The Faces – A Nod Is As Good As A Wink – Our Shootout Winner from 2010

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

This Warner Bros. Green Label LP has a STUNNING SIDE ONE backed with MASTER TAPE SOUND ON SIDE TWO! 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 ROTM (Right On The Money) vocals. We played a ton of copies and most of them couldn’t hold a candle to this one. 

  • This album was produced by one of our very favorite engineers around here, Mr. Glyn Johns. He’s the man behind tons of Better Records faves — Sticky Fingers, Eagles 1st, Joan Armatrading’s self-titled, Who’s Next, and many more.

But no Faces album — Glyn Johns-produced or not — will ever have Demo Disc Sound. It’s just not what the band was going for. 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?

Two Superb Sides

Side one here is AMAZING! 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 that Rod Stewart raspiness. The drums are big and punchy and the guitars sound just right. The bass could stand to be a bit tighter for the first few songs, but by the big hit Stay With Me, it becomes very well-defined.

Side two is even better — it’s STUNNING! The sound is open, spacious, and transparent — nothing like the muddy, congested sound we heard on typical copy after typical copy. The vocals sound natural and correct with lots of breath and texture, and the bass is Right On The Money. The presence is astonishing — you’ll feel as though these guys are thrashing it up right there in your living room! We rate side two A+++ — As Good As It Gets.

Let’s Rock

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!

Overall Sonic Grade:

Side One – A++ 
Side Two – A+++

Vinyl Grade:

1) mostly Mint Minus (ticky edge) 
2) mostly Mint Minus (slightly ticky edge)

Cover Grade: 8 out of 10


Side One

Miss Judy’s Farm 
You’re So Rude 
Love Lives Here 
Last Orders Please 
Stay With Me

Side Two

Too Bad 
That’s All You Need

AMG Review

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.