The Small Faces, what a group. I dig pretty much everything these guys laid down between '65-'69, with this album (their debut LP release from '66) possibly being my favourite body of work of theirs from the 60's (yes, ahead of Ogden's and possibly ahead of their debut the year following on Andrew Loog Oldham's 'Immediate' label, although they are both fantastic). There's just something about this album that sizzles, with the band playing in perfect revved up harmony throughout (special note goes out to the chaotic drumming and slashing guitar work). For those of you new to the group, they consisted of Steve Marriott on Lead Guitar and Vocals, Ronnie Lane on Bass and Backing Vox, Ian McLagan on Keys and Kenny Jones on Drums. Together they produce one of the HEAVIEST sounds of the mid 60's, setting the stage for groups like the MC5 and later Brit-Punk units like The Sex Pistols (who were reportedly massive fans). Lets get stuck in...
A cover of Sam Cooke's party rocker 'Shake' opens up Side One, an it is SURGING with energy, Marriot's guitar cranked to the max, Jones grooving out with funky fills, McLagan laying down Booker T styled organ break and Lane taking lead Vocals for the first and only time on this LP. A brilliant album opener and a great interpretation of this classic tune. Next up is probably my fave raving track here, the group original 'Come On Children', a masterpiece of shamanistic soul grooving. This is as powerful as any Who track from the era (probably more of 'Maximum R&B' sound than they EVER achieved!), Marriot is just screaming here, chanting some improved lyrics that - bizarrely - quote 'You Are My Sunshine' (What?), the band backing him up superbly (THAT DRUM/BASS SOUND!). Truly awesome rock n' roll here, what ore could you want? Next up is the first of many tracks written by British Soul Singer Kenny Lynch, and its great big slab of power-pop, soul-ified goodness, hooks a plenty and tough sound to back them up. Another group composed track next in 'Its Too Late', more heaviness, more hooks, more Small Faces from London's Swingin' Peak (snarlin' guitar solo here, so cool). 'One Night Stand' follows, written by Lane and Marriot, and carries on with much the same format as the last couple tracks, this time replete with mildly controversial lyrics (as is obvious from the title...). Capping off Side One is 'Watcha Gonna Do About It?', nicking the riff from 'Everybody Needs Somebody To Love' but injecting a Townshend' style feedback/fuzz solo that catapults it into proto-punk gear (As a side note, I know I said last time that Marriot had a kinda forced blues voice, but it ROCKS here so maybe scratch that...)
More Lynch' written Power Pop next, the Faces sounding tight as ever (nice combo of electric piano and Hammond organ from McLagan here, and of course more funky rhythm section and heavy guitar). A shot to the future of psychedelia next with the Booker T/Mg's style instrumental 'Own Up Time', with Marriot's fuzzed out guitar tone (with MEGA feedback) and McLagan's distorted organ riffing sounding mid way between early Depp Purple and peak Hendrix Experience heaviness. Talking about the future, does the next track 'You Need Loving' sound like a particular Hard Rock group from the later half of the decade...? That's right, this it the track that Zeppelin based 'Whole Lotta Love' on, with Rob Plant being a huge Marriott/Small Faces addict (that ending breakdown with Stevie's solo bellowing is real close to 'Lotta Love's ending isn't it?) Similar feel to 'Come On Children' here, chaotic band sound with that same R&B rave up feel, dig those band cheers at the end egging on Marriott, a cool touch. The next track ('Don't Stop What You're Doing') unfortunately can't compete with the awesomeness found here, although it is pretty good for a group composed number. 'E Too D' notches back up to the energy of 'Loving', and is apparently the track that inspired 'I Can See For Miles' high energy, surging sound (Love that crash back in when Stevie shouts "I've been messing, messin up my mind!", mildly psych aswell, with Marriot talkin' bout "Hearin voices" and "seein colours"). And now we're back to the party, with 'Sha La La La Lee' (a Kenny Lynch number and the group's first big hit that reached number 3 in the UK) capping off this kick-ass collection. A real Mod classic, poppy backing vocals melding with the group's signature garage kickin' sound that certainly deserved its hit status. Although these guys would go onto bigger, more elaborate projects (culminating in the classic 'Ogdens' album in '68), their true sound can be found here in this excellent document of the London Club scene circa '65/'66, get this wherever you can and I'll see you next time when we'll be covering an important step into originality from those Surrey-born long hairs (fiver to whoever gets that one, honest...)
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