Part 10: In Which Our Hero Returns to His Roots
In 1993, Rod Stewart continued his chart topping ways with Unplugged….and Seated. And contrary to what was said in the music scene, he actually never left. Although his albums in the mid 1980’s did not reach the heights of his 1970’s output, the music “critics” seemed to forget that all of his albums in the mid 1980’s had at least a top 15 hit. Stewart followed the mid 1980’s with a string of four consecutive platinum albums.
What Unplugged…and Seated did was have Stewart rediscover his love of folk/rock songs. It would guide him on his next album, but before we get there, Stewart had a couple of B-sides that were included with his Unplugged…and Seated singles.
358. Love Wars (Cecil Womack, Linda Womack)
The original version of Love Wars is a funky driving song that Cecil Womack owns from his debut album from he and his wife, Linda also titled “Love Wars”. The bass drives the song that is peppered with a drum machine and a synthesizer.
Stewart’s version loses the funk and leans into strings with the bass not quite up front and center. Also, I can’t find a credit for who sings the song with him so any help from the fans out there would be appreciated. But back to the song, not as strong as Womack and Womack’s but Stewart sounds great. I am guessing it is from the Once In A Blue Moon sessions, but again I am not sure. Admirable.
Grade: B-
359. One Night (no idea, I can’t find the songwriting credit, Rod Stewart?)
A mellow adult contemporary song that Stewart totally crushes. He is in top vocal form. Our Hero is singing his heart out giving the chorus some extra oomph. His plead, “Whoa whoa One night! Just one night with you.” Is achingly beautiful.
Another credit that I can’t find, I have no idea who wrote this song. I am guessing it might be a cover because it appears to also be from Once In A Blue Moon sessions. But, either way Stewart crushes it.
Grade: A-
360. Love In The Right Hands (Billy Burnette, Simon Climie, Dennis Morgan)
Written and recorded by English songwriter Simon Climie on his 1992 album, Soul Inspiration, Love In The Right Hands has become a somewhat Christian standard, covered by Clay Crosse as well in 1993, the big difference is Our Hero took the song and made it more palatable.
The lyrics are slightly silly but with Stewart on vocals it gives the song a lot more weight. As you listen to the lyrics you can see how the narrative can be switched from a man in love to God’s love. “Love in the right hands is such a powerful thing, so put your hands in mine.” One of the songs that Stewart sings well and I am cool with it being a b-side single.
Grade: C+
361. Don’t Break Your Promise (Too Soon) (Bobby Womack)
In 1994, Our Hero appeared on one of his heroes albums. The song, Don’t Break Your Promise (Too Soon), is a slow groove with two incredible singers. Both are at full strength and deliver the goods. Stewart starts the song as a background echo for Womack, then takes over lead vocals.
His open “You swore you would never ever see him, he’s just someone from your past” is chill inducing. Stewart hangs around for a little longer and then the song takes a weird turn.
Stewart disappears and a cool slice of early 90’s R&B fades away to a mini biography of Sam Cooke. I love Sam. I love Womack. It makes no sense in the context of the song and Rod never comes back. So close to being such a cool song.
Grade: C+
Stewart in the eyes of the public had taken 4 years off from making a studio album. Unplugged…and Seated was a live album and this would mark a period were Rod really slowed down. In Stewart’s career up to that point he never went more than 3 years between albums. Now, he did record Once In A Blue Moon in 1992, but that was scrapped after it was done and the success of Unplugged…and Seated. In 1995, Stewart finally released a new album, that took him almost two years to make, which also went against how long he felt albums should take to be made. And much like albums released in 90’s and 2000’s, he had a lot of producers help, seven in total. But there was a new found love for the folk sound, which critics had been begging Stewart to return to. He did. The album, A Spanner In The Works was a return to form for Stewart in so many ways. It also had some of the most serious looking album art of Stewart’s career.
A Spanner In The Works May 29, 1995
362. Windy Town (A Spanner In The Works version) (Chris Rea)
Stewart, unknown to the public had already tackled, Windy Town on his lost album, Once In A Blue Moon. Here he adds a lot more flourishes. The vocal take is slightly different. The ending also is bigger with Rod also adding some more oomph to the chorus during several parts of the song.
A good song. I prefer the Once In A Blue Moon version, but you can’t go wrong with either one.
Grade: B+
363. The Downtown Lights (A Spanner In The Works version) (Paul Buchanan)
Also first recorded for Once In A Blue Moon, The Downtown Lights takes a more driving force here. With more vocal nuances and studio embellishments.
I like this version slightly more. Stewart and Trevor Horn bring more out of this take. Stronger vocally and more forceful. Stewart is in top vocal form, I love the way Stewart sings, “Let’s walk in the cool evening light, Wrong or right, the endless sight.”
Grade: A
364. Leave Virginia Alone (Tom Petty)
Given to Rod by Tom Petty’s manager, Leave Virginia Alone is a brilliant mix of what Stewart does so well, singing songs of heartache and longing, and what Petty does so well.Paint a story of an outcast. It is said that Petty thought it sounded too much like another one of his hits.
Leave Virginia Alone was not even originally on the album. The album was mastered and about to go into production. Stewart told Billboard “It absolutely went by me. It took me two or three good listens. I had to be persuaded to do it, in other words. But now I’m glad we did.”
I am too, as I can’t picture this album without it. To me it is the centerpiece of the album and reminds everyone why Rod is the best at interpreting other peoples songs.
The video is brilliant too.
Grade: A+
365. Sweetheart Like You (Bob Dylan)
Dipping his hands into the familiar world of Bob Dylan, Stewart once again proves that he is the best at covering Dylan.
Our Hero doesn’t change too much of the original version but again, he takes the vocals to levels that can’t be touched. Dylan does sound pretty good, but he can’t maintain the quality of Stewart. Look no further then, “You know a woman like you should be at home, that’s where you truly belong.” Dylan of course mumbles his way through the lyrics, Stewart makes it personal and empathizes different words, making it more intimate.
Grade: A-
366. This (A Spanner In The Works Version) (John Capek, Marc Jordan)
A slightly different mix here than on Once In A Blue Moon, This is a powerful song that Stewart owns.
Sitting on the shelf for three years, when This was revisited the instruments were brought way more out front. The vocals take is slightly different, but still amazing.
Grade: A
367. Lady Luck (Rod Stewart, Carmine Rojas, Jeff Golub, Kevin Savigar)
With a pinch of the Irish, Lady Luck is a whip smart awesome song that should’ve been a hit. From the opening of “Lady Luck, here I am on time.” Stewart’s songwriting again is over looked with clever rhyming like, “Now you may say that it’s a funny old world, you may say that the game ain’t fair, Is there a plot or do you improvise, Or maybe you don’t even care.”
The song is fun, happy and bouncy. It was released as a single but failed to really catch on.
It’s a shame, I love this song and find any excuse to listen to it. Stewart keeps the fun going with, “‘Cause I’ve seen some rainy days, My patience all ripped and torn, now the sun come shining through I’ve cried in my beer too long”.
Grade:A+
368. You’re The Star (Billy Livsey, Frankie Miller, Graham Lyle)
Stewart tackles Scottish singer, Frankie Miller on You’re The Star. Stewart obviously adored Frankie Miller. Miller never got the recognition he deserved and suffered a devastating brain aneurysm in 1994.
Stewart for his part always thought of Miller and would spearhead a project involving Miller and guests a few years later.
Here, Our Hero sings his heart out and delivers a powerful love ballad made to sing along. The song never really caught on despite having a really cool music video and a winning performance by Rod. The way Stewart phrases “I wanna wrap you in my arms and keep you warm” is bump inducing.
Grade: A
369. Muddy, Sam and Otis (Rod Stewart, Kevin Savigar)
Stewart’s music heroes are given the spotlight in this touching tribute song about Muddy Waters, Sam Cooke and Otis Redding. Stewart recounts how hearing his heroes sing, “stayed up all night trying to sound like you”.
What is really sweet and not at all pandering is Stewart’s love of these artists. My favorite line by far is “But angels need a soul man for the celestial blues band, they took him home”.
A hidden gem.
Grade: A
370. Hang on St. Christopher (Tom Waits)
Stewart tackles Tom Waits again, with a different song than before. Gone is the sweeping romanticism of Downtown Train and the longing meandering of Tom Traubert’s Blues. Here we got more of a blues boogie.
Waits’ original is bizarre. He sings through a filter, with the band not playing tight at all. It’s more loose and not as punchy as Rod’s. It makes sense that Stewart would tackle this song as the lyrics are very unusual and descriptive, the song just needed someone of Stewart’s considerable talents to tackle the song.
Grade: B
371. Delicious (Rod Stewart, Andy Taylor, Robin LeMesurier)
Stewart reunites with his Out of Order partner Andy Taylor and gives us a crunchy, sexy, straight up rock song.
With lyrics like, “While you lie on the bed with your long legs spread”. Fighting guitars, and pulsating drums give Delicious more edge than anything on A Spanner In The Works. But being so intoxicated by a woman is something I think most men can relate to.
And although I think the song the cut (most likely) for Delicious is better, it still rocks.
Grade: B-
372. Soothe Me (Sam Cooke)
It had been years since Rod has covered Sam Cooke. Our Hero reminded everyone why he is the best at singing Sam. And Stewart will freely admit that he can’t out “Sam Cooke” Sam Cooke, he takes Soothe Me into a banger of a rock song.
Rod taught me to love Sam Cooke and Soothe Me is one of my favorite Sam Cooke songs, and it is my absolute favorite Rod Stewart cover of a Sam song. Our Hero even sneaks in the famous Hot Legs guitar licks for good measure.
I freakin’ love this song. You should find the live version of this song that Stewart torches through when he was on The Tonight Show on YouTube, it will blow your mind.
Grade: A+
373. Purple Heather (Traditional; arranged by Rod Stewart)
A show stopper and an absolute legendary closing to an album. Stewart takes the traditional Wild Mountain Thyme and gives it an updated sound with a sweeping chorus that begs to be sung along to.
Trust you will belt out “And we will all go together to pick wild mountain thyme”. Although he never sings this song here in the States, I’m pretty sure I would cry if he did.
Grade: A+
There is an acoustic version of Purple Heather that appears on the digital deluxe version of A Spanner In The Works with slightly different lyrics. It is beautiful. Nothing is a stunning as hearing Rod Stewart and just a guitar. It changes the song from the arena rock ready album version to an intimate version you might hear in a local pub.
Grade: A+
Stewart made an album in 1995 that more or less mirrored his early acoustic efforts. And although it didn’t set the Billboard charts on fire, peaking at #35, it had staying power due to its quality, eventually going Gold.
In 2009, several unreleased tracks made into the public for consumption.
374. Separate Ways (Bob West, Richard Mainegra)
Rod’s vocals warmly wrap around some wonderful lyrics about losing someone. “Yes it’s lonely going our separate ways, You should for all of my nights and my days, You’re in my heart”. I can;t seem to find any other versions of this song, so Rod might have been the first to tackle it, but I am not sure.
The song is well written, it loses some punch for me when the back up singer enters the song and reiterates what Our Hero has already sung. Still a solid song.
Grade: B-
375. (You Gotta Walk) Don’t Look Back (Smokey Robinson, Ronald White)
Made popular by The Temptations in 1965, Rod takes a Motown classic and punches it up. Stewart loses the doo wop and makes it more driving with drums and guitars.
Stewart wraps his wonderful rasp around this bouncy, fun song. Listening to it feels like maybe it was about 95% done as it seems that there might have been one more go in studio with some more instruments and Rod is also shouting out directions and talking to the band.
It is still brilliant.
Grade: A-
376. Shock To The System (Rod Stewart, Andy Taylor)
The B-side to Leave Virginia Alone, of all the songs that made it onto A Spanner In The Works, it should’ve been Shock To The System. This song freaking rocks. I think they settled on Delicious for the album, but Shock To The System is a better song hands down from beginning to end.
Our hero sings of a woman who left the “Motor City from a clean white neighborhood” and came out to Hollywood. She is beautiful and educated but she wants to live the party life. She also wants the “Porsche body, plays piano in a rock and blues band.”
The driving force and the clever lyrics make Shock To The System, Stewart at this rock ‘n’ Roll best. Oh, how I wish this was on the album, but at least it is easily available now digitally so you can go on the journey of a beautiful young woman who struck out in Hollywood.
Grade: A+
377. I’m A King Bee (James Moore)
A blues song that Our Hero brilliantly sings and was left off of A Spanner In The Works. Originally a Slim Harpo blues number, Rod does Harpo proud. The original is awesome and you should seek it out. People might be shocked to learn that Rod doesn’t really take the edge off. For all the unfair flack Stewart gets for polishing his songs too much in the 90’s, on I’m A King Bee proves he is a blues master. For comparisons, it is fun to listen to The Rolling Stones version, it features some nifty slide guitar work by Brian Jones.
Grade: B+
378. Looking For A Love (James W. Alexander, Zelda Samuelson)
A light breezy song made famous by Bobby Womack, Stewart takes somewhat a safe approach with Looking For A Love. Stewart does song his heart out, it sounds great but I have feeling that this was left off of A Spanner In The Works because it did not quite have enough bite.
If you want to hear a different take, seek out the live version by J. Geils Band, it’s a blistering take.
Grade: B-
379. Kiss Her For Me (Scott English, Frankie Miller)
Wow. This song is brilliant. Stewart’s voice wavers and breaks as the lyrics call for it. Our Hero proves that he is the best damn interpreter of songs in music. Miller’s infectious lyrics that bring up visions of heartache and love.
Stewart’s amazing vocals are on full display in moments like, “if you see her on the street, smile and say hello just for me.”
Stewart would tackle this song again in a few years on an album that was his idea, were his famous friends would “sing” with Miller to bring awareness to his brilliance.
Grade: A+
380. So Far Away (Carole King)
Speaking of iconic singers and albums, Stewart was asked to be a part of a tribute to Tapestry, Carole King’s 30 million plus selling album.
Stewart’s version was selected as a single to the tribute album and it would soar to #2 on the Adult Contemporary charts.
Stewart’s video is brilliant and captures the longing of the lyrics. Stewart also punches up the song with strings and more of arena rock ready chorus. King’s 1971, version is a classic, but Stewart does it justice.
Grade: B
A Spanner In The Works, although not a smashing success, still went gold in America and gave Stewart some good reviews from music critics that wrongly wrote him off. Stewart would release a new album in 1996, but it was a quasi-compilation album with some of his more mellow hits and some Adult Contemporary radio ready new songs. The album, If We Fall In Love Tonight was born and proved to be another hit for Our Hero.
If We Fall In Love Tonight, November 4, 1996
381. If We Fall In Love Tonight (Jimmy Jam, Terry Lewis)
The title track was specifically written for Rod. And it is such a great song. It is mellow, but it is so good. From the sound of a record needle faintly in the background to the smooth R&B feel of the music and the brilliance of Rod’s voice make this a winner.
The lyrics are so good, “Blame whose fault is it this time, I can see it in your eyes.” And the singalong chorus, “And now anticipation waits for love, will it be everything you’ve dreamed?” “Open your heart and love again” I adore this song. “Honey I don’t, I don’t want you to have any doubts, about me, whatever makes you happy, I’m gonna do!”
Grade: A+
382. For The First Time (Jud Friedman, Allan Rich, James Newton Howard)
A sugary sweet song that was again written for Rod on this album. The song is really corny, but somehow, Rod’s amazing vocals make it tolerable. I hate to admit it but when it comes on, I get lost in Stewart’s voice and forget how silly the song is.
If you’re thinking I’ve heard this song, but I can’t remember where, well Kenny Loggins sang it for the film One Fine Day and scored a hit. It is not good and loses Rod’s powerful reading and goes straight into lameness.
Grade: B-
383. When I Need You (Carole Bayer Sager, Albert Hammond)
Take about a lame song that was a huge hit for Leo Sayer in 1977. In Stewart’s hands we get an overproduced, incredibly sung song with an inspiring gospel choir adding to the power of the chorus. But, it can’t overcome the overall lameness of lyrics.
Stewart famously did not like his hit song Love Touch. At least Love Touch is fun. When I Need You is just a song without balls.
Stewart does sing the song well. And the video is beautiful.
Grade: C-
384. Sometimes When We Touch (Barry Mann, Dan Hill)
Dan Hill scored a massive hit with his single, Sometimes When We Touch in 1977. Another song that is a wussy love song. Although massively popular, I just can’t get into it. I like my love songs to have a little more bite, or be a little sexy, not poor me.
Stewart, again sings this song like a pro and adds a ton of embellishments that was missing from Hill’s original.
Grade: C-
385. Forever Young (If We Fall In Love Tonight Version) (Rod Stewart,Jim Cregan, Kevin Savigar)
Rod goes back to 1988 and slows down one of his most famous songs. The mellowness fits well onto If We Fall In Love Tonight. Although it’s not as powerful as the original, Stewart’s voice makes it a winner.
Grade: A
Stewart might have not released a full length album of new material in 1996, he did score a massive hit with If We Fall In Love Tonight. The album went platinum all around the world.
Stewart did not release an album in 1997, but he did take part in a huge benefit concert, Songs and Visions in Wembley, which he performed some new cover songs.
387. Papa Was A Rollin’ Stone (Live) (Norman Whitfield, Barrett Strong)with Chaka Khan, Mary J. Blige and Steve Winwood
Rod crushes this song. I would love a version just with Rod, but Winwood is also very good. The ladies hold their own and overall it’s a cool live rendition to an all time classic.
Grade: B
389. In The Midnight Hour (Live) (Wilson Pickett, Steve Cropper)
Stewart yet again proves that he can sing soul almost better than a one else. This little gem is somewhat buried in the concert but Stewart owns it.
Why this song works for Rod is it is a fun double entendre and down and dirty vocals.
Grade: A
390. Nothing Compares 2 U (Live) (Prince) with Mary J. Blige
One of the most famous covers first made a hit in 1990 by Sinead O’Connor, and boy oh boy does Stewart crush this song. I would kill for just a Rod only version of Nothing Compares 2 U.
When the second verse opens and Stewart pleads “It’s been so lonely without you here, like a bird without a song.” It reminds everyone that he could sing the phone book.
The only part that keeps this cover for reaching legendary status is Mary J. Blige. Who is a great singer but she gets in her own way here and tries to out sing Rod and she comes across as too much. Just relax Mary, you can sing!
Grade: A+ for Rod, B+ for the rest of the song
391. Heartbreak Hotel (Live) (Mae Boren Axton, Tommy Darden, Elvis Presley) with Robert Palmer, Jon Bon Jovi and Steve Winwood
A fun cover featuring some incredible talent, and there is something really cool about seeing all these legends on stage together. My biggest gripe is that it loses the “heartbreak” and is a little too upbeat. And it’s over really quickly.
Grade: B-
392. Hey Jude (Live) (Paul McCartney, John Lennon) with K.D. Lang, Toni Braxton, Chaka Kahn, Jon Bon Jovi, Steve Winwood, Mary J. Blige, Robert Palmer and Seal
No better way to end a huge concert than having a sing along to maybe the ultimate sing along song of all time.
Everyone is bringing it. It sounds great and everyone is having fun.
Grade: B
After the success of his ballads only album, If We Fall In Love Tonight, Our Hero decides that he needs to get back to what he is best at. Good old rock ‘n’ roll. Rob Dickins come up with an idea where Rod would cover some of the younger songwriters and give them the Stewart treatment. Stewart wasn’t onboard right away, but according to Dickins when he heard Cigarettes and Alcohol by Oasis he warmed up to the idea and When We Were The New Boys was born.
When We Were The New Boys May 29, 1998
393. Cigarettes and Alcohol (Noel Gallagher)
The album definitely starts off rocking. Stewart’s version forgoes the slow opening and goes right into the crunching guitars. Stewart also reads the lyrics differently than Gallagher. He doesn’t lose the pulse of the song, he turns into more of a Faces style song and does it well.
There is an alternate take of Cigarettes and Alcohol on the digital deluxe version of When We Were The New Boys. A little more less polish, but still great vocals by Rod.
Grade: A
394. Ooh La La (Ronnie Lane, Ronnie Wood)
Ronnie Lane sadly passed away in 1997 after a long battle with MS. Stewart decided he would pay tribute to Lane by finally singing one of Ronnie’s best songs.
Rod makes his version different by adding a sprinkle of Irish flavor by enlisting The Corrs to help him get the sound he wants.
Not only is this song amazing, but it gets your feet tapping and the chorus is so sing along great, “I wish that I knew what I know now, when I was younger. I wish that I knew what I knew now, when I was stronger!”
This was the biggest hit on the album, it went to #39 on the Billboard Charts, but it remains rightfully so one of the highlights of any Stewart concert.
Grade: A+
395. Rocks (Billy Gillespie, Andrew Innes, Robert Young)
The Scottish rock band Primal Scream recorded Rocks in 1994. Their version reminds me a lot of a mix of T. Rex and The Rolling Stones.
Stewart adds a lot more instruments and sings it with more urgency, giving Rocks more propulsion. Stewart doesn’t lose the fun of the song, in fact I think he actually adds a whole new layer to it. The song is also sneaky dirty, “Get your rocks off, get your rocks off Downtown!”
Grade: A
There is an alternate take of Rocks on the digital deluxe version of When We Were The New Boys. It is nearly identical, it adds some guitar feedback, a different vocal take by Stewart and it slows down ever so slightly. The album version is slightly better
396. Superstar (Joseph McAlinden)
Stewart slows the album down with the soaring ballad Superstar. The lyrics are there but the original version by the band Superstar is lacking the power of Rod Stewart’s voice and interpretive skills, not only as a singer but as a musician. The original has a weird organ front and center which loses the group in the mix.
Stewart places himself front and center and gives a wonderful performance.
Grade: B
397. Secret Heart (Ron Sexsmith)
A stripped down beautiful song. Our Hero is at his singing best here. Secret Heart was suggested to Rod by Elvis Costello. And Costello was 100% right, Rod crushes it.
The original by Ron Sexsmith is brilliant too. Stewart strips it down to its bones. Sexsmith doesn’t go crazy with his original version, but Stewart’s is even more stripped down. Sexsmith also adds background singers a little more out front, Stewart’s version keeps them a little more in the back. Both versions are great.
Grade: A
398. Hotel Chambermaid (Graham Parker)
After a slight detour into ballads, Stewart comes roaring back with Hotel Chambermaid. A song that would be a fit in The Faces set list.
Graham Parker’s original is not as rocking as Stewart’s, but the song is a riot. It is fascinating when you hear how Stewart interprets songs and how he emphasizes different words and rearranges, and replaces some words. As simple as “while the river is rolling” in Parker’s version to “while the river’s flowing” in Stewart’s. And just a slight change of “I didn’t pay my bill but I had my fill all right” in the Parker’s version to “I didn’t pay my bill but then I had my fill all night!” Subtle but it changes some of the context of the song.
Parker’s version is great, Stewart adds to it. I love this song. I’ve mentioned many times I love Rod’s rascal, sexy songs. Hotel Chambermaid fits the bill quite nicely.
Grade: A+
399. Shelly My Love (Nick Lowe)
Another ballad suggested to Stewart by Elvis Costello, and again proves Costello knows a song that Stewart will crush.
Nick Lowe is amazing. And he proves it on his song, Shelly My Love. Rod rightfully doesn’t change anything in this song. The lyrics and music speak for themselves.
You should seek out Lowe’s version, it is brilliant. Stewart’s version is too. Both deserve to be on your playlist.
Grade: A
400. When We Were The New Boys (Rod Stewart, Kevin Savigar)
The only original song on the album proves that no one can stir up memories of a life lived like Rod Stewart.
As Our Hero rips through his life he makes the song catchy, heartbreaking and up lifting. The music written by Kevin Savigar is soaring and beautiful.
Easily the best lyrics are the ones that open the final verse, “All these friends have long since gone, blown and scattered like autumn leaves, some are lawyers and some are thieves, some are now behind the sun.”
Grade: A
401. Weak (Deborah Dyer, Martin Kent, Robbie France, Richard Lewis)
Speechless. Hands down the best/unknown song on the album. Stewart sings the hell out of this song. His rough and pained reading of the lyrics is palpable.
Skunk Anasie’s original version is amazing as well. It is interesting hearing it come from a woman’s voice. Stewart is focusing on anger and pain. So too does, lead singer Deborah Dyer but it seems to come from a different place. Both versions beg to be heard. Stewart also ditches any background singers and focuses solely on his voice. Dyer’s version brings it home during the climax, proving her voice is incredible as well.
Stewart’s version opens with howling winds and distorted guitars, signaling the mood of the song. A broken person, who lashes out at the person who believes they are weak, but they are not, “weak as I am, no tears for you, weak as I am no tears for you, deep as I am I’m no one’s fool” Stewart’s cracking voice “with this tainted soul and this weak old heart, oh baby ain’t I too much for you?” Is so good, followed up by an angry guitar solo.
This song is one of Rod’s best. Promise. My wife loves it too.
Grade: A+
There is an alternate take of Weak on the digital deluxe version of When We Were The New Boys. The vocals are a slightly different take but don’t lose the power of the album version. The music is a different mix, not as strong as the album version, but still a great listen.
402. What Do You Want Me To Do? (Mike Scott)
After the burning hatred of Weak, Rod closes the album with a self reflective What Do You Want Me To Do?
The biggest change for Rod’s version is the harmonica is a little more subtle than Mike Scott’s original.
The plead in both versions is felt. I guess Stewart did not want to end the album on such an angry song and goes a little safe to close the album out.
Grade: B
When We Were The New Boys was a moderate hit for Stewart. It peaked at #44 on Billboard. It also marked the end of Stewart’s time at Warner Bros. Records. After 23 years, Rod was a free agent. Before we leave 1998, let’s dive into some of the songs from When We Were The New Boys sessions. One was a b-side single, the others were in the vault until 2009.
403. Careless With Our Love (Rod Stewart)
I am not sure this song was recorded for When We Were The New Boys. It sounds really out of place. I am guessing maybe for Once In A Blue Moon. It is a little too polished for Boys.
It is a breezy light, adult contemporary song that maybe had a place on If We Fall In Love Tonight. Being a Stewart original it gets some points from me, not his strongest effort, but he sounds incredible on the song and it carries the song to the end.
Grade: B-
404. The Long Journey Home (Elvis Costello, Paddy Maloney)
A beautiful song that has some wonderful and heartbreaking lyrics about the Irish’s journey to America.
Costello’s version is more sweeping and sounds like an anthem. Stewart goes the tender route. It is beautiful, “As the color bleed as they over flowed, red, white and blue, green, white and gold.”
I prefer Stewart’s version. Costello’s version is wonderful too, I just like the more nuanced version of Stewart’s.
Grade: A-
405. Now That You’re On Your Own (Rod Stewart, Oliver Leiber, John Shanks)
“You’re a high flying mother fucker!” Stewart goes angry and bitter with a break up from his girlfriend.
As you dig into Stewart’s last few years at Warners, you see that the story that Dickins fed everyone that he had an idea that Rod should cover other people’s songs and he only wrote one song for When We Were The New Boys is a false narrative. It seems that the executives didn’t want Stewart originals anymore, and it would send Stewart on a 15 year break from writing songs.
Stewart proved not only could he still write songs, but they were really good. Now That You’re On Your Own is almost done and it is good. How I wish Stewart was given a chance to finish it 100%.
Grade: B
406. Dylan’s Day Off (James McCall)
I am not sure what the title means, and the original is a lot more happy go lucky. I can see why Stewart would be drawn to this song, it’s fun and easy going. Stewart I am guessing knew he could add something to the original.
You can find the original on YouTube and it is a fun little ditty. Stewart knows how to make a song his, I am going out on a limb that Rod also liked the somewhat pubhall sound of the original and gave it a go.
Again, I have no idea where the title comes from, the chorus is “My heart, my heart you’re a subject close to my heart.”
Grade: A-
407. On and On (Crispin Hunt)
Another song in the vein of Weak, about a break up that Our Hero pleads with his lover “I wish you would leave me.”
According to the Rod Stewart Sessions, Rod heard The Longpigs version of On and On. Their version is more pop-y but still pretty solid. I will take Stewart’s pained version however, he gets way more into the lyrics delivering some great vocals over a more polished sounding band.
Good stuff. should’ve been on the album.
Grade: A
408. Rockin’ Chair (Noel Gallagher/C. Griffiths)
Another Oasis song, Stewart decided on Cigarettes and Alcohol instead of Rockin’ Chair.
More of a mid-tempo song, not the ball busting power of Cigarettes and Alcohol.
I think Rod made the right choice for his album on the Oasis song. Rod’s version of Rockin’ Chair is a little too safe. Not bad, just not as fun as Cigarettes and Alcohol.
Grade: B
409. Sugar Lips (Rod Stewart, Oliver Leiber)
Not close to being finished, and some rough vocals but there is a sliver of an idea here. I think if Stewart didn’t abandon Sugar Lips, he could have a fun dirty song on his album.
With lines like, “Six foot five, bet your life, never got better than a…(no idea what he is singing here), hey ho! Sugar Lips!” “Inside out, back to front, screwed me rotten with my cold old son, hey ho! Sugar Lips!”
Almost a genius song, but alas never finished.
Grade: C
410. The Changingman (Brenden Lynch, Paul Weller)
This song would’ve found a place very easily on When We Were The New Boys. Fighting power guitars, powerful singing from Our Hero makes The Changingman a winner.
Weller’s original version is not as down and dirty as Rod’s. I am biased but Rod’s version is much better and so suited for rock ‘n’ roll.
Grade: A
Stewart was about to embark on a new journey, one that would take him into uncharted territory, but before he did that, he had one more song to sing for Hollywood.
411. Faith of the Heart (Diane Warren)
In the fun and sweet film, Patch Adams Our Hero performed the signature song for the movie. Stewart’s power is on full display. Soaring choruses with a powerful voice make this song awesome and uplifting.
The journey through the song is fun and it never surrenders to slowing down, once it hits its crescendo it never stops. It’s fun and a good song to play at full volume and sing your heart out too.
Grade: A-
Stewart was about to embark on a new journey. Not only was he looking for a new record company, but something a lot more serious was peaking around the corner.
Stay tuned for part 11, In Which Our Hero Defeats Cancer and Dusts Off Some American Classics.