Stephen Farland emailed me to say that he owns the custom-made wooden bar that belonged to Minnesota Fats from his Isle of Lakes Minnesota home. He has decided to sell this extremely rare and very cool rustic bar. Real wood and it appears to be in fabulous condition since the 1930s (approx).
In case you don't remember or know about Minnesota Fats read his history HERE
Someone stopped him in the crowd and said, "Fats, tell me about Titanic Thompson and Al Capone. " Fat smiled and said, "I knew 'em all and I beat em all"
Inside the back bar where there are the original beet tap and sink are the beer tap cooling coils. As I was cleaning them I heard rattling I thought it would be metal screws but they turned out to be real silver mercury dimes that had been put in there to reduce corrosion. But could have been Fats' way of making the Losers pay for their beer!
Look close at the years, Funny they were never going to be removed as long as Fats was alive and the bar was assembled.
It was only when I started restoring it that I discovered them. Most likely this is the only money that exists that he actually touched! “His last dimes”! Steve Farland
The pictures were taken the day Steve moved it into his warehouse. We have included a short video of the man who removed it from the Isle of Lakes home.
This is a totally different rendition of Sabrina the Teenage Witch. I loved the original series and am just getting into this series...
Chilling Adventures of Sabrina is an American supernatural horror television series developed by Roberto Aguirre-Sacasa for Netflix, based on the comic book series of the same name. The series is produced by Warner Bros. Television and Berlanti Productions, with Aguirre-Sacasa, Greg Berlanti, Sarah Schechter, Jon Goldwater, and Lee Toland Krieger serving as executive producers.
The series is centered on the Archie Comics character Sabrina Spellman, portrayed by Kiernan Shipka, and also stars Ross Lynch, Lucy Davis, Chance Perdomo, Michelle Gomez, Jaz Sinclair, Tati Gabrielle, Adeline Rudolph, Richard Coyle, and Miranda Otto.
Originally in development during September 2017 at The CW, the series was intended to be a companion series to The CW series Riverdale; however, in December 2017, the project was moved to Netflix with a straight-to-series order, consisting of two seasons.
Filming takes place in Vancouver, British Columbia, where both seasons will be shot back-to-back. The entire first season, consisting of 10 episodes, was released on October 26, 2018. The series has received generally positive reviews, with critics praising Shipka's performance and the cast as well as the premise.
Small Faces “Ogdens' Nut Gone Flake’’ 50th Anniversary Deluxe-Editions Released October 26, 2018
Immediate Records and Charly Records To Release 50th Anniversary Deluxe-Editions of London rock legends' 1968 psychedelic masterpiece across various formats
Immediate Records and Charly Records are to celebrate the 50th Anniversary of the Small Faces' much loved third album “Ogdens' Nut Gone Flake” with the release of a variety of new and very special deluxe editions across various formats (including deluxe triple 180-gram red, white & blue coloured vinyl LP box-set and a comprehensive 3CD+1DVD yearbook set) on 26th October 2018.
The 180-gram vinyl LP formats have been newly mastered at half-speed for optimum sound quality and pressed in conjunction with Optimal: Media in Berlin and The Vinyl Factory in London from restored original Immediate Records tape sources. Originally recorded during 1967 and 1968 by Glyn Johns at Olympic Studios, Trident and Pye Studios, the expanded editions of “Ogden's’’ also feature rare material from the archive of surviving Small Faces member Kenney Jones.
“On 'Ogdens' Nut Gone Flake' you can still hear it's a real band firing on all cylinders, great dynamics and everyone equal in their musicianship. The story within concerned an amazing journey and it was exactly the same for us too - a fantastic journey” - Kenney Jones, 2018
All editions have been prepared under the watchful eye of Small Faces reissue producer and Immediate Records label manager Rob Caiger with remastering engineer Nick Robbins (Soundmastering Ltd) and vinyl cutting engineer Matt Colton (Alchemy Mastering) and approved by Kenney Jones.
Talking about the mastering process for this 50th Anniversary, reissue producer Rob Caiger says: “Listening back to the original first pressing of 'Ogdens' on both mono and stereo, we've captured a lot more purely because we can do so much more with the technology we have now, cutting more information to the vinyl than was able to be done back in the day because of the limitations of technology then.”
Remastering engineer Nick Robbins stresses how important it was for the new editions to stay true to the original LP: “I'm not concerned with how it might sound in the context of a modern recording. I think that's a mistake. I think it's much more important to bear in mind the context of its period rather than think 'Most records these days are really whizzy so I should make this the same.' No, you don't do that - that would be a mistake. The records have their time and sound has its time. And it's important to remain true to that.”
Mastering Engineer Of The Year Award winner 2018, Matt Colton explains the half-speed cutting process to produce a 33 1/3 rpm LP: “Cutting at half-speed offers a better transient and dynamic response, more defined and accurate sound, extended low frequency, and smooth high frequencies.
Basically, the band really kicks arse on the half-speed cut in a way that it doesn't cut at normal speed. The sound fills the room, Kenney's kick drum is punching you in the chest, the guitars are pushing the amps to the edge of distortion with a beautiful blues tone and it just delivers a more musical experience. There's more power there than cutting at normal speed and that is really satisfying.”
A red, white & blue coloured vinyl 180-gram half-speed mastered 3LP box-set (Immediate IMBX012) boasts a new softback 12” x 12” 72-page book full of Gered Mankowitz photos, original artwork, rare memorabilia, in-depth sleevenotes and interviews conducted with band members over many years by journalist & writer Mark Paytress, plus introduction by Kenney Jones. LP1 consists of the original mono mix of “Ogdens' Nut Gone Flake,”
LP2 features the album's original stereo mix, whilst LP3 boasts a plethora of rare tracks released for the very first time on vinyl, all providing a fascinating snapshot of this key period in the acclaimed British band's career.
All editions have been assembled by Grammy-Award winning graphic designer Rachel Gutek who has had access to the Immediate Records original artwork files.
“They were the most complete pop group for me. They had everything - they were amazing players that all had the same influences. The image, the haircuts, blimey they were even all the same height. A kinda dream band that everyone would want to be in” - Paul Weller
The Small Faces story starts in July 1964 with vocalist & guitarist Steve Marriott, bassist Ronnie Lane and drummer Kenney Jones all sharing a bill at the Albion in Rainham, Essex as part of their own respective bands. Marriott, Lane, and Jones met up again months later in a local music shop - the J60 Music Bar - and struck up a conversation whereby they discovered a shared love of American blues and R’n’B. Marriott was invited to play live with Lane & Jones' that evening in Bermondsey but following a particularly rowdy show where Marriott smashed up the venue's piano, they were sacked and ended up planning a new band together - the beginning of the Small Faces.
The band's rise was stratospheric, with the new group playing their first out of town show at Peter Stringfellow's Mojo Club in Sheffield in July 1965, accepting a residency in London's Cavern Club in Leicester Square and signing with heavyweight manager Don Arden before releasing a debut single, “Whatcha Gonna Do About It,” on Decca Records in August, which quickly ascended to No.14 in UK Singles Chart. When third single “Sha-La-La-La-Lee” reached No.3 five months later and their eponymously-titled debut LP also reached No.3 in the UK in the summer of 1966 (and with original keyboard player Jimmy Winston leaving the band at this point to be replaced by Ian “Mac” McLagan), the Small Faces had truly arrived.
Acrimoniously splitting from manager Don Arden, the band made an inspired move when they signed to Andrew Loog Oldham's Immediate stable in February 1967. Oldham saw Marriott/Lane as the obvious replacements for the Jagger/Richard songwriting team that had thus far helped afford the fledgling record label its insouciant cool (and big hits). Liberated by the move to their new independent confines, the band could now completely spread their wings; releasing a well-received, accomplished first LP (again entitled “Small Faces”) for Immediate in June 1967, also finding the time to reflect that summer’s psychedelic reverberations two months later via non-album Top 3 hit single, “Itchycoo Park,” before finally blasting it out of the park in December 1967 with the astonishing single “Tin Soldier,” their first collaboration with newly-signed Immediate label mate P.P. Arnold.
The band was at something of a strange juncture as they entered Olympic Studios, London with engineer Glyn Johns in late-1967 to commence the recording of their third long-player. The credibility afforded 'rock' acts as opposed to those considered mere 'pop' was still of crucial importance at this time in British music history and, having already achieved four UK Top 10 singles in 1966 (including a No.1 hit with the mighty “All Or Nothing”) plus three Top 10 singles in the first few months of 1967, the pressure was now somewhat on to make that leap to timeless authenticity by delivering a truly great album.
To add to the pressure, Immediate Records was suffering cash flow problems, inter-band relationships had become strained following a period of extensive overseas touring with The Who and the band's frontman Steve Marriott was constantly questioning the group's place in the musical firmament.
The decision was made to stop touring and give the band time to write a bigger record - the four musicians spent February 1968 working up tracks on three different boats cruising up and down the Thames, studio time was unlimited and the band members also took the opportunity to relocate to the countryside from the inner city, a new domestic scene perfectly captured in Andrew Loog Oldham's choice of first single from the forthcoming album, “Lazy Sunday” (Steve Marriott had wanted to release the heavier “Song Of A Baker” with “Lazy Sunday” as the B-side, but Loog Oldham stuck to his guns). Having rowed with a member of The Hollies, both accusing the other of never singing in their own natural accents, Marriott quite deliberately ramped up his vocal cockney tones on the single which reached No.2 on its release in April 1968.
“One of the great English rock LPs” - Mojo
The Small Faces' third studio album, “Ogdens’ Nut Gone Flake,” was released by Immediate on 26th May 1968, soon sitting pretty atop the UK Album Chart where it enjoyed a six week reign at No.1 that summer. The LP was housed on its original release in a round circular sleeve featuring a replica of the Thomas Ogden metal tobacco tin that inspired the album’s title. “Ogdens’’ was a proper game-changer - a brave British psychedelic rock statement that oozed jaw-dropping rock, soul and R'n'B, played by four remarkable young musicians completely at the top of their game.
Whilst side one dazzled with the sheer power of Ronnie Lane's “Song Of A Baker” and the heavy soul of Marriott's “Afterglow” (belatedly reworked into the band's final official studio single, “Afterglow Of Your Love”) plus a liberal dash of Cockney knees-up on aforementioned first single “Lazy Sunday” and “Rene,” the LP's second side premiered the band's six-song fairytale of Happiness Stan and his quest to find the missing section of the crescent moon, the six track cycle linked via narration by comedian Stanley Unwin, his words suitably twisted into odd shapes via his unique, surreal 'Unwinese' linguistics.
“Ogdens' Nut Gone Flake” was the landmark album that the Small Faces had always threatened to make - both a critical and commercial highpoint and one that would finally afford them the real rock credibility that had thus far slightly eluded them. The album's whole was something truly psychedelic and new - at times almost childlike in its innocence, but at the same time infused with the band members' complex emotions and already slightly world-weary experiences. It seems incredible that this was a group a mere three years away from its humble beginnings in the sweaty East End pubs & R'n'B clubs of its birth.
A major influence on acts such as Led Zeppelin, Sex Pistols, The Jam, Blur and Oasis and almost universally acclaimed on its initial release in May 1968, “Ogdens' Nut Gone Flake” has gone on to appear in countless best album polls (it was voted #59 in Q Magazine’s Top 100 Greatest British Albums Ever poll in 2000 and was voted into Mojo’s Hall Of Fame) whilst The Guardian more recently described the album as, “A groundbreaker.”
In addition to these new 50th Anniversary deluxe editions of “Ogdens' Nut Gone Flake” on 26th October 2018, surviving band member Kenney Jones has also recently published an acclaimed autobiography, “Let The Good Times Roll,” via Blink Publishing, writing extensively about his time drumming with the Small Faces, the Faces and The Who (amongst others), speaking openly about his own personal cancer battle and his continued work to raise awareness via the Prostate Cancer UK charity and his own Rock 'n' Horsepower charity events.
The Seven of Pentacles indicates that you've worked hard! You've worked steadily for a long time.
It's time to relax for a bit to enjoy what you have created. Time to bask in the happiness of receiving rewards well-deserved. You have always been a natural giver. That will continue.
But for a while, feel fond of life, what has been created, and the blessings of the universe. Take a little time to soak in the good results.
The meaning of the Seven of Pentacles relates to investment and effort. It follows the Six of Pentacles which refers to the end of financial or material hardship. If you have been putting in time and effort in your work, it signifies that your efforts are paying off and they are going to pay off in the future as well.
The power of music is indisputable. For ancient Egyptians flutes and harps were commonly played to create mood and entertain the ruling and leisure classes. Music has since become much more accessible to the masses, although this process has not been without resistance from those who fear the power it contains to do more than reflect social change, but to actually fuel it.
The subtle music messages through history
Historians and anthropologists are confident that music is both a reliable way of understanding culture and social conditions and a medium which can both reflect and even fuel social and political rebellion. Take 16th to 18th century England for example, when music for the masses was delivered through hymns; religious songs with lyrics deigned to reinforce obedience to the church.
Jump to the 20th century and we find the rise of the football anthem, punk which ushered in a decade of rebellion, and the emergence of ‘girl power’ as women muscle to the front of the music stage.
Twenty years on
In contemporary culture music had never been more accessible; thanks to the ways it is both created and delivered changing so dramatically.
Never before have the public had 24/7 access to musical sources, opportunities to create their own through computer programs and devices, other opportunities to find an audience whether through reality TV talent shows or an online video platform.
To get into music yourself, check out Soundchime.com to learn more.
Musical messages
In ancient Greece the public learned from wise male philosophers who spoke for hours in public places, and some believe that modern day popular musicians play the same role.
Therefore contemporary music must do more than simply observe and comment on contemporary society, but perhaps also encourage social unrest amongst the marginalized where it once operated as a means of social control?
It would be naïve to write this off as unlikely, after all we already know that music has a profound effect on motivation, (shopping centres speed up their musak as closing time approaches to encourage customers to shop faster), and on pain control – playing music during surgery reduces the amount of post-op painkillers needed.
Music very definitely also both encourages and reinforces shared emotional reactions between group members who identify with a common struggle; what happens when a woman sings ‘I will survive’ at a karaoke event for proof of that.
Music is the people’s voice
From 1960s hippie flower power and anti-war messages to the political undertones of 1980s hits, music has been a consistently reliable way to tap into popular concerns and opinions.
In recent months the emergence of ‘UK drill’, an offshoot of rap which typically includes mention of violent crime as a response to gang rivalries, brewed on social media before spilling into the street, has caused people to once again question whether music reflects current social problems, or actually encourages them.
The role of music in modern society is in some ways more complex than it was in the past, but what we know for certain is that it will continue to act as an accurate and insightful record of social history.
There can be no question that anyone would have been shaken by the events that transpired in the Memphis, Tennessee, home of singer Al Green in the early morning hours of October 18, 1974, when an ex-girlfriend (groupie) burst in on him in the bath and poured a pot of scalding-hot grits on his back before retreating to a bedroom and shooting herself dead with Green's own gun.
Not everyone, however, would have processed the meaning of the incident quite the way that Green did. Believing that he had strayed from the righteous musical and spiritual course intended for him, Al Green had become a born-again Christian one year earlier. But after the attack by the mentally disturbed Mary Woodson on this day in 1974, he began a process that would eventually lead him to renounce pop superstardom and all that it stood for.
Al Green, widely renowned as one of the greatest voices in soul-music history, was at the absolute height of his powers in 1974. He had seven critically and commercially successful major-label albums behind him that included such timeless hits as "Tired Of Being Alone" (1971), "Let's Stay Together" (1971) and "I'm Still In Love With You" (1972). He also, in the words of Davin Seay, who collaborated with Green on his 2000 autobiography, Take Me To The River, had a "basic animal appeal to women" that attracted many admirers, including the twice-married Mrs. Mary Woodson.
According to her running buddy and longtime friend, Nora Drewery, Woodson liked to use her sex appeal to attract famous musicians. Drewery says “We’d go into Newark to the Continental Ballroom whenever there were stars in town. We would make sure we were visible so the entertainers would notice us. People like James Brown.” Drewery wasn’t as aggressive as her good friend Woodson. “Sometimes she would duck me and go on with the band,” Drewery laughs.
Mary Woodson first made Green's acquaintance after leaving her husband and children behind in New Jersey and attending one of his concerts in upstate New York.
On the night of the attack, Woodson had shown up unexpectedly at Green's Memphis home after he returned from a concert appearance in San Francisco. What exactly prompted her to act is unclear, but her actions not only left Al Green with severe burns that would require a lot of hospitalization, they also left him severely shaken emotionally and spiritually. "He likes to distance the facts of his [religious] conversion from the terrible events of that night," says Seay, "but I think the Woodson incident kind of crystallized his need to move on, to sort of shut down one part of his life and open up another.''
I love the story of King Arthur... Now it has been brought up to date and it looks really exciting and fun. Cannot wait to see this movie!
Old school magic meets the modern world in the epic adventure THE KID WHO WOULD BE KING. Alex "Ashbourne Serkis," thinks he's just another nobody until he stumbles upon the mythical Sword in the Stone, Excalibur.
Now, he must unite his friends and enemies into a band of knights and, together with the legendary wizard Merlin "Stewart", take on the wicked enchantress Morgana "Ferguson". With the future at stake, Alex must become the great leader he never dreamed he could be. Written by https://www.foxmovies.com/movies/the-kid-who-would-be-king
