Small Faces (Deluxe Edition)

The Artist

Small Faces formed in East London in 1965 and quickly became heroes of the mod scene, a sharply dressed youth culture built on American soul and R&B. Singer and guitarist Steve Marriott fronted the band with a startlingly big, gritty voice, alongside bassist Ronnie Lane and drummer Kenney Jones, with keyboardist Ian McLagan arriving soon after the band's early days. Their sound fused British beat energy with Stax and Motown swagger, driven by organ, punchy drums and Marriott's raw shouting. This self-titled record was their debut album, capturing the group at the start of a career that would later stretch into psychedelia with Ogdens' Nut Gone Flake.

The Album

Small Faces was recorded in London and released on Decca in 1966, while the band was managed by the notoriously hard-driving Don Arden. It gathers early singles alongside covers and originals, and its sessions were quick and live-feeling, closer to a club set than a polished studio statement. The record sold strongly in the UK and cemented the band as more than a singles act. This deluxe edition adds alternate versions and electronically processed stereo mixes, an early studio trick that faked a stereo image from mono recordings. Thematically, it is about youthful desire, restlessness and the thrill of a loud Saturday night.

Listen For

Marriott's Strain. On "E Too D," listen to how Marriott pushes his voice to the edge of breaking. It shows why so many later British rock singers cited him as an influence.

Chicago Roots. "You Need Loving" draws heavily on American blues. Notice how the band turns a slow-burning blues idea into a frantic, swaggering workout.

Organ as Lead Voice. On the instrumentals "Own Up Time" and "Grow Your Own," the keyboard takes over the melody. These tracks feel like a peek at the band jamming in a sweaty club.

Pop Craft Versus Grit. Compare the bouncy, singalong "Sha La La La Lee" with the rougher "What'Cha Gonna Do About It." The gap reveals tension between the band's commercial push and their soul instincts.

Fake Stereo. Switch between "It's Too Late" and its electronically processed stereo mix. Listen for how the processing smears the sound across speakers, giving it an odd, hollow width.