Finishing The First Step by The (Small) Faces

Flying - On vinyl, this was the track that started Side B. I would have selected it to be the opening track on the album because of its dramatic nature... After about 20 seconds, it dawns on you that this is basically Traffic's Dear Mr. Fantasy with new lyrics. When the chorus comes in, it becomes the second song on Step that sounds like Handbags and Gladrags. Kenny keeps it interesting - in a Jim Capaldi-like way - and the ending actually sounds like a plane flying over the ocean; flying you home.

Pineapple and the Monkey - A fun instrumental track that used to serve as the opening for "Rock Album Review" on KUOP-FM in Stockton, California.

When, exactly, did bands stop recording instrumentals? (The Beatles recorded a couple that were never released.)

Nobody Knows - Clever lyrics: "I'm waiting here in Patience/ And I'm waiting all in vain/ Will I see you? Will I touch you? Will I hear you call my name?" A nice double-tracked vocal ballad from Rod and Ronnie Lane that actually worked. This served as a reminder of the fact that on occasion the Faces Small sounded like no one else.

Kenny added the "falling down the stairs" drumming.

Looking Out the Window - The second fun instrumental, with heavy bass and Winwood-like organ. Like an out-take from The Low Spark of High Heeled Boys, although we doubt that Steve Winwood would ever loosen up this much. The lead guitar work from Ron Wood shows that he - like Steve Marriott - listened to more than a few Pink Floyd albums.

The many changes in tempo before the end arrives at 5:02 illustrates what a tight band the Faces were once upon a time.

Three Button Hand Me Down - This was one of their best songs performed live, both because of Ronnie Lane's Jack Bruce/Cream-like bass line and because Rod still sounded like he was genuinely enjoying himself.

Ian McLagan on organ, please.

"Others may come and others may go/ But that suit will be around wherever you go/ Three button hand me down..."

Summary: Although we liked the later-released Long Player, this first effort captured the Faces at their professional best. Similarly, to experience the best of Rod Stewart you need to hear the Truth - Beck-Ola - The Rod Stewart Album - Gasoline Alley four-pack.

I saw the Faces live four times and, sad to say, they got sloppier with each performance. They eventually became the Rolling Stones on an off night.

Note: If you find this CD today, you'll see a cover that reads "faces." But the original cover read "small faces." Revisionist history on the part of Warner Brothers.

Next: See the rare sleeve cover for the Flying/Three Button Hand Me Down 45 RPM single.

Can't You Hear Me Knocking?

Now we're looking back to April of 1971 when the Brian Jones-less Rolling Stones released an album that would be number 1 on the U.S. album charts for 62 weeks. For some of us, as made clear in the review printed below, it would not come close to their 1968 masterpiece Beggars Banquet. But Brian's replacement, Mick Taylor, did make things interesting and with the benefit of hindsight, Can't You Hear Me Knocking was an amazing latin-jazz-rock track.

This review was originally printed, back in 1971, in The Pacifican (University of the Pacific). Great thanks to V-a, the artist formerly known as Mother Poo of Stockton, California. We dedicate this review to the late Willie Viney, who loved this album and especially the track Can't You Hear Me Knocking. We're playing it LOUD for you, Willie!

Sticky Fingers is an outrageous title and cover for the first Rolling Stones Records release. The Stones and friends are: Nicky Hopkins, Bobby Keys, Billy Preston, Jack Nitzche, Ry Cooder, Ian Stewart and Paul Buckmaster. Buckmaster is the strings arranger who over-orchestrated the first Elton John album. Unfortunately, his influence is again counter-productive.

Brown Sugar - Had Me A Real Good Time by the Faces with Rod Stewart sounds more like the Stones than the Stones sound like the Stones here. I wonder what happened to the bass track?

Sway - Mother Poo says it's dull. Well, at least it ends interestingly, what with Mick Taylor playing Dave Mason-style riffs over Buckmaster programmed Elton John-ish strings.

Wild Horses - Mother Poo finds it to be sleepy. I will just express my personal preference for the McGuinn-Byrds version.

Can't You Hear Me Knocking - For a couple of minutes, this appears to be a raunchy follow-up to Stray Cat Blues from Beggars Banquet. However, at a certain point a mysterious Rocky Dijon drops in on congas and the Stones are transformed into Santana (or, at least, El Chicano). Mother Poo noted that the guitar flights are to be found in original form on Paul Butterfield's East Meets West album.

You Gotta Move - Keith Richard is on bottleneck. This is the Ry Cooder sound perfected. Mother Poo gives it five stars.

Bitch - Here it is. The Stones back in the groove. The Motown brass arrangement is borrowed from the Temptations and Rare Earth versions of Get Ready. "Jumping Jack Flash, it's such a gas..." Play it LOUD.

I Got the Blues - The Stones are out of their territory again with nostalgic Keys sax and a fine effort by Billy Preston on organ to save the track. (Preston could take Mr. Stephen Stills one-on-one anytime.)

Sister Morphine - This is a message song. Not quite A Message From Turner, although Ry Cooder again contributes his talents.

Moonlight Mile - This is 5:56 of Buckmaster orchestration. Every once in a while Charlie Watts is audible on his official John Bonham drum set.

Dead Flowers is supposedly country.

The Stones appear to be suffering from an identity crisis. They seem to have forgotten that they are one of the foremost ROCK - as in rock 'n roll - bands. Except for Bitch, this album illustrates a considerable loss in power from the recent past of Let It Bleed and Get Yer Ya-Yas Out!