A Nod Is As Good As A Wink To A Blind Horse (Remastered) Faces
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- 1Miss Judy's Farm03:40
- 2You're So Rude03:44
- 3Love Lives Here03:06
- 4Last Orders Please02:36
- 5Stay With Me04:40
- 8Too Bad03:13
- 9That's All You Need05:07
Info for A Nod Is As Good As A Wink To A Blind Horse (Remastered)
The Faces took a year to truly coalesce into the supreme rock ‘n’ roll band, but their third album features some epic swagger and strut. The lineup is legendary – Rod Stewart on vocals, Ron Wood on guitar, Ronnie Lane on bass guitar, Ian McLagan on keys, and Kenney Jones on drums – and 1971’s A Nod Is as Good as a Wink... to a Blind Horse features some classics, including the hit “Stay with Me.” It’s a shame that Stewart’s solo success would soon derail the group. Of course, Ronnie Wood ends up in the Rolling Stones, Jones joins the Who, and Stewart ends up in Vegas, but at this particular moment in music history, the Faces rival the Stones. The Faces made their bones as a live band, but this album captured the essence of what made them so great in concert.
„The Faces' third album, A Nod Is as Good as a Wink...to a Blind Horse, finally gave the group their long-awaited hit single in "Stay with Me," helping send the album into the Billboard Top Ten, which is certainly a testament to both the song and the album, but it's hard to separate its success from that of Rod Stewart's sudden solo stardom. In the mere months that separated Long Player and A Nod, Rod had a phenomenal hit with "Maggie May" and Every Picture Tells a Story, his third solo album, something that would soon irreparably damage the band, but at the time it was mere good fortune, helping bring them some collateral success that they deserved. Certainly, it didn't change the character of the album itself, which is the tightest record the band ever made. Granted that may be a relative term, since sloppiness is at the heart of the band, but this doesn't feel cobbled together (which the otherwise excellent Long Player did) and it serves up tremendous song after tremendous song, starting with the mean, propulsive "Miss Judy's Farm" and ending with the rampaging good times of "That's All You Need." In between, Ronnie Lane serves up dirty jokes (the exquisitely funny "You're So Rude") and heartbreaking ballads (the absolutely beautiful "Debris"), the band reworks a classic as their own (Chuck Berry's "Memphis") and generally serves up a nonstop party. There are few records that feel like a never-ending party like A Nod -- the slow moments are for slow dancing, and as soon as it's over, it's hard not to want to do it all over again. It's another classic -- and when you consider that the band also had Long Player to their credit and had their hands all over Every Picture in 1971, it's hard to imagine another band or singer having a year more extraordinary as this.“ (Stephen Thomas Erlewine, AMG)
Rod Stewart, vocals
Ronnie Lane, bass, acoustic guitar, percussion, vocals
Ronnie Wood, lead, slide, acoustic guitar, pedal steel guitar, backing vocals, harmonica
Ian McLagan, piano, organ, backing vocals
Kenney Jones, drums, percussion
Harry Fowler, steel drums (on "That's All You Need“)
Recorded March–September 1971 at Olympic Studios, London
Produced by Faces and Glyn Johns
When Steve Marriott left the Small Faces in 1969, the three remaining members brought in guitarist Ron Wood and lead singer Rod Stewart to complete the lineup and changed their name to the Faces, which was only appropriate since the group now only slightly resembled the mod-pop group of the past. Instead, the Faces were a rough, sloppy rock & roll band, able to pound out a rocker like "Had Me a Real Good Time," a blues ballad like "Tell Everyone," or a folk number like "Richmond" all in one album. Stewart, already becoming a star in his own right, let himself go wild with the Faces, tearing through covers and originals with abandon. While his voice didn't have the power of Stewart, bassist Ronnie Lane's songs were equally as impressive and eclectic. Wood's rhythm guitar had a warm, fat tone that was as influential and driving as Keith Richards' style.
Notorious for their hard-partying, boozy tours and ragged concerts, the Faces lived the rock & roll lifestyle to the extreme. When Stewart's solo career became more successful than the Faces, the band slowly became subservient to his personality; after their final studio album, Ooh La La, in 1973, Lane left the band. After a tour in 1974, the band called it quits. Wood joined the Rolling Stones, drummer Kenny Jones eventually became part of the Who, and keyboardist Ian McLagan became a sought-after supporting musician; Stewart became a superstar, although he never matched the simple charm of the Faces.
While they were together, the Faces never sold that many records and were never considered as important as the Stones, yet their music has proven extremely influential over the years. Many punk rockers in the late '70s learned how to play their instruments by listening to Faces records; in the '80s and '90s, guitar rock bands from the Replacements to the Black Crowes took their cue from the Faces as much as the Stones. Their reckless, loose, and joyous spirit stayed alive in much of the best rock & roll of the subsequent decades.
Lane was diganosed with multiple sclerosis in the 1970s but continued to work. He relocated to Austin, Texas in the 1980s and worked until the disease claimed his life in 1997.
MacLagan also relocated to Austin, where he became an integral part of the city's vibrant music scene. In addition to leading his own group, the Bump Band, he collaborated with musicians—well known and obscure—in recording sessions and on the stage. He suffered a stroke on December 2, 2014, and passed away a day later.
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