Posts Tagged ‘immediate records’

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In the short existence of the Nice (first as a quartet, later on as a trio) they released just 3 albums, of which the third, simply called “The Nice”, already consisted of a concert recording at the Fillmore East in 1968 on the second half. Furthermore they recorded a wealth of other material, like the non album “America” and the “Five Bridges Suite”-album, which was released after the band has disbanded, plus a numerous quantity of compilations.

The Nice were an English progressive rock band active in the late 1960s. They blended rock, jazz and classical music and were keyboardist Keith Emerson’s first commercially successful band. The band played its first gig in May 1967, and had its first major break at the 7th National Jazz and Blues Festival in Windsor on 13th August. Now a band in their own right, the Nice expanded their gear, recruiting roadies Bazz Ward and Lemmy, the latter of whom provided Emerson with a Hitler Youth ceremonial dagger to stick into the keys on his Hammond organ.

The group was formed in 1967 by Emerson, Lee Jackson, David O’List and Ian Hague to back soul singer P. P. Arnold. After replacing Hague with Brian Davison, the group set out on their own, quickly developing a strong live following.

The group’s early sound was geared more towards psychedelic rock with only occasional classical influences. Following O’List’s departure, Emerson’s control over the band’s direction became greater, resulting in more complex music. The absence of a guitar in the band and Emerson’s redefining of the role of keyboard instruments in rock set the Nice apart from many of its contemporaries. He used a combination of Marshall Amplification and Leslie speakers in order to project a full sound to compensate for the lack of a guitarist.

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The band released 3 studio albums (i.e. “The Thoughts of Emerlist Davjack”, “Ars Longa Vita Brevis” and the aforementioned “The Nice”) plus a version of “The Five Bridges Suite” . The Nice was one of the forerunners of playing together with an orchestra . Keith Emerson with a more prominent feature of the Hammond organ.

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The Thoughts of Emerlist Davjack

The name of Keith Emerson has forever been sullied by the activities of behemoth classical-rock monsters ELP, but as with so many artists of his generation, if you scratch the surface and do a little delving, you come across a very different beast indeed. No one who buys this album will be unaware of Mr Moog-mauler’s pedigree, but for those unschooled in prog history it may come as some surprise to hear that this, his sophomore outfit, started as a support band for sixties soul diva PP Arnold. While performing warm-up sets prior to her arrival onstage, the band discovered a talent for stage craft and theatre which, when married to Emerson’s Jimmy Smith licks and Davy O’List’s psychedelic guitar strangling, resulted in a sound that was very much flavour du jour in early 1967.

The title track and their freaked-out mangling of Dave Brubeck’s “Rondo” (12 minutes plus!) are present and correct as is “Flower King Of Flies”, the psychedelic stomper which demonstrates that The Nice could easily match contemporaries such as the Pink Floyd and Soft Machine for lysergic weirdness.

The group’s first album was recorded throughout the autumn of 1967, and in October of that year they recorded their first session for John Peel’s radio show Top Gear. The album included classical and jazz influences including extracts from Leoš Janáček’s Sinfonietta and a rearrangement of Dave Brubeck’s “Blue Rondo a la Turk” renamed as “Rondo”, changing the time signature from the original 9/8 to 4/4 in the process. The group clashed with producer Oldham in the studio over the length of the track, but eventually won the argument; the full eight-minute piece was included on the album. After the album was released, the group realised that Oldham had a conflict of interest as manager and record company owner, so they recruited sports journalist Tony Stratton-Smith to take over management duties.

For their second single, the Nice created an arrangement of Leonard Bernstein’s “America” which Emerson described as the first ever instrumental protest song. The track used the main theme of the Bernstein piece (from West Side Story) but also included fragments of Dvořák’s New World Symphony. The single concludes with Arnold’s three-year-old son speaking the lines “America is pregnant with promise and anticipation, but is murdered by the hand of the inevitable.” The new arrangement was released under the title “America (Second Amendment)” as a pointed reference to the US Bill of Rights provision for the right to bear arms. In July 1968, Immediate Records publicised the single with a controversial poster picturing the group members with small boys on their knees, with superimposed images of the faces of John F. Kennedy, Robert F. Kennedy and Martin Luther King Jr. on the children’s heads. A spokesman for the band said: “Several record stores have refused to stock our current single …. the Nice feel if the posters are issued in United States they will do considerable harm”. During the tour that followed the release of their second album in July, the group spawned controversy when Emerson burned an American flag onstage during a performance of “America” at a charity event, Come Back Africa in London’s Royal Albert Hall. The group were subsequently banned from ever playing the venue again.

Completists will love the inclusion of three non-originals including the almost mandatory (for the time) Dylan number and a lumpen version of “You Keep Me Hanging On” which may even pre-date Vanilla Fudge’s useless rendition.

The version of “Sombrero Sam”, however, really allows Emerson’s funky keyboard chops to come to the fore. He truly was a precocious master of the Hammond and in a light jazz setting such nimble-fingered wizardry shines out. Overall you sense a band stretching each other to the limit, reaching out to invent a new format which would eventually become their downfall. At this point, however, the quartet was wandering in a perfumed garden of psychedelic modishness,

Ars Longa Vita Brevis

The band’s second LP “Ars Longa Vita Brevis” featured an arrangement of the Intermezzo from the Karelia Suite by Jean Sibelius, which the band’s friend Roy Harper had recommended they cover, and the album’s second side was a suite which included an arrangement of a movement from J.S. Bach’s Brandenburg Concerto No. 3. The group used an orchestra for the first time on some parts of the suite. The band were on the bill at the 1969 Isle of Wight Festival

A transition from the flower power and revolution themes of Thoughts of Emerlist Davjack. This marks the end of one cycle and the start of another, in that Davey O’List makes his last contribution to the band, which becomes a trio plus guests in the studio. This is a very sophisticated, inventive and influential first stab at what would eventually become an important part of the progressive rock genre … the first steps to concept/symphonic rock.

The Nice

The third album, titled “Nice” in the UK and “Everything As Nice As Mother Makes It” in the US, featured one side recorded live on their American tour and one side of studio material. As with previous albums, it included arrangements of classical material, in this case the Third Movement of Tchaikovsky’s Sixth Symphony (Pathetique), and rearrangements of Bob Dylan’s “She Belongs to Me” and Tim Hardin’s “Hang on to a Dream”.

This was one of the first ‘progressive rock’ LPs, Those that remember these things will know you had to turn the things over to play the other side.
BUT we never bothered with the first 4 tracks of side 1. The killer and standout track here is the live side 2. The stand out track being “Rondo 69″.

Now I’m not saying the first four tracks are bad it was just that side two was so dam good. We played that side to death. The Nice were like that the single ‘America’ was always an anthem for them. Now some people will read this review thinking that I am saying the first 4 tracks from the original LP are bad- they are not. They are studio tracks which to my ear always sound better played live and as extended live track sets.

The live side of the LP has always contained my favourite Nice track “Rondo ’69” and captures what the Nice were, a really fabulous Live band. That organ sound that Emerson produces drives the trio along. No lead guitars see. ‘She belongs to me,’ a Bob Dylan song, has Lee Jackson barking out the vocals, his bass guitar being the powerhouse backing with able support by Brian ‘Blinky’ Davison on the drums.

Five Bridges

In 1969, the band found time to contribute to other projects. Emerson performed as a session player for Rod Stewart and the Faces, while the whole group provided instrumental backing for the track “Hell’s Angels” on Harper’s 1970 album “Flat Baroque and Berserk”.  Mid-year, tour promoter Michael Emmerson asked the Nice to write some music for the Newcastle upon Tyne Arts Festival. The result was the “Five Bridges” suite. The group premièred the piece on 10th October 1969 at Newcastle City Hall.

A complete version with an orchestra was performed at the Fairfield Hall, Croydon on 17th October, which was recorded for the album of the same name. The title refers to the city’s five bridges spanning the River Tyne, and Jackson’s lyrics refer to his Newcastle childhood and the St James’ Park football ground.

Emerson played the piano on several other tracks, solely and/or in combination with the organ. The band made clear where they stood an amalgam of pop, jazz, blues, rock and classical music. With only three people aboard they could produce a lot of noise. Emerson tried everything to make the organ sound more abrassive, agressive and louder. He played it like an lead guitarist with use of feedback, overdrive and distortion, in an unusual way, by mistreating the hapless instrument and even with the help of army of knives, thus creating before unheard sounds and effects. Lee Jackson added an earthly sounding bass guitar and his gruff vocals, whilst Brian Davidson used everything he could fit to bash on. All in all they were an unique group an could not be easily compared with other contempories. The Nice were one of the best progressive rock groups that ever existed. Some of it was prolonged in ELP but that is another story.

John Peel, was an early champion of the Nice, called ELP “a waste of talent and electricity”

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Elegy

In 1971, the posthumous Nice album “Elegy” was released. It included different versions of previously released tracks, two being studio versions and two live from the 1969 US tour. Emerson had no involvement with compiling the album, which was done by Jackson, Davison and Charisma Records

As the name suggests “Elegy” ,a song after mourning, was released after the band had broken up.
Immediate their label had been slaughtered causing all sorts of reissue hell for the collectors to fathom.

This was the last official Nice album. released after they split up, it shows a band at the peak of their live performance. the original album consisted of four lengthy tracks which were nice interpretations of other people’s music. “Hang On to a Dream” features some great piano work from Keith and an extended jazz work out in the middle where, at times, he plucks at and hits the strings – a style used to great effect on “Take A Pebble” from the 1st ELP album. some great bass playing throughout this track.
this is followed by a radical interpretation of Dylan’s “My Back Pages” with some excellent hammond work. next up is a romp through “Pathetique” with Lee Jackson showing just how good he was at his best. give it a try yourself and you’ll sees what I mean
Finally, there’s “America”. the best recorded version. The last 5 mins are amazing. don’t forget, this is all pre synth days and the sounds generated from Keith’s trusty hammond are stunning and well complimented by the bass and drum work from Lee and Brian (who plays well and unobtrusively throughout.

Bonus tracks not really needed. the live version of country pie is much better than this one and the “Pathetique” is very similar to the album version although the BBC sound is better.
As a Keith Emerson, ELP and Nice fan (the group not an adjective) I still believe that the Nice never realised their full potential as a group. This CD confirms it.
The original 4 tracks have been enhanced with further tracks. BUT beware there are now two different reissue versions of this CD. At the time of writing in Feb 2012 the one with 2 is the cheaper.
To the actual tracks with bonus later.
Track one is a live version of the Tim Hardin penned `Hang on to a Dream’. Here as with all tracks Lee Jackson’s vocals were not top division.
Track 2 is My Back Pages a Bob Dylan song with which the Byrds found success with. The Nice really seemed to go for Bob Dylan at that time but then everyone seemed to be releasing Dylan Tracks at that time from Manfred Mann’s Mighty Quinn to Hendrix’ All Along the Watchtower.

The final and the Stand out track of the original LP and of course the Nice’s only single success is “America”. This is a really stomping version and is worth the price of the CD alone. (But then most Nice fans would say this so I’m not alone.)

On the 2009 reissue. The first enhanced edition includes 2 bonus tracks which I believe have been previously released on a 1968 LP on Charisma called Charisma Perspective. They are much earlier tracks than the one included on the original “Elegy” but really make this a worthwhile investment. (see what I mean about recycling and completists’ hell?) many tracks by the Nice appear and reappear on countless editions in different but all too often the same forms on many not only best of type but as extra tracks on the original LPs.
These two additional tracks are another Bob Dylan written Country Pie and another Pathetique! Both from the BBC live.

This includes two tracks from the final recording session by The Nice for a BBC Radio One Sounds of the ’70s session. The Nice would go down in history as one of the most exciting live acts of their age and as the creators of a series of excellent albums that would fuse the worlds of Rock and classical music, taking in elements of Jazz, Psychedelia and Rhythm & Blues on the way, effectively spawning the genre of Progressive Rock in their wake.

Studio albums

  • The Thoughts of Emerlist Davjack (Immediate, 1968)
  • Ars Longa Vita Brevis (Immediate, 1968)
  • Nice (aka Everything As Nice As Mother Makes It) (Immediate, 1969)
  • Five Bridges (Charisma, 1970)

Following the success of the Rock Machine albums CBS came up with a trio of new samplers during 1970 and 1971.  First up in March 1970 was Fill Your Head With Rock.  Priced at 29s/11d (£1.50) and boldly subtitled “The Sound of the Seventies” it broke new ground by extending the format to a double album for the first time.  Resplendent on the cover, bare-chested with long hair flying, was a colourised image of Jerry Goodman, violinist with Chicago jazz rockers the Flock (but soon to join the Mahavishnu Orchestra).  The iconic photograph was the same one used on the back cover of the Flock’s self-titled CBS debut album, except much larger and in colour. “The Sound of the Seventies” tag was used to advertise many CBS LPs during 1970.

Compiler David Howells stated that while the earlier Rock Machine samplers were aimed at promoting specific full-price releases, this record was part of a major push to establish CBS as “the top label in contemporary music” in the UK.  Of the 23 tracks, 16 came from US artists, six were by UK acts and one (Amory Kane) was by an American living and recording in Britain with UK musicians.  There was nothing from Bob Dylan this time, but several artists, including Spirit, the Byrds, Leonard Cohen, Al Stewart, Taj Mahal, Blood Sweat & Tears and Laura Nyro had appeared on the earlier Rock Machine LPs.  New arrivals such as folk rock hopefuls Trees and prog debutants Black Widow and Skin Alley got a chance to rub shoulders with the big names. Fill Your Head With Rock reached #19 in the Melody Maker LP charts in March 1970 and early copies included an eight-page booklet insert.

With its striking image of a pre-fame Arnold Schwarzenegger in full “Mr. Universe” pose taking up the entire gatefold sleeve (which opened vertically), Rockbuster surely has one of the most recognisable covers of all the CBS samplers.  Stylistically, though, the gaudy artwork left much to be desired and, Arnie notwithstanding, the frightful red and yellow striped design could have come straight from the fevered imagination of K-Tel or Ronco.  But perhaps that was the intention.

FILL YOUR HEAD WITH ROCK (CBS SPR 39/40) 1970

ROCKBUSTER (CBS PR48/49) 1970

Overseen by David Howells again, the Rockbuster double set saw the return of Bob Dylan with “Days of 49”, a track from the unloved (by the critics, if not the fans) Self Portrait album.  Elsewhere, the Byrds, Argent, Spirit, Trees, Black Widow, BS&T, Johnny Winter and Al Kooper were again represented.  New this time out were cuts by Miles Davis (continuing his foray into the jazz rock fusion world), Soft Machine, Gary Farr, Robert Wyatt and (fresh from his appearance on Zappa’s Hot Rats album) Shuggie Otis.  Of the 26 tracks on the double album, the US/UK split was 17/9 this time.

The final CBS sampler from this period was Together, released in April 1971.  Although just a single LP, early UK copies were pressed on blue vinyl (a big deal back then) with an eight-page newspaper insert.  The usual suspects, including Laura Nyro, Spirit, Byrds, Trees, Argent and Johnny Winter were joined this time by Poco, Janis Joplin and the Chambers Brothers.  Mainland European pressings of Together substituted the Soft Machine track with one by Norwegian band Titanic who scored a big hit late in 1971 with the Santana influenced instrumental “Sultana”.

TOGETHER (CBS SPR 52) 1971

But it was CBS who really popularised the sampler format in Britain with their Rock Machine albums.  Initiated in January 1968 by Columbia Records’ US president Clive Davis but compiled and overseen in the UK by CBS art director and sleeve designer David Howells, The Rock Machine Turns You On is often cited as the first true UK budget priced rock sampler.

Offering unparalleled value for money at a shade under 15 shillings (75p), at a time when a full-price album retailed at £2 or more, The Rock Machine Turns You On and the follow-up, Rock Machine I Love You proved irresistible to a generation of record buyers, selling well enough to enter the mainstream charts and going on to move an estimated 150,000 copies each.

Glaser designed the iconic poster which originally came with the 1967 US version of Bob Dylan’s Greatest Hits LP and also the sleeve of Paul Simon’s 1973 album There Goes Rhymin’ Simon.  He even created his own typeface font called “Baby Teeth”.  First seen on the Dylan poster mentioned above, in 1973 the font was adopted as the main Columbia/CBS label typeface and used until the late 1990s.

CBS: PART 1 – The ROCK MACHINE

Both Rock Machine LPs featured the same painfully hip sleeve notes which read: The Rock Machine is a Machine with Soul The Rock Machine isn’t a grind-you-up.  It’s a wind-you-up.  The sound is driving.  The sound is searching.  The sound is music.  It’s your bag. So it’s ours. It’s the Super Stars.  And the Poets.  It’s the innovators and the Underground.  It’s the Loners and the Lovers.  And it’s more.  Much more…David Howells was involved with several other CBS releases, including the 1970 samplers Fill Your Head With Rock and Rockbuster (yes, the one with Arnold Schwarzenegger on the cover, see below) before helping to launch the Gull label, a subsidiary of Decca, which he ran from 1974 to 1982.  Howells was then appointed managing director of Pete Waterman’s PWL Records, the label which gave us Kylie Minogue and Jason Donovan.  It was a very long way from the Peanut Butter Conspiracy.

ROCK MACHINE I LOVE YOU (CBS S/PR 26) 1968

In 1989 there was an attempt to transfer both Rock Machine LPs to CD but this ran into problems right away.  Long-expired licensing rights meant the track listing was reduced from 30 songs to just 20 and the CD looked very different to the original albums.  Gone was Bob Dylan, Roy Harper, the Zombies, Elmer Gantry’s Velvet Opera and Simon & Garfunkel.  One of the two Byrds’ tracks was also dropped.  In their place were a pair of cuts by electric violin exponents the Flock and It’s A Beautiful Day, both of which fell slightly outside the time frame of the original 1968 LPs (although “Tired of Waiting” by the Flock later appeared on another CBS sampler, Fill Your Head With Rock in 1970.

In 1967 CBS launched the Direction label to issue mainly* American soul and R&B records in the UK and a sampler titled Soul Direction appeared in 1968.  Stretching the piscine sole/soul pun to absolute breaking point, a flatfish of some description was pictured on the cover.  Despite releasing some great music, Direction didn’t flourish, and CBS closed the label in 1970.

*There was a degree of cross pollination between labels, as US bluesman Taj Mahal and UK psych outfit Elmer Gantry’s Velvet Opera were both signed to Direction in the UK, yet their tracks appeared on the CBS Rock Machine albums.

HARVEST – LIFE’s A PICNIC

In the early 70s few record companies immersed themselves in the nascent underground rock movement more comprehensively than the Harvest label.  Formed in 1969 by EMI to compete with other major players in the prog rock scene such as Vertigo, Deram and Chris Blackwell’s independent Island label, Harvest was one of those rare companies where virtually every release in their catalogue was worthy of attention.  In its first year alone the label gave us records by Deep Purple, Pink Floyd, Kevin Ayers, Edgar Broughton Band and Shirley & Dolly Collins, with albums by Roy Harper, The Move and ELO not far behind.  It really was a case of “All Killer, No Filler”.

But the main drawcard was the otherwise unavailable Pink Floyd track “Embryo”.  Recorded in November 1968, the studio outtake appeared nowhere else until 1983 when it was included on Floyd’s Works oddities compilation.  Picnic sold well, especially for a double album, reaching #14 in the Melody Maker album charts in July 1970.

A second sampler The Harvest Bag arrived in November 1971.  Employing a tortuous visual pun on the “budget price album” theme, the cover photo showed what was presumably intended to be the Chancellor of the Exchequer standing outside number 11 Downing Street holding aloft his ceremonial briefcase, or “bag” (complete with Harvest logo) containing, we assumed, the, ahem, Budget.  Despite some solid contributions from Roy Harper, the Grease Band, ELO, Edgar Broughton Band and others, The Harvest Bag flew under the radar and is now largely forgotten.

Other excellent Harvest samplers, including Harvest Sweeties (1971) and A Good Harvest (1973), appeared in mainland Europe, but they were not released in the UK.

PICNIC – A BREATH OF FRESH AIR (Harvest SHSS 1/2) 1970

Retailing at 29s/11d (a shade under £1.50) the first Harvest sampler album, Picnic – A Breath Of Fresh Air, arrived in May 1970.  Clad in a distinctive Hipgnosis designed sleeve, the 19-track double album featured a wildly diverse mix of folk, rock, blues, prog and assorted obscurities by the likes of Quatermass, Bakerloo, Forest, Third Ear Band, Pete Brown & Piblokto and Syd Barrett.

But the main drawcard was the otherwise unavailable Pink Floyd track “Embryo”.  Recorded in November 1968, the studio outtake appeared nowhere else until 1983 when it was included on Floyd’s Works oddities compilation.  Picnic sold well, especially for a double album, reaching #14 in the Melody Maker album charts in July 1970.

The Picnic – A Breath Of Fresh Air name reappeared in 2007 on a triple CD sub-titled A Harvest Records Anthology 1969–1974.  But while the title and artwork were similar, the CD shared only three tracks with the 1970 vinyl release (Pink Floyd, Panama Limited and Quatermass).

THE HARVEST BAG (Harvest SHSS3) 1971

THE HOUSE THAT TRACK BUILT (Track 613016) 1969

Track – The Revolution’s Here

Formed in 1966 by Kit Lambert and Chris Stamp, Track Records is probably best known as the UK home of Jimi Hendrix and the Who.  But the label had other less illustrious signings such as John’s Children (featuring Marc Bolan), Golden Earring, The Crazy World of Arthur Brown, Marsha Hunt and Pete Townshend protégés Thunderclap Newman.

Track was late to the sampler market, but they soon made up for lost time, releasing around 20 budget compilations and reissues between 1969 and 1973.  First up in September 1969 was the excellent The House That Track Built offering genuinely rare tracks by Fairport Convention, The Who, John’s Children and Thunderclap Newman alongside more obvious fare from Hendrix and Arthur Brown.  The jewel in the crown was undoubtedly an unreleased studio version of The Who’s “Young Man Blues”, as recorded during the Tommy sessions.  It’s a different take to the other studio version added to the expanded Odds and Sods compilation in 1998 and hard to find elsewhere.

The laminated gatefold sleeve was designed by David King who also worked on The Who Sell Out and Jimi’s Axis: Bold As Love sleeves, as well as the infamous Electric Ladyland UK “nude” cover and The Crazy World Of Arthur Brown.  In the 70s King designed posters and logos for the Anti-Nazi League, the Anti-Apartheid Movement and Rock Against Racism.  An art historian with a special interest in Leon Trotsky, part of his huge collection of 250,000 Soviet graphics and photographs is housed in the Tate Modern, London.

But the most well-known Track samplers are undoubtedly the Backtrack series.  Comprising 14 volumes in total, they were all released during 1970, the first batch appearing in May of that year, with the rest following in November.  No record company today would dare release an LP showing a little kid smoking a fat joint on the cover.  But the first six Backtrack volumes did exactly that.  The picture was retained for the second batch in the series, albeit greatly reduced in size and relegated to a corner of the sleeve.

The Backtrack series was part of Polydor’s budget price “99” series, introduced in 1970 and used across the entire family of labels (including Atlantic releases before 1972, see below).  Most releases carried the “99” logo in the top left corner of the sleeves denoting the 99p price, a year ahead of decimalisation in 1971.

The Backtrack albums were superseded in 1973 by Allsorts, a series of four budget samplers individually titled Aniseed, Peppermint, Coconut and Liquorice.  The name comes from Liquorice Allsorts, a type of confectionery first produced in Sheffield by George Bassett & Co Ltd around 1900.

The first three LPs were general rock compilations while Liquorice Allsorts was devoted specifically to R&B/Soul artists, just as Backtrack 6 had been.  Curiously, alongside the familiar Track artists on Aniseed, Peppermint and Coconut Allsorts were three cuts each by Joe Cocker, the Move and Procol Harum.  All three artists were signed to David Platz’s Essex Music and had recorded for the recently defunct Regal Zonophone label before transferring to Fly Records around 1971, which in turn became the Cube label.  Presumably, the nine Essex Music tracks were part of a one-off licencing agreement just for the Track Allsorts samplers.

The track titles were embossed in braille on the back cover of each LP, an innovation Track also used on the Who’s 1974 Odds & Sods album sleeve.  This became a trend for a while, with braille messages appearing on Stevie Wonder’s Talking Book (1972) and Paul McCartney’s Red Rose Speedway (1973).

TRACK ALLSORTS SAMPLERS (1973)

2409 205 – Various Artists – Aniseed Allsorts
2409 206 – Various Artists – Peppermint Allsorts
2409 207 – Various Artists – Coconut Allsorts
2409 208 – Various Artists – Liquorice Allsorts

MARMALADE 100° PROOF (Marmalade 643314) 1969

Marmalade – The Sound That Spreads

Created in 1966 by former Rolling Stones and Yardbirds manager Giorgio Gomelsky, the independent Marmalade label lasted only a couple of years before folding in 1969, leaving behind just 14 LPs and around 20 singles.  Despite (or perhaps due to) a wildly eclectic artist roster which included Blossom Toes, Chris Barber, Sonny Boy Williamson and John McLaughlin, sales were disappointing and only one single, “This Wheel’s on Fire” by Julie Driscoll, Brian Auger & The Trinity entered the UK charts, reaching #5 in late 1967.

Released in 1969, Marmalade 100° Proof (wittily subtitled A Taste Of Marmalade – The Sound That Spreads) was the only UK sampler LP on the label (although at least one other title appeared in Europe).  All the label’s big names were represented, plus rare tracks by French guitarist Robert Lelievre [billed as “Le Lievre (The Hare)”] and future 10cc members Graham Gouldman and Kevin Godley.

IMMEDIATE LETS YOU IN

Immediate Lets You In was issued as a CD in 1999 on the Sequel label.  The track listing was unchanged but the card sleeve was upgraded from black & white to colour.

The following year Immediate tried again with Happy To Be A Part Of The Industry Of Human Happiness.  Once again, the Small Faces were the main drawcard alongside a pair of album cuts from Steve Marriott’s new band Humble Pie, then in their early psych/acoustic rock incarnation with Peter Frampton.  Fleetwood Mac’s big hit single (and their only Immediate release) “Man Of The World” was included together with another hard to find Mayall/Clapton track “On Top Of The World”.  In Germany a sampler titled Immediate Lets You In Vol.2 appeared in 1969.  Although not identical, the track listing was very similar to Happy To Be A Part Of The Industry Of Human Happiness.

The title Happy To Be A Part Of The Industry Of Human Happiness became the official Immediate slogan and appeared on the generic company sleeves of their late 60s singles.  It was all for nothing, however, as the label went out of business in 1970.  The Immediate catalogue has since passed though many hands, including NEMS, Sanctuary and Charley Records, who currently own the label logo.  In 2000 Happy To Be A Part Of The Industry Of Human Happiness was the sub-title of The Immediate Singles Collection, a six CD box set containing the A & B sides of every single released on the label – 162 tracks in all.

Immediate released several other late 60s compilation albums, including the four volume Blues Anytime series and Anthology Of British Blues Volumes 1 & 2, but they don’t qualify as sampler albums.

IMMEDIATE – The INDUSTRY OF HUMAN HAPPINESS

The success of the CBS LPs didn’t go unnoticed and before 1968 was out, other record companies were rushing their own sampler LPs onto the market.  One of the first was from Andrew Loog Oldham’s Immediate label.

Other than the Small Faces, Chris Farlowe and the Nice, Immediate didn’t have too many big names on the artist roster and their first sampler Immediate Lets You In suffered accordingly.  But the rare John Mayall & the Bluesbreakers’ single “Telephone Blues” featuring Eric Clapton was a worthy inclusion.

ALL GOOD CLEAN FUN (United Artists UDX 201/2) 1971

Many of the artists who had appeared on the Liberty label found themselves shunted sideways onto United Artists and some turned up on the 1971 double LP All Good Clean Fun.  Arriving in an intricate textured “envelope” cover with custom inner sleeves and a 12-page booklet, this was one of the most elaborate samplers to date.  The complex design construction proved problematic when buyers tried filing the album at home, however.  Inevitably, the three fragile flaps which held the “envelope” sleeve together fouled the albums around it, causing all kinds of collateral damage and it’s rare to find a copy of All Good Clean Fun today without some evidence of this.  But the basic idea was good and the design mightily impressive.

The front cover shows a cartoon illustration of three Victorian figures seated in what looks like a railway carriage.  The young lad in the middle closely resembles Lord Snooty from The Beano comic and, as if to pinpoint the demographic the compilers were aiming for with this sampler, the boy is holding a copy of the notorious underground magazine Oz, while the older men look on.  Fun fact: The copy of Oz shown on the sleeve is the genuine issue #33 with a cover date of February/March 1971.  Articles listed on the front of that issue include “Farmer’s Daughter Rapes Hog – Exclusive interview”, “Angry Brigade’s Bible” and “The Anarchist’s Cookbook”.  The cover of issue #33 used an illustration by Australian artist Norman Lindsay.

Containing 23 tracks by 20 artists, the double LP featured an interesting mix of established names (Canned Heat, Groundhogs, If, Eric Burdon & War, Nitty Gritty Dirt Band) and newer bands including Man, Hawkwind, Amon Duul II, Brinsley Schwartz and B.B.Blunder.  Three bands (Canned Heat, Nitty Gritty Dirt Band and Morning) were represented by two tracks each.

To promote the album Man, Help Yourself and Gypsy embarked on “The All Good Clean Fun Tour” of Switzerland.  This gave rise to the song “All Good Clean Fun” on Man’s 1971 fourth album Do You Like It Here Now, Are You Settling In?

In 2004 a cumbersomely-titled 39 track triple CD All Good Clean Fun – A Journey through the Underground of Liberty/United Artists Records 1967–1975 was released.  Although the cover artwork was remarkably similar, the CD featured fewer than half the tracks included on the original 1971 double LP.

GUTBUCKET (AN UNDERWORLD ERUPTION) (Liberty LBX3) 1969

SON OF GUTBUCKET (Liberty LBX 4) 1969

Formed in 1955 as a pop/easy listening/film music label, Liberty records almost went out of business in the mid-60s before the UK arm was aggressively re-launched in 1967.  Liberty then began to assemble an impressive roster of diverse rock/blues talent before finally crashing and burning in 1971, with most artists being transferred to the United Artists parent label.

But it was great fun while it lasted, and in 1969 Liberty issued a pair of much-loved sampler albums.  The first of these, Gutbucket (An Underworld Eruption), has achieved legendary status with an eclectic mix of blues, psychedelia, and underground rock.  Here was Captain Beefheart, the Bonzo Dog Band, Canned Heat and the Groundhogs rubbing shoulders with Lightnin’ Hopkins, Alexis Korner, Hapshash & the Coloured Coat, and the Aynsley Dunbar Retaliation.

A German pressing of Gutbucket was released with only 10 tracks (instead of 14) and a different back cover.  In fact, only seven tracks correspond with the UK version, as a different Canned Heat song was used (“Catfish Blues” replaced “Pony Blues”) and tracks by German bands the Motherhood and the Petards were substituted elsewhere.

Later in 1969 came Son Of Gutbucket.  Once again Canned Heat, the Groundhogs and Aynsley Dunbar were featured, along with Roy Harper, T.I.M.E, Johnny Winter, Creedence Clearwater Revival and Jeff Lynne’s band Idle Race. 

Both albums were reissued in 1994 on the EMI CD Gutbucket (An Underworld Eruption), but minus six of the original 31 tracks.  Gone were cuts by Roy Harper, CCR, Famous Jug Band, Ian Anderson’s Country Blues Band and two by the Aynsley Dunbar Retaliation.

A “gutbucket” was an improvised bass made by attaching a broom handle to a metal washtub.  It was similar to the tea chest bass which was popular during the UK skiffle craze of the 50s.  The word was later used to describe any music of a raw, bluesy nature.

Released in June 1967 the same month as the Beatles’ ‘Sgt Pepper’, ‘Small Faces’ is the band’s first album for Immediate Records, recorded at IBC and Olympic Studios. With lead vocals shared between three band members it has been described as their first “grown-up” record and a “neglected gem” which saw them develop a more fully-formed sound.

The Small Faces were Mod to the core, but could also play instruments. The band members were lead singer/guitarist Steve Marriott, bassist Ronnie (“Plonk”) Lane, drummer Kenney Jones, and organist Ian McLagan (who replaced Jimmy Winston early on). All four stood under 5 feet 5 inches tall (Eric Clapton, upon meeting them for the first time, said they all looked like little “haw-bits”). Their short stature, mischievousness, and stylish Carnaby Street threads made them the most eye-catching band in England for a time,

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Two extraordinary Small Faces release from Immediate Records albums were requested by Sainsburys as exclusive coloured vinyl editions. Released 1st June and limited to 2,500 and in every UK Sainsbury’s that stocks vinyl. Ogdens‘ is stereo, Small Faces mono. The last five years have seen a massive programme of tape recovery and upgrading with the full co-operation and endorsement of both surviving band members. Kenney Jones has given access to his personal tape archive and many of the band’s original master tapes and session multi-tracks, previously lost for over forty years, have been discovered and re-mastered. It is thus now possible to present the Small Faces’ recordings sounding better than at any time since the 1960s. The Re-Masters series also presents a host of newly discovered tracks and alternative versions, alongside original artwork, photos, rare publicity material and memorabilia with comprehensive new sleeve-notes based around band interviews.

One of Britain’s most influential bands of the Sixties and a major influence on the new wave of Britpop bands, the Small Faces hit their creative and commercial highpoint with their psychedelic concept album Ogdens’ Nut Gone Flake. Released in May ‘68. Ogdens’ Nut Gone Flakeis considered a classic by “those in the know,” but often overlooked when classic rock albums are bandied.

Ogdens’ was the first record released in a round sleeve, designed to resemble an old tobacco tin, and the name parodies an 1899 brand of tobacco. The sleeve unfolds to four circles with moody black-and-white pics of the band members by famous photographer Gered Mankowitz . Musically, Ogdens is equally mind-blasting. After the Beatles’ Sgt. Pepper, Ogdens’ was the first “concept album,” preceding both S.F. Sorrow by the Pretty Things and The Kinks Are the Village Green Preservation Society by several months. The second side is a Ronnie Lane-inspired musical fairy tale about “Happiness Stan,” who goes on a quest, assisted by a friendly fly, to find the other half of the “dangly” moon. Linking various musical snips is daft narration by English comic Stanley Unwin, who combined the Small’s cockney slang with his own nonsensical “Unwinese” speak

A bona fide classic of the late Sixties, Ogdens’ was released on the famous Immediate label in the summer of 1968 and went straight to the number one spot in the UK album chart, remaining there for six weeks. A heady blend of cockney music-hall humour, tough rock numbers, blues and psychedelia, it spawned two of the group’s biggest hit singles in Afterglow (Of Your Love) and Lazy Sunday.

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The six tracks which made up side two of the original LP are introduced by Stanley Unwin, one of Britain’s most popular comedians of the day, renowned for his inventive use of English.

The fourteen bonus tracks are highlights from the group’s time with Immediate Records from 1967 to 1969.

As well as hit singles such as Itchycoo Park, Here Come The Nice and The Universal, these include live recordings of Tin Soldier and their 1966 Decca number one single All Or Nothing, plus their memorable duet with label mate P.P. Arnold.

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The Small Faces : Steve Marriott on Vocals and Guitar, Ronnie Lane on Bass, Kenney Jones on Drums and Ian McLagan on Wurlitzer Piano and Hammond Organ were rogues and rounders,

You won’t find this special compilation LP by one of the UK’s most iconic bands in any store on 21st April. Except one. Humble Pie ‘On 79th Street’ will only be available from Pie & Vinyl. Obvious? Or are we bucking the trend of Record Store Day in the manner that Andrew Loog Oldham, legendary founder of Immediate Records and Rolling Stones manager might have done?

Or does this one-off LP celebrate the spirit of RSD more than any other release? Inspired by the beautiful pied-piperess Katherine who led us all to Pie & Vinyl and discoveries that linked her vibrant, musical town of Portsmouth & Southsea, an amazing record store and the timeless sounds of Humble Pie to dramatic events in Southsea over 40 years ago that culminated in a truly local effort to press the LP in Portsmouth and have it on sale in Southsea for Saturday 21 April. Says Immediate Records reissue producer Rob Caiger: “Wouldn’t it be great if by doing all of this, a new fan on Record Store Day discovers Humble Pie – in Pie & Vinyl – and feels the same excitement hearing ‘Natural Born Bugie’ as I did in my own local record shop Downtown Records many years ago. There’s no better place to hear new sounds (however old…) then in a record shop – and that’s just one reason why we should celebrate Record Store Day.

One of the first supergroups, Humble Pie formed in 1969 and soon became one of the best-loved, hardest-rocking live acts of the 1970s. In Steve Marriott, the one-time Small Faces frontman, Pie had the best showman and biggest voice in the business. Peter Frampton, ‘Face Of ‘68’ with The Herd, had a new role – guitar hero. And with hard-hitting drummer Jerry Shirley and ex-Spooky Tooth bassist Greg Ridley, Humble Pie quickly developed into a sophisticated studio unit where tough riffs, rustic rock and bursts of blissed-out late psychedelia earned the band instant chart success and critical acclaim.

Supervised by Peter Frampton & Jerry Shirley, all songs have been newly remastered by Nick Robbins at Soundmastering and cut halfspeed by Matt Colton at Alchemy Studios. ‘79th Street Blues’ (take 7) was recorded at Olympic Studios on 3rd January 1970 and mixed by Rob Keyloch at Church Walk Studios exclusively for this LP and will not appear anywhere else.

Pressing the ‘secret’ Record Store Day 2018 release at Vinyl Presents Humble Pie – “On 79th Street”

Before she became the Teutonic ice queen chanteuse of the Velvet Underground, Nico, via her then boyfriend Rolling Stone Brian Jones, was introduced to Stones manager Andrew Loog Oldham and signed to his Immediate Records label, where a young Jimmy Page was employed as house producer, session musician and A&R scout. (Page’s brief career as a session musician saw him adding his distinctive guitar sounds to recordings by The Who, The Kinks, PJ Proby, Lulu, Jackie DeShannon, Van Morrison and Them, Burt Bacharach, French singer Johnny Hallyday, Marianne Faithfull, Vashti Bunyan, Donovan and many others. It’s amusing to think of Jimmy Page being a part of Petula Clark’s “Downtown” single, but there he was. There are several CD compilations of Page’s early session work, probably the best is Hip Young Guitar Slinger.)

Page produced and played on Nico’s sole 1965 single for Immediate, a cover of Canadian folkie Gordon Lightfoot’s “I’m Not Sayin’ ” which was backed by “The Last Mile,” a song composed by Page and Oldham. Jimmy Page plays a six-string in the song, while Brian Jones plays a twelve-string guitar. The single is being re-released by Charly Records in a gatefold sleeve featuring photography by Gered Mankowitz from the original recording session for Record Store Day on April 21.

A promotional film for “I’m Not Sayin’” was shot at the site of London’s West India Docks (now the considerably different looking Canary Wharf) by Peter Whitehead.

thanks dangerousminds

‘Here Come The Nice’ is the ultimate, indispensible tribute to Swinging London’s finest and best-loved pop heroes! The Small Faces the set includes.
4 CDs | 75 songs remastered from the original tapes | 72-page hardback book, lavishly illustrated | Over 90 classic, rare & previously unpublished photos & memorabilia | Definitive sleeve notes include new & archive interviews | 3 rare singles in red, white & blue vinyl | Olympic Studios 7-inch replica acetate | 64-page softcover illustrated lyric book | Track-by-track illustrated guide to every song on the box set | 5 postcards with rare photos & artwork | Ogdens’ Nut Gone Flake facsimile press kit | 2 large-size reproduction posters | 2 exclusive Gered Mankowitz fine art prints
Written contributions from Robert PlantPaul WellerDavid BowieNick MasonPeter FramptonChris RobinsonGlen MatlockChad SmithPaul Stanley & many more.

“In forensic detail and with a sleevenote by Pete Townshend, this 4-CD box rights the wrongs wreaked on Marriot & Lane, McLagan and Jones’s peak years.”
MOJO

“The Mod scamps’ best work, finally given due respect.”
UNCUT

“It’s the package of the year, beautifully crafted for the Small Faces fanatic in all of us.”
GOLDMINE (USA)

“An impeccable monument to the greatest pop group this country ever produced.”
SHINDIG!

“Now at last, this massive box set finally set’s to rights not only the band’s legacy but also the actual sounds created. Beautifully presented, meticulously researched and annotated this is the only Small Faces recording you will ever need…” 
TOTAL MUSIC MAGAZINE

“Lavish, four-CD retrospective includes unreleased material, out-takes, and alternate versions. Sheds new light on an extraordinary pop experiment.” 
8/10 – 2-page review by Paul Moody
CLASSIC ROCK – April 2014

In celebration of the Small Faces’ induction into the Rock And Roll Hall Of Fame, Charly Records are proud to present ‘Here Come The Nice’, a deluxe heavyweight 4 CD box set chronicling the group’s career on Andrew Loog Oldham’s pioneering Immediate Records label, curated by surviving band members Kenney Jones and Ian McLagan.

A whopping 75 songs includes every hit single, A & B side released worldwide on Immediate Records plus a generous bounty of unreleased material, outtakes, early and alternate versions, live tracks and previously unheard recording sessions from Olympic, Trident and IBC Studios, all sourced and remastered from recently discovered original master and multitrack tapes.

The lavish 72-page hardback book, with a heartfelt foreword by Pete Townshend and introduction by Kenney and Mac, is full of previously unseen photos and rare memorabilia, a career overview by esteemed Mojo magazine scribe Mark Paytress, The box is crammed full with exclusive extras, such as replicas of three of the rarest Small Faces EPs in colored vinyl, an impossibly rare Olympic Studios acetate, large-size repro posters, fine art prints, 64-page fully illustrated lyric booklet, collectors postcards and more, all paying testament to the enduring musical genius of the Small Faces. www.thesmallfaces.com

What’s In The Box?

Lavishly illustrated 72 page hardbound coffee table book: 
Introduction by Kenney & Mac plus a foreword by Pete Townshend.
Over 90 classic, rare & previously unpublished photos & memorabilia.
Definitive sleeve notes include new & archive interviews.
Exclusive Gered Mankowitz interview on photographing ‘Ogdens’ Nut Gone Flake’.

Track-by-track illustrated guide to every song on the box set.

Lyric Booklet: 
64-page fully illustrated song booklet with rare photos & memorabilia.
Complete lyrics transcribed & endorsed by band members for the first time ever.

Red, white and blue coloured vinyl: 
Three replica 7-inch EPs of the rarest Small Faces vinyl originally released in 1967:
Small Faces album sampler – Excerpts from the Small Faces LP.
Here Come The Nice 4 song French EP in picture sleeve.
Itchycoo Park 4 song French EP in picture sleeve.

Replica Studio Acetate:
Olympic Sound Studios one-off acetate pressing for Andrew Loog-Oldham for the song Mystery.

Two large reproduction posters: 
Reproductions of original posters for the Tin Soldier single featuring photography by Gered Mankowitz 
Newcastle City Hall live concert from 1968.

Press kit for Ogden’s Gone Nut Flake: 
Rare 6-panel Immediate Records Press Kit from 1968.

Double sided postcards: 
Five collector’s edition postcards with rare photos of each Small Faces band member backed with memorabilia from the Immediate Records Archive.

Fine art prints: 
Two beautiful prints provided by Gered Mankowitz from his 1967 Itchycoo Park photo sessions.

CD1 – Small Faces Singles Worldwide As Bs & Eps:

1. Here Come The Nice (mono) 2:55
2. Talk To You (mono) 2:05
3. (Tell Me) Have You Ever Seen Me (mono) 2:15
4. Something I Want To Tell You (mono) 2:07
5. Get Yourself Together (mono) 2:16
6. Become Like You (mono) 1:56
7. Green Circles (mono) 2:32
8. Eddie’s Dreaming (b-side edit) (mono) 2:41
9. Itchycoo Park (mono) 2:44
10. I’m Only Dreaming (mono) 2:22
11. Tin Soldier (mono) 3:19
12. I Feel Much Better (mono) 3:55
13. Lazy Sunday (mono) 3:02
14. Rollin’ Over (Part II of Happiness Stan) (mono) 2:12
15. Mad John (single version) (mono) 2:07
16. The Journey (single version) (mono) 2:51
17. The Universal (mono) 2:42
18. Donkey Rides, A Penny A Glass (mono) 2:47
19. Afterglow Of Your Love (single version) (mono) 3:22
20. Wham Bam Thank You Mam (mono) 3:18

Original Immediate single versions. Taken from original mono master tapes.

CD2 – Small Faces In The Studio – Olympic, IBC & Trident Sessions – Part 1:

1. Shades Of Green (mono) 0:38
2. Green Circles (take 1) (mono) 1:04
3. Green Circles (take 1 alt mix 1) (mono) 2:45
4. Anything (tracking session) (stereo) 3:46
5. Anything (backing track) (stereo) 3:06
6. Show Me The Way (stripped down mix) (stereo) 2:09
7. Wit Art Yer (tracking session) (mono) 2:50
8. Wit Art Yer (backing track) (stereo) 2:27
9. I Can’t Make It (alt mix) (stereo) 2:26
10. Doolally (tracking session) (mono) 4:06
11. What’s It Called? (overdub session) (mono) 0:36
12. Call It Something Nice (take 9) (stereo) 2:04
13. Wide Eyed Girl (take 2) (stereo) 1:43
14. Wide Eyed Girl On The Wall (alt mix) (stereo) 3:28
15. Donkey Rides, A Penny A Glass (stripped down mix) (stereo) 3:21
16. Red Balloon With A Blue Surprise (take 5) (stereo) 0:46
17. Red Balloon (alt mix) (stereo) 4:29
18. Saieide Mamoon (tracking session) (stereo) 9:36

All tracks previously unreleased versions. Taken from original studio multitrack and session master tapes

CD3 – Small Faces In The Studio – Olympic, IBC & Trident Sessions – Part 2:

1. Wham Bam Thank You Mam (alt mix) (stereo) 3:22
2. I Can’t Make It (stripped down mix) (stereo) 2:33
3. This Feeling Of Spring (take 1) (stereo) 1:43
4. All Our Yesterdays (backing track) (mono) 2:09
5. Talk To You (alt mix) (stereo) 2:22
6. Mind The Doors Please (mono) 5:01
7. Things Are Going To Get Better (stripped down mix) (stereo) 2:43
8. Mad John (tracking session) (stereo) 3:58
9. A Collibosher (take 4) (stereo) 3:31
10. Lazy Sunday Afternoon (early mix) (mono) 3:00
11. Jack (backing track) (stereo) 3:35
12. Fred (backing track) (stereo) 3:06
13. Red Balloon (stripped down mix) (stereo) 1:33
14. Kolomodelomo (take 1) (stereo) 2:45
15. Donkey Rides, A Penny A Glass (alt mix) (stereo) 3:34
16. Jenny’s Song (take 2) (stereo) 4:04

All tracks previously unreleased versions. Taken from original studio multitrack and session master tapes

CD4 – Alternate Small Faces Outtakes & In Concert:

1. Itchycoo Park (take 1 stereo mix) (stereo) 2:50
2. Here Come The Nice (take 1 stereo mix) (stereo) 3:01
3. I’m Only Dreaming (take 1 stereo mix) (stereo) 2:23
4. Don’t Burst My Bubble (mono) 2:24
5. I Feel Much Better (stereo) 3:56
6. Green Circles (take 1 Italian version) (mono) 2:44*
7. Yesterday, Today And Tomorrow (alt mix) (stereo) 1:50*
8. Piccanniny (alt mix) (stereo) 3:02
9. Get Yourself Together (alt mix) (stereo) 2:18*
10. Eddie’s Dreaming (take 2 alt mix) (stereo) 2:44*
11. (Tell Me) Have You Ever Seen Me (take 2 alt mix) (stereo) 2:08*
12. Up The Wooden Hills To Bedfordshire (US alt mix) (mono) 2:00*
13. Afterglow Of Your Love (alt single version) (mono) 3:36*
14. (If You Think You’re) Groovy (mono) (The Lot Version)- P.P. Arnold & Small Faces 2:55
15. Me You And Us Too (mono) 3:32
16. The Universal (take 1 stereo mix) (stereo) 2:39
17. Rollin’ Over (live) (stereo) 2:29
18. If I Were A Carpenter (live) (stereo) 2:29
19. Every Little Bit Hurts (live) (stereo) 6:12
20. All Or Nothing (live) (stereo) 4:05
21. Tin Soldier (live) (stereo) 3:19

All tracks rare or * previously unreleased versions. Taken from original studio and session master tapes.

Live tracks recorded at Newcastle City Hall 18th November 1968. Taken from Pye Studios master tape, pitch and speed corrected.

Small Faces Box set vinyl:

Small Faces Album Sampler – One-sided promo single – Excerpts From The Small Faces L.P. (mono)
The original 7″ vinyl was issued as a promotional single for the debut Immediate album. Featuring excepts from Get Yourself Together, Green Circles, Talk To You, All Our Yesterdays, Up The Wooden Hills To Bedfordshire with DJ Tommy Vance announcements, the original vinyl has gone on to become the rarest Small Faces single amongst collectors.

Here Come The Nice – French E.P.
Here Come The Nice (mono) – This is the same performance as the regular ‘Here Come The Nice’ mixed to mono but similar to other releases at the time, was subjected to varispeed so plays slightly faster.

Talk To You (mono)
Become Like You (mono)
Get Yourself Together (mono)

Itchycoo Park – French E.P.
Itchycoo Park (mono)
I’m Onky Dreaming (mono)
Green Circles (mono)
Eddie’s Dreaming (mono)

Mystery – Replica acetate
Intended to be a single, a handful of acetates of Mystery were produced for the band and Andrew Loog Oldham to check the mix. For unknown reasons, the single wasn’t released, and Ronnie went back into Olympic to record a new vocal during April 1967 for the newly entitled Something I Want To Tell You. This is a replica of the acetate delivered to Andrew Loog Oldham back in 1967.

 

Box set

steve marritt

 

Steve Marriott was one of the UK’s great Rock Vocalists and frontman of two of the UK’s most well-known bands, Steve passed away this day April 20th in 1991 after a house fire at his home, remembered for his powerful original singing voice and as a guitarist with bands like the “Small Faces” and the rock band “Humble Pie” his aggressive guitar playing, also in the early days of his career he became an icon for the Mod era due to his dress style, this is just one of the best songs ever and as its Easter Sunday this song is so applicable, the song was inspired by Marriott’s rowing with his neighbours and sung in an exaggerated cockney accent culled from the classic circular released album “Ogdens Nut Flake”, Its understood that the track “Parklife” by Blur was inspired by this song.