and jaunty B-side did not chart in the UK or US — a commercial disappointment after the success of Kimono My House, Propaganda, and Indiscreet. Issued in the UK and Australia only. A quirky glam-pop footnote.
Single Overview

Side B
Debris – Written-By: Ronnie Lane
US / Canada / NZ / Argentina / Brazil / Japan / Spain / Portugal
Side B
You’re So Rude – Written-By: Ronnie Lane, Ian McLagan

Chart Performance
- UK Official Singles Chart: 6
- US Billboard Hot 100: 17
- US Cash Box: 10 (2 weeks)

No. 17 US Billboard Hot 100, No. 10 Cash Box, and No. 4 Canada. Faces’ only major US hit.
Single Overview
Release Details
Label: Warner Bros. Records.
Format: Vinyl, 7", 45 RPM, Single.
Full Track Listing
UK & Europe
Side A
Stay With Me – Written-By: Rod Stewart, Ronnie Wood

— was the breakout hit from A Nod Is As Good As A Wink... To A Blind Horse. Backed with Ronnie Lane’s “Debris” (US/Canada/NZ/Argentina/Brazil/Japan/Spain/Portugal swapped B-side for “You’re So Rude”), this raucous glam-rock classic peaked at No. 6 on the UK Singles Chart,

Produced by Bernie Andrews, this raw document featured early Queen and Queen II material, including the only release of “Ogre Battle” from the first session. Peaked at No. 67 UK. Issued in standard sleeve, with CD and cassette companions. Later expanded in On Air (2016).

Produced by Mike Vernon, this brass-laden mod-pop curiosity — with “Rubber Band” published by Cooper Music and “The London Boys” by Sparta Music — did not chart. Issued in standard brown/white labels, promo light blue/white labels, and rare unreleased Decca demo with blank labels.

Chart Data (1973)
October 28 - November 3, 1973: (1)
November 4-10 , 1973: (1)
November 11-17 , 1973:(1)
November 18-24 , 1973:(1)
November 25- December,1973:(1)

Reentering the chart on April 24 - 30, 1983, (when Let's Dance was situated at the top spot) at number 80 as part of a 12-week run.

(e.g., opera section removed from “Bohemian Rhapsody”, “We Are The Champions” reduced to one verse/chorus).
Album Overview

Release Details
Label: EMI Records.
Formats: Vinyl LP (gatefold), cassette, CD.

and Budapest (July 27), heavily edited and mixed by Brian May & Trip Khalaf. Peaked at No. 3 on the UK Albums Chart for 17 weeks. Issued in gatefold sleeve, cassette, and CD formats. Not released in the US until August 1996. Criticised by fans for drastic cuts

but the gallows and noose were a brand-new, more visceral addition tailored to the Killer album's themes of murder, decadence, and mortality.

(though a handful of warm-up gigs had occurred in the prior week), and it introduced the full theatrical escalation that defined the band's shock-rock legacy. Prior to this, the Love It to Death Tour (earlier in 1971) climaxed with a staged electric chair execution during "Black Juju,".