Faces

The Best Of Faces: Good Boys When They're Asleep (Remastered)

  • MOG Editorial Review

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    Though their run was short-lived, Faces still managed to create more timeless songs than most bands do in several decades. Featuring tunes that first broke Rod Stewart and Ron Wood through to the mainstream, Good Boys When They're Asleep manages to get each and every essential track from Faces' six-year run, one that also manages to showcase their depth. While early tracks in the collection like "Wicked Messenger" and "Bad 'N' Ruin" manage to highlight their knack for smoky blues-rock, it's their softer, contemplative songs that managed to separate them from the pack. The latter style earned them their biggest hit in the form of the breathtaking "Ooh La La," but you'll discover plenty more where that came from on tracks like "Sweet Lady Mary" and "Glad and Sorry," and even if you're familiar with them already, you'll be be thankful to revisit them as soon as they start playing.
  • AMG Review of Best of Faces: Good Boys When They're Asleep

    Amg
    Stephen Thomas Erlewine
    All Music Guide

    Twenty years after their breakup, the Faces remained one of the most beloved bands in rock history, but it wasn't until 1999 that they were rewarded with a genuine collection, one that worked as an introduction while satisfying the dedicated with a truly listenable, terrific album. Not that the 19-track Good Boys When They're Asleep: Best of Faces contains everything worthwhile from the band -- the absence of the extraordinary live version of Paul McCartney's "Maybe I'm Amazed" is the most egregious omission, and there are a number of remarkable songs missing as well -- but it's hard to quibble with anything that is here. As a matter of fact, listening to Good Boys When They're Asleep is quite a thrilling ride, since it emphasizes their two sides -- the rowdy, party-addled rockers and the melancholy ballads. Collectors will be happy to have the previously unreleased "Open to Ideas," along with the non-LP selections "Pool Hall Richard" and "You Can Make Me Dance, Sing or Anything," but the real news about the disc is that it offers a genuine retrospective that's every bit as good as the band itself, while arguably being a better, more cohesive record than any of the original albums. For longtime fans, as well as neophytes who have read about the Faces but never dived into the records, it's an album that's worth the wait.

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