Customer Reviews

A Nod is As Good As a Wink to a Blind Horse

5 star:		(20)
4 star:		(8)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

Not to take anything away from the vocal pipes of Rod Stewart or the other rooster-do'd newcomer to the previous Small Faces, but the real star of this band was the late Ronnie Lane.

His rollicking "Last Orders Please" and the heartbreaking "Debris" were classic Faces (and songs that would stay in Lane's solo repertoire until MS finally claimed him in 1997).

Ron Wood's no-frills guitar playing helped propel rockers like "Miss Judy's Farm," "Too Bad," "That's All You Need" and the band's only Top 40 hit "Stay with Me" (#17). The band also does a nice turn on Chuck Berry's "Memphis."

This album, along with Long Player--both released in 1971, show why this was one of the few bands that really mattered in the wake of the dissolution of the Beatles. This is plain and simple rock 'n' roll, and nobody could rock like the Faces. If you weren't around to hear it when this album was first released, you owe to yourself to get it now to find out what you missed. HIGHLY RECOMMENDED

...what are you reading this for? You know what to expect when you buy a disc produced by Rod Stewart's Faces: at least four or five hard-rocking party numbers ('Miss Judy's Farm', 'Stay With Me', 'Memphis', 'Too Bad', and 'That's All You Need') featuring Rod's raspy vocals, and heavy, pulsing guitar and bass lines courtesy of Ron Wood and Ronnie Lane; two or three irresistible love ballads ('Love Lives Here', 'Debris'); and to top it all off, some honky-tonk or boogie numbers ('You're So Rude', 'Last Orders Please'). 'A nod is as good as a wink to a blind horse...', released in November of 1971, charged up to number six on the US album charts, and stands as the most commercially successful of the bands' four albums.

While there isn't always great depth to the lyrics offered up by the three R's... Rod, Ron, and Ronnie, no one can deny that they often cut straight to the chase. On 'Miss Judy's Farm', Rod paints vivid scenario's such as "I was just eighteen and all I needed was to get my way". Ironically, on 'That's All You Need', Stewart sings, "...my kind of music... you knew it wasn't gonna be simple..." when "simple" is exactly the form of music this band revels in. That particular song drifts along on a masterful lead guitar riff that makes it one of the most under-appreciated epic rock tracks. The second side of 'A nod...' (on the original vinyl version) opened with one of the bands' most successful single releases, 'Stay With Me', which climbed to number eight on the national charts in January of 1972. Despite being mercilessly overplayed on both the AM and FM frequencies, 'Stay With Me' has proven powerful enough to overcome overexposure. Stewart's barroom delivery takes lines like "I hear you're a mean old Jezebel" and transforms them into terms of endearment. A honky tonk piano track and grinding rhythm guitar propel the number into a fantastic instrumental coda embracing several faux finishes. 'Too Bad' chimes in with a tale involving a twelve foot tall butler, a colored queen, and sweaty girls over an up-tempo, party-rock beat. Their cover of Chuck Berry's 'Memphis' plods along in the beginning, but confidently gains intensity as Rod tells the familiar tale about a phone call from southside Memphis Marie, all of six years old.

Among the better ballads are 'Love Lives Here', offering a melodic combination of guitars, piano, and organ, and Ronnie Lane's 'Debris', supported by more solid guitar and piano interaction. While less entertaining than the surrounding fare, 'You're So Rude' blends a rocking rhythm guitar riff with a tight electric lead guitar, and tops it off with a harmonica in the coda. Perhpas the weakest track among the nine performed is the side one closer, 'Last Orders Please', a break-up tale dropping some worn cliche's such as "you've got yours and I've got mine".

I was a senior in high school the year that 'A nod...' hit the shelves, and the disc proved to be one of the first to hit the platter at each and every party that brought closure to that most important of all years. Whenever I see that cover (which always made me think of this as a live disc, which it isn't), surrounded by that distinct dark brown border, waves of memories and emotions from my youth surround me. For that reason, my own perception of the quality of this disc may be biased, but with each subsequent listen I feel vindicated that it isn't just my associations to it that make 'A nod...' a rock and roll classic. As many good times as this album must have witnessed in the early 1970's, it remains vital enough to produce many more to come.

"A Nod Is As Good As A Wink...To A Blind Horse" is the Faces' third album in just two years, and it is their most consistent record alongside 1973's "Ooh La La".

Filled with crunchy electric guitars, blooze-n-boogie piano, and deep, bluesy grooves, it boasts the group's only significant hit, the superb, fiery rocker "Stay With Me". But there are numerous other highlights, including the strutting "Miss Judy's Farm", a rollicking cover of Chuck Berry's "Memphis", and the piano-driven hard rock of "Too Bad"...everything is worth a listen, actually.
"A Nod Is As Good As A Wink..." rocks like very few other records of the early seventies, and this fine record proves what a great, underrated rock n' roll outfit the Faces were.

What a glorious band. Formed out of the ashes of 'The Small Faces' and 'The Jeff Beck Band', nobody could of predicted the influence this lovable bunch of rogues would have on Rock 'n' Roll history.

When Steve Marriot left 'The Small Faces' in early 1969, he left his band mates without one half of the song writing partnership, the guitarist, singer, and front man, so on paper not much left then. However, long time band mate Ronnie Wood was keen to step into the breach (incredibly, Ronnie Wood had been playing bass guitar in the shadow of Jeff Beck in his band for the last two and a half years). He brought along his friend and vocalist from his previous gig, a certain Mr. Rodney Stewart, who at the time was so lacking in confidence on stage that he would often sing with his back to the audience. Amazing when you consider what a microphone wielding strumpet he was going to become over the next couple of years.

After brief rehearsals the band, under the shortened name of 'The Faces', set out on the road, recording a debut album along the way (First Steps, March 1970). Although this album was poorly received both by the general public and most of the critics, by the end of 1970 they had built a reputation as one of the most awesome and lunatic live acts on the circuit. And 1971 was to be their Year.

Going from playing gigs at concert halls and college dates at the beginning of the year, by Christmas they were selling out arenas all over the world. Record sales went the same way. Nobody has been more prolific before or since. In that one scintillating year they released three albums. First the half live - half studio effort 'Long Player', which stormed up the American charts, giving them their first single hit as well in `Had me a Real Good Time'. Then came the international break through with Rod Stewart's solo album `Every Picture Tells A Story' (a Faces album in all but name), which topped the charts around the world. So did the single from the album 'Maggie Mae', which remained on top of the charts for weeks and was being played everywhere you went. Their appearance on English T.V. program 'Top Of The Pops' had to be seen to be believed. They made no pretense of playing their instruments to the music they were supposed to be miming to, instead They spent their time kicking oversized footballs into the crowd, falling off the stage, and letting English radio Disc Jockey John Peel (a non-musician) pretend to play the Mandolin solo in the middle, while Ronnie Lane mugged up behind him.

So when it was announced that there would be one more Faces album before Christmas, expectations were high, and the boys did not disappoint. Never has rock music been put across in such a charmingly fun way.

First up is `Miss Judy's Farm', a great fat slab of Rock 'n' Roll from the combined pen of Stewart/Wood, giving the band a chance to stretch their wings. A driving riff from Woody fires the song into life before the plonk of Ronnie Lane's bass comes into drive. Kenny Jones's no frills drums lends solid support to the song, while Ian McLagan - in old fashioned Rock 'n' Roll style - sensibly sticks to the piano to duel with the lead guitar breaks. Then, of course, on top of this you have the gravel voiced whoops and yelps of that now full of confidence Rooster of the Vocals - Rod Stewart, preening his way through the lyrics with a wonderful sureness inspired a generation. After two minutes of the song, Woody slows the whole entourage down to a snail's pace before the entire band roars back in to bring the opening song to an exciting conclusion, with each artist battling to be heard.
Mott the Dog.

This is one of those albums that I played so many times when I was in highschool, that I not only wore out the vinyl, the album cover was constantly getting scotch taped together, and somehow that darn album sleeve was always missing. But I loved every snap, crackle, and pop of this classic album. What's not to like when you get a generous helping of country rock, R&B, blues, and some good ole rock and roll. These guys had the whole package. The stinging slide guitar playing of Ron Wood (check out "That's All You Need"). The surging B3 organ and rock boogie piano playing of Ian Mclagan. The drumming of Kenny Jones, who later when on to replace Keith Moon of the Who. The singing of Rod Stewart, with his throaty Sam Cooke type voice, and that hairdew that looked like a cross between a shetland pony and a rooster. And the most special player of all Ronnie Lane. This guy could write some very special songs and offer his unique voice that seems to fit his music like a glove. He gave us the best song on this album "Debris". Is there a better country rock song out there? I think not! It doesn't get any better than this, and I can't think of anybody more suitable to sing this than Lane. For all you country rock bands out there, don't try to remake this tune. It won't work! Ronnie Lane broke the mold on this one. Other standout tracks here are "Stay With Me", which was their lone hit off this. "You're So Rude", which features Ian Mclagan's always great B3 organ playing. "Last Orders Please", another classic Ronnie Lane tune. And Chuck Berry's "Memphis Tennessee", or as Stewart sings it "Tennerrsee". It was great to finally get the CD version of this record. It was the first time in 20 years I've heard "Debris" and "You're So Rude" without the needle skips. This record easily makes it in my top 10 list of best 70's albums. 5 snaps up!

Back in the late 70's I had the vinyl and this was one of my favorite albums. The CD version sounds just as good if not better. The music is still very fresh, classic rock & roll. Great rock singing and guitar work. This has to be one of Rod Stewart's best material. I think he was at his best with the Faces or maybe he was just younger, drank more Scotch and really believed in what he was singing. The later material just has not been convincing with lot of commercialism. I am curious to listen to the Gold Disc version from Audio Fidelity.

The only thing lacking with the Small Faces songs was they didn't go long enough! That is rectified here as the 'Faces' dish out a fine collection of hard rocking tracks featuring a pounding rhythm section, funky keyboards, tasty guitar licks and Rod Stewart in fine voice.

A Nod Is As Good As A Wink is a GREAT album!! "Miss Judy's Farm", "Stay With Me", and "Too Bad" rock HARD! Ron Wood's Guitar intro to "That's All You Need" is AMAZING! The intro to the song "Too Bad", is a great Rock moment! Legendary Band, Classic Album! You Should Hear It! Not one weak song here. I would easily recommend this album to fans of Rod Stewart's masterpiece "Every Picture Tells A Story". I hope this album is REMASTERED in the near future. It deserves it.

. . . it would have to be this one.

The thing about great albums is that you can't point to the one thing that makes them great. Each time you listen to it there's always something new that makes you appreciate it even more.

Music that swings. That's something that kids today have no idea about. As other reviewers have said this album taught many groups today how to play rock and roll - and of course it goes right back to Chuck Berry, where it belongs.

I definately put this album at the top with Music from the Big Pink, Brown Sugar, and anything that Steve Cropper has ever touched.

Note to prior review : Ron Wood does not sing "You're So Rude", Ronnie Lane does (now deceased).

I saw the Faces live after this album (before Lane quit) unbelievable.

Wood has never been the same guitar player since he joined the Stones...I think Keith overpowers him.