.Wyatt produces 21 hours a week of freshly minted Classic Radio Theater presentations each week, and each day's broadcast is timely and entertaining!

On this edition of The Arts Section, host Gary Zidek takes a closer look at a long-running Chicago holiday tradition that's turning 80 this year. The Museum of Science and Industry has been celebrating Christmas Around the World since 1942. The Dueling Critics, Kerry Reid and Jonathan Abarbanel, review Steppenwolf Theatre's world premiere, BALD SISTERS. Later in the show, Gary catches up with acclaimed theater director Mary Zimmerman to talk about her play THE STEADFAST TIN SOLDIER, which is quickly becoming a holiday tradition. And Gary checks in with Chicago magazine dining editor Amy Cavanaugh to talk about the current state of the local restaurant scene and her favorite menu items from the past year.

Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Winger es una banda de heavy metal, surgida en Nueva York (Estados Unidos), en 1986. Kip Winger, que había trabajado como bajista en la banda de Alice Cooper, decidió crear su propio grupo. Este estaba formado por Reb Beach (guitarra principal), Paul Taylor (teclista, también proveniente de Alice Cooper) y Rod Morgenstein (batería). Más tarde se unió John Roth (guitarra rítmica). Tras pensar diversos nombres para la banda como Call Your Doctor o Sahara (recibieron una carta que les decía que ya había un grupo con este nombre), decidieron escoger el nombre de su líder, Winger. Debutaron en 1988 con el álbum Winger y en 1990 lanzaron In The Heart Of The Young, ambos de estilo glam metal (siguiendo así la moda mainstream de los años 80), género que abandonaron en 1993 con la salida de su tercer álbum, Pull, de corte más heavy. Sin embargo, esto no les fue suficiente para sobrevivir en la década de los 90, lo que provocó que en 1994 decidieran hacer un parón indefinido. En 2001 se volvieron a reunir y lanzaron el recopilatorio The Very Best of Winger, seguido de una gira promocional que se alargó durante dos años. Después de otro parón, regresaron en 2006 con IV, su cuarto álbum de estudio, al que le siguieron Karma en 2009 y Better Days Comin' en 2014. Desde entonces han continuado dando conciertos de forma regular. Después de estar cuatro meses en el estudio, finalmente en 1988 Winger publicó su disco debut, Winger (que inicialmente se iba a llamar Sahara), que vendió más de un millón de copias, con la fuerza de temas como «Seventeen» y baladas como «Headed For a Heartbreak». Realizaron su primera gran gira y tras terminarla, descansaron dos semanas, para posteriormente comenzar a trabajar en su segundo álbum durante seis meses. De éste hicieron dos versiones: en la primera estaban incluidas las canciones «All I Ever Wanted» y «Never», pero decidieron escribir dos canciones más que sustituyeron a estas. Las canciones eran «Can't Get Enuff» y «Baptized By Fire». El álbum se tituló In The Heart Of The Young (1990) y tuvo un éxito similar al primero; la power ballad «Miles Away» fue el sencillo con mayor repercusión. En 1991 la banda participó en el programa de televisión MTV Unplugged, tocando en vivo versiones acústicas de algunas canciones en su repertorio, tales como «Headed For A Heartbreak», «Loosen Up» y «Can't Get Enuff». En 1993 lanzaron Pull, que es considerado por muchos el mejor trabajo de la banda, del que destacan temas como «Down Incognito», «In My Veins» o «Spell I'm Under», entre otros. John Roth sustituyó a Paul Taylor en la guitarra, además de tocar el teclado. Iniciaron una gira de seis meses que concluyó en Japón y esa fue la última vez que tocaron juntos, pues la banda se separó. A mediados de los años noventa, Kip Winger inició una carrera en solitario, en la que cuenta ya con tres discos: This Conversation Seems Like A Dream, Down Incognito y Songs From The Ocean Floor. En 2001 se volvieron a reunir y editaron el recopilatorio The Very Best of Winger, para el que grabaron un nuevo tema: «On The Inside». En 2002 acompañaron a Poison en su gira «Hollyweird World Tour» junto con Whitesnake y Faster Pussycat. A mediados de 2006 la banda se vuelve a reunir, y esta vez para editar un nuevo álbum de estudio, titulado IV, con el que dieron un gran cambio a su música adoptando un sonido mucho más moderno, pero sin perder su esencia. Este álbum tuvo una buena acogida por parte de los fanes, del que destacan temas como «Blue Suede Shoes», «Your Great Escape», «Short Flight To Mexico» o la balada «On A Day Like Today». Un año más tarde editaron una colección de temas titulada Demo Anthology, que incluía 10 temas inéditos, además de un gran número de canciones ya conocidas, todo ello compilado en dos discos. Ese mismo año, también editaron un álbum en vivo, Live, extraído de un concierto de su gira 2006-07, que también fue editado en DVD. En 2009 lanzaron el álbum Karma, con el que adoptaron un sonido más metalero, pero a la vez con un toque oscuro y melancólico. El disco fue muy bien valorado por los críticos y por los aficionados del metal en general. Del mismo destacan canciones como «Pull Me Under», «Stone Cold Killer», «Always Within Me», «Supernova» o «Witness». La banda realizó una gira y posteriormente Kip Winger, líder del grupo, continuó ofreciendo conciertos en solitario durante los siguientes años. Ya en abril de 2014 editaron su sexto álbum de estudio, Better Days Comin', con el que continuaron en la línea metalera, aunque en esta ocasión se distanciaron de su lado más melódico para ofrecer un sonido más heavy que en sus anteriores trabajos. Otra de las diferencias respecto a los dos álbumes anteriores, es que para este sí grabaron varios videoclips, cosa que no ocurría desde 1993; los temas escogidos para estos vídeos fueron «Midnight Driver Of A Love Machine», «Rat Race», «Tin Soldier», «Better Days Comin'» y «Queen Babylon». La banda también realizó una gira en 2014 y 2015, tocando en diferentes clubes y festivales, como el Download Festival. En una entrevista, Kip Winger afirmó que se vio sorprendido cuando los aficionados más jóvenes coreaban sus canciones en los conciertos, asegurando que, gracias a Internet, hoy en día era más fácil promocionarse y encontrar buenos grupos a los que escuchar, y que esto suponía un pequeño resurgimiento para las bandas antiguas. También mencionó que en sus inicios estuvo muy influenciado por grupos como Def Leppard o AC/DC. En la actualidad siguen ofreciendo conciertos y participando en festivales, como el Monsters of Rock Cruise.

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

Actual bookclub returns! Guest host, Wes Mattice, joins the bookclub gang to read "Baltimore (or The Steadfast Tin Soldier & the Vampire)" Prelude and Chapter 1: Kyrie!  Enjoy some listener feedback, more video game talk and tea corner returns! Friendship!  04:00 - Listener Feedback 19:52 - Baltimore: Prelude & Chapter 1: Kyrie   Check out West China Tea Company https://westchinatea.com/10g-snow-duck-shit/ https://westchinatea.com/30g-snow-duck-shit/ https://westchinatea.com/100g-snow-duck-shit/   Logo by Ross Radke https://www.rossradke.com/ opening and closing theme by https://onlybeast.com/ 

'Tis the season for holiday shows! The Steadfast Tin Soldier by Mary Zimmerman is not only an instant Christmas classic, it's also one of the top theatre experiences of Melissa's life. Find out how this short, yet full play has won her heart and how Mary Zimmerman brought this Hans Christian Andersen story to life . . . without using any dialog. This is not just an interview, it's a master class in theatre-making.  In this episode, we discuss:How Mary decided to make The Steadfast Tin Soldier a dialog-less productionThe "Aha" moment when she realized that an Advent calendar was the perfect countdown to curtain Mary's rehearsal and creation process How much she changes with each remounted productionAnd more!Resources MentionedThe Steadfast Tin Soldier is playing at Chicago's Lookingglass Theatre through January 8, 2023. Learn more.  Read MetamorphosesRead The Arabian NightsRead The OdysseyMore plays by Mary ZimmermanAbout Our GuestMary Zimmerman is a playwright and director of theatre and opera based in Chicago. She is the 1998 recipient of a MacArthur Fellowship, the 2002 Tony Award and Obie for Best Director, and many Chicago Joseph Jefferson Awards, including Best Production and Best Director. She is a member of Lookingglass Theatre Company in Chicago, an Artistic Associate of the Goodman Theatre, and The Jaharis Family Foundation Endowed Chair of Performance Studies at Northwestern University. She specializes in the adaptation of classical texts for the stage. Works that she has adapted and directed include The Steadfast Tin Soldier, Treasure Island, The Jungle Book, The White Snake, The Notebooks of Leonardo da Vinci, Arabian Nights, Metamorphoses, The Secret in the Wings, an opera with PhiConnect with host Melissa Schmitz***Sign up for the 101 Stage Adaptations Newsletter***101 Stage AdaptationsFollow the Podcast on Facebook & InstagramRead Melissa's plays on New Play ExchangeConnect with Melissa on LinkedInWays to support the show:- Buy Me a Coffee- Tell us your thoughts in our Listener Survey!- Give a 5-Star rating- Write a glowing review on Apple Podcasts - Send this episode to a friend- Share on social media (Tag us so we can thank you!)Creators: Host your podcast through Buzzsprout using my affiliate link & get a $20 credit on your paid account. Let your fans directly support you via Buy Me a Coffee (affiliate link).

The Soldiers at Toy Stall Story is very interesting about one Tin Soldier that liver in one Toy Stall. Listen full story to know more.Tell Awesome Stories to your little-aged kids. Make your children's night beautiful with full of fun and morals. Listen to Very Popular Stories and more bedtime stories.Peter Pan StoriesSnow White StoriesThe Little Mermaid Story and more...Bedtime Stories, Children Stories, Children Entertainment.Hey, kids if you want to read more interesting stories then don't forget to follow us.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Deep processing is a core aspect of high sensitivity. But processing is an important thing for all of us to do. And it's not easy to find the time and space for it in a fast-changing world that never takes a breath. This is what we're exploring in this episode of The Gentle Rebel Podcast. How can we create better conditions for deep processing in everyday life? Table of contentsResponding to a Fast-Changing World | 2:23Shallow Rivers and Deep Lakes | 8:29Cold Bucket Experiences | 14:03When You Feel Unseen and Unknown | 18:14Over-Empathy and Deep Patterns | 21:25Deep Processing and Loss | 25:20Levels of Processing | 35:33Deep Overground Processing and Response Flexibility | 37:14Deep Underground Processing | 42:23Depth of Processing and Downtime | 44:30What Happens Without Deep Processing? | 49:23Slow Coaching and The Deep Processing Approach | 52:51Conclusion - Prepare to Be Unprepared | 57:04The Haven | 59:30 Responding to a Fast-Changing World | 2:23 Everything moves so rapidly in our modern world. There is pressure to process and adapt to changes much faster than we have had to in the past. We are exposed to huge amounts of information and expected to somehow make sense of it and apply it to our own lives. So how do we process and respond to such a fast-paced world? Shallow Rivers and Deep Lakes | 8:29 There is an old proverb that says “shallow rivers are noisy. Deep lakes are silent.” What does this mean for our sense of self-belonging and our ability to absorb change? When things are thrown into our life from outside, like a big rock, a great splash and disturbance occur as it comes flying through the surface. But after a while, the rock is absorbed into the landscape in the depths of this body of water. There is an unshakeable power to the deep lake. That can be both safe and terrifying. In the story of the Steadfast Tin Soldier, we meet a character who appears to be a deep lake. But his silence, stillness, and stoicism speaks of unbelonging. He seems unable to express his true needs and feelings; hamstrung by the story he's been taught to believe about himself. Absorbing the blow is one part. But for true integration to happen we must also respond to it in some way. The change that happens around us fundamentally changes something in us too. Whereas the Tin Soldier appears unmoved and unchanged because he can't allow himself to feel his needs or need his feelings. Gentleness gives us the firm back and soft front to be flexible and adapt to the situation at hand. It is the openness, awareness, and intuition to choose based on what we see in front of us rather than what we think we ought to do. When we allow space for deep processing we nurture a deeper pool of options to draw from in different situations. Cold Bucket Experiences | 14:03 In her book, You Don't Owe Anyone, Caroline Garnet McGraw tells the story of what she describes as a "cold bucket experience". I share the story in the episode. You can also hear Caroline talk about it when we spoke. In childhood we might hear messages like: “Why are you doing it like that? That's stupid!” Or “that's just your imagination – grow up!” And “only an idiot would enjoy that kind of thing”. Or “why are you crying? You need thicker skin if you're going to survive the real world”. These messages prompt us to filter ourselves as we make sense of what we need to do to avoid rejection. So we might recoil, hide, and replace those parts of ourselves that we feel ashamed of. And amplify behaviours that we believe will help us gain approval and acceptance, safety and belonging. Cold Bucket Experiences are similar to what might be described as "small-t" or "paper-cut" traumas. They feed the script that we write for our route into belonging and safety from a very young age. And without a bit of examination and space for processing, they become well-worn paths that we walk throughout our lives.

Once upon a time, there was a little boy who received a birthday present. It was a small box filled with 25 mighty, handsome tin soldiers. Oh! The little boy saw that there was a special tin soldier who had only one leg.

Once upon a time, there was a little boy who received a birthday present. It was a small box filled with 25 mighty, handsome tin soldiers. Oh! The little boy saw that there was a special tin soldier who had only one leg.

Actor and artistic director, Louis Lovett joined Brendan in studio. The Tin Solider is a new play at The Gate Theatre, which unveils the truth behind Han Christian Anderson. gatetheatre.ie/production/tin-soldier/

We talk to Jason from Tin Soldier Racecars about the journey of building a race car business.

There's “pop star good looks” - as opposed to “film star good looks” - and there's “indie good looks” ... but which acts were a hundred per cent hot? Plus … is there any such thing as an original pop song? How did the Linn Drum make us accept the mechanical? What's the source of a lot of canned laughter? What was Springsteen's great act of betrayal? And we explore the benefits of Nord VPN by way of South Korea's favourite comedy and Peter Sellers and Bernard Cribbins in Two-Way Stretch. And birthday patron Jon Collins gets to call a meeting.Grab your EXCLUSIVE NordVPN Deal by going to nordvpn.com/yourear or use the code yourear to get a Huge Discount off your NordVPN Plan + 1 additional month for free + a bonus gift! It's completely risk free with Nord's 30 day money-back guarantee! Maximum pulchritude: the Small Faces and PP Arnold doing Tin Soldier: https://www.youtube.com/watch?v=6vWTtx_PxPoSubscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - and with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

There's “pop star good looks” - as opposed to “film star good looks” - and there's “indie good looks” ... but which acts were a hundred per cent hot? Plus … is there any such thing as an original pop song? How did the Linn Drum make us accept the mechanical? What's the source of a lot of canned laughter? What was Springsteen's great act of betrayal? And we explore the benefits of Nord VPN by way of South Korea's favourite comedy and Peter Sellers and Bernard Cribbins in Two-Way Stretch. And birthday patron Jon Collins gets to call a meeting.Grab your EXCLUSIVE NordVPN Deal by going to nordvpn.com/yourear or use the code yourear to get a Huge Discount off your NordVPN Plan + 1 additional month for free + a bonus gift! It's completely risk free with Nord's 30 day money-back guarantee! Maximum pulchritude: the Small Faces and PP Arnold doing Tin Soldier: https://www.youtube.com/watch?v=6vWTtx_PxPoSubscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - and with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

There's “pop star good looks” - as opposed to “film star good looks” - and there's “indie good looks” ... but which acts were a hundred per cent hot? Plus … is there any such thing as an original pop song? How did the Linn Drum make us accept the mechanical? What's the source of a lot of canned laughter? What was Springsteen's great act of betrayal? And we explore the benefits of Nord VPN by way of South Korea's favourite comedy and Peter Sellers and Bernard Cribbins in Two-Way Stretch. And birthday patron Jon Collins gets to call a meeting.Grab your EXCLUSIVE NordVPN Deal by going to nordvpn.com/yourear or use the code yourear to get a Huge Discount off your NordVPN Plan + 1 additional month for free + a bonus gift! It's completely risk free with Nord's 30 day money-back guarantee! Maximum pulchritude: the Small Faces and PP Arnold doing Tin Soldier: https://www.youtube.com/watch?v=6vWTtx_PxPoSubscribe to Word In Your Ear on Patreon and receive every future Word Podcast before the rest of the world - and with full visuals!: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This classic tale of a special toy and the trials he faces proves again why the stories of Hans Christian Andersen will always stand the test of time, just like the heart of our tin hero.

这个故事出自安徒生童话，讲述了一个玩具锡兵的曲折经历和他的感人爱情。 This is a story from Hans Christian Andersen, about a tin soldier's love.

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Great Classic Tale Tin Soldier Story is a very fantastic story for kids. This story is about one Toy Soldier and His love Story. Listen full story to know more.Be a Special Part of the Kids Candle Patron Program. We provide premium Stuff to our Patrons Community,Get Access Premium StoriesAdvertisement Free StoriesEarly Access All StoriesListen to stories by our Different ArtistDigital Ebooks and more.KidsCandle Petron ProgramAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

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Or, as I like to call it, "The Frankenstein Monster of Oz". The Tin Woodman joins forces with the Scarecrow and a young lad called Woot the Wanderer, embarking on a journey to find his lost Munchkin lover, Nimmie Amee. This proves to be a rather difficult task when they encounter a Tin Soldier with the same intentions and have to escape the clever magic of Mrs. Yoop the Yookoohoo. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In the Stories from the Hearth minisode series - normally exclusive to Patreon - Calum reads a classic story from the public domain; be it fable, fairy-tale, or moral; European, or International. Sometimes they perform them as they were first told, sometimes they rewrite them in their own style, and sometimes they perform bits and pieces from their own body of work. In minisode one, they read The Steadfast Tin Soldier by Hans Christian Andersen; a tale of love and heartbreak, adventure and betrayal, first published in 1838, and as affecting today as it was then.Stories from the Hearth minisodes are exclusive to Patreon, where the reading of a new bonus story will be released monthly. To gain access to every minisode, as well as a slew of other exciting perks, consider supporting the podcast by becoming a patron: https://www.patreon.com/storiesfromthehearthpodcastKeep up to date, by following and subscribing to Stories from the Hearth wherever you listen to podcasts, and as always, please do download, like and share this episode. Every wee thing you do helps immensely. Instagram: @storiesfromthehearthTwitter: @Hearth_PodcastYouTube: Stories from the HearthOriginal Artwork by Anna FerraraAnna's Instagram: @giallosardinaAnna's Portfolio:  https://annaferrara.carbonmade.com

The best British band from the '60's that never hit the bigtime in America-- Small Faces. Steve Marriott, Ronnie Lane, Kenny Jones and Ian McLagan would become rock legends due to their future projects (Humble Pie, The Who, The Faces, etc) , but it all started for them here. Small Faces recorded a number of psychedelic pop gems, but "Tin Soldier" may be the pinnacle. Shall we have a listen?Small Faces - "Tin Soldier" (Steve Marriott, Ronnie Lane) Copyright 1967 EMI United Partnership Limited-- This show is part of the Pantheon network of music-related podcasts. Check out their other shows!

The best British band from the '60's that never hit the bigtime in America-- Small Faces. Steve Marriott, Ronnie Lane, Kenny Jones and Ian McLagan would become rock legends due to their future projects (Humble Pie, The Who, The Faces, etc) , but it all started for them here. Small Faces recorded a number of psychedelic pop gems, but "Tin Soldier" may be the pinnacle. Shall we have a listen?Small Faces - "Tin Soldier" (Steve Marriott, Ronnie Lane) Copyright 1967 EMI United Partnership Limited -- This show is part of the Pantheon network of music-related podcasts. Check out their other shows!