M4U-(SMALL FACES-S/T)-Steve Marriott/Ronnie Lane-LP

	A$		24
	$		16

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DESCRIPTION ITEM: VINYL LP
ARTIST: SMALL FACES
TITLE: SMALL FACES
COUNTRY PRINTED: OZ
CAT No: STATESIDE, SOSL-10023
COVER: (Grade at VERY GOOD) small seam/spine wear; sticker & texta back cvr
LABELS: (Grade at EXCELLENT+)
VINYL: (Grade at VERY GOOD+) light mark S2 T5/6 which plays all the way through with some light pops/clicks
TRACKS: See scans
COMMENT: Biography by Bruce Eder
The Small Faces were the best English band never to hit it big in America. On this side of the Atlantic, all anybody remembers them for is their sole stateside hit, "Itchycoo Park," which was hardly representative of their psychedelic sound, much less their full musical range -- but in England, the Small Faces were one of the most extraordinary and successful bands of the mid-'60s, serious competitors to the Who and potential rivals to the Rolling Stones.Lead singer/guitarist Steve Marriott's formal background was on the stage; as a young teenager, he'd auditioned for and won the part of the Artful Dodger in the Lionel Bart musical Oliver! Marriott was earning his living at a music shop when he made the acquaintance of Ronnie Lane (bass, backing vocals), who had formed a band called the Pioneers, which included drummer Kenney Jones. Lane invited Marriott to jam with his band at a show they were playing at a local club -- the gig was a disaster, but out of that show the group members decided to turn their talents toward American R&B. The band -- with Marriott now installed permanently and Jimmy Winston recruited on organ -- cast its lot with a faction of British youth known as the mods, stylish posers (and arch enemies of the leather-clad rockers, sometimes with incredibly violent results) who, among their other attributes, affected a dandified look and a fanatical embrace of American R&B. The quartet, now christened the Small Faces ("face" being a piece of mod slang for a fashion leader), began making a name for themselves on-stage, sparked by their no holds barred performance style. Marriott had a uniquely powerful voice and was also a very aggressive lead guitarist, and the others were able to match him, especially Jones, who was a truly distinctive drummer.The quartet was signed by manager Don Arden who, through his management company, got the Small Faces a record deal with Decca/London. The band's debut single, "What'cha Gonna Do About It," a blatant ripoff of Solomon Burke's "Everybody Needs Somebody to Love," co-credited in this version to longtime British songwriter/producer Ian Samwell, was released in August of 1965 and reached number 14 on the charts; a second single, "I've Got Mine," failed to chart when released in November. Soon after its recording, Winston exited the lineup; he was replaced by Ian McLagan (organ, guitar, vocals). The group returned to the charts in February of 1966 with "Sha-La-La-La-Lee," which rose to number three in England. Three months later, they were back at number ten with "Hey Girl," a Marriott/Lane composition that inaugurated the songwriting team, a development strongly encouraged by their manager, who appreciated the enhanced earnings that original hits enjoyed. This single heralded their first album, a rather hastily recorded long-player entitled Small Faces. Their real breakthrough came with the next single, another Marriott/Lane original, entitled "All or Nothing," which topped the U.K. charts in the course of a ten-week run. Its follow-up, "My Mind's Eye," was successful as well, but its release infuriated the bandmembers, because as far as they were concerned, it was unfinished -- they'd furnished a demo to Arden who, in turn, had turned it over to Decca as a finished piece, and the latter had released it. That release brought to a head the group's growing alienation from their manager, over his handling of their business affairs and bookings, as well as their relations with Decca. Despite their string of five hits, Arden was treating the group as a nonrenewable resource, booking them too many shows -- as many as three a night -- as though they had no future and had to earn fees while the fees were being offered. This, in turn, prevented Marriott and Lane from exploring their full potential as songwriters, and in 1966, with albums like Rubber Soul and Revolver emanating from the Beatles and Aftermath from the Rolling Stones, songwriting was becoming an essential activity for any band that could do it. Further, the group had evolved both musically and intellectually from their beginnings -- by the spring of 1966, in place of the occasional weed or amphetamine (the latter an essential part of the mod lifestyle), they'd begun experimenting with LSD and, like many other artists, found their work and sensibilities altered by it -- they could still do the soul numbers on-stage, and write passages in that vein for themselves to play and sing, but the subject matter of their songs, even when they did concern love, became decidedly more complex and experimental, along with their sound.

VINYL GRADING SYSTEM

MINT:
RECORD: New condition with no surface marks or loss of sound quality.
COVER: New condition with no surface marks, creases or wear.
NEAR MINT:
RECORD: Barely noticeable surface mark with no loss of sound quality.
COVER: Barely noticeable surface mark/ wear.
EXCELLENT:
RECORD: Some signs of being played with extremely little if no loss of sound quality.
COVER: Slight wear or creasing.
VERY GOOD:
RECORD: Obviously been played with noticeable surface marks & the occasional light scratches but exhibits no major loss of sound quality.
COVER: Noticeable wear on cover, seam or spine.
GOOD:
RECORD: Very obviously been played with very noticeable surface marks & exhibits major loss of sound quality.
COVER: Noticeable folding, scuffing of spine or edges, splits in seams or spine or fading of colour.
FAIR:
RECORD: Still just playable & exhibits considerable surface noise.
COVER: Major tears, wearing, splits & stains.
POOR:
RECORD: Will not play properly due to scratches etc.
COVER: Very badly damaged.
+(PLUS)/-(MINUS):
Slightly up or down in condition as appears in the comments above.
NOTE:
Gradings are done visually unless there appears to be a questionable surface mark on the vinyl, it is then put on the turntable to check. A comment describing the outcome will appear if this is the case.

BULK POSTAGE SAVINGS

WITHIN AUSTRALIA
1 LP:
ALL AUSTRALIAN STATES=$8.95

2-3LPs:
NSW=$9.95
VIC=$11.95
QLD/SA/TAS=$12.95
NT/WA=$13.95

4-7 LPs:
NSW=$10.95
VIC=12.95
QLD/SA/TAS=$14.95
NT/WA=$16.95

8-11 LPs:
NSW=$12.95
VIC=14.95
QLD/SA/TAS=$17.95
NT/WA=$20.95

NOTE:
Double albums count as 2 LPs; triple albums count as 3 LPs etc

OUTSIDE AUSTRALIA
1 LP:
NEW ZEALAND=$14.95
ASIA/PACIFIC=$16.95
AMERICAS/MIDDLE EAST=$18.95
REST OF WORLD=$20.95

2-3 LPs:
NEW ZEALAND=$19.95
ASIA/PACIFIC=$24.95
AMERICAS/MIDDLE EAST=$29.95
REST OF WORLD=$36.95

4-7 LPs:
NEW ZEALAND=$34.95
ASIA/PACIFIC=$43.95
AMERICAS/MIDDLE EAST=$52.95
REST OF WORLD=$67.95

8-11 LPs:
NEW ZEALAND=$42.95
ASIA/PACIFIC=$53.95
AMERICAS/MIDDLE EAST=$67.95
REST OF WORLD=$91.95

NOTE:
Double albums count as 2 LPs; triple albums count as 3 LPs etc

PAYMENT METHOD

WITHIN AUSTRALIA
Preferred Payment methods…
Internet Bank Deposit
Money Order,
Personal Cheque (waiting period 5 days till cleared)
Paypal in $AUD

OUTSIDE AUSTRALIA
PayPal in $AUD.

INSURANCE

Overseas parcels require Insurance ($8.95AUD), this cost will be added to the basic post cost on your invoice.

WITHIN AUSTRALIA
Registered post covers insurance up to $100.00 AUD.
A registered mail option will appear on your invoice.

OUTSIDE AUSTRALIA
Due to shipment losses ALL overseas parcels REQUIRE Insurance.
Insurance is not available to all countries. Canada is a country that does not allow insured items from Oz. As a result, an alternative arrangement will need to be considered.

M4U GUARANTEE

I strive to provide an accurate grading to ensure a quality product.
But sometimes an error is made.
If you consider this is the case, then please contact me for the refund of your purchase.


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