Part 2: In Which our Hero Joins a Band or Two and Makes His Mark as a Solo Artist

In 1967, Rod Stewart was struggling to get recognition as a vocalist. He had been in several bands that failed to gain any traction. That all changed when he met Jeff Beck, guitarist extraordinaire according to Rod, sometime in 1967. They soon would form a band with Rod’s soon to be best mate Ronnie Wood and drummer Mickey Waller, dubbing themselves, The Jeff Beck Group.

Their first gig was March 3, 1967 to which Rod called a “24-carat disaster”. Stewart opined that they were not ready and it showed in their performance. Legend has it that it was so bad that Ian MacLagan pulled the plug on The Jeff Beck Group.

They would soon get their act together and release one of the most influential albums of all time, Truth.

Released in July of 1968, Truth caught lightning in a bottle with the members of the band at peak form. Since this a Rod Stewart series I will only review the tracks he appears on, even if it is just backgrounds or in the rare instance he plays an instrument other then his throat.

Truth, July 1968

29. Shapes of Things (Jim McCarty, Keith Reif, Paul Samwell-Smith)

How do you open an album? With a kick ass blues/heavy metal cover. Rod sounds so confident as soon as he steps up to the microphone, which is a huge step up from his singles in the early part of the decade. It’s as if he needed the backing of a great band to realize his potential. Waller’s drums are a driving force throughout its three short minutes. And the solo by Beck is masterful.

I adore this song.

Grade: A

30. Let Me Love You (Jeff Beck, Rod Stewart)

A song written by Stewart and Beck shows off both men’s talent, but not to be overlooked is Ronnie Wood’s driving bass that gives depth throughout the song. The song is a blast, one misstep is having Beck sing some of it. This seems to be Mickie Most’s idea, the producer on the album. And while Beck isn’t horrible, he is no Rod Stewart and it takes some of the greatness of the song away.

Grade: B+

31. Morning Dew (Bonnie Dobson)

The opening of “Morning Dew” slows things down. The guitar work on this song is brilliant, Stewart sings with gusto and emotion.

It cranks up and morphs into a nice groove. Although not the strongest song on the album, it still packs a wallop.

Grade: B

32. You Shook Me (Willie Dixon, J.B. Lenoir)

Early in his recording career, Rod tried his hands at blues many times. He finally got it right with “You Shook Me”. When I think of blues, I think of songs like this. The breakdown at the end is a master class in playing guitar.

Incredible band, incredible vocals lend to one gobsmack of a song.

Grade: A

33. Ol’ Man River (Jerome Kern, Oscar Hammerstein II)

Remember when in 2002 the critics and some fans were shocked when Stewart tackled The Great American Songbook? Well he was tackling these songs since he was recording music. Now a big difference, obviously is this is geared more to hard rock and less of a show tune.

But Rod’s reading is stunning and beautiful in a “let’s dirty this song up” kinda way. Trust me, when you hear this it will leave you breathless.

Grade: A-

34. Rock My Plimsoul (Jeff Beck, Rod Stewart)

A theme on this album is Beck and Stewart reworking several blues standards into a version of their own. The most successful of these is a reworking of B.B. King’s “Rock Me Baby”. In a clever wink, these songs were originally credited to “Jeffrey Rod” a pseudonym for Stewart and Beck.

Another song were by sprinkling rock and roll with blues overtones fits The Jeff Beck Group’s style so well. Everyone on this track is tight and brings it.

Grade: A

35. Blues Deluxe (Jeff Beck, Rod Stewart)

Another reworked blues standard by Beck and Stewart, this is full blown blues. Rod sings his heart out in this song. He even adds laughs and some overdubbed applause.

Nicky Hopkins makes an appearance here with some wicked piano playing, giving the song even more layers.

Grade: B

36. I Ain’t Superstitious (Willie Dixon)

Awesome. A perfect blend of blues, hard rock and stunning guitar work. It’s clear that WIllie Dixon is a favorite of Rod Stewart. Early in his career Stewart covered him four times, with each one getting better.

This song also has resonated with Stewart as he every once in awhile will play this in concert. It hasn’t lost its bite.

Grade: A+

The next few songs are not on the original release of Truth. They would appear nearly 40 years later on a deluxe version of the album. “I’ve Been Drinking” did make an appearance on Rod’s career spanning box set “Storyteller”.

37. I’ve Been Drinking (Jeff Beck, Rod Stewart)

Another song I freaking adore. It’s bluesy, driving with some awesome drums, and rock and roll all in one stunning 3-minute song, that I can’t believe wasn’t a hit. I do know that this was released as a B-side single. I implore you to find this song and listen to its greatness.

Grade: A+

38. Tallyman (Graham Goldman)

For some reason Mickie Most did not like Rod Stewart. He had Jeff Beck sing a couple of songs that I am not sure he should be singing. Beck is just not that impressive of a singer. He is just there, which makes no sense when you have Rod Stewart.

Anyways, here we get a really poppy song by a band that isn’t a pop band. According to Rod he sings backing vocals on this track, I really can’t hear them, but he says he does in his autobiography, so I will take him at his word.

Grade: C-

39. Hi Ho Silver Lining (Scott English, Laurence Weiss)

Another pop song that Most did not want Rod to sing, he is regulated to the admittedly catchy chorus. But by doing that, it makes the song not as good as it could be.

Beck cannot phrase as well as Stewart and sings the song with no real passion, he just sings it.

Grade: C+

After the success of Truth, which peaked at number 15 on the Billboard Charts, a follow up was quickly ordered.

Born out of that was the 1969 album, Beck-Ola.

Beck-Ola, June 1969

40. All Shook Up (Otis Blackwell)

Taking one of Elvis Presley’s well known songs and dirtying it up nicely, Beck-Ola is off to a fun start. While, it is impossible to top Presley’s version, Beck, Stewart and company make it their own.

They are successful in making it different and relevant.

Grade: B+

41. Spanish Boots (Ronnie Wood, Jeff Beck, Rod Stewart)

This song is silly. I listened to a podcast Ronnie Wood did that Stewart was a guest on. Wood played this song and both men were not impressed. In his autobiography Rod states “…I wrote the lyrics—a load of old nonsense about about monasteries and tapestries and putting your boots on. I cringe to think of it now.”

Rod is right, the song is not great.

Grade: C-

42. Jailhouse Rock (Jerry Lieber and Mike Stoller)

Another Elvis hit that The Jeff Beck Group makes “harder” Beck really shreds his guitar in this song and gives it a lot of personality. Rod sings with conviction and power.

Grade: B+

43. Plynth (Water Down the Drain) (Nicky Hopkins, Ronnie Wood, Rod Stewart)

One of the coolest openings ever, in rock history. A funky, blues number about being alone and fearing death. Easily my favorite song on the album.

A song I think benefits from not having Beck as one of the writers. The rest of the band trying something new with more complicated lyrics make this a show stopper. Rod, of course is crushing it with a powerful reading.

Grade: A+

44. The Hangman’s Knee (Tony Newman, Jeff Beck, Nicky Hopkins, Rod Stewart, Ronnie Wood)

A song about a man being executed by hanging. Not sure if this really works. There are some redeeming qualities but the song never really gets going or catches on. It tries really hard to invoke images of the gallows but Stewart would soon learn the art of subtle songwriting.

Grade: C-

Beck-Ola was reissued in 2006, containing songs that did not previously appear on the album.

45. Sweet Little Angel (B.B.King)

A heartfelt cover by The Jeff Beck Group, clocking in at nearly 8 minutes, allowing the song to really breathe and get you in a mood of heartache.

Jeff Beck is in his element in this song, shredding guitars so much I picture smoke coming from the strings.

Grade: B-

46. Throw Down a Line (Hank Marvin)

Piano tinkles breakaway for a bluesy/rocky number that invokes bitterness, which can be mishandled if not done by world class musicians, which The Jeff Beck Group are.

Grade: B

Rod Stewart’s time in The Jeff Beck Group had come to a quick end. The group was scheduled to play at Woodstock, but according to Rod, Beck left because he thought his lady was cheating on him, she was not and they never played again, they ended their run with a whimper, instead of a bang.

Not all was lost, as Stewart was starting to find his groove and one fateful meeting with Lou Reizner, head of Mercury Recrods, offered Rod a solo deal. Stewart accepted.

An Old Raincoat Won’t Ever Let You Down or The Rod Stewart Album, November 1969

47. Street Fighting Man (Mick Jagger, Keith RIchards)

Originally planned on being the Little Richard song, “The Girl Can’t Help It” (which I want to hear Rod sing) Rod said he started singing “Street Fighting Man” for some unknown reason. He further elaborates that he loved the lyrics but did not like how they got chewed up in the noise of The Rolling Stones.

I think Stewart is right and his version is much more cohesive and better. I said it, even if Rod won’t he is a superior vocalist to Jagger.

Grade: A

48. Man of Constant Sorrow (traditional, arranged by Rod Stewart)

Stewart changes some of the lyrics here and delivers the goods. Also of note, Rod plays the guitars on this track, which he doesn’t do often but maybe should. They are so good.

A mellow, wonderful song. Stewart is settling into being a folk/rock hero and the first two tracks on his solo album are proof that he had nearly mastered it.

Grade: A

49. Blind Prayer (Rod Stewart)

Rod digs into his experience with The Jeff Beck Group for a heavy blues number written by him. A yells and howls about not wanting to lose his woman and his money.

The breakdown is great as the song bridges to a crescendo. And Rod balls out as the song closes. It’s rough but it works.

Grade: B

50. Handbags and Gladrags (Mike d’Abo)

Beautiful. That’s what I think of when I hear this absolute gem of a track. Stewart is one of the best interpreter of songs ever. He takes a song about longing for love and makes a heartbreaking winner. Stewart allows it to breathe with writer d’Abo on piano and slight drumming by Mickey Waller until it hits the chorus which it explodes with passion.

Rod is in expert vocal form, the band is at top form, an early classic from Stewart.

Grade:A+

51. An Old Raincoat Won’t Ever Let You Down (Rod Stewart)

Looking back at hanging out with your friends is fun. Stewart does this with great affection in his title track of his debut album. I love this song. From the opening strums of the guitar to the bass that follows, everything on this track works.

Stewart paints a picture with his words that transports you to a cold London, drizzling with rain, hanging out with your friends, getting into trobule.

Grade: A+

52. I Wouldn’t Change a Thing (Rod Stewart)

Rod gets help on the vocals here by the previously mentioned Lou Reizner. This song really reminds of Bob Dylan. The way the song plays out as a story with a clear vision. It doesn’t quite stick the landing, but a style was taking shape and it works.

I love Keith Emerson on organ in this song. It brings the song together.

Grade: B

53. Cindy’s Lament (Rod Stewart)

A really bitter song about a woman that ignores Stewart or the subject of this song. Rod doesn’t often let his angry side pop up on records, but when he does he delivers the goods.

The song has a fade out and return that adds to the pulsating drive of its subject.

Grade: B

54. Dirty Old Town (Ewan MacColl)

The changing and love for the town of Salford paints a vivid picture in this amazing cover. Rod was slowly becoming a folk icon with songs like this. One of my most favorite concert moments ever was when Rod put a guitar over his shoulder and played this song to a stunned sold-out crowd in Denver. There is a great YouTube video of this song with Stewart playing guitar, and the whole crowd singing along, which you should seek out.

Grade: A+

After Stewart and Wood left the Jeff Beck Group, Rod was busy with his very own solo record. With that finished, Stewart started accompanying Ronnie Wood to his new gig, as a guitar player for The Small Faces. Stewart would stay upstairs and just listen to them play, which he quickly realized is they needed a lead vocalist.

Steve Marriott had left to form (wink) Humble Pie. The Small Faces however were not too keen on being thought of as a backing band. Stewart eventually won them over and the dropped “Small” from their name and became simply The Faces.

They were formed in October of 1969 and in March of 1970, their debut album, First Step was released. Funny side note, the album cover credits First Step to The Small Faces, even the record company did not know who these boys were.

First Step, March 27, 1970

55. Wicked Messenger (Bob Dylan)

Covering Bob Dylan is an early Rod Stewart trademark. Here with his new band The Faces, they drop “The” from the song title and make it much harder rocking. Dylan’s is a folk song, The Faces cover is not. I think it’s better. It gives the song more bite and not so rambling.

Grade: B+

56. Devotion (Ronnie Lane)

Ronnie Lane is an incredible song writer. As he has proved over the years even before The Faces he was responsible for legendary songs like “Itchycoo Park”. Here it’s a tender ballad that he sings with Stewart. Lane fits nicely with Stewart as he is able to convey emotion the way Jeff Beck never could.

The Faces are often thought of (and rightfully so) as a party band but songs like Devotion prove the lads could be sensitive, reflective and great songwriters too.

Grade: B+

57. Shake, Shudder, Shiver (Ronnie Lane, Ronnie Wood)

After slowing down for one song the boys rip it up again with an original Lane and Wood song that allows the whole band to shine with Stewart and Lane sharing singing duties. Highlighted by a jaw dropping guitar solo by Wood this song rocks. It works better live, which you can find on the 2015 reissue.

Grade: B

58. Stone (Ronnie Lane)

Did you know that Rod was discovered not by singing but by playing harmonica? Although he would never would say it but Stewart is pretty good at it. On this Ronnie Lane sung track Stewart plays not only harmonica, but also the banjo. The song is fun too, it is a perfect Ronnie Lane song.

Grade: A-

59. Around the Plynth (Rod Stewart, Ronnie Wood)

Straight up rock ‘n’ roll. The incredible force of this song makes it a winner. Stewart is unmatched in his rock voice, Elton John said he has the best voice in all of rock ‘n’ roll. I am sure John is referencing songs like this. The band fills the speakers with crazy guitar work, a bass that pushes the song forward and a drum beat that is loud and non intrusive and Ian McLagan gets his own solo too.

The best part? The band stops playing and Rod just starts singing again and the whole band starts again. Chills.

Grade: A

60. Flying (Ronnie Lane, Rod Stewart, Ronnie Wood)

The boys continue to shine with a rock song about longing for home. Returning home and telling everyone that you spent five years in jail for “being hungry tired and poor.”

Another showcase for Stewart as a vocalist, as I continue to listen to these songs in order, I am amazed how fast Rod gained confidence and become one of the greatest singers of all time.

Grade: A

61. Nobody Knows (Ronnie Lane, Ronnie Wood)

A great collaboration between Wood and Lane is easy to pick out their contributions to the song. Lane’s sensitive lyrics, Woods driving mellow guitar work is easy to fall in love with the song.

Stewart and Lane share singing duties again, with Stewart really elevating his moments. I actually think this song is the turning point for the band. Although Lane is a good singer, he is soon overshadowed by Stewart being superior. I am not slighting Lane as I adore him, but The Faces needed a lead vocalist and Stewart was their man. Stewart and Lane would share the mic a few more times, but not nearly as much as they did on this album.

Grade: A

62. Three Button Hand Me Down (Rod Stewart, Ian McLagan)

My favorite song on the album and my favorite song about a piece of clothing. Lane’s bass is incredible to start the song off. As the whole band joins in, the song about having the perfect suit is purely Rod Stewart, and purely The Faces. No other band or singer can sing a song about a suit handed down to a son by his dad. The cheekiness of the song is great, the band, awesome thorough its runtime.

Grade: A+

On the incredible box set, Five Guys Walk Into A Bar a couple of unheard rehearsals pop up. I will add them to this list if they are different than what appears on the albums.

63. Evil (Willie Dixon)

Yes this is a rehearsal and it shows. It sounds like it was recorded in a hotel room. Credited as being recorded in 1969, it seems like and sounds like a band trying to feel each other out. That being said there is some merit here and with a better recording the song might have fared better.

Grade: B-

In 2015, another reissue of The Faces albums pops up, but with even more unheard songs. You can find these songs on You Can Make Me Dance, Sing or Anything…

64. Behind the Sun (Kenney Jones, Ronnie Lane, Ian McLagan, Rod Stewart, Ronnie Wood)

So how in the hell is this song not on the proper release? Behind the Sun is a rocking song that is incredible. That it took almost 50 years to be released is a shame. It is tighter than most songs on First Step. The only excuse I can think of is maybe totally it doesn’t fit? Or maybe it was recorded and they forgot about it, either way, we have it now and we are better for it.

Grade: A+

If you’re keeping track Rod Stewart has already released four albums in two years. He wasn’t done. A mere three months after The Faces debut album debuted, Gasoline Alley was released. Often regarded as Rod Stewart’s best album, it showcases him as an impeccable songwriter and an ear for songs that he could cover well.

Gasoline Alley, June 6, 1970

65. Gasoline Alley (Rod Stewart, Ronnie Wood)

A favorite of Rod Stewart and his fans, Gasoline Alley has all the ingredients of a Stewart classic. Loning for home, and romanticizing about it. I love the story on how the song came about, in his autobiography Rod states, “I got the title, Gasoline Alley from something said to me by a girl backstage at San Fransisco’s Fillmore West after a Jeff Beck Group gig. I had been chatting her up and she suddenly announced, “I’ve got to get home, or else my mother will say, ‘Where have you been—down Gasoline Alley?’”

Grade: A+

66. It’s All Over Now (Bobby Womack, Shirley Jean Womack)

A rip-roaring cover that seems so in-different, yet so driving that it totally works. Rod’s vocals again shine which adds to the proceedings backed by a boisterous band I wish he would perform this live again.

Grade: A

67. Only a Hobo (Bob Dylan)

Rod Stewart easily outdoing Bob Dylan on a Bob Dylan song. I have said this many times, Bob Dylan is one of the greatest song writers ever, but not even close to a good singer, I find his style grating, but his words are magical. Stewart does his songs justice, something he still does to this day.

This song about how we treat homeless people is heartbreaking and eye opening and over 50 years later little has changed.

Grade: A+

68. My Way of Giving (Ronnie Lane, Steve Marriott)

Rod covers The Small Faces. He keeps it pretty close to the original but he changes some lyrics like from “tenderness to happiness”, and forgoes the pop-iness of the original. But the spirit remains and so too does a fine song.

Grade: B+

69. Country Comforts (Elton John, Bernie Taupin)

Ironically released before John’s own version, it sticks pretty close to the original. Both are really good. I obviously prefer Rod’s version as his has more emotion to the proceedings, and strips it of the pop song and makes it more folky. Both versions are great, with Rod having a leg up on John’s own song.

And for some reason adds an “s” to the end of Comforts? Maybe it’s just not credited correctly on the album.

Grade: A

70. Cut Across Shorty (Wayne P. Walker, Marijohn Wilkin)

A bluesy/folksy fairy tale in attempt to win the pretty girl in town hand in marriage. Such a fun song that is another song that tells a complete story, and I smile every time I hear it. I love the chorus of Miss Lucy helping Shorty win the race because even though Dan “has all the money and he also has the looks” Lucy chooses love.

Grade: A

71. Lady Day (Rod Stewart)

A hidden gem on an album full of diamonds, Rod is at his most Bob Dylan. Command of the words and phrasing makes this the most unheralded song on this album. It has a lazy, dream like quality that is different than most of the album.

Grade: A

72. Jo’s Lament (Rod Stewart)

This song breaks my heart, and if Lady Day is a hidden gem, I don’t even have an adequate word or phrase to describe this song. I believe this is autobiographical as Rod and his girlfriend Susannah Boffey had a child that was given up for adoption, and I think this song is an apology to her and his child.

It has one of my most favorite lines, in any song ever, “You bore my child and I left you aside, I don’t expect you to forgive, But now I’m not so young and I’m so afraid, to sleep alone for the rest of my days.”

Grade: A+

73. You’re My Girl (I Don’t Want to Discuss It) (Dick Cooper, Beth Beatty, Ernie Shelby)

After two reflective songs, Rod goes vindictive and makes it less of a pop song that Little Richard did. Stewart makes it meaner and heavier, which I really like. The drums keep the proceedings moving along briskly.

Stewart’s ability to restructure songs is on full display here, he would employ this technique on his next solo album too.

Grade: A

Stay tuned for Part 3: In Which Our Hero Wakes Up, Kicks a Woman Out of Bed and Becomes a Superstar