Amazon.co.uk Review
Launched by
Rolling Stones' manager Andrew Loog Oldham in 1965, the record company Immediate flourished during the heyday of the Swinging 60s and folded, appropriately, in 1970. Oldham had learned a trick or two from managing the second-biggest rock band in Britain--keen to pitch the Stones' bad boy image against that of the clean-cut Beatles, it was Oldham who had contrived the infamous "would you let your daughter marry a Rolling Stone?" headline. But although intent on breaking the stranglehold of the major UK labels like Parlophone and Decca, Oldham also wanted Immediate to adopt all the waifs and strays and rock & roll mavericks, to whom no one else would give houseroom.
With such an open-handed philosophy, Immediate inevitably created equal parts vintage pop and forgettable pap. The best, and the worst, of the label are gathered among the 61 tracks spread over the 3 CDs of The Immediate Record Company Anthology. Immediate hit the ground running with its first single, The McCoys' "Hang On Sloopy", which reached No.5; and because of the Stones connection, provided an outlet for many Jagger/Richards' compositions--among them "Backstreet Girl", "Sitting On A Fence", "Yesterday's Papers", and "Out Of Time" which gave Immediate its first No.1. "So Much In Love" sung by one "Charles Dickens", was another Jagger/Richards song--the only one never recorded by the Rolling Stones.
Inevitably, there were less distinguished moments, such as singles by Jimmy Tarbuck, the Marquis of Kensington (!) and London Waits. But Immediate boasted as much wheat as chaff. There are memorable one-offs from Nico ("I'm Not Saying"), Gregory Phillips ("Down In The Boondocks") and PP Arnold ("The First Cut Is The Deepest"), as well as hits by Small Faces ("Lazy Sunday"), Amen Corner ("Hello Susie") and Fleetwood Mac ("Man Of The World"). As "pop" twisted itself into "rock", Immediate also found space for Humble Pie, the Nice's unforgettable "America", the blues power of Eric Clapton and some early recordings by Rod Stewart.
All of it, for better or for worse, added up to the distinctive voice of a label that promoted itself as: "happy to be part of the industry of human happiness". Well, it was the 1960s after all. --Patrick Humphries