{"id":337858,"date":"2025-12-27T15:59:17","date_gmt":"2025-12-27T15:59:17","guid":{"rendered":"https:\/\/www.newsbeep.com\/uk\/337858\/"},"modified":"2025-12-27T15:59:17","modified_gmt":"2025-12-27T15:59:17","slug":"the-faces-the-story-of-the-band-that-gave-the-world-rod-stewart","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/uk\/337858\/","title":{"rendered":"The Faces: the story of the band that gave the world Rod Stewart"},"content":{"rendered":"

The Faces<\/a> were one of the great British rock\u2019n\u2019roll bands of the 1970s. Formed from the ashes of 60s dynamos The Small Faces<\/a>, they released four classic albums between 1970 and 1973, introducing the world to singer Rod Stewart<\/a> in the process. In 2011, the surviving members looked back on their short but riotous career.<\/p>\n

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\"Classic\n<\/p>\n

Early summer, 1969. Four young musicians are holed up in the basement of the Rolling Stones\u2019 rehearsal room in south London. For the past few weeks, Ronnie Wood, Ian McLagan, Ronnie Lane and Kenney Jones have been jamming here, playing covers of recordings by American soul heroes like the Meters and the Bar-Kays and chiselling out a few instrumentals of their own. But there\u2019s something missing: a singer.<\/p>\n

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Both Lane and Wood have taken turns at the microphone but it just doesn\u2019t feel right. Guitarist Wood has already suggested his bandmate from The Jeff Beck Group, Rod Stewart, but the others aren\u2019t so keen. Lane, McLagan and Jones are still reeling from the sudden end of the Small Faces, whose singer Steve Marriott walked out on them earlier in the year to form Humble Pie. Marriott had been a powerful, charismatic vocalist, but also a dominating force. The others don\u2019t want to get burned again by a roaring ego. Wood assures them that Rod\u2019s not like that. Cautiously, they invite him along.<\/p>\n

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The Faces in the early 70s: (from left) Rod Stewart, Ronnie Lane, Ronnie Wood, Ian McLagan, Kenney Jones (Image credit: Alamy\/Universal Images Group North America LLC)<\/p>\n

Stewart is too shy to begin with, choosing to listen in from the top of the stairs. Then for days he sits silently on the amps, watching the quartet go through their paces. \u201cWe knew Rod from his time on the Immediate label,\u201d Jones recalls, \u201cso we knew what a great voice he had. He\u2019d sit on the amps and just wait for us to finish playing at first. And every time we had a break we\u2019d go up to the pub in Bermondsey Street to have a few drinks and a laugh. Then we\u2018d go back into the rehearsal room and play some more. That went on for a few weeks.<\/p>\n

\u201cThen one day I was sitting there playing, looking over at Rod and thinking, this just doesn\u2019t make sense. So the next time we went to the pub, I asked if he fancied having a drink with us. Then I asked if he\u2019d be interested in joining the band. He looked at me and said: \u2018Do you think the others would let me?\u201d<\/p>\n

McLagan remembers Stewart getting up at the rehearsal place and trying something from Muddy Waters\u2019s Live At Newport sing. That night there was a party at Alvin Lee\u2019s flat around the corner. Jones floated the idea of Rod becoming a permanent member of their fledgling group.<\/p>\n

\u201cThey were apprehensive about not getting another Steve Marriott figure, and didn\u2019t want someone who\u2019d let us down,\u201d he remembers. \u201cI totally understood what they were saying, but to my mind it was make-or-break time for us, and I felt it was the necessary thing to do. So enter Rod, enter lunacy!\u201d<\/p>\n

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McLagan: \u201cOnce he started singing with us he was the missing link. He was just what we needed. Then it was all a lot of fun. And a lot of drinking.\u201d<\/p>\n

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The Faces onstage in the early 1970s (Image credit: Gijsbert Hanekroot\/Redferns)<\/p>\n

There was plenty of that, alright. The Faces, as they became known later that year, were the ultimate geezer band. A gang of peacock-haired ne\u2019r-do-wells with the swishiest satin clobber and the tunes to match. They swaggered and sauntered like no other band of the early 70s, strutting onto a stage like a bunch of rogues strolling into their local. Not for nothing was their 2004 box set titled Five Guys Walk Into A Bar\u2026 Gigs would invariably end with drunken renditions of We\u2019ll Meet Again or When Irish Eyes Are Smiling, the five of them clustered around a single mic, before collapsing in unison onto the floor.<\/p>\n

Everywhere we went we fell on the floor \u2013 airports, restaurants, hotels, bars. Every gig was like going to a party.<\/p>\n

Kenny Jones<\/p>\n

\u201cIt wasn\u2019t just at gigs,\u201d says Jones. \u201cEverywhere we went we fell on the floor \u2013 airports, restaurants, hotels, bars. We were saying to people that you don\u2019t have to take rock\u2019n\u2019roll too seriously. Every gig was like going to a party. The Faces were undoubtedly the most fun band I was ever in.\u201d<\/p>\n

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But it wasn\u2019t all beer and brandy. The Faces could really play, too. Their physical home may have been the nearest boozer, but their spiritual nexus was America, particularly Detroit and Memphis \u2013 the respective strongholds of Motown and Stax. Together with an insatiable appetite for southern blues<\/a> and folk, the band played a unique blend of rivvum\u2019n\u2019raunch. At their peak they were a bigger draw in America than even The Stones. Had they been less cavalier and more inclined to stay on their feet, they might quite easily have overtaken them completely. But then such self-inflicted laxity is what gave the Faces much of their roguish charm to begin with.<\/p>\n

In his intro to the forthcoming book The Faces 1969-75 \u2013 a sumptuous, photo-driven account of their brilliant, if brief, career \u2013 lifelong fan Slash contends that: \u201cNo band better exemplified \u2018party band\u2019 like the Faces, and no band has since. They wrote drunken, bluesy, cum-drenched rock\u2019n\u2019roll songs and delivered them with the ultimate \u2018tip and a wink\u2019 attitude\u2026 They\u2019re one of the most iconic bands of all time.\u201d<\/p>\n

Faces – Stay With Me (Live on Sounds For Saturday, BBC, 4\/1\/72) – YouTube
\n\"Faces<\/p>\n

Watch On <\/a><\/p>\n

It\u2019s a patent that many others have tried to emulate since, with varying degrees of success, from the Sex Pistols and Guns N\u2019 Roses to the Black Crowes and The Replacements. \u201cThe Faces had some classic songs, but it was more about the feel of the band than anything else,\u201d says Quireboys guitarist Guy Griffin. \u201cLoads of bands have tried to replicate that. A lot of people have accused us of doing that. And I hold my hand up, because they were a big influence on me. I play the same Zematis guitar as Ronnie Wood, so I happily admit it.\u201d<\/p>\n

The Faces drew envy from their peers, too. One of their closest associations was with Free.<\/p>\n

\u201cTouring with the Faces was wonderful,\u201d says Free\u2019s then drummer Simon Kirke. \u201cThey were at their peak and had Rod Stewart singing. Jeez, he could sing so well back then. He\u2019s like Paul Rodgers, really; he never sung a bad show, he just had variations on brilliant. They always had such fun on stage. There were drinks in abundance, and Woody was there with the ever-present ciggie hanging out of his mouth or tucked in the end of his guitar. Ian would be grinning from ear to ear. And they dressed so flamboyantly, too, all silks and satins and flares. I loved \u2019em. They just had a great time, whereas Free were slightly serious.\u201d<\/p>\n

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\"The\n<\/p>\n

(Image credit: Michael Putland\/Getty Images)<\/p>\n

Free bassist Andy Fraser remembers the Faces as \u201cbig, big drinkers. We\u2019d be at the same hotel, and Rod especially would be like: \u2018Come on, fellas, let\u2019s have a couple of drinks.\u2019 Which essentially meant getting totally plastered. Watching the Faces perform was a bit like a pub singalong on an arena scale. That isn\u2019t to discount Rod\u2019s incredible singing and performing abilities, or the band\u2019s musicianship, which I place very highly. That rough-and-ready, slightly sloppy thing worked very well. You can see from what they\u2019ve all done individually how skilled they are.\u201d<\/p>\n

America back was so open. A lot of the guys were either in Vietnam or had gone altogether, so we had all these girls after us.<\/p>\n

Ian McLagan<\/p>\n

Britain was slow to warm to the Faces. Their earliest gigs, as Jones puts it, were \u201clike pulling teeth\u201d. As with Led Zeppelin before them, it was in America where they were to forge their reputation. In March 1970 the band went over for a 28-date tour. Crowds instantly responded to these raffish incorrigibles who, unlike shoegazing noodlers such as the Grateful Dead or whole legions of denim\u2019n\u2019boogie dullards, were clearly out to have a great time \u2013 and take the audience along with them. Plus, as Wood points out: \u201cWe were selling them their own music. They understood what we were all about.\u201d<\/p>\n

Detroit was where the Faces first got noticed, at a tiny venue in the heart of the city\u2019s black community called the East Town Theatre. It was the beginning of a symbiotic relationship that was to last right through the band\u2019s lifes, even when their popularity was such that they were filling out 17,000-capacity sheds like Cobo Hall. \u201cAfter The Faces first broke in Detroit,\u201d says Jones, \u201cit just spread like wildfire. By the time we got to the next city, word had already got around. The power of word of mouth was fantastic.\u201d<\/p>\n

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\"The\n<\/p>\n

(Image credit: Ian Dickson\/Redferns)<\/p>\n

Their American tours became the stuff of legend. The band would kill the downtime hours between shows by dismantling and defacing hotel rooms, wreaking havoc in the corridors, partying by the pool, plying themselves with freely available supplies of cocaine and booze, and taking full advantage of what seemed like an endless queue of willing groupies.<\/p>\n

\u201cAmerica back then was so open,\u201d McLagan explains. \u201cA lot of the guys were either in Vietnam or had gone altogether, so we had all these girls after us. There was no Aids, coke wasn\u2019t addictive \u2013 at least that\u2019s what they told us \u2013 and here we were. And we weren\u2019t like all the other bands, who dressed in T-shirts and denim. They were wonderful times. The groupies in America were much more forward than the ones back home. In the UK you\u2019d have to ask, in America it\u2019d be a case of: \u2018I\u2019ll take you and you. As for you, maybe next time.\u2019<\/p>\n

\u201cI remember one morning taking a girl to breakfast, which I never usually did. But we\u2019d had a really great night. There she was, sat across the table from me, when I looked over and realised she had one glass eye. And here I am introducing her to the band. They thought it was hilarious.\u201d<\/p>\n

One incredulous British journalist, from Disc & Music Echo, attended an early-hours pool party in South Carolina that spilled over into the adjoining hotel. \u201cThe comings and goings from room to room resemble something from a Brian Rix bedroom farce,\u201d he wrote. Such was their escalating reputation that the Faces were soon banned from the entire Holiday Inn chain. They sidestepped it simply by checking in as Fleetwood Mac instead.<\/p>\n

Another US tour, billed as a Rock\u2019n\u2019Roll Circus, involved sharing the bill with jugglers, acrobats, Blinko the clown and a Chinese high-wire stripper called Ming Wung. You could argue that it was all somehow in keeping with the Faces\u2019 own high-energy nuttishness, leaping about the stage, swapping mics, whispering in huddles and booting footballs into the crowd. They even designed their own on-stage bar.<\/p>\n

\u201cWe were the first to do a lot of things,\u201d laughs Jones. \u201cWe\u2019d have a white stage, and insist that Chuch Magee, who was our roadie, wore black trousers, a white shirt and a waistcoat, so he looked like a barman. So he\u2019d tend the bar, then quickly do Woody\u2019s guitar and various other things. And we\u2019d have palm trees on stage with us. It was very over-the-top. We took the piss out of ourselves, more than anything.\u201d<\/p>\n

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\"The\n<\/p>\n

(Image credit: Michael Putland\/Getty Images)<\/p>\n

It all made for a rambunctious communal atmosphere. Several of the outstanding shots in Faces 1969 to 1975 show the band besieged by stage-crashers, but happily playing on under the watchful eye of the local police. \u201cIt was an incredible atmosphere,\u201d confirms McLagan. \u201cThe cover of A Nod\u2019s As Good As A Wink\u2026 [the shot taken from the lighting rig by Chuch the roadie. Photographer Tom Wright got credit on the sleeve, but he didn\u2019t like heights and asked Chuch Magee to take it for him] captures that pretty well, too. Some people used to follow us from gig to gig in America.\u201d Jones remembers that \u201cit was as if we were in the audience and the audience were on stage. You had the crowd wrapped around you.\u201d<\/p>\n

The charitable spirit of bonhomie extended beyond the stage. \u201cIn the early days we didn\u2019t have much money,\u201d explains Wood, \u201cso Rod and I used to ponce lifts home from girls in the audience. We\u2019d usually end up with the fat ones wearing glasses, but it didn\u2019t matter. If they had a nice car we\u2019d bundle in and they\u2019d take us home for tea and stuff. And we\u2019d use their phones for long-distance calls because it was so expensive.\u201d<\/p>\n

As the Faces\u2019 popularity spread, so did the size and reach of their audiences. They began travelling in private jets and playing enormous venues across the US. Guest musicians started showing up and joining them on stage for impromptu jams. Wood recalls: \u201cIn Detroit, which used to be our second home, we were joined by special guests like Tina Turner and Jimmy Ruffin. And I first met Bobby Womack there, then Eddie Kendricks. All these great soul stalwarts, who\u2019d actually come up and sing with us. They were very precious times.\u201d<\/p>\n

Ryan O\u2019Neal loved the Faces. He\u2019d sit behind me at the gig, handing me towels and drinks. It was surreal.<\/p>\n

Kenny Jones<\/p>\n

If Detroit remained their bedrock, then LA was party central, the band entertaining all-comers at the infamous Hyatt House \u2013 nicknamed the Riot House, and the scene of all manner of TV-out-the-window madcappery. \u201cEverywhere we went, but especially in LA, we\u2019d have famous film stars and musicians backstage,\u201d says Jones. \u201cIt was very glamorous and star-studded. Ryan O\u2019Neal loved the Faces, and every time we played LA he\u2019d take over being my roadie. He\u2019d sit behind me at the gig, handing me towels and drinks. It was surreal.\u201d<\/p>\n

Then, of course, there was the music. The first couple of Faces albums \u2013 First Step (1970) and Long Player (early \u201971) \u2013 were patchy and unfocused. They were just as liable to offer up a lovely, reflective ballad like Sweet Lady Mary or classic slop-rocker Three Button Hand Me Down as they were throwaways like Nobody Knows or On The Beach. It wasn\u2019t until A Nod\u2019s As Good As A Wink\u2026 To A Blind Horse, released at the fag end of 1971, that the band fully delivered in the studio. The album was quintessential Faces: loud, lairy and stuffed with everything from semi-slapstick romps (Miss Judy\u2019s Farm, That\u2019s All You Need) to wistfully elegiac songs like Ronnie Lane\u2019s Debris \u2013 which detailed the hidden scars of his beloved London \u2013 and boogified killers like Stay With Me.<\/p>\n

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(Image credit: Keystone Features\/Hulton Archive\/Getty Images)<\/p>\n

Stay With Me became their first UK Top 10 single, in December 1971. By this time Stewart was basking in the solo success of Every Picture Tells A Story and its huge hit, Maggie May. At one point he was simultaneously top of the singles and album charts on both sides of the Atlantic. His follow-up, 1972\u2019s Never A Dull Moment, which included You Wear It Well, consolidated his new superstar status. There were rumours and accusations that Stewart was saving his best songs for himself, further fanned by the fact that his latest album included True Blue, a song cut at a Faces session.<\/p>\n

The Faces\u2019 fourth album Ooh La La, issued in April \u201973, seemed to compound the question of allegiance. Rod appeared disinterested, failing to show for the first few weeks of recording, leaving Wood to take lead vocals on the title track. In a press interview, Stewart dismissed the album as \u201ca bloody mess\u201d. McLagan called it Ronnie Lane\u2019s record, the latter having written or co-written more than half of it. As a result it was generally more introspective and folksy, though there were still some blustery, laddish rockers like Silicone Grown and Borstal Boys. And of course Cindy Incidentally, which had reached No.2 in February.<\/p>\n

\u201cThat song came together pretty quickly, which is often how things happen for the best,\u201d recalls McLagan. \u201cI was playing this piano riff and Rod came over and said: \u2018What\u2019s that?\u2019 It was actually hung backwards off Memphis, Tennessee, or at least a version of the one Chuck Berry played.\u201d<\/p>\n

Faces – Three Button Hand Me Down (Live on Sounds For Saturday, BBC, 4\/1\/72) [Official Video] – YouTube
\n\"Faces<\/p>\n

Watch On <\/a><\/p>\n

But the fast lifestyle, incessant touring and increasing friction in the band were beginning to pinch. In May \u201973 Ronnie Lane announced he was quitting. It was the beginning of the end.<\/p>\n

\u201cIt was like a bad joke gone wrong,\u201d remembers Wood, \u201cbecause we all used to mess about and say: \u2018I\u2019m leaving the group!\u2019 It was like a stock saying whenever anything went slightly wrong. Then one day Ronnie actually did come in and say he was leaving. I went: \u2018Yeah right, pull the other one.\u2019 But he said: \u2018No, I really am. Plus I\u2019m running off with my best friend\u2019s wife.\u2019 This was the wife of Mike McInnerney, who\u2019d done the artwork for our First Step album. So Ronnie ran off with Katie and left Sue Lane, who we all used to love. We\u2019d all say: \u2018What are you doing? How can you do this?\u2019 And he\u2019d tell us he was going off to live in a caravan, become a traveller and form his own band. There was nothing more we could say because he\u2019d go: \u2018My mind is made up. I\u2019m off.\u2019\u201d<\/p>\n

Lane was true to his word, hitting the road with his new band, Slim Chance. The rest were left to weigh up their options.<\/p>\n

\u201cRod summed it up really well,\u201d offers Jones. \u201cHe told me that once Ronnie Lane left the band, the spirit of the Faces left too. Ronnie was integral to the band. It was the complete line-up when he was there. It never quite felt the same afterwards.\u201d<\/p>\n

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(Image credit: Michael Putland\/Getty Images))<\/p>\n

They brought in Japanese bassist Tetsu Yamauchi, who\u2019d replaced Andy Fraser in Free, in an attempt to fill the void.<\/p>\n

\u201cWe made a mistake really with Tetsu,\u201d admits McLagan. \u201cIt wasn\u2019t his fault, but he was a party boy and thought he was in for lots of drinks and a little bit of playing, while we were looking for more creation and a lot less boozing.<\/p>\n

Once Ronnie Lane left the band, the spirit of the Faces left too. Ronnie was integral to the band.<\/p>\n

Kenney Jones<\/p>\n

\u201cBut you couldn\u2019t replace Ronnie. Apart from being the originator, he was the glue in the Faces. He was such a sweet person and such a great songwriter. And when he was gone, that songwriting flavour was missing. There was nothing to do then, because Rod wasn\u2019t interested in recording with the Faces, and hadn\u2019t even been interested in doing Ooh La La, actually.\u201d<\/p>\n

The band limped on for another 18 months, though all they had to show were a couple of singles (albeit great ones in Pool Hall Richard and You Can Make Me Dance, Sing Or Anything) and a poor, drunkenly mixed live album, Coast To Coast: Overture And Beginners.<\/p>\n

In January 1975 Ronnie Wood was offered Mick Taylor\u2019s old job in the Rolling Stones, initially to fill in on tour. \u201cWe all said: \u2018Yeah, Woody, go ahead, no problem. Just keep it together, because our tour starts immediately after theirs,\u2019\u201d recalls Jones. \u201cBut when Ronnie came back he really came back as a Rolling Stone. Rod and I already knew the writing was on the wall, because we\u2019d talked about it. And Rod was moving to America, so you had this great transatlantic divide. There was this huge separation taking place, and Ronnie leaving was the final straw.\u201d By December it was official: the Faces were finished.<\/p>\n

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\"The\n<\/p>\n

The Faces with Simply Red\u2019s Mick Hucknall and ex-Rolling Stones bassist Bill Wyman in 2009 (Image credit: Dave M. Benett\/Getty Images)<\/p>\n

Ronnie Lane, who was diagnosed with multiple sclerosis in the late 70s, died in June 1997. There have been rumours of a reunion of the surviving Faces, regularly over the years, but it always seemed unlikely, what with Stewart\u2019s comfy solo career, Wood permanently in the Stones, Jones replacing Keith Moon in The Who then forming the Jones Gang with ex-members of Bad Company and Foreigner, and McLagan burying himself in session work and his own Bump Band. There was the odd get-together at the Brit Awards or one of Rod\u2019s Wembley shows, but nothing long-term.<\/p>\n

I always laugh when I read about bands having fights with each other. we never had that. It was fun or nothing at all.<\/p>\n

Ian McLagan<\/p>\n

Then, in 2008, Stewart told the press they\u2019d been talking about playing together again. The foursome reconvened for a day\u2019s rehearsal in London, but then everything went ominously quiet. By early the following year, Rod\u2019s spokesman was denying reports of a full-blown Faces reunion; prior touring commitments, it transpired, just wouldn\u2019t allow it.<\/p>\n

But the others pressed on. October 2009 saw Wood, McLagan and Jones play a one-off charity show at the Royal Albert Hall, with Mick Hucknall and Bill Wyman in for Stewart and Lane respectively. It was a huge, not to say surprising, success, with the super-lunged Hucknall manfully filling Rod\u2019s heels. An official reunion was finally announced in May 2010, with Sex Pistol Glen Matlock replacing Wyman as full-time bassist.<\/p>\n

So far there\u2019s been no recording activity, but the live shows have been little short of spectacular. Hucknall, a Faces fan as a kid, admits it\u2019s been a daunting prospect: \u201cThe thing to remember about the Faces, for all the debauchery and fantastic stories, is that they did have a tangible sound. Certain bands have it \u2013 Zeppelin had it, the Stones have got it \u2013 where you close your eyes and you recognise this energy. And that sound is just unbelievable. So there am I as a fan, in the middle of it, thinking, \u2018Fucking hell!\u2019 Along with Mick Jagger and Robert Plant, Rod\u2019s the contender. He\u2019s up there with the greats. I just have to rest on the fact that I\u2019m able to say I\u2019m a fan, the boys are supportive and I\u2019m just blowing it along. I don\u2019t see my position as replacing him. I\u2019m completely willing to stand aside anytime Rod wants to walk out on that stage with them.\u201d<\/p>\n

faces-I know i’m losing you – YouTube
\n\"faces-I<\/p>\n

Watch On <\/a><\/p>\n

And what of the original Faces? Is there a sense of making up for all that lost time? \u201cIt\u2019s a shame we had to split up the way we did,\u201d says Jones. \u201cWe should have gone on longer. And that\u2019s part of the reason why we wanted to get back together again \u2013 to finish properly. Because the Faces has always felt like unfinished business. And once you\u2019ve had something special like that it\u2019s always nagging away at the back of your head. We\u2019re still great mates, and it\u2019s just nice to play together again.\u201d<\/p>\n

McLagan feels the same way. \u201cI\u2019ve waited a long fucking time for this,\u201d he declares. \u201cI\u2019ve been trying for this for years and years. We\u2019ve got gigs lined up, but I\u2019d like more of them. And we don\u2019t know how long we\u2019ve got Ronnie Wood for. The Stones are going to want to pull that string at some point and he\u2019ll be gone. This is our only opportunity.\u201d<\/p>\n

It\u2019s a subject that prompts a sudden spasm of nostalgia from McLagan: \u201cI was 24 when I was in the Faces. I was young, I was in love, I had a young son, I was making money, I was playing music with the best band in the world. We were five characters who really got on well. I always laugh when I read about bands having rows and fights with each other \u2013 The Who, the Kinks and the rest of them \u2013 but we never had that. It was fun or nothing at all. It really was.\u201d<\/p>\n

Originally published in Classic Rock issue 162 (July 2011)<\/p>\n

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