Longitudes certainly enjoys 50th anniversary specials. But can you blame me? I was a nipper in the 1960s, so I have fond memories of that time. And in 1968, I lived in Detroit, Michigan, when Motown music ruled the world, and the Detroit Tigers took the World Series. I can claim that I actually knew hitting legend Al Kaline, because his kid got shot up by the same allergist as me.
1968 was a violent year in America, but there are some good things that occurred.
However… this latest installment in ‘60s nostalgia boards the QE2 to sail “across the pond.” It profiles a record by a Brit band that pulled the difficult trick of marrying style with substance, which are usually mutually exclusive, and very few rocksters have been able to combine both. Elvis, the Beatles, James Brown, Hendrix, Bowie, Roxy Music, and the Clash come to mind. All made great music but were also visually dazzling.
Another is the Small Faces, a limey band that literally “carried the colours,” at least in England, for the mid-’60s British Invasion jump-started by the Beatles and Rolling Stones. Four working-class geezers, three of whom hailed from London’s rough East End, the Small Faces were the prototypical Mod band.
“Mod,” short for modern, was an English youth movement that began in 1959, similar to American subcultures like beat or hippie, but smaller, and less threatening to the status quo. Mods wore flashy clothes, drove Vespa scooters, listened to soul music, and took speed drugs. Mod gave an identity to English working-class kids. Pete Townshend documented Mod culture with the 1973 Who album Quadrophenia.
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, especially beloved by screaming young girls (“birds”).
For music fans, between 1965 and 1968 the songwriting team of Marriott-Lane churned out a basketful of sophisticated pop hits in the UK, one quasi-hit in the U.S. (“Itchycoo Park,” which reached #16 in ‘67), and one LP masterwork, released in May ‘68. Ogdens’ Nut Gone Flake is considered a classic by “those in the know,” but often overlooked when classic rock albums are bandied. I could give several reasons, but I’d rather just rave on.
The first evidence that this record is a cut above most is the packaging, as visually arresting as the band’s Mod bob haircuts, tangerine and lime-green blazers, and winklepicker shoes. 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 (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. (Unwin supposedly influenced John Lennon’s absurdist lyrics and poetry.)
As “knees-up” as side two of Ogdens’ is, the heavy hitters are on side one. The title song opener is an instrumental that explodes with Lane’s thunderous bass, McLagan’s altered Hammond organ, and sweeping woodwinds that include cello.
“Afterglow” showcases ace-Face Marriott’s wailing voice. In a non-racial world, Marriott’s soulfulness would be held in similar regard as Ray Charles and Otis Redding. I know what some of you are thinking: he’s bloody white, mate! But I say: bollocks, mate! Great pipes is great pipes. None other than Keith Richards and Ozzie Osbourne have cited Marriott as one of their favourite singers, and those two blokes know something about singing (amongst other things, wink-wink).
“Long Agos and Worlds Apart” is one of only two numbers Ian McLagan wrote with the band. (The other is “Up the Wooden Hills to Bedfordshire.”) Like the Who’s John Entwistle, McLagan wasn’t prolific, but his two songs are highlights of the band catalogue. He has a world-weary voice that contrasts Marriott’s full-frontal assault. This song has a loping instrumental line that I can’t determine is organ or guitar. But it’s an intoxicating arrangement, with a dollop of appropriate psychedelia.
“Rene” is an ode to a waterfront prostitute, “groping with the stokers from the coast of Kuala Lampur.” Marriott, as cockney tour guide, leads us into working-class East London. If you think you’ve suddenly ducked inside an English music hall, it’s because, before discovering rock ‘n’ roll, Marriott was a precocious child actor/singer who starred as the Artful Dodger in the London stage musical Oliver! (He was also in several films, one of which starred a pre-Clouseau Peter Sellers.) “Rene” is a rousing singalong tune, the second half a chugging instrumental where our hyper tour guide goes berserk on distorted guitar and blues harp.
“Song of a Baker” is a Ronnie Lane special. Though an inner-city lad, Lane had an affinity for rural life, and later moved to an isolated farm in Wales. “Song of a Baker” is a heavy rocker, but its heart is in the country. Some of the album’s best lyrics are “I’m depending on my labour / The texture and the flavour” and “So I’ll jug some water, bake some flour / Store some salt and wait the hour.”
Side one closes with one of the band’s best A-sides, the theatrical “Lazy Sunday.” Marriott wrote it after his neighbors had him evicted for noisemaking. He was always trying to distance himself from his acting roots (which fortunately managed to slip through in the music), and didn’t want this song on the album, but Immediate Records had final say. It’s quintessential English, slice-of-life escapism. (Think “Penny Lane,” the Kinks’ “Waterloo Sunset,” the Hollies’ “Bus Stop,” the Zombies’ “Beechwood Park,” and the Smalls’ own “Itchycoo Park.”) The bouncy melody is broken by cockney-esque poetry like “Cor blimey, ‘ello Mrs. Jones, ow’s your bird’s lumbago?”
Ogdens’ Nut Gone Flake reached #1 on the UK Albums Chart and stayed there for six weeks. (America had too much on its plate in ‘68, and missed the boat.) Due to the record’s complexity, including orchestration, the group never performed it live. This fact contributed to their demise. They knew they could never top Ogdens’. Also, Marriott wanted to get into guitar-heavy, R&B-styled rock and distance himself from the teen-scream scene (though one of the special things about the Small Faces was their playful irreverence). So, he quit the Smalls seven months after the album’s release. He joined with guitar hotshot Peter Frampton (ex-Herd) to form Humble Pie. The other three were briefly adrift, but eventually hired Ron Wood and blond, sexy Rod Stewart, both much taller and recently exiled from the Jeff Beck Group, to become the Faces.
Whilst not as artistically satisfying as the Small Faces, both Humble Pie and the Faces achieved the popular success in North America that had escaped the Smalls.
Drummer Kenney Jones is the only Small left. Steve Marriott died tragically in a house fire in 1991; Ronnie Lane succumbed to multiple sclerosis in 1997; and Ian McLagan died of a stroke in 2014. If you fancy rock bios, you’ll be gobsmacked by McLagan’s book All the Rage, which is one of the best fly-on-the-wall rock bios I’ve yet read.
As for Ogdens’ Nut Gone Flake, it’s been rereleased several times, on CD and vinyl, with music and packaging variations. The original UK vinyl version with the round gatefold cover is the one to get. But you may have to put your home on the market, or place one of your children into indentured servitude to afford it.
NOTE: Perhaps you noticed I didn’t mention Hall of Fame (HOF) inductions or Rolling Stone (RS) magazine lists here. It’s become fashionable to do this—as if a coterie of music-critic aristocrats with crabs in their beards decide which music is worthy of being anointed for artistic posterity. Cor blimey, I’ve even cited their shite once or twice! But never again, mate. Inductions, lists, polls, rankings, and record sales are poor indicators for determining what is “good” music and what isn’t, by gor, and a lot of these HOF and RS critics are daft, anyway (and get dafter every year). Therefore, longitudes says “rubbish” to all of it.
By the way, I’m right chuffed to say that longitudes has deemed Ogdens’ Nut Gone Flake the 19th greatest rock record ever, Steve Marriott the 9th greatest rock vocalist, Marriott-Lane the 4th greatest rock songwriting duo, and the band is in the longitudes hall of fame as a separate act from the Faces, which was a totally different band, musically.
Now, are we all sitting comfy-bowl? Good, then I’ll meet you at the Crown and Anchor, mate. I’ll be wearing pink winklepickers.
17 thoughts on “The Small Faces, “Ogdens’ Nut Gone Flake””
Great article! Those were great years with the Small Faces and into the Humble Pie days. I saw Humble Pie at my first outdoor rock concert in 1972. Marriott was my favorite vocalist for many years. A real talent. Just sad that he is no longer with us. I still have the vinyl album of Rockin’ the Fillmore. And that lives on. Thanks, Pete, for sharing the great review of some of the best of the best. Rock on!
Rock on, indeed, Dave! The Pie were a great band, although a bit different from Small Faces. I’ve got the first Pie album, which is more low-key than what they later became. My big memory was the two guys in the dorm room across from me played “30 Days in the Hole” constantly. It’s interesting how SF spawned HP, which spawned “Frampton Comes Alive!” Thanks for commenting!
Good write-up Pete. I am definitely a fan but more of the later Faces with Rod the mod. Interestingly I heard Humble Pie on the radio today. Love Marriott’s voice. I’ve been thinking of doing something on the Rod-era Faces but never quite seem to get around to it. Maybe a six-pack, don’t know. I had no idea those guys were all so, shall we say, height-challenged. I’ll have to give McLagan’s book a bit of read, there, mate. Anyway, off for a spot of tea.
Jim, I highly recommend “All the Rage.” McLagan wrote it all himself, no ghostwriter, from journals he kept for many years. Great anecdotes about the early Stones, Keith Moon, Bob Dylan, and many more. I have a high regard for Mac. Supposedly a great bloke, and he wrote a really sweet note inside the book after my wife ordered it from his website for me for Xmas years ago. Yep, the Pie and Faces were definitely better known in the states. They were more geared to live performance. The Smalls weren’t so good onstage, but wrote better songs (IMO). Discovering them in college, via “Ogdens’,” was like finding buried gold. Thanks!
Hey, Pete. BTW, your site is still moderating me.
Hi Pete. Somehow I’ve never heard this album, though I’ve known about it since it came out.
I’m making a note to myself to read McLagan’s book.
Thanks Neil. Don’t feel bad about not hearing “Ogdens’.” Judging from the dearth of “likes” here, not many other people even know about it! Maybe I should do more posts about bands like the Eagles?? (Nah.)
You know how i feel about these guys (And this album). Here’s one for you Pete. My youngest (Big Earl) just made it through his first year of some heavy schooling. I talked to him after all his exams were done and this is what he said when i asked him” how he was?). “I’m listening to the Small Faces”. You know I didn’t make that up. Good piece.
This is how far I’m out of the loop, i think you might have mentioned this before, they aren’t in the HOF or on a RS list? I really don’t think you and I give a shit. They are on our spin lists. All that matters.
They’re in the HOF, but on the coattails of the Faces. Stupid. I don’t know how they fare on Rolling (Stationary) Stone Magazine lists. But other than critic David Fricke, who’s actually quite good, I don’t think that magazine has a clue.
Please tell Big Earl I applaud his taste, as I do his father’s!
I don’t pay attention to any of those institutions. I get my intel from other sources like Cracker Jacks.
Yeah I’ll pass that on and tell him I know this guy who is an original Small Faces dude, in fact I’ll email him your piece.
Cracker Jacks indeed!!! MAD Magazine is another favorite.
Alfred E is one of my go to guys.
I do remember this band growing up. Nice write up.
Thanks, MK. I didn’t get into the band till I was in college, but remember “Itchycoo Park” as a kid, in between Beatles, Herman’s Hermits, and the Monkees.
Jolly good write-up, mate! I have the record spinning now. Literally! …okay it’s on youtube but it is a vinyl – with tone arms sounds and all). Thanks for this tip-off to some of the 60s greatest. If Longitudes says it’s so, then it’s so. Hey listeners – Let YOUR ears be your proof. Thanks Pedro, another home run (go Tigers!)!
Love those snaps, crackles, and pops when the stylus scrapes the vinyl… you just don’t get that “earthiness” with CDs or MP3s, know what I mean?!
Thanks for the shout-out, Rock. I watched some Humble Pie on YouTube today. “30 Days in the Hole.” Man, that Marriott was something else. Hey, thanks again, and Happy Summer!
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