A new 140g vinyl edition of the Faces’ final studio album Ooh La La brings the 1973 classic back into circulation. The reissue highlights the album’s enduring appeal and the distinctive Art Deco‑inspired packaging that made the original LP a standout release.

Label: Warner Bros. Records Catalogue Number: K 16494 / WB 6385 Format: 7" Vinyl Single (Push‑Out Centre / Solid Centre / Styrene / Promo) Released: November 22, 1974 (UK) A joyous, loose‑limbed funk‑rock celebration — the final Faces single, and the longest song title ever to chart in the UK. Released in the UK on November 22, 1974, “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 Co

A warm, reflective snapshot of Ronnie Lane at a crossroads — stepping away from the Faces’ chaos and into a quieter, self‑directed world of music, family, and travelling circus dreams. 📰 Publication Details Publication: Circus Date: April 1974 Country: United States Section / Page: News Piece Format: Article 📰 What the Clipping Shows The article appears under the headline “Ronnie Lane Prepares For Circus”, presented in a clean, column‑based layout. A black‑and‑white port

A full‑page Melody Maker article investigating allegations of heavy‑handed crowd control at Faces concerts. Written as an immersive, first‑person report, the piece follows a Melody Maker journalist who temporarily joins the venue’s stewarding team to witness the treatment of fans firsthand. Publication: Melody Maker Date: December 15, 1973 Format: One‑page article Writer: Melody Maker A moment of rock‑era scrutiny, fan‑culture tension and on‑the‑ground music journalism. 📰

A raucous, swaggering glam‑rock blast, “Pool Hall Richard” captures Faces at their most loose, loud, and joyously unrestrained — a bar‑room riot of guitars, horns, and Rod Stewart’s unmistakable rasp. Released on November 30, 1973, the single arrived between the albums *Ooh La La* and the band’s eventual split. Issued by Warner Bros. Records under catalogue number K 16341, the track delivered the band’s trademark mix of bluesy grit, pub‑rock energy, and glam‑era attitude. Bac

A sharp one-page news report in Record Mirror details the fan backlash after Roxy Music failed to appear at a scheduled Bristol gig, while the Faces and other acts also faced tour-related frustrations. The piece captures the growing tension between rising glam and rock bands and their increasingly demanding live schedules in late 1973. This November 17, 1973 Record Mirror feature reflects the chaotic reality behind the glamorous façade of the 1973 British tour circuit. 🗞 Rec

A warm, enthusiastic one-page review in Record Mirror welcomes Rod Stewart’s compilation album *Sing It Again Rod*, calling it a “wonderful collection” and a must-have for all Stewart fans. The piece celebrates the timeless appeal of Rod’s recent hits and highlights the strength of his song choices across his solo career. This July 21, 1973 Record Mirror review captures Rod Stewart at the peak of his early-1970s solo stardom, when his raspy voice and masterful blend of rock,

A dense, burst of early‑70s rock criticism, this Sounds review section captures the era’s sharp‑edged tone and no‑nonsense approach to album appraisal. The writing is brisk, unsentimental, and deeply rooted in the live‑wire energy of the period. Rock ’n’ roll confidence meets critical scrutiny. Appearing at a moment when British rock was splintering into new directions, the page reflects both admiration and frustration: a sense that some bands were evolving while others were

Ooh La La arrived in April 1973 as the band’s last great burst of swaggering, ragged, soulful rock and roll. Recorded at Olympic Studios and produced by Glyn Johns, the album captured the group at a moment of transition, with Ronnie Lane increasingly stepping forward as a songwriter and vocalist while Rod Stewart’s solo career was rapidly accelerating. The result is a record steeped in grit, humour, melancholy and the band’s trademark bar‑room looseness — a farewell that feel

Released as a free giveaway with the New Musical Express on April 7 1973, this promotional flexi‑disc offered fans an advance preview of Faces’ forthcoming album *Ooh La La*. The disc featured short extracts from five album tracks on Side A, plus the exclusive non‑album track “Dishevelment Blues” on Side B. Issued through Sound For Industry in partnership with NME and Warner Bros., the flexi became a sought‑after collectible and one of the most unusual items in the Faces disc