A bold, high‑energy burst of early‑’70s gig culture: thick black typography, a live‑wire performance photo, and the promise of a packed week of concerts. This NME pull‑out page captures the pulse of the UK live scene at the moment Faces were topping festival bills. 📰 Publication Details Publication: New Musical Express (NME) Date: April 29, 1972 Country: UK Section / Page: What’s On Pull‑Out (12‑page gig guide) Format: Live Listings / Photo Feature Provenance Notes: Verified

A lively, behind-the-scenes newspaper feature captured Rod Stewart and The Faces at the height of their fame, balancing rock ’n’ roll excess with the realities of sudden superstardom. Published on Saturday, 29 April 1972 in The Charlotte Observer, this colourful piece followed the band during their 1972 US tour. 📰 Publication Details Publication: The Charlotte Observer Date: Saturday, 29 April 1972 Country: United States Section / Page: Page 68 (Entertainment / Feature) Form

A bold, poster‑style burst of early‑’70s festival culture: huge block lettering, stacked artist line‑ups, and the promise of four days of music, theatre, films, and fairground spectacle. This NME advertisement captures the scale and ambition of the Great Western Express Spring Bank Holiday Festival. 📰 Publication Details Publication: New Musical Express (NME) Date: April 29, 1972 Country: UK Section / Page: Advertisement Page Format: Full‑page Festival Advertisement The clip

A bold, locomotive‑themed festival advert bursting with red‑and‑black urgency, selling the scale, ambition, and unstoppable momentum of a Bank Holiday mega‑event. A full‑spread advertisement for the Great Western Express Festival, dominated by a striking steam‑train illustration and heavy block typography. The headline declares: “THE FESTIVAL THEY COULD NOT STOP!” followed by the event name, dates, and location. Beneath this sits a stacked list of performers including Joe Coc

A lively New Musical Express news/feature page covering the controversy surrounding an explicit poster for The Faces’ upcoming tour, alongside other stories including the “Turner Trauma” involving Tina Turner and various music scene updates. The Faces spark a porno storm — explicit tour posters cause outrage and debate in the music press. New Musical Express Date: December 25, 1971 Length: 5 min read 📰 Key Highlights • Controversy over The Faces’ risqué tour poster fea

The Faces were riding high on the success of Rod Stewart’s solo breakthrough while maintaining their own loose, boozy rock ‘n’ roll reputation. With their ragged charm and undeniable chemistry, the band delivered one of their most enduring anthems with “Stay with Me.” The track captured the raw energy of a one-night stand with Stewart’s raspy vocals, Ronnie Wood’s gritty guitar and a rolling, bar-room groove that became a classic of early 1970s rock. Released on December 3, 1

A dynamic Melody Maker cover story celebrating The Faces’ electrifying performance at the Weeley Festival, capturing the band at the height of their live reputation. Rod Stewart, Ron Wood and the boys delivering pure rock ‘n’ roll swagger on one of Britain’s biggest stages. Melody Maker Date: September 4, 1971 Length: 4 min read 📰 Key Highlights • The Faces steal the show at the Weeley Festival • High-energy coverage of their live set and stage presence • Band riding

Overview This Melody Maker front page from May 8 1971 captures two major stories in the rock world: the closure of the legendary Fillmore East and Fillmore West venues, and the announcement of the Faces tour featuring Rod Stewart. The headline “Fillmores to Die” dominates the page, marking the end of an era for live music in America, while the inset box titled “Faces Tour” details the band’s upcoming UK dates. The photograph of Rod Stewart, microphone in hand and eyes closed

Faces’ raucous, soulful cover of Paul McCartney’s “Maybe I’m Amazed” became one of the band’s most celebrated non‑album singles, capturing the raw, loose, pub‑rock energy that defined their live shows. Released on April 6 1971 across the US and several European territories, the single paired the McCartney cover with the Faces‑penned “Oh Lord I’m Browned Off,” a swaggering B‑side that showcased the band’s trademark humour and chemistry. Although not issued in the UK, the singl

Format: LP • Vinyl • Album Label: Warner Bros. Records — WS 3011 Country: UK Release Date: February / March 1971 Genre: Blues Rock • Hard Rock Style: Bar‑room rock, live/studio hybrid What the Sleeve Shows The original UK edition of Long Player comes in a heavy card die‑cut sleeve designed to resemble a vintage 78rpm shellac record. A large circular cut‑out in the centre reveals the custom “shellac‑style” label, while the printed artwork imitates an aged paper 78rpm sleeve,