"Ooh La La" is the fourth studio album by the English rock band Faces, released in March 1973. The album achieved commercial success, reaching number one on the UK Albums Chart in April 1973. Despite internal tensions and difficulties during its production, Ooh La La has become a defining album for the band, reflecting both its internal dynamics and the unique contributions of each member.
By the time Ooh La La was in production, Faces were facing increasing internal challenges. The band's frontman, Rod Stewart, had achieved solo success, notably with songs like "Maggie May." His rising fame caused friction within the group, as some members felt they were becoming merely a backup for his solo career. Stewart's growing detachment was evident during the recording sessions, as he missed the first two weeks of studio time, leaving the rest of the band to rehearse and work on instrumental tracks, some of which would later appear on side projects by Ronnie Lane and Ronnie Wood, including their work for Mahoney's Last Stand.
Despite Stewart's absence and waning commitment, the band's producer, Glyn Johns, played a critical role in keeping the sessions on track. His steady hand helped the band craft a focused, concise album, which contrasted with the longer, more sprawling recordings of their earlier albums. It was, according to Ian McLagan, a "Ronnie [Lane]'s album" due to the bassist’s increased songwriting contributions. Lane’s expanded role helped shape the quieter, more reflective second half of the album, marking a departure from the boisterous, party-driven songs of their earlier works.
The album features a mix of energetic rock and quieter, introspective moments. Rod Stewart’s compositions on Ooh La La were mainly written in collaboration with Wood and McLagan, but notably, he co-wrote two songs solely with Lane. One of these, "Flags and Banners", features Stewart playing banjo or secondary guitar, with Lane handling the lead vocals.
A particularly notable track is the title song, Ooh La La, which is the only song by Ronnie Wood to feature a lead vocal in the studio during the band’s entire existence. The song, co-written with Ronnie Lane, was initially recorded with Stewart and Lane both attempting lead vocals, but neither were satisfied with their performances. Glyn Johns suggested that Wood take over the lead vocal, and this rendition became one of the album’s highlights. Stewart later recorded his own version of "Ooh La La" on his 1998 album When We Were the New Boys, paying tribute to the late Ronnie Lane.
Other tracks worth noting include the instrumental "Fly in the Ointment", which was a joint composition by all four of the instrumentalists in the band, a rarity for Faces. Normally, such collaborations were relegated to B-sides, but this one made it onto the album, showcasing the band’s collective effort.
In addition to the album’s original content, Ooh La La was reissued on 28 August 2015 as part of the comprehensive 1970–1975: You Can Make Me Dance, Sing Or Anything... box set. This reissue included early rehearsal takes of three of the album's tracks, offering fans a glimpse into the album’s development and providing additional context to its creation. The bonus material was primarily instrumental or early demo versions of songs that would later make it onto the final album.
A few tracks, such as "Skewiff (Mend the Fuse)" and "Dishevelment Blues", were released as B-sides during the initial album promotion and were later compiled on the Five Guys Walk into a Bar... box set in 2004.
The cover art for Ooh La La was designed by Jim Ladwig and features a stylized photograph of Gastone, a 1920s character created by Italian comedian Ettore Petrolini. The album's Art Deco-inspired design is distinctive, with a cover that includes an animated feature—when the top edge of the sleeve is pressed down, the eyes of Gastone appear to discolour, and his jaw drops into a leering smile. This playful, interactive artwork was a unique touch that captured the irreverent spirit of the Faces.
The original LP also featured a gatefold sleeve, which depicted the band in a "laddish" pose, gazing admiringly at a can-can dancer. This cheeky visual was a direct reference to the lyrics of the title track, reinforcing the album’s playful and carefree attitude.
Despite the internal struggles during its creation, Ooh La La remains one of Faces' most well-regarded albums. It was included in the 1001 Albums You Must Hear Before You Die list, a testament to its enduring influence and appeal. The album captures the dynamic of the band at its most cohesive, blending rowdy rock with introspective moments, and it highlights the diverse talents of each member.
The 2015 remaster and reissue of the album, alongside the box set, ensured that Ooh La La continues to be appreciated by both long-time fans and newer listeners, solidifying its place in the annals of classic rock.
