The Fat Angel Sings

When Bad Moves’ David Combs released “Ride the Vibe” under the moniker Dim Wizard earlier this year, he was tapping into a deep bag of momentum. He’d tapped Jeff Rosenstock, Illuminati Hotties’ Sarah Tudzin and superviolet’s Steve Ciolek to round out the track and, even then, it felt like an all-time guest list. Fast-forward to this week, and Combs has done it again. The latest Dim Wizard track, “X-Games Mode,” calls upon Mike Krol and Ratboys’ Julia Steiner, while Tudzin is tagged as a co-producer. “X-Games Mode” is a shredding delight. Catchy riffs and overblown guitars aplenty, Krol and Steiner pierce through the walls of distortion to form a pretty perfect alt-rock track with power pop inflections.

Dim Wizard Released on: 2023-08-08

Though Courtney Barnett has her own record, “End Of The Day”, due out next month, the Australian singer/songwriter took some time to release a cover of Chastity Belt’s all-time track “Different Now.” Originally appearing on their 2017 album “I Used to Spend So Much Time Alone”, it remains the one Chastity Belt song I return to more than any other—because it’s just one of the most beautiful songs ever written. The only person in the world who could cover it and do the record justice is Barnett, who called upon Warpaint’s Stella Mozgawa to play drums and synths. Barnett’s vocals take a subdued, scaled back route, as she morphs the song into an ‘80s pop soundscape—all thanks to Mozgawa’s intricate yet bubbly contributions.

This version matches the undeniable catchiness of the original by carving out its own space without stealing the thunder of Chastity Belt’s OG vision. That’s what the best covers do, and Barnett has constructed a perfect homage to the Washington band’s reflective and intimate classic.

Written by Chastity Belt Guitars and Vocals by Courtney Barnett Drums and Synths by Stella Mozgawa

“Different Now” out August 7th, 2023 on Suicide Squeeze Records

“Grandma’s Garden,” is the second single from Al Menne’s forthcoming album “Freak Accident”, is short and softly insistent; a rearview-mirror childhood recollection told with all the diaristic vulnerability of youth. It shakes and glimmers with triumphant guitar and rich backing instrumentals, a synesthetic description of late summer and days long gone. With, as always, impeccable guitar playing from Hand Habits’ Meg Duffy, “Grandma’s Garden” is a hypnotic, nostalgic slice of sharp nostalgia—as Menne conjures memories of running through their grandparents’ pastures. “Petulant kid playing silent treatment, doubling down ‘cause you know I’m stubborn,” Menne sings. “Obvious where I could’ve got that from. Am I not who you thought I would be?”

“Freak Accident” is the debut album from Al Menne. Menne came up in the music scene as the lead singer of Seattle-based rock band Great Grandpa. In this outfit, Menne’s remarkable voice—capable of quicksilver flicks between vocal registers—was on full display. Aside from the occasional posting of half-finished demos on Bandcamp, “Freak Accident” marks their first official foray as a solo artist. 

“Freak Accident” is available everywhere on LP/CD/digital September 22nd on Double Double Whammy.

68 track 3CD box set celebrating Leeds’ independent scene of the 1980s. Featuring Soft Cell, Sisters Of Mercy, Gang Of Four, The Wedding Present, Scritti Politti, The Mission, and many more.

Also including The Mekons, CUD, Delta 5, The Pale Saints, Girls At Our Best, Age Of Chance, The Bridewell Taxis who all stamped their mark on the indie charts and were regulars/favourites on John Peel’s radio show.

Like many Northern cities, Leeds enjoyed an explosion of music triggered by the big bang of punk rock in 1977. Indie labels sprung up to cater for a new wave of bands, who carved their own identity as the 80s dawned. ‘Where Were You’ is the first comprehensive anthology of Leeds’ independent music from that period, through to the end of the 1980s. From punk to goth, indie pop to industrial dancefloor, out-and-out pop to underground psychedelia, the four hours’ worth of recordings here are a celebration of the musical diversity emanating from the city’s studios and clubs.

Co-compiled by Benoît Farvak (Salvation) with invaluable help and support from Richard Rouska (Rouska Records), ‘Where Were You’ also boasts numerous obscurities which make their debut on CD – including many tracks taken from records now worth a small fortune on the collector’s scene. Featuring extensive sleevenotes written by Andy Peterson, this is a fitting tribute to the legacy from one of the UK’s finest northern musical cities.

The first year of a new decade… who could have predicted Watergate, the oil crisis and the Star Wars phenomenon that were to come in the years ahead?, The plight of the Apollo 13 manned mission to the Moon had us riveted for days, after an oxygen tank exploded. Four students were shot and killed by the Ohio National Guard at Kent State University.

Jimi Hendrix and Janis Joplin died, weeks apart.

Recordings made by some of the most enduring classic rock artists dominated the list of 1970’s top-selling albums in the U.S. The chart, compiled by the former music industry trade magazine, many of the year’s biggest albums were actually released in 1969. The Rolling Stones‘ Let it Bleed, released in December 1969, includes “Gimme Shelter,” “Midnight Rambler” and “You Can’t Always Get What You Want.”  Many of these albums from that year remain cornerstones of any essential classic rock record collection, with works by George Harrison, Traffic, the Rolling Stones, Joni Mitchell, Led Zeppelin, the Grateful Dead, Simon & Garfunkel, The Who, Chicago, CSN&Y, and more, sounding as fresh now as when we first removed the vinyl from the shrink-wrapped album jacket.

The Allman Brothers Band—Idlewild South Their second album (“Midnight Rider,” “In Memory of Elizabeth Reed”) rewrote all preceding notions of what rock from the South could be.

The Band—Stage Fright Less “rustic” than its predecessor, more rocking, somewhat darker, it set them up as more of a mainstream band and gave them some hot new material to try out onstage.

The Beatles’ “Let It Be“, recorded before Abbey Road but released after it, is where it all ended. Despite the group’s disfunction, the album includes such classics as the title track, “Get Back,” “The Long & Winding Road” and “Across the Universe,”.

Black Sabbath—“Paranoid” Their second album (the self-titled debut was released earlier in the year), this was the blueprint for heavy metal. Talk about rock anthems, this album was stacked with them.

The Byrds—“Untitled” Only Roger McGuinn remains from the early days, but the sound is still unmistakable on this half-studio/half-live double album.

Though it was released in April 1969, Chicago‘s debut two-record set, “Chicago Transit Authority”, continued to sell well enough to be 1970’s #11 biggest album. Its songs include “Questions 67 and 68,” “Does Anybody Really Know What Time It Is?” and “Beginnings.”

Chicago—”Chicago” Also known as Chicago II (after they dropped “Transit Authority” from their name), this double album was ambitious and wide-ranging. Includes “25 or 6 to 4,” “Make Me Smile” and “Colour My World.”

Eric Clapton—”Eric Clapton” After the Yardbirds, Bluesbreakers, Cream and Blind Faith all behind him, the guitarist/singer/songwriter decided it was time to make his own solo album tracks included “After Midnight,” “Blues Power”.

Joe Cocker—“Mad Dogs & Englishmen” The traveling road show to end all traveling road shows cut this live double set that personified the rock ’n’ soul party. Joe Cocker released “Mad Dogs & Englishmen“, a live double set that personified the rock ’n’ soul party.

The singer, just 25 when it was recorded, was joined by musical director Leon Russell and a “cast of thousands” that included superstar band Chris Stainton, Carl Radle, Jim Gordon and Rita Coolidge.

Creedence Clearwater Revival—“Cosmo’s Factory” Their fifth album was a monster seller, Their album “Cosmo’s Factory”, at continued Creedence Clearwater Revival’s remarkable stretch. The album’s track listing reads like a greatest hits collection with such favourites as “Travelin’ Band,” “Who’ll Stop the Rain,” “Up Around the Bend”.

“Willy and the Poor Boys” was Creedence Clearwater Revival‘s fourth of five albums released in less than two years. The 1969 album includes “Fortunate Son,” “Down on the Corner” and CCR’s covers of “The Midnight Special” and “Cotton Fields.”

Crosby, Stills, Nash & Young—“Déjà Vu” The poster boys for the rock supergroup upped their game with the addition of Neil Young. topped themselves when the supergroup trio released one of the most acclaimed albums of 1969? for 1970, add a fourth member for your follow-up. So, Crosby, Stills and Nash became Crosby, Stills, Nash & Young.

Their “Déjà Vu” reached #1 in the U.S. (#7 for the year) and yielded three hit singles: “Our House,” “Teach Your Children” and “Woodstock,” plus a great lead-off track, “Carry On.” And how cool was that Civil War-era photo and the original leatherette paper used for the album cover?.

Derek and the Dominos—“Layla and Other Assorted Love Songs” Eric Clapton’s short-lived group created an all-time classic with this studio set. The title track was inspired by the guitarist’s infatuation with Pattie Boyd, George Harrison’s wife.

The Doors—“Morrison Hotel” Their fifth (of six) studio album, it was less meandering and experimental than its predecessor. Its lead track, “Roadhouse Blues,” became an radio staple.

Bob Dylan—”New Morning” Following the head-scratcher that was “Self Portrait“, Dylan’s 11th studio album wasn’t as country as “Nashville Skyline“, and wasn’t folk, but it surely wasn’t like his ’60s rock either.

Aretha Franklin—”Spirit in the Dark” At the time it wasn’t one of her biggest sellers, but many now consider it among her finest works.

Free—“Fire and Water” For “All Right Now” alone, the rock song of the year, it would become a rock classic, but this album that served as the breakthrough for the Paul Rodgers-fronted British quartet is solid from start to finish.

George Harrison—“All Things Must Pass” He’d released two experimental solo albums that received little notice. Then came this triple-LP that showed, even more than his work with the Beatles, that he was a true leader.

Jimi Hendrix—“Band of Gypsys”—After three albums with the Experience, he wanted something different. Working with bassist Billy Cox and drummer Buddy Miles, he cut this live New Year’s Eve show in New York that presented a whole new side. Sadly, he’d passed away before the end of the year.

Jethro Tull—“Benefit” They started out as a jazz-rock band in Britain—their leader even played a flute!—but by their third album they’d hardened up somewhat, featuring tougher guitar lines and darker lyrical themes.

The Kinks—“Lola Versus Powerman and the Moneygoround, Part One” With albums like “Village Green Preservation Society” and “Arthur”, Ray Davies proved one of our most astute observers and craftsmen. On his latest concept album, he takes aim at everything from the music biz to society itself, and the band delivers a tour de force.

Led Zeppelin—“Led Zeppelin III “II” was a hard act to follow, so Zeppelin was wise not to go in the same direction, instead incorporating more acoustic elements into songs that tended more toward the poetic and introspective than bludgeoning hard rock.

John Lennon—“Plastic Ono Band” His debut solo album (not counting three with Yoko) was raw and confessional in spots, vulnerable and tender in others. Songs like “Working Class Hero” and “Mother” were among his most poignant post-Beatles work.

Paul McCartney recorded his solo debut largely in secrecy at his home recording studio in London. It’s a true solo album as he played all the instruments. (His wife, Linda, sang harmony.) The LP, with such songs as “Maybe I’m Amazed,” “Every Night” and “That Would Be Something,” reached #1 and was the year’s #6 overall. The “reverse” album cover, shot by Linda McCartney, features a fruit bowl on the front, with a photo of a bearded McCartney – with baby Mary in tow – on the back.

Joni Mitchell—“Ladies of the Canyon” She’d begun developing a devoted audience, and her peers raved about her, but this third album served notice that a major star had arrived. Includes classics like “Woodstock,” “Big Yellow Taxi” and “For Free.”

Van Morrison—“Moondance” His 1968 “Astral Weeks” was intricate and dense even though it was entirely acoustic. Here the Irish enigma morphs into a full-blown major singer-songwriter. Every song is a gem, including the title track, “Crazy Love” and “Into the Mystic.” The also-excellent “His Band and Street Choir” would follow later in the year.

The Rolling Stones—“Get Yer Ya-Ya’s Out” The Stones’ 1969 tour of the U.S. was an event of gargantuan significance in the rock world, and the souvenir recording is still considered by many to be among rock’s most perfect live albums.

Leon Russell—Leon Russell—He was already a studio veteran by 1970, having played on dozens of hit records as a member of the Wrecking Crew. But it wasn’t until he released this debut solo album, containing classic hits like “A Song for You,” “Delta Lady” and “Roll Away the Stone,” that we experienced the full breadth of his talents as singer, songwriter and instrumentalist.

Santana—“Abraxas” Santana‘s self-titled debut was released two weeks after they electrified the crowd at Woodstock in August 1969. Thanks to their reception and the big single, “Evil Ways,” “Abraxas” a perfect marriage of rock and Latin rhythms, all fronted by one of the most original guitarists on the scene. The follow-up refined the approach, giving us hits like “Black Magic Woman” and “Oye Como Va.”

The debate of what is the best live rock album is sure to include The Who‘s electrifying “Live at Leeds”. The original release featured just six tracks though the concert featured a far, far lengthier performance that included the entire “Tommy” rock opera. Its no-frills cover was designed to resemble an album bootleg.

Simon and Garfunkel—“Bridge Over Troubled Water” Their farewell studio set remains one of their finest, a diverse and powerful creation. The title track alone is a masterwork, and it’s kept company by other ace tunes like “The Boxer” and “The Only Living Boy in New York.”

Spirit—“Twelve Dreams of Dr. Sardonicus” has become a classic album, Although it didn’t fare as well on the charts as their three previous releases, the California band’s ’70 effort continued to display solid musicianship and songwriting: “Nature’s Way” and “Mr. Skin” are memorable tracks.

Cat Stevens—“Tea For the Tillerman” Following Mona Bone Jakon, released earlier in the year, the British singer-songwriter truly began to find his voice on this one, which included literate but radio-friendly songs like “Wild World” and “Father and Son.”

Rod Stewart—”Gasoline Alley” His tenure as vocalist for the Jeff Beck Group brought him recognition, but who knew that he had such depth and versatility in him? The title track and “Cut Across Shorty” are two highlights. That same year the debut by Faces, with Stewart singing lead, was also issued.

James Taylor—”Sweet Baby James” Discovered in the U.K., he cut an album for the Beatles’ Apple Records, then came home, where he made this sophomore gem. Produced by Peter Asher, it went a long way toward defining the singer-songwriter movement of the decade ahead.

Traffic—“John Barleycorn Must Die” Traffic was down to a trio by now, with Steve Winwood, Chris Wood and Jim Capaldi, and they used the occasion to indulge in more jamming. But some of the songs—including “Glad” and “Empty Pages”—were among their most accessible.

1969’s Woodstock festival received plenty of coverage on the nightly news and daily newspapers. But it wasn’t until the Woodstock film was released in March 1970 that millions got to see what the experience of being there was like. And in May, the 3-LP set was released on Atlantic’s Cotillion label. And though it was significantly truncated from the hours upon hours of landmark performances, it was the only way for music fans to discover and relish the festival’s songs. The album was at top spot in the charts and was the year’s 4th biggest seller pretty incredible for a 3 Lp set.

The Velvet Underground—“Loaded” This would be the end for the New York City band that became much more influential after it split up. “Loaded” isn’t as ear-opening as their debut or White Light/White Heat, but songs like “Sweet Jane” and “Rock & Roll” are now firmly ensconced in the rock lexicon.

Neil Young—“After the Gold Rush”—Throughout his career, the Canadian has thrived on challenging himself to keep trying different things. But at this early date it was something of a surprise when his third solo release, which followed the first raucous Crazy Horse LP, was mostly on the soft side—except for the finger-pointing anthem “Southern Man,” that is.

Melbourne musician and horticulturist, Gena Rose Bruce, navigates emotional turmoil, fragility, death and honesty.

Last year a suffocating black fog pursued Melbourne musician Gena Rose Bruce through the night’s depths – a recurring dream wraith brought on by the passing of her partner’s mother and pandemic instability. But as the inky spectre retreated, she began waking early, when the stars just barely cling to the sky – the first sparks of the strength, self-acceptance and resilience, which came to fruition over the recording of her new album “Deep Is the Way“.

“I really connected with the idea that stars are the people we’ve lost looking over us,” says Bruce. “You see that there’s so much beauty still left. You’re awake and you’ve got this whole day, this whole life ahead of you.”

releases September 1st, 2023

Written by Gena Rose Bruce (all songs),

They were one of rock’s most startlingly original acts, yet Siouxsie & The Banshees also had a penchant for covering other peoples’ songs. Famously, the band performed a Velvet Underground-esque adaptation of “The Lord’s Prayer” for their first gig in September 1976 before they deconstructed The Beatles’ “Helter Skelter” for their debut album, “The Scream”. A notably more faithful cover of another Fab Four classic, “Dear Prudence,” though, yielded a UK Top 5 hit in 1983 – and its success inspired the Banshees to record a full-length covers album, “Through The Looking Glass”.

Siouxsie and company envisaged the record as an homage of sorts to “Pin Ups”, David Bowie’s 1973 covers album wherein he paid tribute to his early influences such as Pink Floyd, Van Morrison’s Them, and Scott Walker. However, as they’d also compiled a glut of fine self-penned material, the Banshees ended up releasing two further studio albums, “Hyaena” and the excellent “Tinderbox” before they were able to fully commit to their covers project in the fall of 1986.

The title “Through The Looking Glass” derived from one of Siouxsie’s favourite books, Lewis Carroll’s much-loved, children’s fantasy novel, Alice’s Adventures In Wonderland. It feels appropriate, for the album features some of the most playful – and otherworldly – music the Banshees ever committed to tape. To realize it, the band was – as ever – fully prepared to embrace change. In this case, they did so by reconvening with versatile “Hyaena” producer Mike Hedges, embracing a wider range of instrumentation and enlisting multi-instrumental alumnus Martin McCarrick, whose string arrangements proved integral to several of the album’s most essential tracks.

“Through The Looking Glass” was recorded at London’s Abbey Road Studios, and for the most part the band stayed true to their “Pin Ups” ideal by choosing songs by other distinctive artists who directly influenced them, among them Roxy Music, John Cale, Sparks, Iggy Pop, Television, and The Doors.

In some cases, the Banshees remained true to the originals. Certainly, their robust takes of Sparks’ “This Town Ain’t Big Enough for Both of Us,” Bob Dylan and Rick Danko’s “This Wheel’s On Fire” (later a UK Top 5 hit for Julie Driscoll With Brian Auger & The Trinity), and Iggy Pop’s “Lust For Life” classic “The Passenger” barely deviated from the blueprints, though in other cases, the band took delight in deconstruction.

For example, in its initial guise, Television’s “Little Johnny Jewel” sounded lo-fi, but it took off on “Through The Looking Glass, with McCarrick’s staccato strings and the band’s powerful performance imbuing it with depth and drama. Kraftwerk’s “Hall Of Mirrors” was also transformed, with John Valentine Carruthers’ baritone guitar adding a cinematic, John Barry-esque quality, while The Doors’ “You’re Lost Little Girl” was reimagined as a queasy fairground waltz.

The band struck gold, however, when they wandered even further off the beaten track. Most people may well have recalled Robert and Richard Sherman’s “Trust In Me” as the song sung by Kaa the snake (voiced by Sterling Holloway) from the classic Walt Disney film, The Jungle Book, yet in the Banshees’ hands, the track transitioned into a lush, harp-led lullaby, arguably only bettered here by their string-kissed, sorrow-soaked version of Lewis Allan’s 1939 protest song “Strange Fruit.” Unquestionably the album’s apogee, the Banshees’ estimable version even moved US music critic Terry Atkinson to declare that “only someone as brash as Siouxsie Sioux would re-record a song so strongly identified with Billie Holiday – and only someone as serious and sensitive could bring it off like this.”

“Through The Looking Glass” also drew praise from some of the pioneering artists it heralded. Discussing Siouxsie and company’s version of “The Passenger” in an MTV interview, Iggy Pop said “[Siouxsie] threw in a little note when she sings it that I wish I’d thought of – it kind of improves it.” Elsewhere, Kraftwerk’s Ralf Hütter commended the Banshees’ version of “Hall Of Mirrors” in an interview with Italy’s La Stampa, calling it “extraordinary.”

First released on March 2nd, 1987, through Polydor in the UK and Geffen in the US, “Through The Looking Glass” quickly established itself as a mandatory addition to Siouxsie & The Banshees’ already enviable catalogue. It also performed well on the charts, peaking at No. 13 at home (where it was also certified silver). It was especially well-received abroad, with some of its most positive notices coming from US critics – many of whom recognized that the record was vastly superior to most “covers” records and would achieve longevity on its own terms. “These songs are superbly arranged,” said the Los Angeles Times. “They retain enough of what was special about the originals, while adding just the right new twists.”

Dan Knishkowy’s Adeline Hotel takes many forms, from blues-folk guitar to pensive piano ballads to this, an exercise in breezy, carefully orchestrated jazz, dense with strings and woodwind instruments but full of light and air and clarity. This is buoyant, serene music, without much sweat or strain in it.

“One pleasure of following Dan Knishkowy’s music as Adeline Hotel in recent years is the way each album suggests something new, building on what came before, rather than making a drastic break. A record of folk songs (2020’s “Solid Love“) led to a set of solo guitar explorations (2021’s “Good Timing“) led to a suite of piano-led chamber music (“The Cherries Are Speaking“, 2021’s second Adeline album). “Hot Fruit“, his latest, continues that gradual trajectory while opening the widest new territory in his discography yet. While its jazzy and orchestral acoustic-guitar-led instrumentals may have surface-level precedent in canonical albums by Jim O’Rourke and more recent ones by William Tyler or Marisa Anderson, they ultimately operate on a wavelength all their own.

“Hot Fruit” began as a work for solo guitar, pointed and narrative where “Good Timing” was diffuse and atmospheric. Each of the seven pieces contain a detailed enough trajectory that the album could have been finished there. Instead, Knishkowy brought the music to an ad hoc band that included the members of the jazz-leaning Brooklyn trio Scree (electric guitarist Ryan El-Solh, bassist Carmen Rothwell, and drummer Jason Burger), as well as pianist and longtime Adeline collaborator Winston Cook-Wilson (of Office Culture), and gave them free rein to add their improvisatory flourishes to his meticulous compositions. Knishkowy enlisted El-Solh to write further arrangements for an ensemble of strings, harp, and woodwinds, elaborate and precise where the band’s previous contributions had been loose and freewheeling.

The finished album is characterized by that push-pull interplay between composition and improvisation. Swirls of flutes, painstakingly notated, seem to follow the intuitive timing of the band jamming in the room. Acoustic guitar figurations arrive in joyous unison with pizzicato violins, lending the feeling that Knishkowy’s polyphonic playing is an orchestra unto itself. The wistful miniature “Little Chili” is so luxuriant in its arrangement, led by agile clarinet lines and punctuated by Alice Coltrane-esque arpeggios from harpist Rebecca El-Saleh, that it’s almost difficult to believe it began life on the guitar alone. On the sweeping “Seeing Yourself Seen,” pedal steel and piano rise like mountains on the horizon as the acoustic guitar outlines a highway from one feeling to another.

The contemplative tone of “Hot Fruit” feels like an extension of “Good Timing”, but the music’s sense of journey sets it apart from that album’s deliberate stasis. Each player’s personality is apparent even as they work diligently to support the whole. This is especially true of Knishkowy himself: Though “Hot Fruit” may be his most lushly orchestrated album, it is also the best showcase yet of his delicacy and subtle expressiveness as an acoustic guitarist. Each fingerpicked note glows with intention.

Thematically, “Hot Fruit” deals with the question of self-conception as relationships change. When we can no longer rely on other people’s long-held notions to help define us, we are left wondering: “Has my narrative of self become obsolete? How am I the same as what you’d thought? How am I different?” These questions are audible in the music’s blend of forethought and spontaneity. Some aspects of our identities we forge through years of work and consideration; others we make up on the fly.” – Andy Cush 

releases October 6th, 2023

The Faces the British group, which formed in 1969 and included Rod Stewart and future Rolling Stones guitarist Ronnie Wood in its initial lineup—along with Ian McLagan (keyboards), Ronnie Lane (bass) and Kenney Jones (drums and percussion)—is by any measure one of the most bellowed and influential classic rock bands of all time.

Before they were Faces, McLagan, Lane and Jones were core members of Small Faces today marks the anniversary of the release of their debut single, “Whatcha Gonna Do About It.” Small Faces were born in 1965—they chose the name because the members were all on the diminutive side—with Lane and Jones along with vocalist Steve Marriott and keyboardist Jimmy Winston. The latter dropped out quickly, his place taken by McLagan, and the East London quartet, specializing in high-energy R&B covers and a handful of originals, soon found a devoted audience among the segment of British youth called the Mods, who also favoured another new R&B-leaning band called The Who.

According to Marriott, the group had by the end of July entered IBC Studios and recorded an earlier version of the song, which he claimed to love. However, this version was abandoned in favour of a newer rendition recorded at Pye Studios. The older version was later issued in 1972 on a French compilation album. The feedback heard throughout the track was Marriott’s idea, claimed Jones in an interview, “He was pissing about in front of his old Marshall amp and it sounded lovely, so we kept it.”

Signed to a management contract with Don Arden, Small Faces landed a deal with Decca Records in the U.K. The Marriott-Lane composition “Whatcha Gonna Do About It” was followed by nearly a dozen other hits