1960's Music - The "I'm In Love With That Song" Podcast - Music Commentary, Song Analysis & Rock History

Small Faces are one of the all-time great British bands from the 1960’s but they never got the attention, success or respect they deserved. (Some of that was due to self-inflicted damage, but still…) Their biggest hit was “Itchycoo Park“, 2:45 of psychedelic pop perfection. All 4 members of the band shine, and engineer Glyn Johns gets to introduce the world to the sound of flanging. Feel inclined to blow your mind? Check out this episode.

TRANSCRIPT:

Welcome, everyone, to the “I’m In Love With That Song” podcast, part of the Pantheon family of podcasts. I’m your host, Brad Page, and each episode, I pick one of my favorite songs, and we listen to it together, uncovering all the little moments, those special touches that make it a great song. You don’t need to be a musical expert here, we don’t get too technical. All you need is a love for music, and you’ll fit right in here.

On this episode, we are revisiting the Small Faces, because I really do love this band, and I think they’re criminally underrated, certainly here in the US.

The mid 1960’s were an amazing time for music: lots of change, experimentation, and invention. The psychedelic sounds of this era are this perfect blend of adventure, exploration, and naivete. There’s an “Alice in Wonderland” feel to all of it. And one of the best examples of this is “Itchycoo Park” by Small Faces.

We talked about the Small Faces before on this podcast, back on episode #54, and their song “Tin Soldier”, so I won’t rehash their biography again. You can go back and listen to that episode.

But for a quick refresher, Small Faces was formed in 1965 by guitarist/vocalist Steve Marriott and bass player Ronnie Lane, with Kenny Jones on drums and Ian McLagan on keyboards. Like other British bands of the era, The Who, for example, they started by playing covers of American blues and R&B artists. But by 1966, they were writing their own songs, primarily composed by Marriott and Lane. “Itchycoo Park” was their 10th single overall, but only their second single for their new record label, Immediate Records, who allowed them a lot more freedom in the studio to experiment.

The song was released in August 1967, the height of the “Summer of Love”, and it reached number 3 on the UK charts, number 16 in the US and number 1 in Canada.

The song was written by Steve Marriott and Ronnie Lane. It all started with an idea from Ronnie Lane, inspired by Oxford, England, and a park near where Marriott and Lane lived. Exactly which park is a question, because both Lane and Marriott referred to different parks over time. According to Lane, the initial musical idea came from a hymn called “God Be In My Head”.

See if you can catch how that melody influenced this song.

They structured “Itchycoo Park” as a dialogue between a normal average “straight” person and someone who was “tuned-in” and enlightened. That’s pretty much the psychedelic sixties in a nutshell.

Marriott and Lane are credited as producers on the track, with Glenn Johns as the engineer.

The song begins with an acoustic guitar in the left channel. Pretty quickly after that, Ronnie Lane’s bass joins in on the right channel, followed by the drums also on the right and the organ on the left. I think there’s a piano in there as well, but it’s pretty low in the mix. And that’s it for the intro– pretty short. The vocals come in right there.

Steve Marriott is one of the all-time great soulful belters, just one of the ballsiest singers. He influenced generations of vocalists, from Robert Plant and Paul Rogers right up through Chris Robinson of the Black Crows and beyond. He’s on my list of the all-time greatest singers. I just love his voice. But, you know, he could also hold back and sing more gently, as he does here.

A couple of other things I want to point out before we move on: Let’s remove the vocals and listen to just the backing track here. You can hear Ian McLagan’s organ part a lot clearer and especially listen to the bass. Ronnie Lane had this really unique loping style of playing that’s really on display here.

All right, let’s get to the second part of the verse. This is the part where the dialogue between the two characters comes in, as we mentioned before, with the backing vocals from Ronnie Lane; Ronnie Lane playing the part of the straight man and Steve Marriott being, well, Steve Marriott.

That’s more of the classic Marriott vocal there. This leads us into the chorus. “It’s all too beautiful”– the ultimate vision of the sixties if only that were.

There’s this little descending keyboard lick that’s kind of central to that whole chorus.

Now this brings us to the bridge. This was Steve Marriott’s biggest writing contribution to the song. He wrote this part, but what really makes it interesting is the way it was recorded. This was one of the very first records to use the effect that would become known as “flanging”. You can hear it on the vocal and the drum track.

A recording engineer named George Chkiantz is generally credited with inventing this flanging technique. He showed it to Glyn Johns, who used it on this recording. Eventually, they developed a way to do this electronically. And of course, now, like everything, you can do it digitally. I’m using a software plugin to do it to my voice right now. But back in 1967, the only way to do this was manually. Two tape machines were synchronized together, playing the same song. And by slightly slowing down one of the tapes, usually by placing your thumb on the flange of one of the tape reels, hence the name flanging, you would get this effect, which would then be recorded onto a third tape machine. There was a lot of work required to get this sound.

So we’ve been listening to the stereo version of this song because I think the stereo version provides a little better differentiation on the individual parts. But on the original mono mix of this track, I think the flanging is a little more obvious. So let’s just hear this chorus from the mono mix.

Let’s go back to the stereo version and hear the second verse. This features more of the back and forth between the lead and the backing vocals.

Let’s listen to just the vocal track.

The BBC initially banned this song because they were concerned that “I get high” was a drug reference. But the band said, “Oh, no, this song, it’s about a park. Of course, we’re talking about swinging on a swing. You know, when you’re swinging, you try to get higher and higher. That’s what we meant.” They were shocked – shocked – that you would think this song was about drugs. And the BBC bought that story.

Here’s the second time around for the bridge, and this time I think the flanging is even more prominent.

That “Ha” that Marriott puts in there. From here, they repeat the chorus until the song fades out, and they apply the flanging effect to it as well. Steve Marriott, as he always does, sounds great here.

Small Faces – “Itchycoo Park”

The small faces recorded dozens of songs that I think stand up to the best British bands of that decade. The Beatles, Stones, The Who, The Kinks… The Small Faces released stuff that was just as good, in some cases even better.

But fate just didn’t really go their way and to be honest, they never really got their act together. There was a self-destructive streak there, especially with Steve Marriott, which would only get worse throughout his life. As we’ve discussed on this podcast before, Steve Marriott died in a house fire in 1991. He was 44. Ronnie Lane was diagnosed with multiple sclerosis and died in 1997, age 51. Keyboard player Ian McLagan had a long career as an in-demand session musician and sideman until he died of a stroke in 2014. Drummer Kenny Jones went on to play with The Who, and at the time of this recording, he’s still with us and continues to oversee the legacy of the Small Faces.

If you’d like to explore more Small Faces, there’s a ton of compilation albums out there. Some are better than others. My favorite is one called “The Autumn Stone”. I would start there. There’s also one called “The Ultimate Collection”. That one’s pretty good, too.

Thanks for hanging out here on this edition of the “I’m In Love With That Song” podcast. As you probably know by now, new episodes of this show come out twice a month, so I’ll be back in about two weeks with a brandy new episode. If you can’t bear to wait for the next episode, you can catch up on all of our previous shows on our website, lovethatsongpodcast.com or just look for us in your favorite podcast app.

And if that’s not enough, there are plenty more music-related shows that you should check out right here on the Pantheon Podcast Network. We’d love it if you’d leave a review of the show wherever it is that you listen, just post a comment there. You can also find us on Facebook, just search for the “I’m In Love With That Song” podcast, you’ll find our page.

And the most important thing you can do if you’d like to support the show is to just recommend the show to your friends, because your word-of-mouth carries a lot more weight than any promotion I can do. So, as always, thanks for that.

And thanks for listening to this episode on “Itchycoo Park” by Small Faces.

A while back, we did an episode celebrating the Nuggets album, that quintessential collection of 1960’s psychedelic garage rock. But psychedelia was an international phenomenon, and on this episode, we’re travelling across the pond to feature the long-lost psychedelic bands from the UK. All of these selections are available on the excellent compilation albums in the Rubble series—if you like what you hear here, check those out.

TRANSCRIPT:

Welcome back to the “I’m In Love With That Song” podcast. I’m Brad Page, your host here on the Pantheon Podcast Network, where each episode we explore some of my favorite songs. About two years ago, I did a special edition of the podcast to celebrate the anniversary of the “Nuggets” album. One of the most important compilation albums ever released, “Nuggets” celebrated the forgotten bands from the 60’s psychedelic garage rock era. It inspired many other collections of long lost sounds from that era, when it seemed there was a teenage band on every street and all things seemed possible. There was so much music being made that “Nuggets” couldn’t possibly cover it all, even over the course of multiple volumes.

One of the things about “Nuggets” is that it was very US-centric. But of course, there was psychedelic music being made in garages, basements and living rooms around the world, especially in the UK. And one of the companion series to “Nuggets” were the “Rubble” albums, collecting tons of obscure 60’s bands from the UK and Europe. Starting in 1984, there would ultimately be 20 “Rubble” albums issued. On this episode, we’ll be sampling a whole bunch of songs from the first ten volumes of “Rubble” So strap yourself in, because we’re setting the wayback machine to 1960s England.

Whether you call it psychedelic rock, garage rock, or one of the more esoteric names like pop, Psych or Freakbeat, we’re talking about bands that formed in the wake of the Big Bang that was The Beatles, when millions of teenagers and young adults went out and bought guitars and drums and formed bands of their own. Some of these bands were more professional than others, but the one thing they all have in common is that none of them had any long-term success. Although, as we’ll see, occasionally a band member would go on to find success with another group. On this episode, we’re looking at songs recorded from 1965 to around 1968, primarily from bands from the U. K. although there may be a couple from Europe in here. All of these bands are included on the “Rubble” series of compilation albums.

Let’s kick things off with a band called Fire. Fire were a three-piece band from Hounslow, West London. They were originally called Friday’s Child and recorded a couple of demos which got them some attention from Apple, The Beatles’ record label. Someone suggested they change their name to Fire, and they recorded their first single for Decca Records in March 1968. When it came time to record their second single, the record label forced them to record a song by an outside songwriter and the band didn’t even play on the single. They were not happy about any of that. And that pretty much ended their relationship with Apple and Decca. They would record one album for Pye Records in 1970, but that was it for Fire. We’re going to go back to their first single from 1968– this song they wrote and played themselves. It’s called “My Father’s Name Is Dad”, and despite the wacky title, this song actually has a great Beatle-ish guitar riff and a pretty catchy chorus.

That was Fire with “My Father’s Name Is Dad”.

Here’s a song by The Clique or The Clique depending on where you’re from. I guess The Clique were from north London. I don’t know much about this band, but this was their second single from September 1965, produced by the legendary British producer Larry Page, who produced The Kinks and The Troggs classic “Wild Thing”. This is another song with an awkward title– This one’s called “We Didn’t Kiss, Didn’t Love, But Now We Do”. Great guitar sound, though.

The Clique – “We Didn’t Kiss, Didn’t Love, But Now We Do”.

This next song is one of the most interesting stories of the British psychedelic scene in the 1960s. Follow me on this one, because it’s a bit of a long story, but worth the payoff. Zoot Money and The Big Roll Band were formed in the early 60’s featuring vocalist and keyboard player Zoot Money. They primarily played soul and R&B tunes. But when the scene began to change and the psychedelic sound was all the rage, Zoot changed the name of the band to Dantalian’s Chariot in 1967 and essentially rebranded them as an acid-tinged psychedelic rock band. They played shows with Pink Floyd and the Crazy World of Arthur Brown, performing in white robes with one of the best psychedelic light shows around. In September 1967, they released their one and only single, a psychedelic pop masterpiece called “Madman Running Through The Fields”. They went into the studio to record an album, but most of it was rejected by the record label. And when it was eventually retooled and released, it came out as a Zoot money and the Big Roll Band album– Dantalian’s Chariot was no more, having lasted only a year. For decades, it was thought that those original Dantalian’s Chariot recordings were lost. But they were eventually rediscovered and released on an album called “Chariot’s Rising” in 1996, almost 30 years after they were originally recorded. Now, if the name Zoot Money sounds at all vaguely familiar to you, it may be because you’ve heard of their guitar player. Andy Summers played guitar in Zoot Money’s band, and he followed him into Dantalian’s Chariot, co- writing many of their songs. Andy Summers would go on to play in a little band called The Police. But for now, let’s go back to 1967, when Andy Summers was wearing white robes and writing psychedelic songs like this one. This is the legendary track “Madman Running Through The Fields”

Dantalian’s Chariot “Madman Running Through The Fields”.

Next up is a band called Jason Crest. There’s nobody named Jason Crest in Jason Crest, just five guys from Kent who were originally called the Good Time Brigade and then the Good Time Losers. Before settling on Jason Crest as their name, they released five singles between 1967 and 1969. Supposedly they put on a killer live show, but it didn’t translate into record sales. Their final single was a song called “Black Mass”. Though it’s more goofy than it is scary, the record company held this one back out of concern, though it was still released before Black Sabbath recorded their first album. Here’s “Black Mass” by Jason Crest.

“Black Mass” by Jason Crest.

Everybody knows “Magic Bus” by The Who, but did you know that they were not the first ones to release it? Pete Townsend wrote the song, but gave it to a band called The Pudding, who released it in April 1967. The Who didn’t release it until July 1968. Here’s the version by The Pudding.

“Magic Bus” by The Pudding.

Here’s a song by a band called Turquoise. They were from Muswell Hill, a, suburb of London. Muswell Hill was also home to The Kinks. And you can definitely hear, uh, a Kinks influence on this song: “Tales Of Flossy Fillet”, one of only two singles released by Turquoise.

“Tales Of Flossy Fillet” by Turquoise.

If I say the name Dream Police to you, you’re going to think of the song or the album by Cheap Trick, right? But ten years before Cheap Trick released that song, there was a band from Scotland called the Dream Police. Formed in 1967, they released three singles before disbanding. Guitarist and singer Hamish Stewart would go on to form the Average White Band and spend a chunk of the 90’s in Paul McCartney’s band. Here’s a song by the Dream Police called “Living Is Easy”.

Dream Police with “Living Is Easy”.

One thing you don’t see too often with these psychedelic bands, neither here or on the “Nuggets” albums unfortunately, are groups fronted by women. Not too many female voices to be heard. But here’s one. Sharon Tandy was originally from South Africa, moving to the UK in 1964. She actually recorded some tracks at Stax Studios in Memphis and was the opening act on the legendary Stax Volt tour of Europe in 1967. She cut two singles with the band Floor de Lis. Here’s one of those tracks a nice riffy rocker called “Hold On”.

Sharon Tandy and Fleur de Lis with “Hold On”.

This next group was originally called the Silvertone Set. Playing mostly soul and R & B influenced songs, they changed their name to “The Elastic Band” and released one album and a couple of singles, none of which were hits. Their guitar player, Andy Scott, would later become a member of the quintessential glam band, Sweet. Here’s a song he co wrote for The Elastic Band called “Eight And A Half Hours Of Paradise”.

“Eight And A Half Hours Of Paradise” by The Elastic Band

The Dakotas were from Manchester, England. They first came to fame as the backing band for Billy J. Kramer in 1964. Mick Green joined them as their guitarist. He’d made a name for himself with Johnny Kidd and the Pirates. The Dakotas released a few singles on their own. This is a particularly tasty b-side featuring a great guitar riff from Mick Green. It’s called “The Spider & The Fly”.

“The Spider & The Fly” by The Dakotas.

For the next couple of tracks, we’re going to cheat a little bit and go outside of the UK. We’re going to take a side trip to the Netherlands and listen to a song by a band called Group 1850. This track is one of the loopiest psychedelic tracks I’ve ever heard. Manic drumming, spoken word chanting, trippy guitar work and a flute. Folks, this one’s got it all. It’s called “Mother No Head”.

“Mother No Head” by Group 1850.

Here’s another Dutch band, Dragonfly. These guys never had a hit outside of their home country, but they did manage to release two singles. Dragonfly was wearing face makeup years before Kiss came up with it. You can find some clips on YouTube if you look for them. Here’s a song by Dragonfly.

“Celestial Empire” by Dragonfly

Back in the British Isles, The Flies were making a stir in London. Apparently, they dumped 800 bags of flour on their audience at one show. Here are the flies covering The Monkees. They slow “I’m Not Your Stepping Stone” down and bring out the nasty edge in this classic song.

The Flies with their version of “I’m Not Your Stepping Stone”

Birmingham was the birthplace of a bunch of great British bands, enough that they coined their own term for the Birmingham sound: Brumbeat. The Knight Riders were purveyors of the Brumbeat sound before changing their name to The Idle Race. They’re mostly remembered for launching the career of first Roy Wood, then Jeff Lynne. Both would get together in The Move and eventually form the Electric Light Orchestra. Here’s an Idle Race song called “Knocking Nails Into My House” that shows that Jeff Lynne had something going on right from the start.

The Idle Race “Knocking Nails Into My House”

All the bands we’ve been talking about here slipped into obscurity pretty quickly, never to be heard again. But let’s hear from one band that did make an impact. Though they never had big hits in the US, they were very influential in the UK. The Pretty Things formed in 1963. Initially they played bluesy R & B influenced stuff like the Yardbirds or the Rolling Stones, but by the time they signed with EMI in 1967, they were a full-on on psychedelic band. They released a couple of singles, including “Talking About The Good Times”, one of the all-time time greatest psychedelic tracks, and then released the album “SF Sorrow”, which is acknowledged as being the very first rock opera, beating The Who’s “Tommy” by over a year. They released a dozen albums over their career and are still referenced today as an influence. So let’s go back to February 1968 and listen to “Talking About The Good Times”.

“Talking About The Good Times” by The Pretty Things

Let’s hear one more. The Onyx came from Cornwall, originally named Dick and The Hayseeds, but changed their name to The Onyx around 1966 and signed to Pye Records. They were known for doing great cover versions, but released a handful of self-penned penned singles, including “You Got To Be With Me” their first single in 1968, which is super catchy and features a very McCartney-esque bass part.

The Onyx “You Gotta Be With Me”

Well, I hope you enjoyed this trip through the sounds of psychedelia from 1960’s UK. As I said, all of these tracks can be found on the first ten volumes in the “Rubble” series. There is a box set that contains all 10 CDs. If you really dug this episode, it might be worth seeking out that collection. I recommend it.

New episodes of this podcast come out on the 1st and the 15th of every month, so I’ll be back in your ears soon. You can catch up on all the episodes you missed on our website, lovethatsongpodcast.com, or just look for us in your favorite podcast app. And while you’re there, leave a review of the show. I always hear that reviews are the number one thing that the algorithms use to determine how shows get ranked, and who gets exposed to the podcast. So if you can leave even a short review, that’d be great.

Thanks for taking the time to listen to this episode. I’m going to leave you with one more clip. You may remember the band Golden Earring for their hits “Radar Love” and “Twilight Zone”, but these guys have been together since 1961. They’re another Dutch band, and in 1966, they recorded a commercial for Coca Cola. It was released on a single that was apparently only available at one Dutch grocery store. The band didn’t particularly like doing it, but they needed the money to buy a new van. Such are the artistic compromises you make in the music business. So I’ll leave you with “Things Go Better With Coke” from 1966 by Golden Earring.

Tag: 1960’s Music

Small Faces – “Itchycoo Park”

Sifting Through Rubble: 1960’s Psychedelia from the UK