The smiles seem to be coming harder and harder lately so I am turning to the old blog for help. Originally published September 2010. I actually did get a comment or two on the original post; feel free to jump in.
Time for some audience participation, folks.
Who among the following performers has the Best British Rock Smile of the Seventies?
Tom Evans, Badfinger: Several times in this TV performance clip of “Come And Get It,” Evans breaks into a wonderful, completely unforced, somewhat lopsided smile.
(Watch around 0:35, and especially around 1:12. It really looks like he’s trying to hold back his pleasure, and failing miserably.)
This, of course, was the band’s first hit; and it’s easy to imagine that Evans might have been totally jazzed to be singing (or at least lip-synching) on Auntie Beeb.
Given the turbulent future that would await Badfinger, this clip gets extra points for sentiment … these guys wouldn’t have much to smile about in the years to come.
Stuart Tosh, Pilot: Tosh’s bandmates in Pilot weren’t much to look at; you’ll notice that keyboardist Billy Lyall doesn’t even get face time in this TV clip.
Tosh looks up at about 0:20 and gives a big, winsome, look-Mum-I’m-on-the-telly smile, and you just want to ruffle his hair and send him out to play until dinner.
Colin Earl, Mungo Jerry: The keyboard player for the immortal Mungo Jerry has a certain rugged handsomeness that reminds me of … somebody, like maybe a character actor I can’t quite put my finger on.
(He looks a little bit like Robinson Crusoe after ten days on the island, is what he looks like.)
Anyway, at about 1:14 and again at 2:08, he looks to be laughing at the absurdity of something — perhaps at the appearance of MJ frontman Ray Dorset, who looks like a berserk Juan Epstein.
Norman Watt-Roy, Ian Dury and the Blockheads: Look quick at about 0:15, and you’ll see a big grin spread across the bass player’s face as he locks into the trench-deep groove. It’s another one of those “they pay me to do this!” moments.
(While we’re at it, Watt-Roy also flashes a totally different but still wonderful grin about one minute into this live performance of “Hit Me With Your Rhythm Stick.” He looks ecstatic and totally drained.)
George Harrison: The “Crackerbox Palace” video features the Quiet/Somber/Reticent Beatle flashing a crazed smile at about 2:12 (as he murmurs, “It’s twue, it’s twue!,” a completely irrational “Blazing Saddles” reference.)
The smile at the very beginning, when Neil Innes is pushing him in the baby carriage, is kinda charming too.
And then there’s the bizarre moment at about 3:00 in, when George is shimmying and driving the lawn tractor at the same time.
Ray Davies and John Gosling, the Kinks: In the early to mid-’70s, the song “Alcohol” was a highlight of Kinks stage shows, with Ray Davies drawing the drama of the verses out to absurd lengths, balancing bottles of ale on his head, and generally camping about to the ragtag strains of the band’s in-house horn section, the Mike Cotton Sound.
This particular clip, representative of the era, uses split-screen to give us simultaneous smiles from the gap-toothed Davies and his accompanist, keyboardist John “The Baptist” Gosling. They’ve had a couple, and they know what’s coming.
Pete Budd, The Wurzels: It would be easy to dismiss the frontman of this West Country novelty act as either infantile or maniacal.
But I like his style, me.
He buys merrily and completely into the weirdness of his own particular schtick.