Small Faces – PowerPop… An Eclectic Collection of Pop Culture

Small Faces – You Need Loving

This song exemplifies why I like the Small Faces so much. I’ve been listening to this song for years, and I can’t believe it was made in 1966. It was at least a couple of years before its time. Jimmy Page was listening very closely. Steve Marriott was asked to join Zeppelin later on, but his manager put a stop to it. Robert Plant has said he was heavily influenced by Steve Marriott, and if you want proof, listen to this recording. This song was written by Willie Dixon, and I think Zeppelin listened to this version more than Dixon…because Whole Lotta Love came out of it.

Looking back, this is more than just an album cut; it’s an early marker of what British rock would become. You can trace a direct line from this track to Zeppelin, Free, and all the blues-rock that followed. I always thought the Small Faces never got the credit they deserved. People in America only heard Lazy Sunday and Itchycoo Park because their manager would never let them tour the US.

The Small Faces were a band that always played bigger than their small size. If the Small Faces had had a good or even decent manager, they might have had a longer career and be more remembered today. They had a couple of great songwriters, Steve Marriott and Ronnie Lane. A superb drummer with Kenney Jones and keyboard player Ian McLagan. They were laying down some of the rawest R&B-inspired rock coming out of Britain. This song, on their debut album Small Faces, is a perfect example.

A YouTube comment on this song was crude and rude, but I endorse: Steve m*thaf*ckin’ Marriott. The ultimate rock & roll voice.

You Need Loving

Woah you foolin’Come and get coolin’I’m gonna send you right back to school, alrightMake your way down the new side girlYou know how woman, you need lovin’, lovin’, alrightI know you need lovin’ you here, oh yeah, alright

That’s right, well I’ve been yearnin’Hey baby you’ve been burnin’We’ll have a fun time, alrightYou’ll get some lovin’Cause baby we’re gonna excite youDeep in your heart woman, you need lovin’, yeah,oh lovin’, alrightThat’s all you need, lovin’ baby, yeah, alright

Eeny-meeny-miney-moEeny-meeny-miney-moCan’t take it no moreI can’t monkey and I can’t dogCan’t do the monkey, yeahI said you know how to ponyMony-baloney, I took you to the flyerPassed me byOh rock your ponyMashed potatoSaid I want to show youI want to show youIt’s alright, it’s alright…

Woman you need loving, yeah

…

Bonzo Dog Doo-Dah Band – I’m the Urban Spaceman

I stopped posting every day, so now I post on the weekends and sometimes on Thursdays and Fridays. On Thursday, I like out-of-the-box posts. And this one fits the bill. I’ve been re-reading a book on Keith Moon written by his former PA named Dougal Butler. I would recommend it to anyone; it’s called Full Moon or Moon The Loon, depending on which country you are in. Members of this band were discussed, so I had to revisit them.

I first saw them in Magical Mystery Tour with a song called Death Cab for Cutie. I always had a soft spot for this band, kinda like I have one for some Frank Zappa and Captain Beefheart. This 1968 single is the Bonzos at their most accessible and probably their most pop, or the closest thing to that. It was written by Neil Innes, the band’s Lennon to Vivian Stanshall’s mad McCartney. I’m the Urban Spaceman is a blast of optimism with a huge wink. To say this band thought “out of the box” is severely underestimating them.

The song is a satirical anthem for the then-Swinging London, mocking the hipster lifestyle while also kind of celebrating it. It walks the fine line between parody and pure joy. Though the Bonzos were always more a cult act than a chart band, Urban Spaceman briefly broke them into the mainstream. It peaked #5 on the UK Singles Chart in 1968, making it the closest thing they had to a conventional success. But conventional was never really the point of this band. The song was produced by Paul McCartney as “Apollo C. Vermouth.”

There’s a long British tradition of absurdist pop, the kind that runs a straight line from The Goons to Monty Python, with a few detours through The Kinks and Small Faces. And right there, hovering in that orbit is the Bonzo Dog Doo-Dah Band. Equal parts satire, whimsy, and dime-store psychedelia, they managed to twist vaudeville, trad jazz, and British music hall into something altogether different. In other words, “interesting” only scratches the surface. I think of the Marx Brothers because everything seemed irrelevant to them.

Viv Stanshall shared two things with Keith Moon. A friendship and the ability not to get embarrassed. A rare and dangerous thing in the hands of the wrong people.. Another similar friend of Keith’s in the Bonzos was Larry “Legs” Smith. One of the many stories was:

Smith went into a tailor’s shop where he admired a pair of trousers. Keith Moon came in, posing as another customer, and admired the same trousers, demanding to buy them. When Smith protested, the two men fought, splitting the trousers in two, so they ended up with one leg each. The tailor was beside himself. A one-legged actor hired by Smith and Moon came in, saw the split trousers and proclaimed, “Ah! Just what I was looking for.”

The song was on their third album, called Tadpoles, released in 1968. It peaked at #36 in the UK. They made 6 studio albums with their last one in 2007 called Pour l’Amour Des Chiens… French for For The Love Of Dogs. They were together from 1962 through 1970 but did reunite several times…in 1972, 1988, 2006-2008, and 2008 – 2019.

The members were Vivian Stanshall, Neil Innes, Roger Ruskin Spear, Larry “Legs” Smith, Rodney Slater, Dennis Cowan, Vernon Dudley Bowhay-Nowell, Bob Kerr, Martin Ash, Ian Cunningham, Tom Parkinson, and Joel Druckman.

Neil Innes would go on to write songs for Monty Python and front The Rutles, cementing his status as a master of affectionate parody.

I’m the Urban Spaceman

I’m the Urban Spaceman, babyI’ve got speedI’ve got everything I needI’m the Urban Spaceman, babyI can flyI’m a supersonic guy

I don’t need pleasureI don’t feel painIf you were to knock me downI’d just get up againI’m the Urban Spaceman, babyI’m making outI’m all about

I wake up every morning with a smile upon my faceMy natural exuberance spills out all over the place

I’m the Urban SpacemanI’m intelligent and cleanKnow what I mean?I’m the Urban SpacemanAs a lover, second to noneIt’s a lot of fun

I never let my friends downI’ve never made a boobI’m a glossy magazine, an advert in the tubeI’m the Urban Spaceman, baby, here comes the twistI don’t exist

…

Small Faces – Song Of A Baker

Another band this week that didn’t break America but should have.

A great pop song by The Small Faces with Ronnie Lane on the lead vocal. Ronnie Lane was inspired to write this song by a book of Sufi wisdom given to him by Pete Townshend. The song was credited to Ronnie Lane and Steve Marriott. The Small Faces

In 1966-67 Ronnie Lane and Steve Marriott moved into a Westminster apartment, and a new drug entered their orbit that expanded their artistic vision almost beyond all recognition… LSD (Lysergic acid diethylamide).

This song came off of their best-known album, Ogdens’ Nut Gone Flake. In its initial release, the album was packaged in a mock tobacco tin that was a circular metal container with oversized folded paper as one finds in a pipe tobacco tin. It proved to be too expensive and impractical, so later releases were packaged in conventional cardboard album covers. A compact disc reissue also was marketed in a mock Ogdens tin.

Ogden’s Nut-brown Flake was a tobacco brand produced in Liverpool from 1899 onwards by Thomas Ogden.

The album was a psychedelic concept album. It was one of rock’s first concept albums coming before The Who’s Tommy. Side two follows a boy named Happiness Stan who is trying to find the missing half of the moon. The story was thought of on a boating trip to teh river Thames.

Ian McLagan on touring Australia and New Zealand: “[The Australian press] gave me hell from the very beginning, because I’d just been busted, I was on my way to Athens for a holiday but never got further than Heathrow. As I was showing my passport they smelt the hash on me, searched and busted me. As soon as we landed in Australia we had a press conference, so we’re all lined up in front of the television cameras and the first guy goes: ‘Steve Marriott, Ronnie Lane, Kenney Jones, Ian McLagan… you’re the drug addict right?’”

“On our way to New Zealand we had to stop off in Sydney. You couldn’t drink on internal flights back then, but one of Paul Jones’ Australian backing band passed a bottle around and the police were called. We weren’t even drinking but they arrested and held us in the first-class lounge where a waitress came straight up to us and said: ‘What would you like to drink?’ “So we drank. The police arrested us as soon as we arrived in New Zealand, but we ended up having a great time. Steve had his 21st birthday party; Keith [Moon] wrecked his room; it was business as usual.”

Kenney Jones: “The lyrics came from Ronnie’s Sufi investigations, with the importance of the ‘wheat in the field’ and all that, I love his melodic bass playing on it. He used to think like he was playing lead guitar and that mentally fused into his bass playing.”

Ian McLagan: “It was weird that they allowed Here Comes The Nice to come out at all, we were dabbling in all kinds of chemicals and Methedrine was one of them. We were wrong to have written about a speed dealer. They weren’t the nicest people. The guy you bought your hash from was usually just a head, but a speed dealer – like a coke or heroin dealer – was only interested in getting your money. It was quite different. They weren’t your friends.”

Son Of A Baker

There’s wheat in the field
And water in the stream
And salt in the mine
And an aching in me

I can no longer stand and wonder
Cause I’m driven by this hunger
So I’ll jug some water
Bake some flour
Store some salt and wait the hour

While I’m thinking of love
Love is thinking for me
And the baker will come
And the baker I’ll be

I am depending on my labor
The texture and the flavor

…

Small Faces – Itchycoo Park

This song was released in 1967 by The Small Faces and it peaked at #16 on the Billboard 100, #1 in Canada, and #3 in the UK. I was born in 1967 and cannot remember a thing but this song makes me feel like I was there. It was written by Ronnie Lane and Steve Marriott. A psychedelic song that hit on both sides of the ocean which was rare for the Small Faces who never toured America.

Ronnie Lane had been reading a leaflet on the virtues of Oxford University which mentioned its dreaming spires. Several sources claim the song’s name is derived from the nickname of Little Ilford Park, on Church Road in the London suburb of Manor Park where Small Faces’ singer and songwriter Steve Marriott grew up.

The park is Manor Park’s Itchycoo Park (officially Little Ilford Park) in London. An “Itchycoo” is slang for a flower found in the park called a “Stinging Nettle,” which can burn the skin if touched. Ronnie Lane said “It’s a place we used to go to in Ilford years ago. Some bloke we know suggested it to us because it’s full of nettles and you keep scratching.”

Producer Glynn Johns used a new technique of phasing in the drum breaks. He got credit for doing that but it was his assistant that came up with it. The flange effect could be made by placing a finger on the supply reel creating drag, causing the machine to slow down, which increased the delay and lowered the pitch of the notches. The sound could be swept upward by doing the opposite…touching the take-up reel and speeding it up slightly.

Glyn Johns: I have often been given credit for this, but in fact the method used to achieve it was discovered by my assistant at the time, George Chkiantz, who demonstrated it to me as I arrived for the session. I thought it was a fantastic effect and decided to use it on the track we cut that afternoon. This happened to be “Itchycoo Park,” a song about taking LSD, as coincidence would have it, and if you listen you will see why it was so effective.

Glyn Johns: This was one hell of a band. They had a massive amount of energy that was unleashed on their audiences from the minute they hit the stage until they left it. If they had ever made it to America, they would undoubtedly have been as successful as any of the British bands that took it by storm in the sixties. That was not to be, as they broke up in 1969 before ever going there.

Ian McLagan: “I never liked ‘Itchycoo Park’ because me and Ronnie had to sing, ‘It’s all too beautiful,’ and you sing that a few times, and you think… It’s not. The ‘bridge of sighs’ is the one in Cambridge. The ‘dreaming spires’ are a reference to Oxford. Then ‘to Itchycoo Park… That’s where I’ve been,’ Ronnie was saying, ‘I didn’t need rich privilege or education. Found beauty in a nettle patch in the East End of London.”

Itchycoo Park

Over bridge of sighs
To rest my eyes in shades of green

Under dreaming spires
To Itchycoo Park, that’s where I’ve been

(What did you do there?) I got high
(What did you feel there?) well, I cried
(But why the tears there?) tell you why
It’s all too beautiful, it’s all too beautiful
It’s all too beautiful, it’s all too beautiful

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

I’ll tell you what I’ll do (what will you do?) I’d like to go there now with you
You can miss out school (won’t that be cool?) why go to learn the words of fools?

(What will we do there?) we’ll get high
(What will we touch there?) we’ll touch the sky
(But why the tears there?) I’ll tell you why
It’s all too beautiful, it’s all too beautiful
It’s all too beautiful, it’s all too beautiful

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
It’s all too beautiful, it’s all too beautiful
It’s all too beautiful, hah

It’s all too beautiful, it’s all too beautiful
It’s all too beautiful, it’s all too beautiful
It’s all too beautiful, it’s all too beautiful

Small Faces- Rollin’ Over

They have become one of my favorite 60s rock bands. The biggest reason is their lead singer + guitarist…Steve Marriott.

If the Small Faces would have had a good or even decent manager they might have had a longer career and be more remembered today. They had a couple of great songwriters, Steve Marriott and Ronnie Lane. A superb drummer with Kenney Jones and keyboard player Ian McLagan

In my opinion, they had the best singer of any band at that time with Marriott. Other singers like Paul Rodgers and Robert Plant have said they both owed a debt to Marriott. The pure energy he gave off live is incredible. If I could build a rock band from scratch with anyone I wanted…Steve Marriott would be my singer…plus he was a great guitarist. Keith Richards wanted him to replace Mick Taylor when he left the Stones.

I always thought America had a skewed view of Small Faces. The only two songs played in America were Lazy Sunday and Itchycoo Park. One of them sounds like a music hall song and the other psychedelic. I like them but they were a driving band with a harder edge than either of those songs. Rollin’ Over is not their best song but I always have liked it. It was the B-Side to Lazy Sunday.

This song was off their biggest album Ogdens’ Nut Gone Flake. It’s a rocking song that reminds me of what was to come in Marriott’s Humble Pie and the later Faces. It was written by Marriott and Lane as was most of their songs. Listen to this song and All or Nothing and see the difference between the two hits in America.

The album peaked at #1 in the UK and #159 on the Billboard 100. The reason they didn’t hit more in America? Their manager Don Arden would not pay for them to tour here per Kenney Jones. During their peak in the UK, Arden paid the band just £20 a week (around $50 at that time) plus a clothing allowance. Kenney Jones said they have just recently received some of the royalties that were stolen from them by Arden.

Rollin’ Over

Goodbye sunshine, I’m on my wayI’ll be long time gone by the break of dayTell everyone that I’m gonna find itThere ain’t nothin’ gonna stop me

Rollin’ overRollin’ over (save all your lovin’ ’til I get home)Rollin’ over (ooh, the sweetest lovin’ sunshine that I’ve ever known)Tell everybody I’m gonna find itThere ain’t nothin’ gonna stop me

Rollin’ over, shak-do-wayWah-wah-doo, yeah-yeah-yeah (rollin’ over)Shak-do-way (rollin’ over)Yeah-yeah-yeah (rollin’ over)Shak-do-way (rollin’ over)Yeah-yeah-yeah (rollin’ over and over)Shak-do-way (rollin’ over)Yeah-yeah-yeah (rollin’ over)Shak-do-way (rollin’ over)Yeah-yeah-yeahShak-do-way

Pete Townshend and Ronnie Lane – My Baby Gives It Away

I have often wondered why this album wasn’t more popular. It features The Who’s Pete Townshend and The Small Faces/Faces Ronnie Lane who then was leading his own band, Slim Chance. The album is full of great songs and is worth a listen. The guest musicians include Eric Clapton, Charlie Watts, John Entwistle, Ian Stewart, John “Rabbit” Bundrick, and more.

In October of 1976, the Who closed a North American tour in Toronto, a show that would be the last with Keith Moon before a paying audience. The band took a break to pursue individual projects. Ronnie Lane had wanted Townshend to produce his album but he then wanted Townshend to collaborate writing on the songs. Townshend declined because he had never written with anyone before but they did manage to write the title track, Rough Mix, together.

The album ended up with Townsend songs and Lane songs. They did do a cover of a Don Williams song called Till All The Rivers Run Dry. Rough Mix didn’t draw a lot of attention at the time but is now considered a lost gem. Townshend has said in his book that there was a big argument where he shoved Ronnie Lane. He said it felt like he didn’t know his own strength because Lane felt like he was made out of paper. Later Pete found out about Lane’s multiple sclerosis.

Lane was already showing the early symptoms of multiple sclerosis (tremors, slurred speech), which others sometimes interpreted as a sign he was drunk. He didn’t tell Townshend, or very many others, about his medical diagnosis.

Townshend’s liner notes eventually read, “Ron and Pete play various acoustic & electric guitars, mandolins & bass guitars, banjos, ukuleles & very involved mind games.”

The album peaked at #44 in the Billboard Album Charts, #70 in Canada, and #45 in the UK in 1977.

Pete Townshend: The recording of Rough Mix with Ronnie is now a blur, but I remember some special moments. I played live guitar with a large string orchestra for the first time, my father-in-law Ted Astley arranging and conducting on ‘Street in the City’. I was surprised at the respect given me by the orchestral musicians. Playing with Charlie Watts on ‘My Baby Gives It Away’ was also very cool, making me aware that his jazz-influenced style was essential to the Stones’ success, the hi-hat always trailing the beat a little to create that vital swing.

Meeting John Bundrick (Rabbit) was also an important event in my life as a musician. He wandered into the Rough Mix studio one day looking for session work. Here was a Hammond player who had worked with Bob Marley, and could play as well as Billy Preston. Offstage he could be reckless and impulsive, drinking too much, asking for drugs and telling crazy stories, but musicians of his calibre didn’t come around very often.

My Baby Gives It Away

My baby wakes in the deep of the nightShe doesn’t need itBut she says it’s all rightMy baby digs it, just a Rollin’ away

My baby gives it up every dayMy baby gives it, she gives it awayMy baby gives it up every dayMy baby She just gives it away

When you’re alone in some city hotelYou can get company by ringing a bellYou might go pick up a girlOn the street

But my baby gives it up totally freeMy baby’s counting’ on, ’cause you aloneMy baby’s brother never break a your armMy baby ha, ha, I love her

She’s cheepOoh yeahMy babyMy baby

My babyMy babyMy baby

You better buy yourself an new pair of shoesAnd walk for a lifetime on that bad newsYou better buy an electric guitarThere’s no better way to beat the blues, I beat ’em

My babyMy babyMy babyMy baby

She give it way, every day, every wayMy baby just gives it away

My baby’s momma is a singular girlShe brought up her daughter and brought her up wellI’m breathing no more‘Cause she took it away

My baby gives it up every dayMy baby gives itShe gives it awayMy baby gives it up every day

My babyMy babyMy babyMy baby

My babyMy baby

How I love her, yeahMy baby, my baby, she just gives it awayMy baby, my baby, she just gives it awayMy baby, my baby, gives it away

Let me tell you, my baby, she just give it awayMy baby, every dayMy baby gives it up every dayMy baby give itJust gives it away

Small Faces – All Or Nothing

The Small Faces were very popular in the UK in the 1960s. Because of management they never toured in America. Their best-known songs are Itchycoo Park and Lazy Sunday in America but had many hits in the UK.

All or Nothing was written by Steve Marriott and Ronnie Lane. The song peaked at #1 in the UK in 1966.

The Small Faces would splinter in 1969 and Steve Marriott would start Humble Pie with Peter Frampton. The Small Faces would welcome Ron Wood and Rod Stewart and become the Faces…Kenney Jones would later replace Keith Moon in the Who.

It was said to be written either about Marriott’s break up with his with ex-fiancée Sue Oliver, or for his first wife who once dated Rod Stewart. It is possible that both these explanations may be true…somehow.

Drummer Kenney Jones: “It was us getting to where we wanted to be musically. It wasn’t as poppy as our previous hits, but still commercial enough and better than anything we’d done before.”

Steve Marriott in 1984: “I think ‘All Or Nothing’ takes a lot of beating. To me, if there’s a song that typifies that era, then that might be it.”

From Songfacts

Not to be confused with a later song of the same title, “All Or Nothing” was recorded by the Small Faces in 1966. In his 2004 autobiography Mr Big, their manager at the time, Don Arden, said this was “top-drawer…[and] still gets played on the radio today”. Arden produced the record. Co-written by guitarist Steve Marriott and bass player Ronnie Lane, it was backed by “Understanding” and was written

For Marriott it was very much all or nothing; he married three times and appears to have sired at least two children out of wedlock. He died in a fire in April 1991, apparently after lighting a cigarette in bed and falling asleep. Prior to his death, he had taken cocaine as well as Valium and alcohol.

Here are two quotes about the song from 1000 UK #1 Hits by Jon Kutner and Spencer Leigh.

Kenney Jones recalled to Uncut magazine: “We were on tour and staying in the Station Hotel, Leeds, when Steve suddenly run down the corridor screaming, ‘I’ve got it! I’ve just written our next hit!”‘

Jones based his opening drum fill on the intro of Wilson Pickett’s “In The Midnight Hour.”

All Or Nothing

I thought you’d listen to my reason
But now I see, you don’t hear a thing
Try to make you see, how it’s got to be

Yes it’s all, all or nothing
Yeah yeah, all or nothing
All or nothing, for me

Things could work out
Just like I want them to, yeah
If I could have
The other half of you, yeah
You know I would,
If I only could

Yes it’s yeah, all or nothing
Oh yeah, all or nothing
You’ll hear my children say,
All or nothing, for me

I didn’t tell you no lies
So don’t you sit there and cry girl
Yeah, all or nothing
Oh yeah, all or nothing
Oh yeah, all or nothing

Do you know what I mean
You got to, got to, go to keep on trying, yeah
All or nothing, mm yeah
All or nothing, to keep on working on to me
All or nothing for me, for me, for me

Come on children, yeah
All or nothing, yeah,yeah, yeah, yeah
All or nothing, I kept on singing to myself
All or nothing, yeah for me, yeah

Steve Marriott

Robert Plant, Paul Rodgers, Freddie Mercury, and Mick Jagger gets brought up when talking about great lead singers. I’ve had this conversation with friends and musicians. Who was the best rock bass player, guitar player, drummer, and lead singer?

Steve Marriott rarely gets brought up by anyone because he is sadly not remembered as well as he should be. I’ve listened to Marriott for years and the guy still amazes me. He could sing blues, R & B, Rock, and Pop. He could do anything because not only was he a great singer a good songwriter and he was a very good guitar player.

He influenced many singers from the 60s and beyond. Below is the Small Faces doing “You Need Lovin'” and I think Robert Plant was listening. This was before Zeppelin.

The Small Faces played Rock, R & B, and Blues music but what they are famous for are the two pop singles Itchycoo Park and Lazy Sunday. Marriott was upset about Lazy Sunday being released as a single because he’d recorded the song as a joke and it was released despite his objections. They are also known for one of the best albums of the sixties Ogdens’ Nut Gone Flake. Q magazine placed Ogdens’ Nut Gone Flake at number 59 in its list of the 100 Greatest British Albums Ever. Steve Marriott and Ronnie Lane wrote most of the album.

Because of bad management, a pop image, and a lack of a follow up to Ogedens’ Nut Gone Flake the Small Faces broke up. Marriott wanted to play harder music so he and Peter Frampton started a band called Humble Pie.

Humble Pie had some great songs but nothing really caught on with the masses. That’s not always a bad thing but they never had a big song identifiable to them as some other bands do. They did have four top twenty albums but were more known as a live band…check out Performance Rockin’ the Fillmore

Their manager was Dee Anthony who had connections with the Mob. Everything was ok until Steve wanted to know where the money was at. Marriott began openly questioning Anthony’s business practices, the singer was summoned to a meeting at a social club in New York’s Little Italy. According to Marriott’s ex-wife, among those in attendance were John Gotti and several other members of the Gambino crime family. Marriott was quietly persuaded to forget about any money he thought he had coming to him.

The Small Faces reunited, without Lane, between 1976-1978 but punk was taking over and they were not successful. In 1980 Humble Pie reunited but didn’t have much luck either.

In 1981 Steve and Ronnie Lane made an album together that wasn’t released until 2000 after both were passed away. It was called The Legendary Majik Mijits and I really like the recording. You can tell they recorded it in 1981 but it contains some hidden gems.

Steve played many club gigs in the 80s, some you can still see on youtube. In 1991 while working on an album with Peter Frampton he flew back home and went to sleep with a lit cigarette and died of smoke inhalation…he was 44 years old.

A sad ending to a performer who could have been huge. Perhaps if he would have lived longer he would have revived his career and been more remembered today.

Steve had a huge voice that came out of his 5 foot 5 frame. When Jimmy Page was looking for a singer for his new band Page had thought about Marriott but he was managed by the notorious Don Arden, who had reportedly responded by asking how well Page thought he would play guitar with 10 broken fingers.

What other artists say about Steve Marriott

Keith Richards has said that Mariott is in his top 5 favorite artists and considered having Steve in the Stones to replace Mick Taylor when he left…an idea that Mick Jagger rejected.

“Probably, really, my favorite other bands ever, Steve Marriott’s, very much from the English point of view, the Small Faces, then he had Humble Pie.

Chris Robinson of The Black Crowes To me it’s so obvious I’m a Steve Marriott rip-off that I never think about Rod. I admit it. Steve Marriott is the guy, him and Paul Rodgers and Gregg Allman.

Robert Plant (about the Song Remains the Same) I wanted to be like, “Come on!” I wanted to be Steve Marriott, for fuck’s sake.

Paul Rodgers I was rooting around in my cupboard the other day, actually, just yesterday, and I found a bunch of Steve Marriott live stuff and I put it on and MY GOD, that guy was unbelievable!

Documentary about Steve Marriott

https://www.youtube.com/watch?v=-oeKYxSS1jo&ab_channel=FonsSimons

Humble Pie with Marriott and Frampton.

https://www.youtube.com/watch?v=k2UIrxSgCpA&ab_channel=DisorderDisarray

Steve and Ronnie Lane in 1981. Some very good songs

http://www.fivefamiliesnyc.com/2010/10/mobsters-make-steve-marriott-eat-humble.html

https://www.allmusic.com/artist/steve-marriott-mn0000040312/biography