Whimsy is lethal in most art forms. It is particularly so where you least expect it: the classic pop music of the 60s (before it was christened ‘rock’ by the likes of ‘Rolling Stone’). The Rolling Stones (the group not the LA magazine) started out as pop stars. So did the Beatles. And the Who and the Kinks and the Small Faces and Manfred Mann and just about everyone who made great records at that time until . . . Whimsy stepped in. What counts as pop whimsy? I’ll tell you.
‘Sgt Pepper’s Lonely Hearts Club Band’ 1967 Beatles
‘Their Satanic Majesties’ 1967 Rolling Stones
‘The Village Green Preservation Society’ 1968 Kinks
‘A Quick One’ 1966 Who
‘Ogden’s Nut Gone Flake’ 1968 Small Faces
The last-named is especially sad for me, painful, almost heart-breaking. From their first hit in 1965, ‘Watcha Gonna Do About It’, to the last rueful, mellow magic of ‘Afterglow of Your Love‘ in 1969, the Small Faces were brilliant masters of the three minute pop song, driving, storming, dancing machines with heart and soul. Steve Marriott, Ronnie Lane, Kenny Jones and the superb Ian McLagan on keyboards matched the Beatles at their best, despite the burden of the music press cliché ‘Mods’.
To remind you:
Watcha Gonna Do About It 1965
Sha-la-la-la-lee
Hey Girl
All or Nothing 1966
My Mind’s Eye
I Can’t Make It
Here Come the Nice 1967
Itchycoo Park
Tin Soldier
Lazy Sunday
The Universal 1968
Afterglow of Your Love 1969
Four short years, 12 dynamic singles. What went wrong?
The Small Faces were never an album band like the Beatles, the Stones and the Who. The best Small Faces album you can buy will be a Greatest Hits compilation. The one truly excellent album of theirs, ‘The Autumn Stone’, 1969, was really a coda to their career, a farewell, elegiac in its own way.
Alas, the album they did invest their energies in, ‘Ogden’s Nut Gone Flake’ in 1968 was a stinker. Whimsy had leached into the mix and inspiration had leaked out. For some inconceivable reason they thought Stanley Unwin was the man to bear the marque of their most ambitious album. Oh dear.
Alas, for those readers born after 1970, Stanley Unwin was a terribly unfunny man who resembled the bald, boring indistinct old uncle whom no-one can remember. His ‘comic’ spiel was to talk gibberish. That was it. In a nutshell. He would appear on television and just start talking a mangled and impenetrable form of English, unsmiling as he peered at the camera through horn-rimmed glasses. He made Harry Worth appear riveting.
Inexplicably the Small Faces built their whimsical hippie and dire concept album around him. At the time it was terrible and age has only made it worse. Like Stonehenge, one can only ponder it and wonder Why? How? For Whom?
I can only imagine that the progression from hash to LSD really did soften their brains, as medical scientists warned at the time. There were tell-tale signs. ‘The Universal’ in 1968 had the tang of hippie-drippiness trhat the song sought to deplore but instead embodied. ‘Lazy Sunday’ in 1967 (a number to dread like 666) bore the marks of long-vanished music hall with cockney larkishness while Steve Marriott sang of khazis. Cannabis smoke was in the air but only prolonged exposure to LSD could have been the road to Stanley Unwin and ‘Ogden’s Nut Gone Flake’.
Thus whimsy and acid claimed another victim, one of the best bands of the 60s, the Small Faces. (Not to be confused with The Faces’, Rod Stewart’s vehicle to stardom in the 70s.) If only the Small Faces could have got bigger and found their true rock and roll swagger, how happier they and we would have been.
I Blame The Beatles
1967 witnessed a terrible confluence of marijuana and LSD in the elite pop circles. The result was a mushy melange of the old music hall variety show and the English tradition of whimsy dating back to the Edwardian Age. Surely it’s no coincidence that the principal offenders here started adopting the fashions of the Edwardian fop, the 1880s, the Yellow Book, Oscar Wilde, ‘Eddie’ et al.
And the first sprouting of this knotweed of classic pop? ‘Sgt Pepper’.
I have been a fanatic fan of The Beatles all my life. I turned 13 in 1963. I was born into a golden age of music, akin to the Romantic Revival, the Italian Renaissance and the Age of Shakespeare. I’m not joking. The music I listened to, danced to and went to hear live in concert at the Liverpool Empire and then at every major venue I felt then and believe now to be unrivalled. As Paul Simon observed, we were born at the right time.
So I too received ‘Sgt Pepper rapturously. I raced to Rushworth’s in Grange Road, Birkenhead with 32 s and 6 d in my hand on the day of release. It was glorious: a big vinyl LP in an extraordinary double sleeve as brilliant as a bird of paradise – the cover! The colours! The centre-fold of the Fab Four in their cod military regalia, all sunny smiles and moustaches in resplendent uniforms of different hues against a yellow background as glaring as the sun.
And inside a paper sleeve with a hippie pink pattern and a big card with cut-out ‘Pepper’ insignia. Bliss was it in that dawn to be alive but to be young was very heaven! Even Wordsworth felt it and he’d been dead since 1850.
Keith Richards observed not long ago:
“I understand—the Beatles sounded great when they were the Beatles. But there’s not a lot of roots in that music. I think they got carried away. Why not? If you’re the Beatles in the ’60s, you just get carried away—you forget what it is you wanted to do. You’re starting to do Sgt. Pepper. Some people think it’s a genius album, but I think it’s a mishmash of rubbish, kind of like Satanic Majesties—’Oh, if you can make a load of shit, so can we.’”
How right Keith was.
After my initial delirium wore off I had a nagging doubt about ‘Sgt Pepper’. Why include the dreary, dreadful ‘Within You and Without You’? Just because it’s George? Why leave out the remarkable ‘Strawberry Fields Forever’ and ‘Penny Lane’, the high-water mark of Lennon and McCartney’s inventiveness and sophistication? The blame for that lies with George Martin. They were the first tracks to be recorded for the album in March, 1967. By that time The Beatles hadn’t released a single since ‘Yellow Submarine’ in August 1966. Sir Joseph Lockwood, Chairman of EMI, was hounding Martin to release a single, a taster for the album. And to keep EMI shares going up. Kerchinggg!
Instead of waiting and then putting out ‘Getting Better/’Within You and Without You’ as a single in April, Martin persuaded the group to rush out in March the double A-side ‘Strawberry Fields Forever’/’Penny Lane’. One of the most catastrophic misjudgements in the history of Western art. The single bombed (in Beatles standards), only making #2 in the charts. They were pipped to #1 by Engelbert Humperdinck with ‘Please Release Me’, one of the hoariest old C&W standards ever. The Ming vase that was the Beatles ascendancy was cracked. Martin should have held his head in his hands and begged the band for forgiveness. To make matters worse, they stubbornly stuck to their practice of not putting singles on albums. Thus was a potential masterpiece of the canon disfigured, as if Rembrandt’s ‘The Night Watchmen’ had been ‘improved’ by Jackson Pollock riding a bike through various puddles of paint and over those dismayed Dutch Watchmen.
I eventually took action myself and through the miracle of modern technology re-mixed the original album to produce my own, ‘A Dream of Sgt Pepper.’
Side 1
- Sgt Pepper intro
- Good Morning
- Fixing a Hole
- Baby You’re a Rich Man
- She’s Leaving Home
- Strawberry Fields Forever
Side 2
- Being for the Benefit of Mr Kite
- Penny Lane
- Lovely Rita
- All You Need is Love
- Getting Better
- Sgt Pepper outro
As you see, I’ve ditched the execrable ‘Within You and Without You’ as well as the maudlin ‘With A Little Help From My Friends, the twee ‘When I’m 64’ and the terrible ‘Lucy in the Sky with Diamonds’. None of these would have appeared on any other Beatles album given John and Paul’s Quality Control over song-writing but they snuck onto ‘Sgt Pepper’ because of the over-riding ‘concept’ – which made no sense at all. By that stage the band’s critical judgement had gone out the window. As had George Martin’s.
So, in sanctifying the twee, the sentimental, the tedious and the tuneless the greatest band of all time released in June 1967 the template for every terrible ‘concept’ album since. And some were doubles! The Beatles should have known the folly of the double album when they recorded the White Album’ in 1968 but no, instead of the fabulous single album that could have been they banged out the bloated double blob, the diamonds stuck in the mud of second-rate songs, some not even songs. Revolution #9. I ask you. But enormous success breeds unassailable vanity and as Paul said in the 1995 ‘Anthology’ documentary series, “Look, ignore the complaints, it’s the Beatles ‘White Album’, fuck it.”
Whimsy. You just want to beat it to death with a club. As Keith Richards admits, this didn’t stop the Stones from copying ‘Sgt Pepper’ with the atrocious ‘Their Satanic Majesties Request’. Miraculously the band realised their mistake at once and only a few months later banged out ‘Beggars Banquet’, beginning a run over the next five years of the greatest rock albums ever made: ‘Let It Bleed’, ‘Sticky Fingers’, and ‘Exile on Main Street. And they even managed four pretty good LPs after that before the rot set in round about the 1980s. How did they do that? By crushing whimsy out of the mix with unswerving, unflinching brutality.
Albums by The Who:
My Generation 1965
A Quick One 1966
The Who Sell Out 1967
Tommy 1969
Live at Leeds 1970
Who’s Next 1971
Quadrophenia 1973
Thereafter the band made several albums but their heyday had passed. More than any other band in the 60s their live shows were the core of their fan base and greatness. Only the Rolling Stones would come to surpass them as a live act and then not until 1972. What is interesting about the time-line here is how random and behind the curve they seem. They never succumbed to psychedelia or the ‘concept’ album as the Beatles did with ‘Sgt Pepper’, the Stones with ‘Satanic Majesties’ or the Kinks with ‘Village Preservation Society’ but with ‘Tommy’ and ‘Quadrophenia’ Pete Townshend invented the ‘rock opera’ (invariably a double album.) But, these operatic pretensions aside, they fell into the rabbit hole of whimsy and music hall faster than the other great 60s bands did. Apart from ‘Live at Leeds’ and ‘Who’s Next’, their albums are now, to this long-standing Who fan, unlistenable.
But to their credit, The Who made the seamless transition from pop group to rock band and became the stuff of legend on the back of their live work. The toll it took on Moon, Entwistle and Townshend is amply documented. Their epitaph is, for me, the late single ‘Long Live Rock’, even though it barely troubled the charts in 1974.
‘What is the point of this story? What information pertains?
The thought that Pop could be better is woven indelibly into our hearts and our brains.’
‘Pop Goes the Weasel’, Anthony Newley
Half a pound of tuppenny rice
Half a pound of treacle
That’s the way the money goes
Pop goes the weasel
This was Britain’s idea of a hit single in 1963. Thank God for The Beatles!