Five Guys Walk Into A Bar (4CD Box Set) by Faces (2004-07-20)

A great box set if there ever was one, collecting studio tracks, rehearsals, live songs, alternate mixes, and 31 previously unreleased songs, altogether reproducing 26 of the 38 songs the band released officially on their four albums and various non-album singles. Included is also the flexidisc B-Side “Dishevelment Blues”, which the band members claim they never intended for release at the time but went out anyway as part of a sample. There are 67 songs on the four discs in this set, a 45-page booklet, and tons and tons of pictures, including five of all five guys in the band (one of these group pics is used on the box set’s cover). Nice. Also in the booklet are full track notes, and pictures of their memorabilia, and finally also a totally unnecessary transcription of band banter before their cover of “Jealous Guy” (honestly – who cares what they’re saying?!).The songs are, of course, great. There are mellow songs, like “If I’m On The Late Side” that are great, with gentle guitar, bass, burbling keyboards, and Rod Stewart’s inimitable voice; meaty psychadelic-tinged tunes like their first single “Flying” (featured here in both studio and Live At The BBC versions); there are also, of course, all those wicked honkey tonk rockers like “Too Bad” (and the massive hit “Stay With Me”, the last song on the last disc in the series) that The Faces are so well known for. Songs like “As Long As You Tell Him” have superb guitar solos by Ron Wood, outdoing anything he’s done since with the Stones. A few, such as “Richmond” and “Debris” are sweetly sung by Ronnie Lane, with the effect being similarly jarring/distressing to Keith singing a Stones song, or Bill Ward singing a rare Black Sabbath song; it’s like it’s another band.Ironically, the last song on the last studio album by The Faces is one sung by Ron Wood, the title track “Ooh La La”, it was also his first uneasy stab at Joe Walsh-esque singing, which he later followed through for full effect on his magnificent solo albums (where he develops more of a Dylan-esque wheeze), and concerts and solo tour with Keith Richards (see The First Barbarians, and The New Barbarians).But it’s the previously unissued songs that are of the greatest interest. “Jealous Guy” is a very slow, lumbering version of the 1971 John Lennon song, that they recorded at Mick Jagger’s Stargroves estate two years later as one of the last they ever did with the original line-up (the choice is ironic, given that Stewart’s ego was out of control and his solo career was causing such band resentment that Ronnie Lane left early). “Maggie May”, a Rod Stewart song that the band hijacked for the BBC, is pretty conventional, although done here without the mandolin. “Cindy Incidentally”, an alternate mix of this song from the fourth is very nice (hard for me to tell the difference, as I’ve never heard their regular releases). “Maybe I’m Amazed”, a Paul McCartney song that the band covered on their second album, is here in a live at the BBC version, full of strut and attitude and double the length of their own studio version – great blues guitar, throbbing bass, burbling organ, and crashing Kenney Jones drums. “Around the Plynth/Gasoline Alley” is a raw, sawing slide guitar rocker that bristles with electricity and howls that is just as good as anything Led Zeppelin would have done in this vein – a cover, of sorts, of the Jeff Beck Group song “Plynth (Water Down The Drain)” – that is on one of their studio albums, also from 1970, except this one tacks on “Gasoline Alley”, from Rod Stewart’s solo recordings of the time. “I Came Looking For You” is on the collection as a hotel demo that Ronnie Lane put down a guitar track for while Ian MacLagan accompanied on electric piano, with its funny, hammy moments. By the time it was recorded, it was rocked up and became “Last Orders Please”, also on this collection (the two songs are back-to-back for comparison). “Wyndlesham Bay (Jodie)” is an outtake from the last album’s sessions, a very good rocker with a funky keyboard and guitar interlude. The band goes for a very funky live version of “I Can Feel The Fire”, from Ron Wood’s first solo album (which Stewart and McLagan played on, along with Jagger, Richards, and George Harrison, among others). “Tonight’s Number” is an interesting instrumental Ron and Ronnie recorded for the soundtrack of Mahoney’s Last Stand in 1976, long after the band broke up (um… why is it included here?), with its very nice horns and musical progression. “Come See Me Baby (The Cheater)” is an outtake from the last studio album, and is a pretty mellow tune that focuses on Stewart’s cheeky lyrics, “If you lost the man you love, come and see me babe/ Cause I’ve lost the woman I love, and I feel lonely.” There’s a nice cover of “The Stealer” by Free, Rod’s favorite band (the booklet mentions that Free could always be heard blasting out of his dressing room pre-show), that Rod starts off with announcing “here’s a number by a band that we think are one of the best; it goes like this…” Nice rockin’ funky number full of honkey tonk guitar. “You’re My Girl (I Don’t Want To Discuss It)” is a cool rocker, played live at the BBC, complete with some corny stage banter. Another outtake from Ooh La La, “(If Loving You Is Wrong) I Don’t Want To Be Right” is absolutely stunning, and compares favorably with Luther Ingram’s original. Scrumptious. Why on earth was this recording not included on their last album, shocking!!! “Take A Look At The Guy”, another song from Ron Wood’s 1974 first solo album, makes an appearance here at a 1975 live show, one of the last that the band played. “Bad ‘n’ Ruin” is a funky live version, and there’s also a steamin’ “Cut Across Shorty”, a song Eddie Cochran made popular and which Rod Stewart had already recorded in 1970, one year earlier (they eventually also played it on their live album Coast To Coast: Overture and Beginners, of which no songs appear on this box set, which came out in 1974 too). “(I Know) I’m Losing You” and “I’d Rather Go Blind” also both appear as very long live versions, the former being a Motown song that the band had played together on for its inclusion in Stewart’s third solo album Every Picture Tells A Story (nice drum solo on this one too), and the latter a song made famous by Etta James that they also included on Coast To Coast – nice mellow version that leans on Stewart’s vocals ( with also a nice solo at the end). The band does a chilled-out version of Jimi Hendrix’s “Angel”, and there’s a cool honkey tonk live “Stay With Me”. The impossibly-titled “You Can Make Me Dance, Sing Or Anything (Even Take The Dog For A Walk, Mend A Fuse, Fold Away The Ironing Board, Or Any Other Domestic Short Comings)” is a scrappy bit of funkified poppy fluff (ughhhh – are those imitation strings?!?), with nice Rod Stewart vocals, and Yamauchi Tetsu’s only songwriting credit with the Faces; it was the B-Side to non-album single (of which there are quite a few here) “Pool Hall Richard”, which is a wicked piece of near-”Stay With Me” rudeness. “Miss Judy’s Farm” is a nice live funk-rocker, while “Love In Vain” is a deeply long wonked-out slowed-down cover of the Robert Johnson masterpiece (”We’re going to continue and give you a bit slower. This one we’ve done many times before, an old Stones number, and we’ll probably dedicate this one to Mick, as he’s no longer one of us, for those who are not married – ‘Love In Vain’, God bless his socks.” (An old Stones number?!?!) It starts off slow, and is a bit hesitant at moments, but it gets in full noisy swing in patches throughout. “My Fault” is cool live rock ‘n’ roll, while “Flyin’” has a supreme Sixties blues-rock feel to it (and a rare bit of psychedelia in the “buttons and bows” refrain). Finally, the “Dishevelment Blues” is a wonky out-take of Willie Dixon’s “Evil” that sort of saunters through it all, with lots of squeaky soloing.One of the marvels of the set is that it contains three songs from the band’s first rehearsal from the summer of 1969, which happened soon after a dejected Ronnie Lane called Ron Wood about the sudden break-up of The Small Faces (Steve Marriott pulled the plug abruptly New Year’s Eve 1968) and got an invitation from Ron to jam, “you fancy comin’ over, and we’ll have a little play?” “Shake, Shudder, Shiver” is full of piss and vinegar. Love it! ”Evil”, a Willie Dixon song, is pure lunatic psychedelic crashing blues magic, with Rod’s howling lively-ing things up (it’s interesting that the Faces did blues numbers – they never had as the Small Faces, this is the influence of Wood and Stewart). “I Feel So Good” is sweet sweaty blues noise that gloms and gloms.And just as the box contains four songs from the band’s first rehearsal, they also have the whole of their final recording session together, which took place in January 1975, when they did originals “Open To Ideas” and “Rock Me”, as well as Tommy Tucker’s “Hi-Heel Sneakers” played together with Solomon Burke’s “Everybody Needs Somebody To Love”, and the Beach Boys’ “Gettin’ Hungry”. These were the only studio sessions with a different line-up from the one that recorded the band’s four studio albums (and its live line-up until 1974), the addition being Japanese bassist Yamauchi Tetsu, who was a session musician in Tokyo and London during those years. “Hi-Heel Sneakers” is nice funky blues, standard, “Everybody Needs Someone To Love” blends seamlessly near the end, with a cool refrain to the tune – very inventive, as it’s nearly the same riff anyway. “Gettin’ Hungry” starts off real slow, sounding like a Rod Stewart solo song, before popping into bop-land, perhaps fulfilling the potential that the goofy and under-produced Beach Boys song offered (at least until it warms up a bit). “Open To Ideas” is a soft rocker and also a bit dull, while “Rock Me”, as a rare Ian McLagan solo original, does just that, keeping the past swift and fun.The booklet is good, containing an intro from Ian MacLagan, a history and appreciation by David Fricke, and an afterword by Ian with some words for the sadly-departed Ronnie Lane. In between there are the expected “appreciation boxes” by musicians that were influenced by the Faces; these are Jeff Tweedy of Wilco, Gaz Coombes of Supergrass, Rich Robinson of the Black Crowes, Slash, Glen Matlock and Paul Westerberg. The pictures are great and show a band with highly eclectic fashion taste. The story starts off talking about how the band was formed from the ruins of the Small Faces (Kenney Jones, Ronnie Lane and Ian MacLagan) and the Jeff Beck Band (Ron Wood, now switching back to his beloved guitar from a short stint as Beck’s bassist, and Rod Stewart). Throughout the book there is also a certain emphasis on the band’s drinking – they had a full bar onstage with them and any member could take a drink at any time – and of course throughout the sessions as well (this is a rep that they share with the Replacements and Guns N’ Roses, so it’s nice to see that Paul Westerberg and Slash appreciated the Faces). The booklet also gives certain factoids, such as mentioning that their first practice space came free via the Stones’ Ian Stewart, a good friend of Ronnie Lane’s. They initially didn’t want to take on Rod Stewart as a singer, not wanting “another Steve Marriott” and his tantrums, but that magic voice won them over. “We had no direction, just influences,” MacLagan says of their early years, when covers played heavy in their live sets. On the songwriting process, Stewart claims that he didn’t hold anything back for his solo albums, while Wood says that “we did most of our writing in the dressing room, before a show.” The booklet describes the band, their history, their attitude, their cameraderie, the live experience (including one reprinted letter-to-the editor disputing a claim that they were “sloppy” – drunk, yes, but never sloppy), and the eventual break-up. Sad, but true – all good things have to come to an end. But with a box set like this, it doesn’t need to end.

The Faces are one of the most under-appreciated bands in the history of rock'n'roll. At the time of their greatest activity, they had the misfortune of being perceived as the backing band of lead vocalist and solo star Rod Stewart ("Rod Stewart and the Faces" appearing on more than a few billboards and concert fliers.) Indeed Ronnie Wood is probably the most under-appreciated guitar player in the annals of rock (overshadowed by Stewart here, and Keef and the spectre of Jones and Taylor in the Stones).Some might wonder why a band that put out four proper studio albums in its entire career should merit a 4-disc box (with each disc longer than any of the original albums.) But keyboardist Ian McLagan has done a masterful job of selecting singles, album tracks, live unreleased material, and B-sides that collectively show off this band in all its drunken swaggering glory. (Minor gripe: one of my favorite album tracks, their cover of Chuck Berry's "Memphis," is omitted. Oh well.)The word "sloppy" is often used in describing the Faces, but I think "drunkenly exhuberant" is probably a better characterization. They chug along with their own distinct wobbly cadence, slightly off kilter yet totally in the pocket. Each player is outstanding on his instrument, and collectively they are reminiscent of the Stones and Rockpile, with maybe a dash of Led Zep (Stewart's cocksure throaty swagger playing off Woody's drop dead cool). The Faces manage to evoke the 70s in the best possible sense, while at the same time sounding timeless; straight-on rock'n'roll with a bluesy bent never goes out of style. Indeed, you could put the four discs here into the CD changer with the Stones' Exile on Main Street or Sticky Fingers and hit shuffle, and it would be seamless. And that is high praise.There are so many rare or unreleased nuggets here-- "Pool Hall Richard" is a great song, the live "Love in Vain" is killer. And if you are a Woody fan (which you should be), the two songs the band added to its live set off his first solo album-- "Take a Look at the Guy" and "I Can Feel the Fire"-- sound great here in live versions, even though Tetsu had replaced the underrated Ronnie Lane by then. And of course Stewart used the Faces intact on many of his solo numbers at the time, and you get to hear the band rip through "Angel," "Maggie May," and others off those classic Mercury Rod Stewart recordings. The title track from the album Ooh La La (which clooses that record, as well as disc 3 here) is such a gorgeous and poignant song that Stewart, Woody, and Lane have all released subsequent versions of it.Many box sets do nicely in collecting all the relevant material, but don't make sense played straight through. As Mac observes in the liner notes, chronological sequencing really is silly; no one sequences a normal album or a live show's set list that way. This collection is brilliantly and lovingly sequenced by McLagan such that each disc is a great listen; you don't have to look at this solely as fodder for your iPod.For me, the star of the show is Ronnie Wood, who's stellar guitar work drivess the raunchy "Cindy Incidently," "You're So Rude," and "Miss Judy's Farm," three quintessential Faces songs. Of course McLagan's keyboard work is exemplary as well, and Ronnie Lane's heart, songwriting, and vocals provide a balance to keep Stewart from dominating. And if you know Rod Stewart only through "Hot Legs" and beyond and can't stand the guy, this set will totally turn your head around on him.Other recommended listening: Ooh La La and A Nod is as Good as a Wink to a Blind Horse, Faces; Gasoline Alley, Never a Dull Moment and Every Picture Tells a Story, Rod Stewart; I've Got My Own Album to Do, Ronnie Wood; Live at the Ritz, Ronnie Wood and Bo Diddley; Rough Mix, Pete Townsend and Ronnie Lane.

Dopo due anni di lista d'attesa finalmente ha preso posto nella mia collezione...raccomandato soprattutto per la presenza di numerosi pezzi live che finora non ero riuscito a raccogliere...qualità di masterizzazione e finalmente prezzo "abbordabile" completano il quadro...consigliatissimo!

Even If this was a simple multi Disc set I would give this 5 Stars however you get so much more to tell you more about the Band that was "THE SMALL FACES" this group is one of the LOST SUPER GROUPS of rock and roll history. This Band has made MANY rock SUPER STARS ...Proving it is EASY ... The Small Faces was made up of ROD STEWART...RONNIE WOOD, KENNY JONES ( now drummer for "THE WHO"...Ronnie Lane ( died of M.S ) however while he was alive he played with Rod as well but did a lot of side work; and finally IAN McLagan who went with Rod Stewart to be in his Band. This History of 4 Discs and if you found this interesting you will find out all you ever wanted to know about THE FACES in this box set. I was amazed and followed along with the discs as I read the whole thing. I have also been a FACES fan forever (at least 40 Years ) and I doubt that any band other than the stones have been as successful, its no surprise to find out that the two groups spend time together and cut many projects together.

"Five Guys Walk Into a Bar..." va más allá de ser una recopilación de canciones. "Five Guys..." es una exposición de Los Faces completa y fideligna, como creo que no se hecho nunca de otro grupo de Rock. Después de oír estos cuatro discos uno tiene la sensación de ser un colega de Rod, Kenney, Ian y los dos Ronnies que suele acompañarlos a tomar unas pintas (muchas) en el pub del barrio y a los ensayos de la banda, experiencias casi siempre difíciles de ser diferenciadas la una de la otra. Del mismo modo que el contenido de los CDs muestra a la banda tal y como es, el título está a la altura: no hay mejor descripción de Los Faces que "Cinco tíos entran a un bar..."A nivel estrictamente musical se puede resumir así:Faces fueron una de las más grandes bandas de los 70 y esta caja les hace justicia.

Rien à ajouter aux autres commentaires !Indispensable dans toute discothèque idéale du rock !

イアン・マクレガンがプロデュースした４枚組ＢＯＸで、盤が折り重なって収録できるコンパクト・サイズの装丁。沢山の写真、沢山の未発表ライブやアウトテイクを収録し、詳細なライナーがついた正に愛情満載のＢＯＸであり、ある意味理想型であると思う。収録順はバラバラで、ごった煮的でもあるが、ＢＢＣライブを中心にした未発表ライブが時代性を認識させつつ、バンドの全体像を大きく把握できる作りになっている。ロッド、ロン、イアン、ロニー、ケニー、そしてテツの若き日のロックンロールを堪能しよう！以下、収録曲を分類してみた。本ＢＯＸに収録されたオリジナル・アルバム４枚からの曲は以下の通り。『FIRST STEP』:[FLYING],[AROUND THE PLYNTH],[THREE BUTTON HAND ME DOWN]『LONG PLAYER』:[ON THE BEACH],[RICHMOND],[SWEET LADY MARY],[HAD ME A REAL GOOD TIME],[BAD'N'RUIN]『A NOD IS AS GOOD AS A WINK...TO A BLIND HORRSE』:[TOO BAD],[DEBRIS],[LAST ORDERS PLEASE],[THAT'S ALL YOU NEED],[YOU'RE SO RUDE],[LOVE LIVES HERE],[MISS JUDY'S FARM],[STAY WITH ME]『OOH LA LA』:[IF I'M ON THE LATE SIDE],[INSURANCE],[GLAD AND SORRY],[FLAGS AHD BANNERS],[SILICONE GROWN],[JUST ANOTHER HONKY],[OOH LA LA],[CINDY INCIDENTALLY],[BORSTAL BOYS]シングル・オンリー曲 : [AS LONG AS YOU TELL HIM],[REAL WHEEL SKID],[MAYBE I'M AMAZED],[OH LORD I'M BROWNED OFF],[SKEWIFF],[YOU CAN MAKE ME DANCE],[SING OR ANYTHING],[I WISH IT WOULD RAIN],[DISHEVELMENT BLUES]未発表ライブ : [MAGGIE MAY(BBC/71)],[MAYBE I'M AMAZED(BBC/71)],[I CAN FEEL FIRE(75)],[YOU'RE MY GIRL(BBC/73)],[MISS JUDY'S FARM(BBC/73)],[TAKE A LOOK AT THE GUY(75)],[BUD'N'RUIN(BBC/71)],[CUT ACROSS SHORTY(BBC/71)],[I'M LOSING YOU(BBC/71)],[I'D RATHER GO BLIND(75)],[TOO BAD(72)],[ANGEL(BBC/73)],[STAY WITH ME(BBC/71)],[THE STEALER(BBC/73)],[AROUND THE PLYNTH/GASOLINE ALLEY(BBC/70)],[MISS JUDY'S FARM(BBC/71)],[LOVE IN VAIN(BBC/71)],[MY FAULT(BBC/73)],[FLYING(BBC/70)]アウトテイク（from『OOH LA LA』) : [JEALOUS GUY],[CINDY INCIDENTALLY],[WYNDLESHAM BAY],[COME SEE ME BABY],[I DON'T WANT TO BE RIGHT]リハーサル : [EVIL],[I CAME LOOKING FOR YOU],[SHAKE,SHUDDER,SHIVER],[I FEEL SO GOOD]ラスト・レコーディング・セッション : [HI-HEEL SNEAKERS/EVERYBODY NEEDS SOMEBODY TO LOVE],[GETTIN' HUNGRY],[OPEN TO IDEAS],[ROCK ME]サントラ : [TONIGHT'S NUMBER]