[4] The band were one of the most acclaimed and influential mod groups of the 1960s,[5][6] recording hit songs such as "Itchycoo Park", "Lazy Sunday", "All or Nothing" and "Tin Soldier", as well as their concept album Ogdens' Nut Gone Flake.

[15] They rapidly progressed from rehearsals at The Ruskin Arms public house (which was owned by Winston's parents) in Manor Park, London, to ramshackle pub gigs, to semi-professional club dates.

[16] The band's early song set included R&B/soul classics such as "Jump Back", James Brown's "Please Please Please", Smokey Robinson's "You've Really Got a Hold on Me" and Ben E. King's "Stand by Me".

[15] The band also performed two Marriott/Lane original compositions, a fast and loud "Come on Children" and the "speed enhanced" song "E too D", in which Marriott would display his considerable vocal abilities in the style of his heroes and role models, Otis Redding and Bobby Bland.

Singer Elkie Brooks was struck by Marriott's vocal prowess and stage presence, and recommended them to a local club owner, Maurice King.

[17] Despondent, they walked into the mod-orientated King Mojo Club nearby (then owned by Peter Stringfellow) and offered to perform for free.

[4] Marriott and Lane are credited with creating the instrumental to the song, "borrowing" the guitar riff from the Solomon Burke record "Everybody Needs Somebody to Love".

[4] The lyrics were co-written by the Drifters band member Ian Samwell (who wrote one of the first British rock'n'roll records, "Move It") and Brian Potter.

[4] It was written for the group by Mort Shuman (who wrote many of Elvis Presley's biggest singles, including "Viva Las Vegas") and popular English entertainer and singer Kenny Lynch.

On the success of "All or Nothing" they were set to tour America with the Lovin' Spoonful and the Mamas & the Papas; however, these plans had to be shelved by Don Arden after details of Ian McLagan's recent drug conviction were leaked.

[29] By 1966, despite being one of the highest-grossing live acts in the country and scoring many successful singles, including four UK Top 10 chart hits, the group still had little money.

[30] They were almost straight away offered a deal with the newly established Immediate label, formed by ex-Rolling Stones manager Andrew Loog Oldham.

[4] Given a virtual open account at Olympic Studios in Barnes, London, the band progressed rapidly, working closely with engineer Glyn Johns.

[32] A second self-titled album, Small Faces, followed, which, if not a major seller, was very highly regarded by other musicians and would exert a strong influence on a number of bands both at home and abroad.

The song was recorded by adding studio overdubs to a basic track that Marriott had cut live in his back garden in Essex with an acoustic guitar.

[44] At home in England, their career reached an all-time high after the release of their classic psychedelia-influenced album Ogdens' Nut Gone Flake on 24 May 1968.

[45] It is widely regarded as a classic album, and featured an innovative round cover, the first of its kind, designed to resemble an antique tobacco tin.

[45][47] Critics were enthusiastic, and the album sold well, but the band were confronted by the practical problem that they had created a studio masterpiece which was virtually impossible to recreate on the road.

[42][48] Citing frustration at their failure to break out of their pop image and their inability to reproduce the more sophisticated material properly on stage, Marriott was already looking ahead to a new band, Humble Pie, with Peter Frampton.

[50] A posthumous album, The Autumn Stone, was released later in 1969, and included the major Immediate recordings, a rare live concert performance, and a number of previously unreleased tracks recorded for their intended fourth LP, 1862, including the classic Swinging Sixties instrumental "Wide Eyed Girl on the Wall" and "Donkey Rides, A Penny, A Glass", co-written by Ian McLagan.

[11] After Small Faces split, Lane, Jones and McLagan joined forces with two former members of the Jeff Beck Group, singer Rod Stewart and guitarist Ronnie Wood.

[9][52] However, hoping to capitalize on Small Faces' earlier success, record company executives wanted the band to keep their old name.

[55] Marriott's first post-Small Faces venture was with the rock group Humble Pie, formed with the former Herd member Peter Frampton.

[58] Nevertheless, McLagan, Jones and Marriott decided to stay together as Small Faces, recruiting ex-Roxy Music bassist Rick Wills to take Lane's place.

[66] Ian McLagan went on to perform with artists such as Bonnie Raitt, Bob Dylan (the 1984 European tour), the Rolling Stones, David Lindley and his band El Rayo-X among others, and more recently Billy Bragg.

[62] Shortly after leaving, he started a band called Wild Horses with Brian Robertson, Jimmy Bain and Kenney Jones.

[62] Small Faces were an early influence on seminal British punk band the Sex Pistols, who regularly covered them in live shows.

"[86] Small Faces were one of the 1960s British pop groups that highly influenced the Britpop movement of the 1990s; Professors Andy Bennett and Jon Stratton place them among the Beatles and the Kinks in this regard.

[88][89] On 4 September 2007, a Small Faces and Don Arden commemorative plaque, issued by the London Borough of Westminster, was unveiled in their memory in Carnaby Street.

[13] Kenney Jones, who attended the ceremony, said in a BBC television interview, "To honour Small Faces after all these years is a terrific achievement.