Not to be confused the late ‘80s American pop-metal band of the same name, Mr. Big was a small-but-mighty blip on the British rock scene near the tail-end of the 1970s. With a knack for melodic hooks, an image that fit well with the times, and strong musicality to compete with the best of the then-current flock, this outfit easily could’ve cut through in a big way. So what the hell happened? With a new retrospective box set reissue of the band’s core catalog, Mr. Big: The Albums 1976-78, it’s high time to take a closer look.
The Band
Spawned from the late ‘60s band Burnt Oak, the band’s initial core lineup featured longtime musical peers Jeff Pain, aka “Dicken” on lead vocals and guitars, Pete Crowther on bass, and two drummers: Vince “Chaulky” Chaulk and John Burnip (also on keyboards). For comparison’s sake, the band’s style could uneasily be wedged somewhere in between the likes of Queen, Sparks, and Cockney Rebel if I had to describe the overall style. An eclectic mix of driving hard rock and earthy acoustic folk, the sound was further distinguished by dense, expansive harmonies that set it apart from hordes of ‘70s dinosaur rockers. Dicken would serve as the main songwriter and frontman, and his raspy, idiosyncratic vocal style would characterize the band’s sound. The band would go on to get signed with Epic Records for a few singles, then EMI and Arista, becoming the first UK rock band to sign with the latter label.
During its peak years, the band would go on to open for Queen on its Night at the Opera tour and eventually work with Mott the Hoople leader Ian Hunter on the production of later recording project, Seppuku. To this day, the band is probably best known for the single “Romeo” off its second album. Featuring duel harmonies and an epic chorus, the song and its accompanying video had a distinct Queen flavor, with the video cinematically positioning the band in similar ways. The single would hit globally, and do well in several companies. Fun fact: it would also be banned by the BBC for a spell for the ultra-racy passage “Step back inside me, Romeo, she said.” Hmm.
What Made Them Stand Out?
Dicken. The oddly monikered band leader was in reality, the antithesis of the overtly manufactured, fresh-faced popstar mold. This scruffy, heavily accented Brit had a knack for melody but tended to lean more toward the unconventional when it came to song structures and presentation. The band definitely lacked the polish and glamor of Freddie Mercury and Co., yet, were too melodic and esoteric to be anything close to pub rock or the emerging punk scene. Dicken’s songwriting skills would also lead to a few of the band’s songs being covered by other artists and driving some success.
In spite of the band’s obvious talents, its offbeat approach, earnest delivery and poor timing — the UK was becoming engulfed in punk, new wave and disco — didn’t do it any favors. Lacking the arena-rock prowess of Queen and the hip-factor of, say, Sparks, the band’s offbeat approach ultimately didn’t translate into long-term success.
The Albums
The band would record three albums during its peak years, Sweet Slience (1975), Mr. Big (1977), and the initially unreleased Seppuku (1978). Sweet Silence sets to tone right out of the gate, with the driving “Time Base,” rife with big hooks and swirling harmonies. The rest of the album doesn’t disappoint, with some strong material in the form of the ballad “I Ain’t Bin A Man,” and the exotic “Zambia.” Further fun fact: the title song would later be covered by Diamond Head, a band considered by many — including Metallica — to be heavy metal royalty.
The self-titled second album (aka Photographic Smile in some parts) was the band’s most successful outing and includes the aforementioned “Romeo.” Production-wise, it’s bigger in scope than Sweet Silence, which lends an extra coat of polish to songs like the bittersweet “Feel Like Calling Home” and the campy, theatrical “Vampire,” which has a very Rocky Horror type of feel.
Seppuku saw its share of issues during the recording process, which eventually saw the band switching producers to Ian Hunter of Mott the Hoople fame. Earthier and more mature than prior outings, Hunter had coaxed a more buttoned-up sound out of the band that shed some of the pop trappings in favor of a more rootsy approach as in the laid-back “Senora” and “Woman.” The album was recorded and ready to go, only to get shelved by the label and never released until several years later by another reissue label.
This Release
Mr. Big: The Albums 1976-78 (7Ts Records) offers up the trio of albums in crisp remastered form, with loads of bonus tracks, including different US mixes of the second album. Said album also appears on CD for the first time ever, so there’s no need to pillage your local used bins for a beat-up copy anymore. Each album comes in a mini-LP jacket that recreates the original artwork. The set also comes with a booklet that recounts the stories behind the albums, as well as the origins of the band. It’s a fitting tribute to a much-overlooked band and makes for a welcome addition for those mining the ‘70s canon for fresh new nuggets.
In the End…
The band would disband in the late ‘70s, with Dicken and Crowther forming the excellent and also overlooked Broken Home, releasing two albums of funk-tinged rock with an eerie undercurrent. Mr. Big would eventually reform with different lineups and Dicken still performs to this day.
For questions, comments, or a retro treasure you’d like to see unearthed, drop me a line. @JimKaz1
