Changing the Face of Rock, One Record at a Time

The emergence of blues-based rock ‘n’ roll as a marketable form of music in the mid-to-late ’60s was a movement closely dependent upon the influence of past masters. Heavily saturated in traditional three-chord blues structures and improvisation, the great blues-rock bands of the period ushered in a gritty new breed of rock ‘n’ roll while preserving the roots of their inspirations. Hitting its climax in the first half of the ’70s, blues-rock became the musical staple of the era and spawned countless groups.

Although criminally less-well known than heavyweight counterparts like the Rolling Stones and Led Zeppelin, the Faces truly embodied the mastery of the style. Their sophomore album, A Nod is as Good as a Wink...to a Blind Horse, remains a testament to the depth of blues-rock and the raw feel of a genre which continues to affect listeners even today.

Born of the dissolution of the ’60s act the Small Faces, the Faces expanded upon the core group of bassist Ronnie Lane, pianist Ian McLagan, and drummer Kenney Jones by adding singer Rod Stewart (who later went on to considerable solo success) and guitarist Ron Wood. While 1970’s First Step proved a solid effort by virtue of the band-mates’ individual talents, it was not until A Nod in 1971 that the band truly came into its own as a cohesive unit.

Kicking off with the lean crunch and keyboard of “Miss Judy’s Farm,” followed by the decidedly lighter fare of “You’re So Rude,” the album sets the stage for the gritty, riotous affair to follow. Set against the driving, bluesy churn of the guitar riffs and rollicking piano is the vivid portrayal of self-indulgent hell-raisers after a good time. In the album’s most memorable tune, “Stay With Me,” Stewart tells of the decadence and irreverence of his lifestyle with a swagger entirely his own. In perfectly synthesizing the laid-back rootsy feel of traditional blues culture and music, the album epitomizes the very movement that blues-rock represented.

In spite of the seeming crudeness of the approach, the strength of the musicianship in A Nod is undeniable. Wood, who would later become the permanent replacement of Mick Taylor in the Rolling Stones, proves his chops on the album with blistering licks for acoustic, slide, and electric guitar. Although Wood and Stewart are easily the standouts of the bunch, the interplay between all the band members provides the distinctly rich, full sound which makes A Nod such a masterpiece. Well balanced as a fusion of heavy cuts with lighter open-chord acoustic work—supplemented all the while by a strong supporting cast of lyrics, keyboard, drums, and bass—A Nod is as immediate in its impact for music listeners today as it was back in ’71. For rock ‘n’ roll historians, it is an absolute must for the collection.