Billy Nicholls - "Would You Believe" 2 x Vinyl, Compilation, Limited Edition, 2007/1968 (Immediate)

I had the CD of the original album but recently purchased a reissued limited-edition double-set, with the extra songs being demos and stuff that didn't make it on the original release in 1968.  "Would You Believe" is incredible.  Imagine the Psychedelic sounds of The Small Faces meeting The Beach Boys' "Pet Sounds," and that equals Billy Nicholls.  I don't have that much information on Nicholls, but I believe he is sort of like Speedy Keen of Thunderclap Newman, who was a pal of Pete Townshend and helped out in the studio here and there.   Billy did the same thing for The Who in the 70s and afterward.  This comes to mind perhaps Pete hires people more talented than him!

The Small Faces helped out with the production and arrangement for the song "Would You Believe," and it clearly has their sound, but Nicholls' talent doesn't disappear in the mix whatsoever.  This album is full of brilliant British musicians of its time, with great arrangements by John Paul Jones and Arthur Greenslade, who even worked with Serge Gainsbourg.  My favorite cut here is "Girl From New York," which is the perfect combination of power pop melody with heavy 60s guitar groove that is total Mod-tastic.  The album comes from the sensibility of British Mod-era music as it went into the late 60s.  This album is the perfect sound and example of what was happening at that time, especially in London.  Try to find the double-album set, with the demos attached, because they to are fantastic.  Perfect record. 

Small Faces - "Ogdens' Nut Gone Flake" Vinyl, LP, Album, Reissue, Limited Edition, 1996/1968 (Castle Communications)

Small Faces may or may not be geniuses, but they strike me as moments of perfection.  To this day, I'm confused what makes a Small Faces album.  I think most of their records are a collection of 45 rpm singles and their b-sides.  Their aesthetic is the 45 single, and therefore most of their albums are greatest hits collections.  Yet, in 1968, after Sgt. Pepper (1967), and before "Tommy" (1969), The Small Faces made their conceptual or narrative album.   "Ogdens' Nut Gone Flake" is not only that but also a highly designed album package, that is tricky to fold up or put the disc away in its packaging.   I have to imagine it made a significant hit on the present and future graphic artists.  And in fashion, just as important as the music inside the designed package. 

Usually, when a recording artist decides to make a concept album, it has a huge theme of some sort.  Sgt. Pepper is a made-up group, and the album's theme follows that method of narration, and of course, "Tommy" is a major statement from Pete Townshend with respect to his spirituality and perhaps a severe sexual relationship/abuse.   On the other hand, Small Faces made a concept album about a fellow following or trying to locate a disappearing moon.   And this is only on side two with a narrative spoken by British comedian who invented his own humorous language, "Unwinese."  A language that has a few words in standard English, but the listener picks up or imagines that there is a consistency in what he's saying.  Totally eccentric, and that is also the appeal of the Small Faces.   A band that was driven by its love for Rhythm n' Blues, but on the other hand, they do have this secure connection to British music halls and the Cockney culture.  It is this relationship between the two worlds that makes the Small Faces a great band.  

"Ogdens' Nut Gone Flake" is not really a masterpiece, but it's an enjoyable and unique album from 1968.  I don't think the album could have been made outside of that era or year.   It captures a certain innocence as well as the enjoyment of getting high and letting your mind wander into a recording studio.  It is also interesting to note that this album was the work from the Small Faces.  Steve Marriott left the band to form Humble Pie, with fellow pop star Peter Frampton of The Herd, who both wanted to investigate a heavier sound in their music and approach to that aesthetic.  Still, "Ogden's" is an incredible combination of charm and classic Small Faces pop.  "Afterglow," "Song of a Baker," "Lazy Sunday," (a song that Small Faces had mixed feelings about when it was released as a single by Immediate Records, but to me a classic work), and the more obscure "Happy Days Toy Town."  One often thinks of the Small Faces being the flip of the coin with The Who on the other side.  On some days, I think the Small Faces were a better band, but the truth is, both on a very street, but smart level, took their music to another platform or level.   I only know a few people who "like" the Small Faces, but I know a lot more who "love" the Small Faces.  It's a love that is richly accepted.

Small Faces - "From The Beginning" Vinyl, LP, Album, Reissue, Mono, 2015/1967 (Decca)

In theory, this is a band that yells out "in mono" and not digitalized.  Small Faces is a series of moments that are brilliant.  The ultimate 'mod' band that could have taken over the world, but somehow kept missing the bus, train, or boat to the journey to conquer the world.   Small Faces were the perfect combo - a great lead singer, with excellent support from the other three, and all were small in height.   The foundation to their sound is dynamic R n' B but done in garage style fashion.  Their songs were not art statements, but an excellent observation of the world around them.  "My Mind's Eye" (one of the great psych songs), "Hey Girl" (one of the best "Hey" songs), "All or Nothing," and their non-original song "What'cha Gonna Do About It." 

This is youth music made by youth.  With that in mind, Small Faces were totally fucked in the management department, where they had to shop on the owner's dime.  The great thing about Steve Marriott is that he's from a big showbiz planet.  He was in the original production of "Oliver," and had quite a history even before Small Faces.  Ronnie Lane (his co-writer and the equal half), the great organ playing by Ian McLagan, and the crazed drumming by Kenny Jones.  All four elements equal a great sense of noise and purpose. 

Historically and culturally one often compares Small Faces to The Who.   They do share a vibe, in that both early careers (for Small Faces it was only 'early') seemed to be a mirror image of each other.  Pete Townshend is very much the observer who had school smarts, but Marriott and company's intelligence comes from the streets.   These four lads lived hard.  And that aspect comes through their music.  "From The Beginning" is a fantastic album.  It grooves from side one to the end of side two  Totally Mod-tastic.  

Billy Nicholls - "Would You Believe" CD Album, Reissue

Billy Nicholls – Would You Believe

CD Album, Reissue, Stereo, Mono, UK, 1999 (Originally 1968)

Immediate (Sequel Records)

For me this album came out of nowhere, and I couldn't believe (no pun intended with respect to the title...) no one heard this or why it hasn't become an instant 1960's classic. In a way it reminds me of the great Jackie Lomax album Is This What You Want?in that it got support from the heavy hitters of its era or year and yet, crashed down the charts.

Billy Nicholls was (and still is) an associate of The Who, and on Would You Believe he is backed by the mighty Small Faces as well as Nicky Hopkins, John Paul Jones, and Big Jim Sullivan, with production by the great Andrew Loog Oldham and issued on his Mod-tastic Immediate Records. Why didn't it sell? Well, never mind that, because this album is great.

With respect to my memory, 1968 was the year where everything was coming apart in very interesting ways. The songs got longer, and more jazzy, with an eye towards the endless horizon. So this album is very much the last stance on short perfect psych-pop songs that is also a snapshot of its year and I presume London music life as well. There's not a bad cut on this album, but the one that I play over and over again is “Girl From New York.” Just the rush of the melody and the fullness of the production makes one swoon. It's a great, great record. “London Social Degree,” “Portobello Road,” and the title cut (not written by Nicholls) are excellent as well.