The fourteen tracks focus on popular songs, show tunes and folk melodies that became jazz standards in 1930s Paris. The selections include the evergreens “I’m in the Mood for Love,” “Crazy Rhythm,” and “If I Had You” (accidentally attributed as Irving Berlin’s like-titled composition), as well as a driving take on Reinhardt and Grappelli’s “Minor Swing” and several lesser-known tunes. The group displays their virtuosity both individually and as a trio, breaking out for solos and effortlessly weaving back together into tight improvisations. Elana James and Whit Smith each sing charmingly, Smith with more of a period style, but they also step into the spotlight with their fiddle and guitar to voice instrumental versions of “Dark Eyes,” “I’m Confessin'” and “Sunshine of Your Smile.”
Small Faces first U.S. release transitions from R&B to Freakbeat
This 1967 album was Small Faces’ U.S. debut, combining tracks from their self-titled third album (and first for the Immediate label) with three hit singles and two B-sides. Though the group had already established themselves in the UK, topping the British chart in 1966 with “All or Nothing,” it was the single that is this album’s first track, “ItchycooPark,” that broke them in the U.S., charting at #16. This was also to be their biggest stateside hit, as the follow-on single, “Tin Soldier,” fell short of the Top 40. The third single collected here, “Here Come the Nice,” was the group’s first for Immediate, and though it charted in the UK and Germany, it wasn’t released as a single in the U.S.
The band’s earlier releases on Decca were the epitome of mod R&B, but with their move to Immediate their music helped usher psychedelic influences into what’s retroactively been labeled Freakbeat. The lyrics are more impressionistic and fantastic than their earlier material, and production touches include flanging on “ItchycooPark,” a false fadeout on “I Feel Much Better,” and a variable tape-speed descent to end “Here Come the Nice.” The latter also slipped an overt drug reference by the day’s censors, complementing the suspected (but denied) reference to getting high in “ItchycooPark.” The band’s more straightforward R&B sound can still be heard on several tracks, including the romantically frustrated “Talk to You” and the hopeful “Get Yourself Together.”
Small Faces proved themselves just as adept at flowing psych as they’d been at beat rock, with Ian McLagan’s keyboard providing multiple textures. McLagan and Ronnie Lane each provided a lead vocal, but it was Steve Marriott who showed himself to be the truly riveting front man. The album peaked just shy of the UK Top 10, and though the following year’s psychedelic concept album, Ogden’s Nut Gone Flake, is more often cited as the group’s creative high point, this self-titled release (not to be confused with their like-titled 1965 Decca debut) was the more musically influential – both at the time, and on subsequent generation of British musicians. Varese’s reissue includes the original 12-track U.S. lineup in stereo; completists should check out the mono-stereo-UK-US 2-disc edition.Â
Wide-ranging set of CSN&Y covers
