And, remember, it's the leftovers after a label switch. When you look at it in that light (not that the band wanted you to back then, going as far as discouraging the punters from investing in a copy in the advertising for the Immediate Small Faces) it, even at the time you could have done far worse...
The conflicting philosophies behind those two albums, however, reflects some of the changes the music industry was going through in the late sixties. Up to this point everything was based around the hit single in a market environment that was significantly different to the one that operates today. For a start chart success was largely based on sales rather than some algorithm based on a mixture of sales, airplay and the number some market researcher started with.
In the British context radio airplay might have been a significant influence but it probably didn't matter as much as the number of units that the record company could actually move. In today's environment broadcast royalties are a significant income stream for artists, publishers and labels, but in mid- to late-sixties Britain they probably weren't such a big deal since the pirate stations probably didn't pay them (at least I assume they didn't, I may well be wrong) and once the pirates had been shut down their replacement, BBC Radio One, had severe restrictions on what they termed needle time, with the rest of the broadcast content coming in the form of covers played by working musicians or sessions specially recorded for the BBC by the artists themselves.
A hit single, or preferably a string of them, opened the way to all the other little earners that generated a substantial income, determining the band's position on the bill on a package tour, maximising exposure on music-based TV shows, getting the act a slot on a TV variety show…
And the hit single, in the standard business model generated income and royalties for the artist, the record company and associated hangers-on based on the number of times you could get the punters to buy the actual song.
First, of course, there was the single. The record company then could, and often did, take the song, add another three (preferably including another single) and repackage them as a four track EP (Extended Play). That didn't always happen, particularly in cases where there wasn't much recorded material to work with, but once you had more than a dozen tracks there was the possibility of an album (or LP Long Player), and if there was a relatively lengthy career you could squeeze in a Greatest Hits or Best of package as well. So with that Decca From The Beginning Small Faces album you can see the record label and the former management operating in milk it for all it's worth mode.