By the time the Rolling Stones began calling themselves the World's Greatest Rock & Roll Band in the late '60s, they had already staked out an impressive claim on the title. As the self-consciously dangerous alternative to the bouncy Merseybeat of the Beatles in the British Invasion, the Stones had pioneered the gritty, hard-driving blues-based... [+] Read More

By the time the Rolling Stones began calling themselves the World's Greatest Rock & Roll Band in the late '60s, they had already staked out an impressive claim on the title. As the self-consciously dangerous alternative to the bouncy Merseybeat of the Beatles in the British Invasion, the Stones had pioneered the gritty, hard-driving blues-based rock & roll that came to define hard rock. With his preening machismo and latent maliciousness, Mick Jagger became the prototypical rock frontman, tempering his macho showmanship with a detached, campy irony while Keith Richards and Brian Jones wrote the blueprint for sinewy, interlocking rhythm guitars. Backed by the strong yet subtly swinging rhythm section of bassist Bill Wyman and drummer Charlie Watts, the Stones became the breakout band of the British blues scene, eclipsing such contemporaries as the Animals and Them. Over the course of their career, the Stones never really abandoned blues, but as soon as they reached popularity in the U.K., they began experimenting musically, incorporating the British pop of contemporaries like the Beatles, Kinks, and Who into their sound. After a brief dalliance with psychedelia, the Stones re-emerged in the late '60s as a jaded, blues-soaked hard rock quintet. The Stones always flirted with the seedy side of rock & roll, but as the hippie dream began to break apart, they exposed and reveled in the new rock culture. It wasn't without difficulty, of course. Shortly after he was fired from the group, Jones was found dead in a swimming pool, while at a 1969 free concert at Altamont, a concertgoer was brutally killed during the Stones' show. But the Stones never stopped going. For the next 30 years, they continued to record and perform, and while their records weren't always blockbusters, they were never less than the most visible band of their era -- certainly, none of their British peers continued to be as popular or productive as the Stones. And no band since has proven to have such a broad fan base or far-reaching popularity, and it is impossible to hear any of the groups that followed them without detecting some sort of influence, whether it was musical or aesthetic.

Throughout their career, Mick Jagger (vocals) and Keith Richards (guitar, vocals) remained at the core of the Rolling Stones. The pair initially met as children at Dartford Maypole County Primary School. They drifted apart over the next ten years, eventually making each other's acquaintance again in 1960, when they met through a mutual friend, Dick Taylor, who was attending Sidcup Art School with Richards. At the time, Jagger was studying at the London School of Economics and playing with Taylor in the blues band Little Boy Blue and the Blue Boys. Shortly afterward, Richards joined the band. Within a year, they had met Brian Jones (guitar, vocals), a Cheltenham native who had dropped out of school to play saxophone and clarinet. By the time he became a fixture on the British blues scene, Jones had already had a wild life. He ran away to Scandinavia when he was 16; by that time, he had already fathered two illegitimate children. He returned to Cheltenham after a few months, where he began playing with the Ramrods. Shortly afterward, he moved to London, where he played in Alexis Korner's group, Blues Inc. Jones quickly decided he wanted to form his own group and advertised for members; among those he recruited was the heavyset blues pianist Ian Stewart.

As he played with his group, Jones also moonlighted under the name Elmo Jones at the Ealing Blues Club. At the pub, he became reacquainted with Blues, Inc., which now featured drummer Charlie Watts, and, on occasion, cameos by Jagger and Richards. Jones became friends with Jagger and Richards, and they soon began playing together with Taylor and Stewart; during this time, Mick was elevated to the status of Blues, Inc.'s lead singer. With the assistance of drummer Tony Chapman, the fledgling band recorded a demo tape. After the tape was rejected by EMI, Taylor left the band to attend the Royal College of Art; he would later form the Pretty Things. Before Taylor's departure, the group named itself the Rolling Stones, borrowing the moniker from a Muddy Waters song.

The Rolling Stones gave their first performance at the Marquee Club in London on July 12, 1962. At the time, the group consisted of Jagger, Richards, Jones, pianist Ian Stewart, drummer Mick Avory, and Dick Taylor, who had briefly returned to the fold. Weeks after the concert, Taylor left again and was replaced by Bill Wyman, formerly of the Cliftons. Avory also left the group -- he would later join the Kinks -- and the Stones hired Tony Chapman, who proved to be unsatisfactory. After a few months of persuasion, the band recruited Charlie Watts, who had quit Blues, Inc. to work at an advertising agency once the group's schedule became too hectic. By 1963, the band's lineup had been set, and the Stones began an eight-month residency at the Crawdaddy Club, which proved to substantially increase their fan base. It also attracted the attention of Andrew Loog Oldham, who became the Stones' manager, signing them from underneath Crawdaddy's Giorgio Gomelsky. Although Oldham didn't know much about music, he was gifted at promotion, and he latched upon the idea of fashioning the Stones as the bad-boy opposition to the clean-cut Beatles. At his insistence, the large yet meek Stewart was forced out of the group, since his appearance contrasted with the rest of the group. Stewart didn't disappear from the Stones; he became one of their key roadies and played on their albums and tours until his death in 1985.

With Oldham's help, the Rolling Stones signed with Decca Records, and that June, they released their debut single, a cover of Chuck Berry's "Come On." The single became a minor hit, reaching number 21, and the group supported it with appearances on festivals and package tours. At the end of the year, they released a version of Lennon-McCartney's "I Wanna Be Your Man" that soared into the Top 15. Early in 1964, they released a cover of Buddy Holly's "Not Fade Away," which shot to number three. "Not Fade Away" became their first American hit, reaching number 48 that spring. By that time, the Stones were notorious in their homeland. Considerably rougher and sexier than the Beatles, the Stones were the subject of numerous sensationalistic articles in the British press, culminating in a story about the band urinating in public. All of these stories cemented the Stones as a dangerous, rebellious band in the minds of the public, and had the effect of beginning a manufactured rivalry between them and the Beatles, which helped the group rocket to popularity in the U.S. In the spring of 1964, the Stones released their eponymous debut album, which was followed by "It's All Over Now," their first U.K. number one. That summer, they toured America to riotous crowds, recording the Five by Five EP at Chess Records in Chicago in the midst of the tour. By the time it was over, they had another number one U.K. single with Howlin' Wolf's "Little Red Rooster." Although the Stones had achieved massive popularity, Oldham decided to push Jagger and Richards into composing their own songs, since they -- and his publishing company -- would receive more money that away. In June of 1964, the group released their first original single, "Tell Me (You're Coming Back)," which became their first American Top 40 hit. Shortly afterward, a version of Irma Thomas' "Time Is on My Side" became their first U.S. Top Ten. It was followed by "The Last Time" in early 1965, a number one U.K. and Top Ten U.S. hit that began a virtually uninterrupted string of Jagger-Richards hit singles. Still, it wasn't until the group released "(I Can't Get No) Satisfaction" in the summer of 1965 that they were elevated to superstars. Driven by a fuzz-guitar riff designed to replicate the sound of a horn section, "Satisfaction" signaled that Jagger and Richards had come into their own as songwriters, breaking away from their blues roots and developing a signature style of big, bluesy riffs and wry, sardonic lyrics. It stayed at number one for four weeks and began a string of Top Ten singles that ran for the next two years, including such classics as "Get off My Cloud," "19th Nervous Breakdown," "As Tears Go By," and "Have You Seen Your Mother, Baby, Standing in the Shadow?"

By 1966, the Stones had decided to respond to the Beatles' increasingly complex albums with their first album of all-original material, Aftermath. Due to Brian Jones' increasingly exotic musical tastes, the record boasted a wide range of influences, from the sitar-drenched "Paint It, Black" to the Eastern drones of "I'm Going Home." These eclectic influences continued to blossom on Between the Buttons (1967), the most pop-oriented album the group ever made. Ironically, the album's release was bookended by two of the most notorious incidents in the band's history. Before the record was released, the Stones performed the suggestive "Let's Spend the Night Together," the B-side to the medieval ballad "Ruby Tuesday," on The Ed Sullivan Show, which forced Jagger to alter the song's title to an incomprehensible mumble, or else face being banned. In February of 1967, Jagger and Richards were arrested for drug possession, and within three months, Jones was arrested on the same charge. All three were given suspended jail sentences, and the group backed away from the spotlight as the summer of love kicked into gear in 1967. Jagger, along with his then-girlfriend Marianne Faithfull, went with the Beatles to meet the Maharishi Mahesh Yogi; they were also prominent in the international broadcast of the Beatles' "All You Need Is Love." Appropriately, the Stones' next single, "Dandelion"/"We Love You," was a psychedelic pop effort, and it was followed by their response to Sgt. Pepper, Their Satanic Majesties Request, which was greeted with lukewarm reviews.

The Stones' infatuation with psychedelia was brief. By early 1968, they had fired Andrew Loog Oldham and hired Allen Klein as their manager. The move coincided with their return to driving rock & roll, which happened to coincide with Richards' discovery of open tunings, a move that gave the Stones their distinctively fat, powerful sound. The revitalized Stones were showcased on the malevolent single "Jumpin' Jack Flash," which climbed to number three in May 1968. Their next album, Beggar's Banquet, was finally released in the fall, after being delayed for five months due its controversial cover art of a dirty, graffiti-laden restroom. An edgy record filled with detours into straight blues and campy country, Beggar's Banquet was hailed as a masterpiece among the fledgling rock press. Although it was seen as a return to form, few realized that while it opened a new chapter of the Stones' history, it also was the closing of their time with Brian Jones. Throughout the recording of Beggar's Banquet, Jones was on the sidelines due to his deepening drug addiction and his resentment of the dominance of Jagger and Richards. Jones left the band on June 9, 1969, claiming to be suffering from artistic differences between himself and the rest of the band. On July 3, 1969 -- less than a month after his departure -- Jones was found dead in his swimming pool. The coroner ruled that it was "death by misadventure," yet his passing was the subject of countless rumors over the next two years.

By the time of his death, the Stones had already replaced Brian Jones with Mick Taylor, a former guitarist for John Mayall's Bluesbreakers. He wasn't featured on "Honky Tonk Women," a number one single released days after Jones' funeral, and he contributed only a handful of leads on their next album, Let It Bleed. Released in the fall of 1969, Let It Bleed was comprised of sessions with Jones and Taylor, yet it continued the direction of Beggar's Banquet, signaling that a new era in the Stones' career had begun, one marked by ragged music and an increasingly wasted sensibility. Following Jagger's filming of Ned Kelly in Australia during the first part of 1969, the group launched its first American tour in three years. Throughout the tour -- the first where they were billed as the World's Greatest Rock & Roll Band -- the group broke attendance records, but it was given a sour note when the group staged a free concert at Altamont Speedway. On the advice of the Grateful Dead, the Stones hired Hell's Angels as security, but that plan backfired tragically. The entire show was unorganized and in shambles, yet it turned tragic when the Angels killed a young black man, Meredith Hunter, during the Stones' performance. In the wake of the public outcry, the Stones again retreated from the spotlight and dropped "Sympathy for the Devil," which some critics ignorantly claimed incited the violence, from their set.

As the group entered hiatus, they released the live Get Yer Ya-Ya's Out! in the fall of 1970. It was their last album for Decca/London, and they formed Rolling Stones Records, which became a subsidiary of Atlantic Records. During 1970, Jagger starred in Nicolas Roeg's cult film Performance and married Nicaraguan model Bianca Perez Morena de Macias, and the couple quickly entered high society. As Jagger was jet-setting, Richards was slumming, hanging out with country-rock pioneer Gram Parsons. Keith wound up having more musical influence on 1971's Sticky Fingers, the first album the Stones released though their new label. Following its release, the band retreated to France on tax exile, where they shared a house and recorded a double album, Exile on Main St. Upon its May 1972 release, Exile on Main St. was widely panned, but over time it came to be considered one of the group's defining moments.

Following Exile, the Stones began to splinter in two, as Jagger concentrated on being a celebrity and Richards sank into drug addiction. The band remained popular throughout the '70s, but their critical support waned. Goats Head Soup, released in 1973, reached number one, as did 1974's It's Only Rock 'n' Roll, but neither record was particularly well received. Taylor left the band after It's Only Rock 'n' Roll, and the group recorded their next album as they auditioned new lead guitarists, including Jeff Beck. They finally settled on Ron Wood, former lead guitarist for the Faces and Rod Stewart, in 1976, the same year they released Black n' Blue, which only featured Wood on a handful of cuts. During the mid- and late '70s, all the Stones pursued side projects, with both Wyman and Wood releasing solo albums with regularity. Richards was arrested in Canada in 1977 with his common-law wife Anita Pallenberg for heroin possession. After his arrest, he cleaned up and was given a suspended sentence the following year. The band reconvened in 1978 to record Some Girls, an energetic response to punk, new wave, and disco. The record and its first single, the thumping disco-rocker "Miss You," both reached number one, and the album restored the group's image. However, the group squandered that goodwill with the follow-up, Emotional Rescue, a number one record that nevertheless received lukewarm reviews upon its 1980 release. Tattoo You, released the following year, fared better both critically and commercially, as the singles "Start Me Up" and "Waiting on a Friend" helped the album spend nine weeks at number one. The Stones supported Tattoo You with an extensive stadium tour captured in Hal Ashby's movie Let's Spend the Night Together and the 1982 live album Still Life.

Tattoo You proved to be the last time the Stones completely dominated the charts and the stadiums. Although the group continued to sell out concerts in the '80s and '90s, their records didn't sell as well as previous efforts, partially because the albums suffered due to Jagger and Richards' notorious mid-'80s feud. Starting with 1983's Undercover, the duo conflicted about which way the band should go, with Jagger wanting the Stones to follow contemporary trends and Richards wanting them to stay true to their rock roots. As a result, Undercover was a mean-spirited, unfocused record that received relatively weak sales and mixed reviews. Released in 1986, Dirty Work suffered a worse fate, since Jagger was preoccupied with his fledgling solo career. Once Jagger decided that the Stones would not support Dirty Work with a tour, Richards decided to make his own solo record with 1988's Talk Is Cheap. Appearing a year after Jagger's failed second solo album, Talk Is Cheap received good reviews and went gold, prompting Jagger and Richards to reunite late in 1988. The following year, the Stones released Steel Wheels, which was received with good reviews, but the record was overshadowed by its supporting tour, which grossed over 140 million dollars and broke many box office records. In 1991, the live album Flashpoint, which was culled from the Steel Wheels shows, was released.

Following the release of Flashpoint, Bill Wyman left the band; he published a memoir, Stone Alone, within a few years of leaving. The Stones didn't immediately replace Wyman, since they were all working on solo projects; this time, there was none of the animosity surrounding their mid-'80s projects. The group reconvened in 1994 with bassist Darryl Jones, who had previously played with Miles Davis and Sting, to record and release the Don Was-produced Voodoo Lounge. The album received the band's strongest reviews in years, and its accompanying tour was even more successful than the Steel Wheels tour. On top of being more successful than its predecessor, Voodoo Lounge also won the Stones their first Grammy for Best Rock Album. Upon the completion of the Voodoo Lounge tour, the Stones released the live, "unplugged" album Stripped in the fall of 1995. Similarly, after wrapping up their tour in support of 1997's Bridges to Babylon, the group issued yet another live set, No Security, the following year. A high-profile greatest-hits tour in 2002 was launched despite the lack of a studio album to support, and its album document Live Licks appeared in 2004. A year later, the group issued A Bigger Bang, their third effort with producer Don Was. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Originally Cliff Richard's backing band, the British quartet the Shadows began recording on their own in 1960 and had a major hit with the instrumental "Apache." They were built around guitarists Hank Marvin and Bruce Welch, with an ever-changing rhythm section (Terry "Jet" Harris and Tony Meehan, the original bassist and drummer, were the most... [+] Read More

Originally Cliff Richard's backing band, the British quartet the Shadows began recording on their own in 1960 and had a major hit with the instrumental "Apache." They were built around guitarists Hank Marvin and Bruce Welch, with an ever-changing rhythm section (Terry "Jet" Harris and Tony Meehan, the original bassist and drummer, were the most famous, and went on to success on their own in the early '60s); originally dubbed "the Drifters," they adopted their more famous moniker during their first tour with Richard to avoid confusion with the popular American R&B group of the same name. Often erroneously thought of as England's answer to the Ventures, the Shadows' sound was polished, crisp, clean, and metallic, making up for its inherent sterility and lack of soul thanks to a knack for drawing out melodies in their most haunting form; their biggest hit was "Apache," but they also scored with smash singles including 1960's "Man of Mystery" and 1961's "Kon-Tiki." By 1962, both Harris and Meehan had exited, and the remaining duo of Marvin and Welch continued backing Richard in his many film roles, adopting a distinctively exaggerated brand of choreography widely imitated by other guitar-based groups of the era. Subsequent chart-toppers including 1963's "Wonderful Land" and 1963's "Foot Tapper" followed, and although the Shadows were largely lost in the shuffle of the British Invasion they continued backing Richard until 1968, at which time Welch quit. Many more reunions and breakups were to follow in the coming decades, and in one form or another the Shadows continued to record well into the 1990s. ~ Bruce Eder, All Music Guide [-] Hide

In June 1964, Peter & Gordon became the very first British Invasion act after the Beatles to take the number one spot on the American charts with "A World Without Love." That hit, and their subsequent successes, were due as much or more to their important connections as to their talent. Peter Asher was the older brother of Jane Asher, Paul... [+] Read More

In June 1964, Peter & Gordon became the very first British Invasion act after the Beatles to take the number one spot on the American charts with "A World Without Love." That hit, and their subsequent successes, were due as much or more to their important connections as to their talent. Peter Asher was the older brother of Jane Asher, Paul McCartney's girlfriend for much of the 1960s. This no doubt gave Asher and Gordon Waller access to Lennon-McCartney compositions that were unrecorded by the Beatles, such as "A World Without Love" and three of their other biggest hits, "Nobody I Know," "I Don't Want to See You Again," and "Woman" (the last of which was written by McCartney under a pseudonym). But Peter & Gordon were significant talents in their own right, a sort of Everly Brothers-styled duo for the British Invasion that faintly prefigured the folk-rock of the mid-'60s. In fact, when Gene Clark first approached Jim McGuinn in 1964 about working together in a group that would eventually evolve into the Byrds, he suggested that they could form a Peter & Gordon-styled act.

Asher and Waller had been singing together since their days at Westminster School for Boys, a private school in London. "A World Without Love" was their biggest and best hit, one that sounded very much like the Beatles' more pop-oriented originals. Their other two 1964 hits, "Nobody I Know" and "I Don't Want to See You Again," were pleasant but less distinguished. Sounding like McCartney-dominated Beatle rejects (which, in fact, they were), the production employed a softer, more acoustic feel than the hits by the Beatles and other early British Invasion guitar bands. "I Don't Want to See You Again" used strings, as would several of the duo's subsequent hits, which became increasingly middle-of-the-road in their pop orientation.

Some scattered folky B-sides showed that Asher and Waller may have been capable of developing into decent songwriters, but like many of the less talented British Invaders, their lack of songwriting acumen and ability to move with the times would eventually work against them. They did continue to hit the charts for a couple of years, with updates of the oldies "True Love Ways" (Buddy Holly) and "To Know You Is to Love You" (a variation of the Teddy Bears' "To Know Her Is to Love Her"). There was also a Top Ten cover of Del Shannon's "I Go to Pieces," and the brassy, McCartney-penned "Woman." The overtly cute and British novelty "Lady Godiva," though, became their last big hit in late 1966.

After Peter & Gordon broke up in 1968, Asher became an enormously successful producer, first as the director of A&R at the Beatles' Apple Records (where he worked on James Taylor's first album). Relocating to Los Angeles, in the 1970s he was one of the principal architects of mellow Californian rock, producing Taylor and Linda Ronstadt. ~ Richie Unterberger, All Music Guide [-] Hide

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... [+] Read More

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.

This is where Arden and Decca Records' treatment of them really began to grate on the bandmembers, because their manager didn't feel like budgeting for anything more than the standard, union-dictated three-hour sessions with breaks, hopefully yielding at least a song per session, and they had songs in mind now, and sounds to go with them, that were too bold to be worked out in three hours. Despite four hit singles to their credit, they'd been given less time to complete their debut LP than the Rolling Stones -- who'd abandoned Decca's studios, with their iron-clad union rules and engineers who wouldn't let them play at full volume, in favor of RCA Studios in Hollywood -- usually got to complete one of their singles. And, finally, between the recording costs at Decca and Arden's way of handling their finances, the Small Faces weren't seeing much money, considering their chart successes to date.

By the end of 1966, the Small Faces had severed their ties with Arden which, in effect, ended their relationship with Decca (though the two sides would argue and debate that point for a while), and in early 1967 moved under the wing of Rolling Stones manager/producer Andrew Loog Oldham. At the time, Oldham was one of the top three or four producers in England, thanks to his work with the Stones (and a few other acts such as Marianne Faithfull), and his management of that group was considered one of the most successful business relationships in pop music. Oldham had started his own label, Immediate Records, which was so far devoted to a few licensed American masters, the work of promising neophytes, and a few unwitting contributions by star guitarists -- including Eric Clapton and Jeff Beck -- who thought they were cutting demos and jamming with producer/guitarist Jimmy Page. Getting the Small Faces as clients was the first step to getting them onto his label, thereby providing the label with the anchor of a proven hitmaking outfit (the Rolling Stones were locked into their Decca Records contract and, in any case, usually seemed to keep themselves at arm's length from Immediate's activities, beyond any informal obligations they felt they owed Oldham). By mid-1967 he had succeeded in doing precisely that, signing the group to Immediate -- and with the shift in management and label, the Small Faces suddenly found themselves with a drastically reduced touring schedule and vastly increased time available in the studio, and their sound immediately became looser.

They started things off of just right for the new era with one of the most quietly subversive drug anthems ever to tiptoe its way into the U.K. charts, "Here Comes the Nice." A cheerful, unassuming ode to a drug dealer, it somehow escaped the notice of censors and became one of the finest above-board expressions of appreciation for recreational drug use of its era. There were other drug songs to follow, including "Green Circles," that ended up on their albums -- they remained a top-flight R&B-driven band, but a much wider array of sounds and instruments began figuring in their music. Their first Immediate album, entitled Small Faces (known in the U.S., where it was released somewhat belatedly through Columbia Records' distribution, as There Are But Four Small Faces), was issued in mid-1967, and was an instant hit. In August of that year, two months after "Here Comes the Nice" wafted its way to the airwaves, they released "Itchycoo Park," a lilting, lyrical idyll to the Summer of Love, loosely based on a hymn known to Ronnie Lane and featuring Marriott in his gentlest vocal guise -- this ode to a psychedelic sunny afternoon captured the hearts of listeners on both sides of the Atlantic and became the Small Faces' sole claim to fame in the United States.

Ironically, although they were always glad to have a hit, the bandmembers weren't entirely pleased with the single's success, because they felt the song didn't represent their true sound, and it was also extremely difficult to play on-stage, owing to its acoustic guitar sound and varied musical textures. What's more, the band had bigger aspirations than doing more hit singles -- the Beatles' success with Sgt. Pepper's Lonely Hearts Club Band had set the album up as the new primary medium for musical expression, and they were eager to get to work on a canvas that size. Across five months during 1968, in at least four different studios, they recorded what proved to be their magnum opus, Ogden's Nut Gone Flake. A mix of Cockney whimsy, spoken word recitations (courtesy of actor/recitalist Stanley Unwin), hard rock, blue-eyed soul, and druggy freakbeat sensibilities, it was probably the most English and the most ambitious of the concept albums that followed in the wake of Sgt. Pepper's, and further enticed potential purchasers (and confounded record distributors and retailers, not to mention American listeners totally unfamiliar with the actual Ogden's tobacco tins) with its round-sleeve-in-a-square-frame packaging.

The resulting album -- which the group only performed in its entirety once (although numbers like "Rollin' Over" became permanent parts of their stage set), in a live-in-the-studio television broadcast called Colour Me Pop -- was a critical and commercial success, and has received new cycles of rave reviews across the decades since. The group's fortunes didn't match the reception for the album, however -- in June of 1968, to announce the release of the album, Immediate took out an ad in the music trade papers that included a parody of the Lord's Prayer that managed to offend several million people before an apology from the band was issued. Their relationship with Immediate was further strained when, over the objections of Marriott, the label released the song "Lazy Sunday" -- which he'd recorded as a joke -- as a single. Its subsequent rise to number two on the British charts did nothing to ease his unhappiness, as the record really had nothing to do with the band's real sound. Their previous single, "Tin Soldier" -- which was a hit as well -- was much more what they were about, a love song mixing wrenchingly soulful vocals by Marriott and almost psychedelic sensibilities in the lyrics, with a dazzling, pounding, driving performance by McLagan at the keyboard.

The group members were also beginning to have their doubts about Oldham and Immediate. The producer/manager had parted company with the Rolling Stones in mid-1967, with the result that the Small Faces became the creative core of the label (and the sole cash cow in Oldham's orbit). Whereas the Mick Jagger/Keith Richards songwriting team had contributed songs to some early Immediate acts, suddenly Marriott and Lane were being asked to come up with songs and serve as producers, which would have been OK except that, even with a fresh string of hit singles and a pair of LPs that sold well, they were getting no royalties -- Immediate was keeping much of what their recordings earned, all charged against their studio time at very high rates, though the group was at least getting more money from fewer but much better-paying gigs. The reality of the record business is that, to some extent, every label pads the books -- as in the film industry, where expenses from box office bombs, or for ordinary day-to-day operations, somehow manage to get written off against the revenue generated by the hits, the record labels all manage to shift some losses to money-making acts' fees. The problem for the Small Faces was that they were the only money-making act on Immediate. Everything else was hit or miss (and most often miss), some records by the Nice at one point and some early singles by P.P. Arnold and some American-licensed sides by the McCoys, Van Morrison, et al., succeeding, but most losing money.

And the label itself literally hemorrhaged money, in ways that paralleled the debacle at Apple Records. In one of the more famous anecdotes, attributed to various artists under contract and also to former employees, the typical daily operation went like this: artists and would-be artists hanging out and major stars popping in and out, and then at 4 p.m. or so Oldham would arrive in a limo, dressed in a kaftan and sandals, accompanied by an entourage, and his business partner, Tony Calder, would show up separately, go into the office, look at the bills, and start muttering about breaking people's legs. The Small Faces' royalties mostly vanished into that black hole up until the inevitable bankruptcy, and then simply vanished for 30 years.

"The Universal," a single released in the summer of 1968, was to have been Marriott's most serious effort in that vein in over a year, incorporating a more laid-back, quasi-acoustic, and jazz-like sound (complete with clarinet accompaniment) and his most subtle, serious lyrics, in contrast to the jocular "Lazy Sunday"; it subsequently failed to crack the Top 20, and much of his interest in continuing with the band seemed to falter as a result. The group worked on a planned third Immediate LP and continued to tour (Immediate even recorded one of their live sets from Newcastle Town Hall early in the year, which showed a band as good as any in England), and Marriott tried to institute some changes -- he even proposed that a new friend, singer/guitarist Peter Frampton, a teen idol who had lately quit a successful pop/rock band called the Herd in a quest to be taken more seriously as an artist, be brought into the Small Faces lineup, but the others were content to continue as a quartet. The end came soon after, in the final hours of 1968, when Marriott suddenly left the stage while the band was jamming to "Lazy Sunday" during a show at the Alexandria Palace; within hours, he and Frampton began mapping plans for a band of their own called Humble Pie, bringing aboard Greg Ridley on bass and Jerry Shirley -- a Marriott musical protégé, Kenney Jones admirer, and former member of a Small Faces-influenced band called the Apostolic Intervention -- on drums. The Small Faces did carry on into 1969, and Immediate tried to salvage its situation by issuing a double-LP career retrospective called The Autumn Stone, which made it out a few months before the company closed its doors.

With Marriott gone, the group needed a replacement singer and lead guitarist and divided up the two jobs, finding artists to fill them in Rod Stewart and Ron Wood. Immediate having sunk below the waves in a sea of long-delayed bankruptcy proceedings, the new group moved to the much bigger and more stable auspices of Warner Bros. Records; the name "Small Faces" endured, attached to one Warner album before they officially morphed into the Faces, an incarnation under which they went on to international glory for a time, before Rod Stewart finally eclipsed them as a solo act. During the mid-'70s, the Small Faces reunited (with a somewhat limited participation by Lane) for two albums, Playmates and 78 in the Shade, that attracted a lot of press attention but nothing resembling the chart action of their earlier releases, and, like their 1960s work, those records failed to find an audience in America, despite being released on Atlantic Records. Ironically, at the very same time, the charts and the press on both sides of the Atlantic were filled by punk and power pop acts whose respective sounds and images often owed a huge amount to the Small Faces' groundbreaking work.

Lane recorded with Pete Townshend, among others, before contracting multiple sclerosis, which ended his career as a musician (he later organized the ARMS benefit concerts to raise money for research toward a cure for the disease). Jones subsequently joined the Who, having been recommended by Keith Moon as his replacement ahead of the legendary drummer's sudden death in 1978, and did a couple of tours and a pair of albums with the band. Humble Pie became bigger in America than the Small Faces had ever been with their brand of high-energy rock & roll, which soon alienated co-founder Frampton but led to massive sales and an enviable string of tours, until their breakup in 1975. Steve Marriott's career languished a bit in the years that followed, but he always seemed poised for a comeback -- with that voice and history, he was always a potential contender for stardom -- and in 1991 it looked as though he was going to finally pull it off. Alas, he died in his sleep when fire swept his home in England, tragically just a couple of days after beginning work on a new album in America with his former bandmate Frampton. Ronnie Lane died at his home in Trinidad, CO, on June 4, 1997, after battling multiple sclerosis for nearly 20 years. In 1998, Ian McLagan -- who'd gone on from the Faces to record and perform with Bonnie Raitt, the Rolling Stones, et al. -- published All the Rage, a very frank and revealing autobiography covering his 35 years in professional music.

The Small Faces' catalog languished for a time, largely as a result of the bankruptcy of Immediate Records in 1970. Some of their stuff was reissued on vinyl in Canada in the early- to mid-'70s, and later on reissue labels such as Compleat, but their legacy was generally in a shambles. That wasn't helped in the early part of the CD era when the licensors of the Immediate catalog sent out a lot of substandard masters, made from sources a long way from first-generation studio tapes, to their clients. In 1990, Sony Music Special Products became the first label to reissue any part of the Small Faces' catalog mastered from decent tapes, utilizing the duplicate masters that Immediate had furnished to Columbia Records -- the predecessor to Sony -- in the late '60s. The results were better, if not ideal, but eventually, a combination of consumer complaints and better vault research in England, coupled with better digital technology, led to major improvements in their CD library; anything dating from much after 1995 is acceptable by early 21st century standards, and some of the 2002/2003 issues from Sunspots sound amazing.

At the same time, that tape research led to a massive amount of confusion -- evidently, in order to drive up fees from Columbia in America and other 1960s licensees, Immediate issued undubbed backing tracks and unfinished outtakes with newly attached titles; even the surviving bandmembers were confused by some of these titles and tracks, though as of 2003 they were helping to sort out their real legacy, including a set of live television appearances released by NMC. Additionally, thanks to deals negotiated with the successor labels to Decca and Immediate, with the release of Sanctuary Records' Ultimate Collection in 2003, the members and their estates were collecting full royalties for the very first time. ~ Bruce Eder, All Music Guide [-] Hide

Founded in 1957 by John McNally (guitar/vocals), the Searchers were originally one of thousands of skiffle groups formed in the wake of Lonnie Donegan's success with "Rock Island Line." The Searchers' immediate competitors included bands such as the Wreckers and the Confederates, both led by Michael Pender (guitar, vocals), and the Martinis, led... [+] Read More

Founded in 1957 by John McNally (guitar/vocals), the Searchers were originally one of thousands of skiffle groups formed in the wake of Lonnie Donegan's success with "Rock Island Line." The Searchers' immediate competitors included bands such as the Wreckers and the Confederates, both led by Michael Pender (guitar, vocals), and the Martinis, led by Tony Jackson (guitar/vocals). By 1959, McNally and Pender were working together as a duet; later in the year, Jackson joined as the lead vocalist. After drummer Norman McGarry left the Searchers he was replaced by Chris Crummy, who quickly renamed himself Chris Curtis. Other changes were in the works as Jackson built and learned to play a customized bass guitar. Learning his new job on the four-stringed instrument proved too difficult to permit him to continue singing lead, and McNally and Pender brought in a fifth member, Johnny Sandon (born Billy Beck). Johnny Sandon & the Searchers lasted from 1960 through February of 1962, and were extremely popular on the dance hall and club circuit in Liverpool. Sandon cut out for a career on his own, with another band called the Remo Four in early 1962.

Meanwhile, the Searchers, now a quartet with Jackson once again lead singer, became one of the top acts on the Liverpool band scene, playing textured renditions of American R&B, rock & roll, country, soul, and rockabilly. The group was signed to Pye Records in mid-1963 and their first single, a cover of the Drifters' "Sweets for My Sweet," was released in August of 1963, hitting number one on the British charts. While the Beatles quickly outdistanced all comers, the Searchers did, indeed, go to the top of the charts with two of their next three singles, "Needles and Pins" and "Don't Throw Your Love Away." Another record, "Sugar and Spice," written by their producer Tony Hatch under the pseudonym Fred Nightingale, stalled at the number two spot. Over the next nine months, the band staked out a sound that was one of the most distinctive in a rock scene crawling with hundreds of bands. Their music was built around the sound of a crisply played 12-string guitar, coupled with strong lead vocals and carefully, sometimes exquisitely arranged harmonies, so that they could credibly cover American R&B standards like "Love Potion No. 9" or Phil Spector-based girl group pop like "Be My Baby." Their 1964 singles included a venture into folk-rock before the genre had been "invented" in the press, in the form of a cover of Malvina Reynolds' "What Have They Done To the Rain." Interestingly, their 12-string guitar sound would become a key ingredient in the success of the Byrds, who even took the riff from "Needles And Pins" and transformed it into the main riff of "Feel A Whole Lot Better."

In July of 1964, with the group riding the upper reaches of the British charts, and with their third album in nine months in release, it was announced that Tony Jackson was leaving the Searchers to form his own band, and would be replaced by Frank Allen, who had been playing bass with Cliff Bennett & the Rebel Rousers. The turning point for the band came in 1965, as the British and international fascination with the Liverpool sound faded away. The Searchers began casting their net wider for material to cover, in addition to coming up with one original hit, the Curtis/Pender-authored "He's Got No Love." By the beginning of 1966, the group's string of chart hits seemed to have run out, and Chris Curtis exited in early 1966, claiming to have become exhausted from the group's constant touring. The Searchers, with Johnny Blunt on drums, continued working and had their last hit, "Have You Ever Loved Somebody," which barely cracked the Top 50 in October of 1966. The group continued working, however, playing clubs and cabarets in England and Europe. Blunt exited at the end of the 1960s, but was replaced by Billy Adamson, and this line-up of the Searchers continued intact until the mid-1980s, working for 35 weeks a year throughout Europe with an occasional U.S. visit. Although they played as part of Richard Nader's "Rock 'n Roll Revival" shows, they never became an "oldies" act, always adding new material, including originals and covers of work by songwriters such as Neil Young to their sets, and in 1972, the band cut an album for British RCA.

At the end of the 1970s, their recording fortunes were revived once again as Seymour Stein, the head of Sire Records, signed the Searchers for two albums. Those records, The Searchers and Love's Melodies, were the best work the group ever did, highlighted by achingly beautiful yet vibrant and forceful playing and singing, and an unerring array of memorable hooks and melodies. Those two albums were followed by a series of tracks recorded for their original label, Pye Records, in the early 1980s. The group held their audience well into the 1980s, playing before crowds of as large as 15,000 along one U.S. tour. In 1985, after playing together for 26 years, Pender and McNally split up, with McNally continuing to lead the Searchers (with Adamson and Allen, with Spencer James added on second guitar and vocals), while Pender formed Mike Pender's Searchers, consisting of Chris Black (guitar, vocals), Barry Cowell (bass, vocals), and Steve Carlyle (drums, vocals). Both groups have toured extensively and the Searchers under McNally have recorded on occasion. ~ Bruce Eder, All Music Guide [-] Hide

The Best of the Troggs on Fontana/Chronicles is one of the better single-disc Troggs collections you are likely to find. The 12 tracks cover the band's best work from the initial period of their career in the mid-'60s. Of course, the set leads off with their biggest hit, the wild and nasty "Wild Thing," but the rest of the tunes show the band to... [+] Read More

The Best of the Troggs on Fontana/Chronicles is one of the better single-disc Troggs collections you are likely to find. The 12 tracks cover the band's best work from the initial period of their career in the mid-'60s. Of course, the set leads off with their biggest hit, the wild and nasty "Wild Thing," but the rest of the tunes show the band to be even wilder with a raft of frantic stompers like "From Home," the pleading "I Can't Control Myself," "I Want You," and "Gonna Make You." The group also made some of the most sensitive and pretty music of the British Invasion. Tunes like "Love Is All Around," "Anyway That You Want Me," "With a Girl Like You," and the impossibly tender "You Can Cry if You Want To" are the work of a band with a delicate mastery of emotion and dynamics. Hard to believe it's the same louts who bashed out "Wild Thing." Apart from a few minor cuts like "I Just Sing" and "Jingle Jangle," this collection delivers all the Troggs a casual fan would ever need and is a fine first purchase. ~ Tim Sendra, All Music Guide [-] Hide

Our Music Is Red - With Purple Flashes doesn't improve on the definitive Creation collection How Does It Feel to Feel, nor is it any worse. Instead, it's a comprehensive, well-produced 24-track compilation that contains every one of the group's major songs, plus a couple of interesting covers, lesser-known singers and album tracks. Like How Does... [+] Read More

Our Music Is Red - With Purple Flashes doesn't improve on the definitive Creation collection How Does It Feel to Feel, nor is it any worse. Instead, it's a comprehensive, well-produced 24-track compilation that contains every one of the group's major songs, plus a couple of interesting covers, lesser-known singers and album tracks. Like How Does It Feel to Feel it offers a generous retrospective of the underappreciated mod quartet, and if you don't have that compilation, it's a worthwhile acquisition. If you already have that other excellent collection, Our Music Is Red - With Purple Flashes isn't necessary. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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The Shadows enjoyed 20 British hits between 1960 and 1965, and this is their first American compilation. So we probably don't even want to wonder what that says for the Great American Record-Buying Public, smug, snug, and secure behind their piles of Ventures vinyl and sorry surf compilations, blissfully oblivious that a mere ocean away, entire... [+] Read More

The Shadows enjoyed 20 British hits between 1960 and 1965, and this is their first American compilation. So we probably don't even want to wonder what that says for the Great American Record-Buying Public, smug, snug, and secure behind their piles of Ventures vinyl and sorry surf compilations, blissfully oblivious that a mere ocean away, entire generations were shaking to the Shads. You know the songs, of course, effortlessly magnificent guitar standards one and all: "Apache," which Jorgen Ingmann took to copycat heights back in 1960; "Wonderful Land," which Mike Oldfield later executed with heart-aching majesty; TV's "Thunderbirds Theme," "FBI," and "Perfidia." These melodies are scored into your brainpan regardless of whether you know, or even care, that the Shadows used to be Cliff Richard's backing band, or that the horn-rim headed Hank Marvin has been cited as a major influence by every guitarist from Jeff Beck and Jimmy Page on down. The Shadows' story isn't all rosy, of course. As the smashes dried up in the mid- to late '60s, their efforts did become desperate and drippy. Shadows Are Go!, though, has no time for torment; it's just bang bang bang, through the hits till they hurt -- and with a cutoff date of 1966, there's not a vocal cord in sight. Through "Kon Tiki," "Atlantis," "Guitar Tango," and "Frightened City," its 23 tracks take your senses by storm, easy listening burned through with a vitality that makes a mockery of the unhip reputation the band (like their boss man) acquired après Beatles. Indeed, though later sensibilities found the band's music frequently included in the lounge kitsch hall of fame, the Shadows shake that specter off in the same way as Elvis Presley retained his rock sensibilities long after his life turned to schmaltz. The fact is, this band was kicking butt while you were still saying "bottom," and this isn't a retrospective after all. It's a manifesto. ~ Dave Thompson, All Music Guide [-] Hide

A Hard Day's Night not only was the de facto soundtrack for their movie, not only was it filled with nothing but Lennon-McCartney originals, but it found the Beatles truly coming into their own as a band. All of the disparate influences on their first two albums had coalesced into a bright, joyous, original sound, filled with ringing guitars and... [+] Read More

A Hard Day's Night not only was the de facto soundtrack for their movie, not only was it filled with nothing but Lennon-McCartney originals, but it found the Beatles truly coming into their own as a band. All of the disparate influences on their first two albums had coalesced into a bright, joyous, original sound, filled with ringing guitars and irresistible melodies. A Hard Day's Night is where the Beatles became mythical, but this is the sound of Beatlemania in all of its giddy glory. Decades after its original release, its punchy blend of propulsive rhythms, jangly guitars, and infectious, singalong melodies is remarkably fresh. There's something intrinsically exciting in the sound of the album itself, something to keep the record vital years after it was recorded. Even more impressive are the songs themselves. Not only are the melodies forceful and memorable, but Lennon and McCartney have found a number of variations to their basic Merseybeat style, from the brash "Can't Buy Me Love" and "Any Time at All" through the gentle "If I Fell" to the tough folk-rock of "I'll Cry Instead." It's possible to hear both songwriters develop their own distinctive voices on the album, but, overall, A Hard Day's Night stands as a testament to their collaborative powers -- never again did they write together so well or so easily, choosing to pursue their own routes. John and Paul must have known how strong the material is -- they threw the pleasant trifle "I'm Happy Just to Dance With You" to George and didn't give anything to Ringo to sing. That may have been a little selfish, but it hardly hurts the album, since everything on the record is performed with genuine glee and excitement. It's the pinnacle of their early years. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide