A full-page Zoo World advertisement promoting the special live radio broadcast of Rod Stewart & The Faces on the King Biscuit Flower Hour. Hear Rod Stewart & The Faces off the record, on the December 30, King Biscuit Flower Hour. Zoo World Date: January 3, 1974 Length: 4 min read 📰 Key Highlights • Large, energetic black-and-white photograph of Rod Stewart performing • Announcement of the special live radio show on December 30, 1973 • Hosted by Bill Minkin in Quadrap

A candid four-page Circus Raves feature reflecting on the internal tensions within The Faces, the departure of Ronnie Lane, and the bittersweet final chapter of the band at the peak of their powers with the album *Overtures And Beginnings*. The Faces face the end — a reflective look at the cracks appearing in one of Britain’s favourite rock ‘n’ roll bands. Circus Raves Date: January 1, 1974 Length: 8 min read 📰 Key Highlights • Examination of the growing tensions and d

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 vibrant newspaper review captured the raw energy and massive draw of Rod Stewart & Faces during their early 1970s peak, as they packed Kiel Auditorium with 8,000 screaming fans. Published on 25 April 1973 in the St. Louis Post-Dispatch, this article celebrated one of the hottest live acts of the era. 📰 What the Clipping Shows A single-column concert review headlined “Rod Stewart’s Faces Draws 8000 To Kiel” by Dick Richmond. The text vividly describes Stewart’s dynamic stag

A lively newspaper review celebrated Rod Stewart & The Faces as they delivered a high-energy rock show at the Minneapolis Auditorium in the spring of 1973. Published on 25 April 1973 in The Minneapolis Star, this piece captured the band’s loose, raucous live reputation during their peak years. 📰 What the Clipping Shows Part of the “Best, worst of rock heard at Auditorium” review column by Tom Murtha. The section on The Faces highlights their powerful rhythm-and-blues sound,

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

A theatrical, sepia‑washed burst of early‑70s rock promotion, this full‑page advert frames Ooh La La as both spectacle and celebration. Its ornate archway and feather‑trimmed imagery evoke a world where music, mischief, and performance blur into one. A playful slice of rock‑and‑roll showmanship. Appearing at a moment when Faces were balancing swagger, humour, and genuine musical craft, this advert captures the band’s irreverent spirit. The design leans into vaudeville‑meets‑g