Posts Tagged ‘Rod Stewart’

Redeeming Rod: The Faces Reunion

As you may have heard by now, Rod Stewart confirmed last week that all the surviving members of his old band, the Faces (including current Rolling Stone Ron Wood and former Who drummer Kenny Jones), are planning to reunite for at least a tour next summer.

Could this be a case of Rod redeeming himself? Well, perhaps. I did mention in an earlier post that the best thing Rod could do at this point in his career was record a quick album with Wood and a tight rhythm and horn section. This is probably the next best thing to that. It sounds, too, from Rod ’s quotes that he’s quite into this reunion idea; maybe he was even the driving force behind it.

But before you or I get too vibed about this, I do think it is necessary to temper everyone’s excitement. After all, the man is now in his 60s, more than 30 years past the last Faces recordings and tours. What will be heard in 2009 is simply not going to be more than a good approximation of what occurred in the early 1970s. While Rod can still hit the notes with the same regularity as his did back then, the tone, the texture, the feel and the soul are not going to be the same. The voice is there, but it’s changed, no buts about it. Anyone interested in seeing the outcome of this possible reunion has to — like most band reunions — hope for the best but expect much less. Better to be pleasantly surprised by what happens than to feel that what you’ve just experienced was yet another sad coda to a historic band and a waste of money.

A second point that needs to be considered is that, while Rod seems to be genuinely excited about this reunion, he has been genuinely excited about lots of other things in his musical career that haven’t turned out to be what we, as fans, wished for. In the last couple of decades we’ve heard very good things about albums like A Spanner in the Works or When We Were the New Boys, and while they may have been the most solid works he’s laid down in the studio during that period, they were far from the “returns to form”
that many Rod fans may have built them up to be. (more…)

CHART ATTACK!: 11/1/86

Howdy, everybody!  Happy Halloween!  Between Tina Turner’s hair and Eddie Money’s face, it’s quite a scary week here at CHART ATTACK!  Take a look back at what singles were topping the Billboard Hot 100 on November 1, 1986!

10.  All Cried Out — Lisa Lisa and Cult Jam with Full Force Amazon iTunes
9.  Take Me Home Tonight — Eddie Money Amazon iTunes
8.  Sweet Love — Anita Baker Amazon iTunes
7.  When I Think of You — Janet Jackson Amazon iTunes
6.  True Blue — Madonna Amazon iTunes
5.  Human — Human League Amazon iTunes
4.  Amanda — Boston Amazon iTunes
3.  I Didn’t Mean to Turn You On — Robert Palmer Amazon iTunes
2.  Typical Male — Tina Turner Amazon iTunes
1.  True Colors — Cyndi Lauper Amazon iTunes

10. All Cried Out — Lisa Lisa and Cult Jam with Full Force

I have the weirdest memory of this song. I remember watching America’s Funniest Home Videos very early on in its run (I was 12, okay?), and they had a video of a guy who had done his makeup half as a bride, half as a groom.  And his shtick was that he sang “All Cried Out” in profile to the camera, half as the woman and half as the man.  That’s all I remember about this song; it wasn’t until I listened to it just now that I realized it was even a duet. Who’s the guy, anyway?  I’m guessing he was in Full Force.  According to Wikipedia, Full Force had two vocalists — Paul Anthony or Bowlegged Lou — so I guess it was one of those two.  Please let it be Bowlegged Lou.  I like the idea of someone named Lisa Lisa having a passionate lover’s quarrel with Bowlegged Lou.  “You listen here, Lisa Lisa!”  “Don’t talk to me like that, Bowlegged Lou!”  And then, of course, later, they reconcile, and before you know it, the priest is going, “Do you, Lisa Lisa, take Bowlegged Lou…”

Why did Lisa Lisa need Full Force, anyway?  Wasn’t having Cult Jam enough?  Both sound like formidable teams, but a Full Force Cult Jam sounds like overkill.

Holy cow, here’s a “live” performance from 1986, and guess what? Paul Anthony and Bowlegged Lou sing to Lisa Lisa! It’s a Full Force threesome!  Fast forward to 1:40 for the good stuff, and by “good stuff,” I mean “some seriously awful fashion decisions.”

I personally find this song to be just another lame ballad, but apparently, I’m in the minority: listen to this crowd do all the singing at this performance from earlier this year. They’re loving this one, even without good ol’ Bowlegged Lou. By the way, I’m not saying that people can’t get older and maybe put on a few pounds, now she’s more like Lisa Lisa Lisa.

9. Take Me Home Tonight — Eddie Money

Is it just me, or does Eddie Money kind of look like Benny Mardones?

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Chartburn: 8/01/08

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Mainstream Rock: Mike + the Mechanics, “Silent Running” (1985)

David Medsker: I love Paul Carrack as much as the next guy, but is what I refer to as a non-song. Not a whole lot of meat on these bones.

Jeff Giles: An odd little hit from an odd little record. People remember Paul Carrack and Paul Young (no, the other Paul Young) as Mike +/& the Mechanics’ singers, but this album featured lead vocals from two other guys. I can’t remember either of their names, but I do remember that I like “Taken In” more than “Silent Running” or “All I Need Is a Miracle.”

Jon Cummings: If I remember correctly, M+M albums were packaged with drool cups. Or did I just dream that during the 48-hour nap that was induced by my one and only full hearing of this song? Even 23 years on, it’s extraordinary that a nuclear war/Terminator/whatever prog-rock “epic” could be so abysmally boring. (Compared to this oblique blather, Sting’s contemporaneous “Russians” was a Tolstoy novel.) It’s also extraordinary that Carrack’s voice could be so thoroughly wasted. His M+M work is so pulse-deadening that it calls into question everything he did before. (Was “How Long” really that good? Doesn’t Glenn Tilbrook sing “Tempted” just as well in concert as Carrack did on record?) God, I hated this band.

Dw. Dunphy: Mike + the Mechanics got off to a good start, didn’t they? Big hit, nice synth-y melody, Paul Carrack — but it’s all for naught. I don’t understand a whit of this song. It sounds like the theme to some really bad syndicated sci-fi show. If you don’t pay too much attention to it, perfectly pleasant.

Scott Malchus: I often wonder what songs from the ’80s, with all of the lame electronic drums and synths, would sound like with real instruments. This song holds up okay. I guess I always expected more from Mike Rutherford since he was the lead guitarist from Genesis (and, before that, the bassist). All of the Mike + the Mechanics songs sound very “lite rock” compared to what he did in the ’70s. Then again, look at Phil Collins’s solo output. Worse, look what Genesis had become by the end of the ’80s. How is it that only Peter Gabriel was able to maintain his artistic integrity after he quit the band?

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Bottom Feeders: The Ass End of the ’80s, Part 7

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The story of how I completed my collection continues in 2006. I was winding down to the end. I found that collecting the first 4,000-plus songs to hit the Billboard Hot 100 in the 1980s was no big deal, but the last 200 or so were giving me issues. If I had to pinpoint why, I’d say the three biggest obstacles were:

1. “Single-only” songs. The songs released by artists never heard from before or since, and only available on 45, were the most difficult ones to find by a long shot.

2. Crappy records from the tail end of an artist’s career. Contributing to the difficulty of my task were the artists that had had hits for 20 years prior to the ‘80s but just didn’t know when to stop recording, or tried to make a failed comeback attempt. Half the time the artist was crap once the ‘80s rolled around, and his/her/their LP sales were so poor there was never a second pressing or a proper CD release. The other half of the time the artist’s label decided enough was enough, so he/she/they had to release one final album on a new label — naturally, the singles from new-label, final-label albums don’t appear on 99 percent of greatest-hits compilations since they weren’t spawned from the same label as all of the artist’s other songs.

3. Price. I could’ve finished my collection a lot sooner than I did had I been willing to spend anywhere from $12 to $25 on an LP. But I’m not made of money, so aside from some pretty rare albums, a limit of a few dollars was my peak price. In almost every case, what I needed was considered rare mainly because it was crap and no one’s ever had the desire to release it again: go ahead and charge $250 for a rare Beatles 45, but just because you have a tough-to-find Unipop single doesn’t mean it’s worth anything. The end result of it all is that I was eventually able to find everything at the price I wanted.

Here’s the thing, though — I say my collection is “complete,” but technically it’s not. I have 4,229 of the 4,230 songs (approximately) that charted in the Hot 100 from 1980 to ’89. I’m missing just one record: “American Memories” by Shamus M’Cool. Though I do have it on MP3, it’s the hard copy I desire, but I can’t locate it. And I’m never going to locate it, but after a few years of searching I’m finally okay with that.

As far as I’m aware, only ten copies of this 45-only song were ever made. It’s easily the hardest to find of any charting song in the ’80s, and some historians will tell you it’s the hardest song to locate in the history of the Billboard chart. Up until April I’d only seen one copy available, as part of a full collection of music going for $300,000. Then a crazy thing happened — there was a dude on eBay selling this record! The end price was $3,600; if I was going to spend that much money on something I’d have ponied up an extra hundred and bought Oran “Juice” Jones’s $3,700 lynx coat. Trust me, though, it pains me not to have “American Memories.” Instead I’ve filled that hole with the purchase of the original contract that Shamus M’Cool signed to perform the song on The Mike Douglas Show back in 1981. It hurts to collect for so long and then not be able to finish my collection, but such is life.

Of course, I just couldn’t stop there, so next week we’ll end the story with where I’m currently at today with the collection. In the meantime, enjoy some more Bottom Feeders starting with the letter “B.”

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Chartburn: 3/14/08

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Mainstream Rock: Sting, “All This Time” (1991)

Zack: There’s a certain element of playfulness to this song and its accompanying video that was a hook for me when I first heard it, and still is. While the music might seem trite these days, at least it seems earnest. The same way that R.E.M.’s “Shiny Happy People” made me want to vomit onto someone’s shoes, “All This Time” makes me just shake my head and say, “Aww … it’s so cute.” I know there are religious overtones in the lyrics, but I’m happy to overlook them and just enjoy this whimsical tune.

Scott: A great song from the last great album Sting has ever done. Yeah, he’s done some good songs since then, but not a consistently great album. Must have had something to do with the theme of The Soul Cages (i.e. the death of his father). What I love about this particular song is the dichotomy of the upbeat, happy-go-lucky melody countered with the heavy subject matter. His band never sounded better — he still had Manu Katche playing drums — and “All This Time” contains one of my favorite lyrics, Sting or otherwise, of all time:

Blessed are the poor, for they shall inherit the earth
Better to be poor than a fat man in the eye of a needle
And as these words were spoken I swear I hear
The old man laughing,
“What good is a used up world, and how could it be worth having”

Vrabel: Yeah, OK, I like “All This Time” enough, in that vague, cottony, nondescript way you like cookies, or pillows, or cheeseburgers. I don’t know, friends, I just can’t muster up any sort of support for Sting beyond a loud and vibrant “Meh.” (more…)

Redeeming Rod: “Broken Arrow” (1991)

Rod Stewart’s 1991 cover of Robbie Robertson’s “Broken Arrow” (download) is perhaps the biggest hit that I’ll cover in my series. The third single off of Rod’s Vagabond Heart album, “Broken Arrow” peaked at #20 on Billboard’s Hot 100 Chart and #3 on the AC chart, and the video (featuring Rod’s latest blonde at the time, Rachel Hunter), was a staple for months on both MTV and VH1, (yes, yes, back when they actually played videos). It could be assumed that the reason Rod gives such a heartfelt performance here is because of his love for Ms. Hunter at the time of its recording. For, while it is true that Stewart has moved from woman to woman throughout his life at almost regular intervals, it does seem that for the period of time that he is with his latest paramour, he is genuinely in love. And judging by his performance on this track, Stewart must have been quite smitten with Hunter.

In “Broken Arrow,” like many of his performances discussed in this series, Rod once again gingerly walks the tightrope of his most obvious vocal impulses of this period — screaming and whispering — without tipping over the edge. In the original Rolling Stone review for Vagabond Heart, Don McCleese states that Rod “doesn’t quite connect” with the song, but I don’t agree. I think McCleese probably got sidetracked by two things about the recording — things that in my opinion actually show the strengths of Rod’s performance. (more…)

Redeeming Rod: “Leave Virginia Alone” (1995)

The first single from Rod Stewart’s album A Spanner in the Works, the Tom Petty composition “Leave Virgina Alone,” could be considered his first single in a very long time so greatly aligned with the remembered sound of Rod’s “classic” period of folk-tinged rock (1969-72). It’s almost totally acoustic, save a few notable guitar lines that sort of emulate Ron Wood’s slide work on early Rod albums.

I actually have this on cassingle (or at least I had it). I ran out and bought it after I saw Rod debut the single in the US on an episode of Saturday Night Live. As I recall, I was immediately struck by how joyous he seemed during the performance, and how well that lifted the song up. The recorded version is a bit more subtle than the SNL one: Rod gives a restrained, straight-ahead performance that, interestingly, leans towards his more ballad-related deliveries even with the bright, fast-paced tempo of the backing track. Stewart’s focus here is on softer tones, the enunciation of (and sometimes lingering on) each syllable, with no real vocal gymnastics or improvisation — which are hallmarks of his “rocker” vocals. He really only deals out louder expressions in the song’s final minute, during the final repetition of the chorus. All in all, it’s a solid song with a fitting vocal performance that Rod makes sound so easy. It was a definite “should have been” hit, but peaked at only #52 on the Billboard Hot 100 chart.

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Redeeming Rod: “If We Fall in Love Tonight” (1996)

In 1996, Rod Stewart released a collection of his ballads over the years, entitled If We Fall In Love Tonight. Or rather, Warner Brothers released this album, probably based partly on the fact that a similar collection by another one of the label’s stars (Madonna) had gone double platinum just a few months prior. Among the “goodies” to lure in the target audience of baby boom buyers: a re-recorded version of the ’80s hit/Dylan ripoff “Forever Young,” the Sting/Bryan Adams money grab collaboration “All For Love” (Rod’s biggest chart hit of all time[!!]), and three new songs, one of which was the title track, and the subject of today’s post. And more importantly, in my opinion, it might be the best “original” Rod song of the past 25 years.

Written and produced by Prince disciples Jimmy Jam and Terry Lewis III, “If We Fall in Love Tonight” is a lovely modern R&B ballad featuring great backing vocals and a nice “storyline” involving the reconvening or re-strengthening of a old or longtime love affair. Both the subject matter and the arrangement plays off the strengths of Rod’s softer side. More importantly, Jam and Lewis are able to coax a subtle, striking performance out of Rod: he is able to go through the entirety of the song without falling into the “whisper” technique of substituting volume for emotion that (as I have previously mentioned) permeates too many of his ballad performances from the 1980s onward.

Here, Rod wears his heart on his sleeve: there are few vocal trills or moments where he plays with or strays from the tune’s basic construction. Instead, his voice sinks into phrases, almost speaking some words, while elongating some syllables just a bit to give them an extra emotional punch. Consider, for instance, the fact that Rod is able to turn the phrase “I’m so ready to love you down” and not have it seem at all cringe-worthy speaks volumes about the quality of both the song and the performance. Once again, Rod’s vocal stylings can genuinely be said to emulate his greatest of heroes, Sam Cooke. In other words, this song is the exact opposite of everything that is “Love Touch.” (And to those of you who are now thinking “Hey! I like ‘Love Touch’!”, let me just say: I’m sorry. I’m really sorry.)

That Jam and Lewis are able to achieve this with their vocal arrangement and production is not surprising: their greatest success over the years has been with Janet Jackson, a woman blessed with an incredible musical pedigree, but, in all honesty, limited vocal talents. Regardless, Jam and Lewis have been able to coax many a great performance out of her given these limitations, perhaps the best example being a ballad similar to Rod’s — “Come Back to Me,” from Rhythm Nation 1814.

But back to Rod: “If We Fall in Love Tonight,” both the single and the album, was something of a turning point for Rod’s career — it represents his jump into full-fledged Adult Contemporary status. While the song only peaked at #54 on the Billboard Singles (Hot 100) Chart (his second to last appearance to date there), it was his biggest hit in three years on the Adult Contemporary Chart (#4), and by peaking at #25, it is his highest charter all time on the Adult Top 40 chart (sort of a cross between Hot 100 and Adult Contemporary).

Redeeming Rod: “Twistin’ the Night Away” (1987)

Hollywood, 1986. Fade in. The scene is an executive’s office.

Exec: So what’s the pitch?
Producer: Okay, Martin Short is this bumbling dude, okay? And somehow, he gets stuck with this needle, only the needle has Dennis Quaid in a tiny spaceship in it, ’cause he’s been shrunk down as part of this government experiment. Now Dennis Quaid is inside of Martin Short, and now the bad guys who want to…
Exec: Hold on. Hold on!…You had me at “Martin Short gets stuck with a needle”! Now, all we need is a happening song. Something to push the soundtrack tie-in and get the kids into the theaters.
Producer: I was thinking of having Rod Stewart do a new version of a Sam Cooke song that he originally covered fourteen years ago.
Exec: Son…..you’re a money-making machine! (more…)

Reedeeming Rod: “People Get Ready” (1985)

One of the initial comments I received the on first “Redeeming Rod” guessed the subject matter of this post, so I guess I can take relief in the existence of actual humans who have not been so tainted by Rod’s crap-era albums that they can point out the occasions when he’s done quality work.

It seems that Rod has done most of that work (over the past quarter century, anyway) when working with a decent collaborator; one who not only knows his strengths, but refuses to let him get away with not using them. One such person is Jeff Beck, who employed Mr. Stewart as the lead singer of The Jeff Beck Group for a brief period of time in the late ’60s and early ’70s. In 1985, Jeff re-teamed with Rod for a cover of the Curtis Mayfield classic “People Get Ready.” The slick, generically mid-’80s production aside (the blame for which must be given to producer Nile Rodgers, from whom I would have expected better things), this is a very good performance, especially on Rod’s part. In fact, while the dominant part of Beck’s playing is merely a slight variation on the song’s main “riff,” Rod plays with his “instrument” in a lovely, understated way which is almost totally absent nowadays.

For example, check out Rod’s use of chordal singing on the second verse (”coast to coast,” and “there’s room for all“), and especially throughout the third verse and onward, where he abandons the normal note of the associated chord — what would be sung if the song were sung “straight” — and instead transposes. It’s pretty standard practice in the improv-heavy world of jazz vocalization (and, it should be noted, Jeff Beck has gone through his jazzy periods), but only pop vocalists with great pitch tend to do it with any regularity. Elton John’s one of them. Rod’s another, though as can be expected, he doesn’t tend to do it much anymore — and when he does, he does it because he can, not because he’s into the song (or his performance).

Well, here he’s into it. I talked about his lazy “whisper-scream” technique in my prologue to this series. Some people have criticized Rod’s singing here as mainly a continuation of this style: the lazy, sleazy, ’80s Rod. I don’t agree. His two back-to back yells between 3:26 and 3:30, as well as one more at 4:06, are not Rod being loud to express emotion — this is the sound of him actually emoting to express emotion. And this makes the song much better: the song’s coda is as good, if not better, than everything before it, as Rod’s voice literally pushes Beck into his best playing in the song (and arguably his best playing on the whole dreary Flash album).

Later in this series, we’ll see at least one example of Rod later taking his game up to a higher level by working with another legendary (though sometimes underrated) guitar legend, namely The Band’s Robbie Robertson. But for next time, I’m sticking with another reworking of a soul classic, as Rod gets ready to cover himself, covering Sam.