- Triple Plus (A+++) sound on side one backed with excellent Double Plus (A++) sound on side two, this copy is a MONSTER!
- Rich and solid, yet open, spacious, and transparent — nothing like the muddy, congested sound we heard all day
- 5 stars: it “doesn’t feel cobbled together and it serves up tremendous song after tremendous song.”
This Warner Bros. Green Label LP has MASTER TAPE sound on the first side and not far from it on the second! If you like your hard rock dirty and bluesy, you can’t do much better than this record. You’re going to freak out over the meaty guitars, the HUGE bass, and the live-in-the-studio vocals. We played a ton of copies and none of them could hold a candle to this one.
You won’t be a minute into this record before you’re blown away by all the ambience and echo. You can really hear the sound of the big room around these guys as they rock out. The vocals sound Right On The Money — smooth, but with all of the raspiness that Rod Stewart is famous for.
The drums are big and punchy and the guitars sound grungy and right.
The sound on both sides is open, spacious, and transparent — nothing like the muddy, congested sound we heard on most of what we played (all originals – no reissue has ever won a shootout and we don’t really bother much with them anymore).
The presence is astonishing — you’ll feel as though these guys are thrashing it up right there in your living room! Both sides are As Good As It Gets.
What to Listen For (WTLF)
Smoother and sweeter sound with less of the grit and congestion that plagues the average copy.
A bigger presentation – more size, more space, more room for all the instruments and voices to occupy. The bigger the speakers you have to play this record the better.
More bass and tighter bass. This is fundamentally a rock record. It needs weight down low to rock the way Glyn Johns wanted it to.
Present, breathy vocals. A veiled midrange is the rule, not the exception.
Good top end extension to reproduce the harmonics of the instruments and other details of the recording, especially the ambience of the space.
Last but not least, balance. All the elements from top to bottom should be heard in harmony with each other. Take our word for it, assuming you haven’t played a pile of these yourself, balance is not always easy to find.
Our best copies will have it though, of that there is no doubt.
Glyn Johns At The Helm
This album was produced by one of our very favorite engineers around here, Mr. Glyn Johns, the man behind tons of Better Records faves — Sticky Fingers, The Eagles’ 1st, Joan Armatrading’s self-titled, Who’s Next, and many, many more.
The proper sound for a band like this is RAW AND ROCKIN’. Any phony EQ or overproduction would really make a mess of what the band does here, which put simply is kickin’ out the jams. It would be fair to call these guys a bar band, but they’re the best darn bar band I’ve ever heard!
The best Faces pressings have amazing live-in-the-studio sound that completely conveys the power of one of the hardest rockin’ bands of all time. What more can you ask for?
For this kind of music, you just can’t do much better than these guys. The Stones at their best may have had them beat, but it’s a photo finish to say the least. With Glyn Johns at the console, the Faces behind the instruments, and the Better Records Hot Stamper seal of approval on this copy, you can be sure that this is one rockin’ record. Turn it up!
Miss Judy’s Farm
You’re So Rude
Love Lives Here
Last Orders Please
Stay With Me
That’s All You Need
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…
[It’s] 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.