Long Player (Remastered) Faces
Dear HIGHRESAUDIO Visitor,
due to territorial constraints and also different releases dates in each country you currently can`t purchase this album. We are updating our release dates twice a week. So, please feel free to check from time-to-time, if the album is available for your country.
We suggest, that you bookmark the album and use our Short List function.
Thank you for your understanding and patience.
Yours sincerely, HIGHRESAUDIO
- 1Bad 'N' Ruin05:27
- 2Tell Everyone04:23
- 3Sweet Lady Mary05:50
- 5Maybe I'm Amazed05:35
- 6Had Me A Real Good Time05:54
- 7On The Beach04:18
- 8I Feel So Good08:55
Info for Long Player (Remastered)
„On their second album Long Player, the Faces truly gel -- which isn't quite the same thing as having the band straighten up and fly right because in many ways this is album is even more ragged than their debut, with tracks that sound like they were recorded through a shoebox thrown up against a couple of haphazardly placed live cuts. But if the album seems pieced together from a few different sources, the band itself all seems to be coming from the same place, turning into a ferocious rock & roll band who, on their best day, could wrestle the title of greatest rock & roll band away from the Stones. Certainly, the sheer force of the nine-minute jam on Big Bill Broonzy's 'I Feel So Good' proves that, but what's more remarkable is how the band are dovetailing as songwriters, complementing and collaborating with very different styles, to the extent that it's hard to tell who wrote what; indeed, the ragged, heartbroken 'Tell Everyone' sounds like a Stewart original, but it comes from the pen of Ronnie Lane. The key is that Stewart, Lane and Ron Wood (Ian McLagan only co-write 'Bad 'N' Ruin') are all coming from the same place, all celebrating a rock & roll that's ordinary in subject but not in sound. Take 'Bad 'N' Ruin,' the tale of a ne'er do well returning home with his tail between his legs, after the city didn't treat him well. It has its counterpart in 'Had Me a Real Good Time,' where a reveler insists that he has to leave, concluding that he was glad to come but also glad to get home. These are songs that celebrate home, from family to the neighborhood, and that big heart beats strong in the ballads, too, from the aching 'Sweet Lady Mary' to the extraordinary reworking of Paul McCartney's 'Maybe I'm Amazed,' which soars in ways Macca's exceptional original never did. Then, there's there humor -- the ramshackle 'On the Beach,' the throwaway lines from Rod on 'Had Me a Real Good Time' -- which give this a warm, cheerful heart that helps make Long Player a record as big, messy, and wonderful as life itself.“ (Stephen Thomas Erlewine, AMG)
Rod Stewart, vocals
Ronnie Lane, bass, acoustic guitar, percussion, vocals
Ronnie Wood, lead, slide, acoustic and pedal steel guitars, backing vocals
Ian McLagan, piano, organ, keyboards
Kenney Jones, drums and percussion
Bobby Keys, tenor saxophone (on 'Had Me a Real Good Time“)
Harry Beckett, trumpet (on 'Had Me a Real Good Time“)
Recorded September 1970-January 1971 at Morgan Sound Studios, London and with The Rolling Stones Mobile Recording Unit, live tracks recorded at Fillmore East, NYC
Engineered by Martin Birch, Mike Bobak, Dave Palmer
Produced by The Faces
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.
This album contains no booklet.