Unauthorized CD - Buyer Beware!
J P Ryan | Waltham, Massachusetts United States | 07/30/2006
(3 out of 5 stars)
"Ian McLagan is not a rock 'n' roll superstar, but he earned his place in any rock 'n' roll hall of fame as a member of two British bands of the first rank, and has continued to make music with an remarkable list of legends and cult heroes, as well as finding time to make several fine records with his terrific Bump Band and authoring one of the funniest and most moving rock 'n' roll memoirs yet written, "All The Rage" (2000, US).
From 1965 to 1969 McLagan played keyboards in Small Faces, who never quite caught on here in the States aside from a single smash hit ("Itchycoo Park"), perhaps because the band never made a single trip across the Atlantic. They did produce a vital body of work, were indeed stars all over Europe and elsewhere, and have influenced groups ranging from Oasis to Black Crowes (not to mention Led Zeppelin, but that's another story). Quintessential Mods, SF started off playing wildly intense r&b/proto-punk, with guitarist Steve Marriott and bassist Ronnie Lane developing into a first rate songwriting team as the band itself worked closely with Eddie Kramer and George Chkiantz (Hendrix, Stones) so that by the time they left Decca for Immediate Records (1967) the early anarchic energy had been harnessed, crafting exquisite hit singles (well, they were big hits across Europe) as well as classic albums that rate with the best of what their peers were issuing. By early '69 Marriott was ready to move on, though not up, to Humble Pie, and the three remaining members (Lane, McLagan, and drummer Kenny Jones) enlisted Ron Wood, by then fed up with life in a constantly volatile Jeff Beck Group. Wood in turn recommended his friend, Beck Group vocalist Rod Stewart, and after dropping "Small", Faces did indeed invade America, becoming one of the best loved bands of their time (1969 - 1975), scoring hits and producing a wealth of passionate and timeless rock 'n' roll until December 1975, when Wood moved on to the Rolling Stones and Stewart, whose solo records for Mercury (made with Faces involvement) are his absolute best ever, turning him into a solo superstar in competetion with his own band until he decided what he really needed were American session pros and so moved to L.A. Jones found himself not quite fitting into the final phase of The Who as an active recording band, following Keith Moon's death. For a band that was sometimes billed as "Rod Stewart/Faces", driving Lane to quit in mid-1973, the records hold up remarkably well, and demonstrate an ironic and rare example of songwriting 'democracy' (well, as close as any band gets) actually leading to great music. Get the box set, "Five Guys Walk Into A Bar..."
McLagan spent 1977 - 82 playing keyboards with The Rolling Stones, during their umpteenth 'Some Girls' era rebirth, and married the ex Mrs Keith Moon. In 1979, with the Stones in between tours, McLagan - who has quite a few songwriting credits in both Small Faces and Faces, found himself in The New Barbarians, an ad-hoc all-star band that included Wood, Keith Richards, Meters drummer Joseph Modeliste, jazz bassist Stanley Clarke, and Stone-in-law sax player Bobby Keys. This was the period during which he recorded the very likeable solo debut "Troublemaker," along with friends from Jim Keltner to Ringo Starr. The set is upbeat Faces/Stones rock 'n'roll, a marvelous album even if it lacks a major song or two that would put it in the company of those bands' best work. But it remains fresh to this day, loose-limbed rock 'n' roll with touches of soul (hear his take on Wood's ballad "Mystifies Me"), memorable riffs, most of the songs around the three minute mark, packed with energy and lacking any whiff of pretentiousness. The most striking aspect of this set is the presence of the one and only New Barbarians studio recording, a six minute reggae groove that drips with succulunt funk, "Truly."
In 1981, about to embark on yet another Stones tour, McLagan issued his second and final Mercury album, "Bump In The Night," easily the equal of its predecessor and with the first Bump Band (including guitarist Johnny Lee Schell, ex Beach Boy Ricky Fataar, and Roy Ohara), plus tracks like the opening hard rocker "Little Girl" written with Wood who handles duelling guitars plus bass, plus Bobby Keys on the funky "Boy's Gonna Get It."
Ian McLagan has continued to perform live and make fine albums (including the new tribute to Ronnie Lane, "Spiritual Boy,") but this twofer is unauthorized and has not been remastered. For the real deal go to the artist's website where you'll find both of these titles in vastly superior editions. "Here Comes Trouble" features the debut in sparkling warm sound from the original master tapes, now expanded with a 12-minute version of that New Barbarians track as a bonus, plus the 1985 EP "Last Chance To Dance," and a great cover version of "Pictures Of Lily" (featuring Wood) from a 1994 Who tribute set, and more. "Bump In The Night" is likewise sonically vastly superior to the drab transfer under discussion, and features graphics and artwork originally left off the LP by Mercury back in '81. Again both sets leave this tepid and dishonest set in the dust, and both have what Mac brings to every project he touches, be it the Faces box or his wonderful memoir or his gigs: class, heart, and humor. And if you ask him, he'll autograph the CDs (or book, or Faces box) just for you."
Buried treasures from Faces key-slinger...
Sound/Word Enthusiast | Rhode Island, USA | 04/18/2006
(4 out of 5 stars)
"...considering the vast influence of the Faces and Small Faces, not to mention Ian's innumerable sideman appearances, I'm shocked these albums aren't better known. They are each a little gem. No surprises, no symphony orchestras, no densely harmonized explorations of the futility of the human condition -- just cozy, witty rock. It's scruffy, in the Faces/Stones' patented mode, but Ian has a real ear for a rhythmic hook, and thus these two platters have a bit more of a pop sensibility to them. Ian's really a nifty singer, too -- sounding like a less-cackly Ronnie Wood. I'm amazed he never sang in the Faces, as his voice is perfect for this kind of stuff.
He's also a very charasmatic songwriter. He dashes off some genuinely funny lines, but they never sound like jokes. Opener "La-Di-La" is jammed with them..."I got a new girl yesterday / She ain't good-looking so I know she's gonna stay." The first album had the small hit single "Troublemaker," but the second may be the stronger, as it has a tougher, more guitar-based sound and slightly catchier songs. "If It's Loving You Want" is the kind of song you put on a mix CD and have your friends call you asking what they heck it was...
A few words about this reissue. Sound is still cavernous and a little muddy, like the original vinyl. Ian has remastered editions of these albums available seperately on his website. I have ordered one of them, and will compare them. Maybe his editions will sound better. "Troublemaker" even comes with seven bonus cuts not heard here. The essay in this package is useless -- just a brief summary of Ian's career with no insight into these special little albums.
Still, buy it...or go to Ian's website and buy his editions...these projects deserved to not only be remembered, but to be listened to and listened to often."
Track Listings (20) - Disc #1