Listen: Brother, Can You Spare A Dime / Ronnie Lane’s Slim Chance
Brother,

Remember the day when a major label would release a record like ‘Brother, Can You Spare A Dime’? Issuing such an off the wall track in England was one thing, but in the US, quite another.

With hindsight, many will agree the true spirit behind The Faces was indeed Ronnie Lane. I wouldn’t be surprised if Rod Stewart were to admit that thought.

Not sure exactly what those in the know would call Ronnie Lane’s loose-knit signature sound. The music press came up with a few suitables: rag-tag, rural plynth. Whatever, it certainly permeated all of his post Small Faces work, particularly those solo albums with Pete Townshend and Ronnie Wood.

Needless to say, this single got zero airplay, bar a few college stations, but is certainly nice to have, particularly in it’s promo only mono form.

For the UK though, airplay was not the intention initially. As the press release above wishfully indicates, the film, in which the record is heard during the closing credits, also spotlights the song as it’s theme. In somewhat sloppy fashion, said press release neglects to mention the actual name of the film. Revert to the label copy on the stock copy for that detail. In case you couldn’t guess, it’s called BROTHER CAN YOU SPARE A DIME.

Listen: Don’t Try To Change My Mind / Ronnie Lane’s Slim Chance
RonnieLaneChangeMind.mp3

There were handful of followups from a handful of followup albums. ‘Don’t Try To Change My Mind’ was a double sided marvel. This A side being lifted from the album ONE FOR THE ROAD, I wouldn’t be surprised if it had been chosen wearing a blindfold and ear plugs. It’s that unobvious as a single, making the record all the more desirable.

Both the band and album were framed nicely by a genuine gypsy lifestyle from that period, whereby he and his family played out a downmarket version of Mad Dogs & Englishmen, complete with authentic costume and living accommodations.

Listen: Well Well Hello (The Party) / Ronnie Lane’s Slim Chance
Well

Quite possibly the real gem here is the single’s non-LP B side, ‘Well Well Hello (The Party). In itself a future template for many a Pogues single, I’m shocked this isn’t more widely sought after as an ultimate Ronnie Lane essential, or maybe it is. It’s sure to touch anyone’s weak spot with a bit of sadness.

Listen: All Or Nothing / The Small Faces
All

The lack of airplay ‘All Or Nothing’ was afforded upon release in the US goes down as one of the great crimes in our country’s history. It was shocking at the time.

BILLBOARD’s 9/17/66 issue featured the full page RCA industry ad above, not only promoting the single, but also the label’s signing of The Small Faces. Their previous releases had been issued by London Records’ imprint, Press. Of the three, only ‘Sha La La La Lee’ managed a smattering of play, primarily Sacramento (KXOA), San Bernardino (KFXM) and Miami (WFUN) of all, seemingly unsuspecting, places.

A big indicator of RCA’s commitment was reflected in the custom picture sleeve which accompanied ‘All Or Nothing’, also profiled in the aforementioned print ad. I can still feel the jolt my body took upon opening to that page during a Friday evening at Smith’s Records in Oneida, NY, a weekly stop to pour over the store’s current issue.

Unbeknown to us all, Mrs. Smith contributed incredibly toward my formative years of becoming an avid music fan and record collector. Not only did she allow me to monopolize the magazine at the counter, she gave me her expired copies and most patiently wrote down my weekly special order choices as I’d scour the Singles Review page of the magazine.

BILLBOARD broke down most newly issued records into their editorially predicted sections: Top 20, Top 60 or the kiss of death Chart categories. Not surprisingly, many of music history’s classic releases began their painful cult status wallowing in that lonely Chart section, records tipped to scrape into the Hot 100′s lower reaches at best.

In the very same issue, and despite the lucrative ad buy, BILLBOARD drove a nail through the record’s heart with a Chart verdict, surprising given the label’s full page print buy. Mind you, this section was highly influential at the time.

More importantly, did the person or persons responsible for this damnation even listen to it? How on earth do you toss aside Steve Marriott’s unsurpassable vocal? Not only acknowledged as possibly the 60′s greatest white soul singer, his collaborative first division songwriting with Ronnie Lane stamped ‘All Or Nothing’ as one of the undeniably legendary singles from the period. How could a BILLBOARD employee, or more frighteningly their staff, not spot this?

Mrs. Smith never did get my special order for the record fulfilled, and as a result, I innocently passed up the only copy I ever saw when current at my other haunt, Walt’s Records in Syracuse. For true, it was a hard and painful moment that. With only one dollar in my pocket, the default purchase choice became ‘I’m A Boy’ by The Who, fingers crossed firmly my special order for ‘All Or Nothing’ was on it’s way. Wrong.

But all things happen for a reason. During the 70′s, the search for records pre-Ebay was via GOLDMINE’s classifieds. Religiously I would scour the magazine upon arrival. Literally, all things would stop. The process took hot line style priority status. So finally, a copy of ‘All Or Nothing’ in the sleeve was listed by a Texas dealer. I called him immediately, usurped the auction and closed the sale early. To my extreme luck, and possibly as karmic blessing, a sheet of the below factory jukebox tabs was inside the sleeve:

“Oh great joy”, to quote a line from OGDEN’S NUT GONE FLAKE.

Listen: (If You Think You’re) Groovy / P. P. Arnold
(If

Seems there was a family spirit happening at Immediate for a while. Songs, musicians and productions were being swapped out all over the place. I’m sure there are precise details documented in some book about all this. I haven’t read it, but would like to if one exists.

Without question, this Steve Marriott and Ronnie Lane produced track was recorded around the time, possibly in the same sessions and studio (Olympic I think) as The Small Faces’ ‘Tin Soldier’. The tones and drum sounds are identical. The ambience too. Given that P. P. Arnold was guest vocalist on ‘Tin Soldier’ has got me believing my own story.

As clearly as you can hear her on ‘Tin Soldier’, you can pick out Steve Marriott even quicker on ‘(If You Think You’re) Groovy’. And how about those brackets around some of the words. Nothing beats brackets in a song title.