Listen: All Or Nothing / The Small Faces
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.