Part 11: In Which Our Hero Defeats Cancer and Dusts Off Some American Classics
Before we get to 2001, let me back track for a few moments on songs I somehow missed when I was putting this together and re-reading the article.
412. She Won’t Dance With Me/Little Queenie (Rod Stewart, Jorge Ben, Chuck Berry)(1982)
A live version of one of Rod’s early 80’s rocker with a second half being a Chuck Berry classic. The two songs meld together nicely as Stewart opens with his love of a woman who won’t dance with him and it quickly and quite naturally goes into Little Queenie.
The song is fun, not for the PC crowd and will get you moving and laughing all at the same time.
Grade: A
413. Love Minus Zero/No Limit (Bob Dylan) (1997)
”My love she speaks like silence, above ideals and violence…” Rod Stewart was asked to assist with a song on the project, Diana, Princess of Wales: Tribute. The world was shocked when Princess Diana was killed in an automobile accident in August of 1997, and the recording industry got together to benefit her charity, Diana Princess of Wales Memorial Fund.
Rod gives a stirring performance and allows the Dylan composition to breathe and allows the listener to linger on the lyrics. Dylan’s 1965 original is more of a folky tribute to his love. Stewart’s takes on a whole new meaning in the context of it being a tribute to Diana.
Stewart crushes this song. HIs voice aches and his phrasing is beautiful. The song cannot be found on streaming, you will have to buy the CD, Stewart’s song is worth the price.
Grade: A+
414. Two Shades of Blue (Rod Stewart, Kevin Savigar) (1998?)
Truth be told, I have no idea when this song was written. It appears on the compilation album, The Definitive Rod Stewart, and I am also guessing that Producer Andy Zax helped make Two Shades of Blue what it is on the album. But, I am also thinking that it was part of When We Were The New Boys sessions.
The song is amazing. Another example of record executives thinking they know Rod Stewart better than Rod Stewart. The lyrics are painful and beautiful, “Pack your bags and your radio, you don’t live here anymore.” Our Hero is telling the woman he loves that it’s too late for reconciliation, and “it don’t matter what dress you wear, it’s all over now my dear, two shades of blue, tangled up in you.”
The song is heartbreakingly haunting, with Stewart singing softly and matter-of-factly with the final verse saying “Slow down honey by that door, wait for no one anymore…” telling her, hey slow down and get the hell out. I love this song and I am so thankful that Zax found it, and released it into the world. Seriously, one of Rod’s best.
Grade: A+
In the year 2000, Rod Stewart had fulfilled his contract with Warner Bros. Records. A free agent, Stewart left Warners for the company that produced some of Rod’s favorite artists, including Otis Redding, Wilson Pickett and Sam and Dave. When Rod arrived at Atlantic, the idea was for him to cover songs that were written for him by other artists. Stewart was intrigued and set out to make a rock/R&B/pop infused album with some hot shot young producers and songwriters. It would be the first Stewart album that does not feature an original Rod Stewart song, something that would continue for the next 12 years.
When Human was announced, it was unexpectedly delayed. In fact, the first single was to be Run Back Into Your Arms, which did get released in Germany, and it charted there at 74, but Stewart was unusually quiet.
Shockingly it was revealed that Stewart had undergone throat surgery to remove a cancerous tumor. Our Hero kept it a secret from everyone, even his wife Rachel Hunter, whom he was separated from at the time. Stewart told the New York Post in February of 2001, “I only told Rachel about it (yesterday), actually…I didn’t want to worry anyone about it.” Stewart further said “I didn’t realize it would be devastating for my voice. They cut you right through the neck. They cut through the muscles and (the muscles) go through memory loss, and you forget how to sing. The muscles just shrivel up.” Stewart’s fear continued, “I woke up in the hospital, and the doctor said, ‘Don’t worry, your voice will be back in six months.’ Six months came up, and no voice. Seven months, no voice. Eight months, no voice. I could talk but I could not sing.”
Stewart even joked that he might have to become a gardener if his voice did not return. Stewart found that just tilting his head back and singing Maggie May seemed to be the best medicine. He explained that he could not sing the first verse before his voice gave out, but he never quit and soon it slowly returned.
During this time, Stewart also revisited Human. He wanted another song and the album was delayed a little longer. Stewart recorded I Can’t Deny It nine months after the surgery and Human was finally ready to be released. Easily Stewart’s most underrated and most misunderstood album. Although it is slightly overproduced, it is still a fun, risk taking album that deserved a better fate.
It would be Stewart’s only record for Atlantic, and its lackluster performance made Stewart not only pivot away from Atlantic but take the biggest risk of his career.
Human March 12, 2001
415. Human (with Slash) (Karl Gordon, Connor Reeves)
Right off the bat, the tone of Human lets you know this is a different Rod Stewart album. The title track is a haunting, guitar heavy song that with a lot of electric flourishes that signals to the listener you are in for a roller coaster of an album.
Our Hero even sings deeper, “I’ve been looking in the mirror, somethin’s gettin’ clearer, wonderin’ who am I”
The chorus bemoans, “I’m the one who took a walk on the moon, and I made the seven wonders too, there is nothing that I cannot do, because I am human, There is nothing that I cannot be, I’m the one who sailed the seven seas, And I know that it is all in me, ‘Cause I am human.”
Slash contributes a stirring guitar solo that adds to the unusual track. It is one of the most different songs that Stewart has ever sung, and that it is the title track adds to its mystery. I find myself always listening to the lyrics so intently on Human.
They are confusing, longing and mysterious. I like the song for all those reasons.
Grade: B+
416. Smitten (Macy Gray, Dave Wilder, Jeremy Ruzuma, Arik Marshall)
Macy Gray fresh off of her platinum debut album, On How Life Is and the smash hit I Try writes a song for Our Hero. And what a song it is.
Stewart wraps his soulful voice around Smitten, with a playful tone and right in Stewart’s, wheelhouse. Where some songs really stretched what we’ve come to expect from Our Hero, Smitten is a Rod Stewart song.
With the ambiance of cars rushing down the street, the longing of the opening lines are in full effect, “Who, must I be, for you to love me, endlessly, hopelessly, like I do you?” The chorus is a sing along fun with Stewart taking the role of lead and back up singer, giving the song an echo-y call and answer style. “Hello. Allow me to introduce myself, I am smitten and she couldn’t care less.”
I love this song.
Grade: A+
417. Don’t Come Around Here (with Helicopter Girl) (Jackie Joyce, Paul Berry, Mark Taylor, Kenny Thomas)
Human throws another curveball as instead of hearing Our Hero, Don’t Come Around Here is brought to life with the whisper-y voice of Helicopter Girl (Jackie Joyce).
A mellow, thought provoking song about losing someone and asking them to leave you alone. Stewart and Joyce, make a good pairing and the song was thought of highly enough to be released as a single. It is a fine, middle of the pack song. I would have liked Smitten to be the single, as I think it is a better showcase for the album.
Grade: C+
418. Soul on Soul (Marc Jordan, John Capek)
The songwriting duo that gave Stewart a huge hit with Rhythm of My Heart, returns with Soul on Soul. Not as stirring as Rhythm of My Heart but with some powerful lyrics. I can’t find the quote, but Stewart did a track by track breakdown of Human when it came out and he mentioned that Soul on Soul was a favorite of the record company. Stewart liked other songs more, but I can see why it’s a favorite.
The chorus is catchy, and easy to sing along to. “Good God have mercy on me, don’t you desert me baby, I wanna be together, Soul on Soul this time.”
If I has one quarrel with the song, is like a couple of the songs on Human, it is slightly overproduced, relying too heavily on studio tricks than actual instruments. I wonder, if there is a version of Human without any of the digital enhancements…
Grade: B
419. Loveless (Connor Reeves, David Frank)
An aching, longing, heartbreaking of a song. Stewart absolutely crushes Loveless vocally. His burst of energy and power, intertwined with despair create a powerful song, that once again is somewhat handcuffed by overproduction.
And while the overproduced, repeated lines detract from the overall quality of the song, it still hits the mark.
Grade:B
420. If I Had You (Andrew Davis, Sergei Rachmaninoff)
Stewart once again delivers incredible vocals on If I Had You. Another song that could stand on its own with just the lyrics and a more stripped down production, songwriter even samples Russian composer Rachmaninoff heavily to add some weight to music.
Unfortunately, the beautiful strings that peak out from way back in the mix are drowned out by electronics that somewhat taint the song. When you can actually hear the strings they are wonderful.
Grade: C+
421. Charlie Parker Loves Me (Marc Jordan, John Capek)
This song is bizarre. This song makes no sense. And I love it. A love song that invokes the imagery of a cold night with only your love to keep you warm.
Jordan and Capek, who are usually pretty straight forward with their lyrics and music, ditch that and we are left wondering about our “Juliet in rags.”
Where the jazz master Charlie Parker fits into the song, I am not certain, but it works.
Grade: A
422. It Was Love That We Needed (Curtis Mayfield)
You need a happy tune to brighten your day? Stewart’s cover of Curtis Mayfield’s It Was Love That We Needed, fits the bill.
From Mayfield’s 1996 album New World Order, Stewart follows the masters lead pretty closely, the biggest difference is Stewart’s version is a little more upbeat and Mayfield’s is more of a slow jam with the bass carrying the song to a groovy beat.
Our Hero really gets into this song and it will have you “jumping up and down, all around the place.”
A happy tune that will no doubt get you out of any funk you happen to be in.
Grade: A
423. To Be With You (Raul Malo, James House)
Just when you think you’ve figured out Human, Stewart decides for the last songs almost completely void of the electronic enhancements sprinkled in every song.
Case in point is this humdinger of a country, yes country song, To Be With You. Guitars, drums, and Stewart nailing the vocals.
It’s catchy and fun. Rod has teased that he wants to do a country album for years, To Be With You, proves that not only could he pull it off, maybe he should.
Grade: A
424. Run Back Into Your Arms (Graham Stack, John Reid, Brian Rawling)
As you listen to Human, you might wonder if there were competing visions of what the album should be. Look no further than the original lead single, Run Back Into Your Arms. Every part of the song just screams Rod Stewart. A poppy, fun song, that has a super cool video (which for some reason keeps getting removed from YouTube.) was scrapped as the first single after Stewart had to have surgery to remove a tumor from his throat.
The song is awesome. I still think that there is a whole different version of Human. For some reason, a lot of the news, articles and whatnot relating to the album seems to have been scrubbed from the internet. So, I am going completely on memory here, but I remember that Stewart said that they recorded over 35 songs for Human. I am thinking that Human started as more of a pop centric album with up and coming songwriters writing fun, breezy love songs and it evolved into what was released.
Anywho, I love Run Back Into Your Arms. It’s catchy and should have been a hit.
Grade: A+
425. I Can’t Deny It (Gregg Alexander, Rick Nowels)
The “real” first single off of Human is winning song penned specifically for Stewart by the New Radicals’ Gregg Alexander and song writer extraordinaire Rick Nowels, they did strike a mild commercial hit with I Can’t Deny It.
Stewart recorded this song last for Human and he did it after he had surgery. It feels like he was saying, “cancer can’t stop me” he still delivers one hell of a vocal performance.
Another song I love, it became even more special to me as when I first met my wife, many moons ago when she was in college, she like a lot of my friends were subjected to my love of Rod Stewart. She asked for a mixed CD (it’s true!) of my favorite Rod Stewart songs so she could listen to it and see why I would never shut up about him.
I put the usual on there, but I snuck in some buried gems, I Can’t Deny It was one of them. And it was one of her favorite songs. It’s easy to see why. Although my wife tends to lean towards the heavier Stewart songs (her favorite is I Don’t Want To Talk About It) she too gets caught up in the infectious pop of I Can’t Deny It.
Also, the video is great.
Grade: A+
Human was an anticipated release from Our Hero, however it stalled when it dropped at number 50 on the Billboard Charts. So much of the album is misunderstood. Even the usually spot on Stephen Thomas Erlewine on allmusic.com, I think missed the mark and also I am not sure he truly listened to the album closely, he credits the duet on Don’t Come Around Here as “the Mary J. Blige duet” in his review, furthering my disdain for “music critics” who don’t really listen to Rod albums and just make up their minds about them without giving them a fair shake.
The next year would bring Stewart’s biggest gamble of his career, but not before some b-sides slipped under the radar.
426. Peach (with Slash) (Prince)
Left off at the last minute for the American release, Prince’s Peach makes a fun appearance on the Japanese and Australian versions of Human. It also can be found on the CD single of I Can’t Deny It.
It’s a dirty song that invokes Stewart’s 70’s output. Slash keeps the guitar licks appropriate and fun.
There are some fun floushises throughout the song, the dog barking at the beginning, which I remember a story on the old Rod Stewart message boards where the producer of the track said that Stewart’s dog was barking in time with the music and they left it in the song. It also has some colorful lyrics like, “She was pure every ounce, I was sure, when her titties bounced…”
Grade: B
427. Do Wah Diddy (Larry Troutman, Roger Troutman, Alison Moira Clarkson, Norman Whitfield, Lincoln Jean Fisher, Barrett Strong, PJ Campbell and Delmar Edwards)
Of all the songs that have trickled out from the Human sessions, Do Wah Diddy is the most bizarre, the one that most feels like Stewart trying to sound cool.
Full disclosure, I almost like the song. It almost has the chance to be a fun throw away and then…the rapping after the second verse, not by Rod but the backup singers seems really out of the place and nearly makes Do Wah Diddy a laughingstock disaster.
But Stewart always recovers and gives a great performance. What is a “Do Wah Diddy”? No idea, I wouldn’t be this confused on a Rod Stewart song until 2021’s Kookooaramabama.
Grade: D+
428. Cupid (Sam Cooke)
It is so nice hearing Stewart tackle Sam Cooke again. Stewart has often confessed that Cupid is his favorite Sam Cooke song.
Here he does the ‘Man Who Invented Soul”proud. Stewart gives Cupid a more free flowing jam, but delivers some remarkable phrasing and singing.
How this was left off the album is beside me. It would fit nicely on Human, giving the album more weight and heart.
Grade: A
Stewart took a hit after Human failed to live up to his standards. He left Atlantic after just one record. Stewart was planning something bold. Clive Davis, record producer extraordinaire was recruiting talent for his newly formed J Records. Stewart had an idea to record his favorite pop standards from the 1930’s and 40’s. Stewart had tried these songs before. He recorded a wonderful version of Every Time We Say Goodbye, that was left off of Smiler. And while that version was closer to Stewart’s style, Rod wanted to make truly authentic versions of the songs that he grew up and loved.
Stewart knew the risk. He already survived his “disco” turn, and now, 24 years later, would the public embrace another drastic change in his music style? Clive Davis loved the idea. Davis knew if he marketed the album the right way it could be a hit.
I would venture to say, Stewart, Davis and everyone else involved would not be prepared for how big of a hit Stewart’s Great American Songbook series would become.
It Had To Be You…The Great American Songbook October 22, 2002
429. You Go to My Head (John Frederick Coots, Haven Gillespie)
I am not sure where Stewart first heard You Go to My Head, but my guess with being such a fan of Billie Holiday, her 1938 version seems to be a leading candidate. Stewart sticks to pretty close to the known arrangement.
What connects to the listener is Rod really does wrap his distinct voice around the music and lyrics. And any skepticism about Stewart tackling these songs slowly dances away.
Grade: B
430. They Can’t Take That Away From Me (George Gershwin, Ira Gershwin)
An absolute classic that made it’s grand entrance with Fred Astaire in the 1937 film, Shall We Dance.
They Can’t Take That Away From Me, is one of my favorite songs on the album. It is beautiful and Stewart crushes the song. The music and vocals just pepper the room with love and longing.
Stewart’s version relies more on strings, where Astaire’s is a piano heavy ditty giving way to the strings. Stewart’s version is more closely tied to Ella Fitzgerald’s. All are great.
Grade: A
431. The Way You Look Tonight (Dorothy Field, Jerome Kern)
”Someday, when I am awfully low, and the world is cold, I will feel a glow, just thinking of you, and the way you look tonight”.
Another Fred Astaire classic, this time from the equally classic film, Swing Time. I adore this song, no matter who sings it. Stewart’s is more romantic, Astaire’s original has a nice bounce to it, where Stewart gives the reading more longing.
A perfect example of how timeless lyrics can transcend decades. This is a beautiful song.
Grade: A
432. It Had To Be You (Isham Jones, Gus Kahn)
One of the oldest songs on the album originally written in 1924, is also the albums namesake. Gaining popularity from the 1939 gangster film The Roaring Twenties, and also even gaining a film title all it’s own, It Had To Be You, is a breezy, fun and perfectly fine song by Stewart.
Grade: C
433. That Old Feeling (Lew Brown, Sammy Fain)
That Old Feeling is an Academy Award nominated song from the 1937 film, Vogues of 1938. Although I do like the Great American Songbook series, a lot of the time, just when I get into them, some of the songs are too safe and too boring.
Stewart sings well and the music is fine. The song is just not exciting. It drags the album down for four minutes.
Grade: D+
434. These Foolish Things (Harry Link, Holt Marvell, Jack Strachey)
Although the album subtitle is The Great American Songbook, other nations slip in as well. The British standard, These Foolish Things (Remind Me of You) is one of the best songs on the album and a true masterclass on how a rock ‘n’ roller can own a song from 1935.
I do know Stewart loves the Ella Fitzgerald version as he had Ronnie Wood play it on his podcast.
These Foolish Things, was the first single and it became an unlikely hit for Our Hero.
And just like that, I am back onboard for It Had To Be You.
Grade: A
435. The Very Thought of You (Ray Noble)
A huge hit in 1934 by its writer Ray Noble, Stewart sticks really close to this version.
Another song where I think Rod plays it a little too safe. I understand he was in unfamiliar territory releasing these songs, but some are just way too safe.
Nice vocals though.
Grade: C-
436. Moonglow (Eddie DeLange, Will Hudson, Irving Mills)
A romantic song that conjures up images of walking hand in hand with the person you love the most.
The tinkling piano brings out the band and Stewart brings a nice sense of warmth to the song. Perhaps the best known version is Billie Holiday’s, which Stewart seems to following pretty closely.
Stewart’s vocals soar in the song, making it a solid interpretation.
Grade: B-
437. I’ll Be Seeing You (Sammy Fain, Irving Kahal)
An ominous tone starts as Stewart sings “cathedral bells were tolling”. Stewart and band meander through their interpretation of I’ll Be Seeing You. The most well known version of the song is most likely Bing Crosby’s from 1948. Crosby’s leans heavily on strings, were despite the tone of the opening Stewart’s version is more bouncy.
The lyrics take on a new meaning when it is implied to World War II vets returning home, which gives Crosby’s version more weight. Stewart does an admirable job.
Grade: B-
438. Every Time We Say Goodbye (Cole Porter)
This is the second time Stewart has tackled Every Time We Say Goodbye. Our Hero covered it first in 1973, and it is an absolute gem that was left of the album Smiler for some reason. On the ‘73 version, Stewart smooths his vocals and dirties up the music. In 2002, he adds a lot more polish and a full on band. It is still beautiful and a highlight of the album.
Grade: A-
439. The Nearness of You (Hoagy Carmichael, Ned Washington)
First recorded in 1940 by Glenn Miller and his Orchestra with vocals by Ray Eberle, Rod sticks really close to the original. Stewart really digs into the song and his vocals melt away and take you to far away lands.
It is a beautiful, romantic song that is a wonderful way to get lost.
Grade: A
440. For All We Know (J.Ford Coots, Sam M. Lewis)
Another song that isn’t bad, Stewart sings so well, it’s just so safe, making it slightly boring. It could be the arrangement, the lyrics but For All We Know just doesn’t connect with me.
It seems to bring the album down.
Grade: D
441. We’ll Be Together Again (Carl T. Fischer, Frankie Lane)
Back to back songs that struggle to connect with me. The music is wonderful, but again it is so safe and not exciting.
Billie Holiday has a version that I also think is just ok. I just can’t get into this song.
Grade: D
440. That’s All (Alan Brandt, Bob Haymes)
A gentle guitar, a beautiful reading by Stewart makes It Had To Be You…end on a high note. I first heard the song in the 1998 film “The Wedding Singer” and I’ve loved it ever since.
I adore Stewart’s version. The band is so good and Rod is at the top of his game. It is the perfect album ending.
Grade: A+
Who knew? It Had To Be You…The Great American Songbook blew all expectation out of the water. A clever release campaign had skyrocketed the album to number four on the Billboard Charts and went on to sell over 3 million copies in the United States alone. The critics couldn’t believe it again. Stewart had somehow beat them again with knowing what the public and some of his fans wanted to hear.
Stewart’s fans were also in shock. To say they were not excited about the album was an understatement. How could Stewart yet again turn his back on his rock ‘n’ roll roots!? Whatever the case may be and how Rod put out this album at the right time would give way to an annual tradition of Our Hero releasing a new volume of The Great American Songbook every October. It would also become the biggest selling series of albums in music history and sell nearly as many albums as Stewart did in the 70’s.
On October 14, 2003, Stewart released the second Great American Songbook.
As Time Goes By: The Great American Songbook Volume II October 14, 2003
441. Time After Time (Sammy Cahn, Jule Styne)
Time After Time was first recorded by Frank Sinatra in 1947. And it became one of his best known and loved hits. Stewart doesn’t change too much, he does add a cold opening of “What good are words I say to you…” with just Stewart and a piano that gradually give way to strings and a bass.
I love this song. It is one of my favorite in the whole series.
I love it so much that I convinced my wife that this should be the song we have our first dance at our wedding to. And she agreed!
Stewart is in the zone on this song. He sings with confidence and it comes through not only in his performance but the music as well.
Grade: A+
442. I’m In The Mood For Love (Dorothy Fields, Jimmy McHugh)
Made popular by Frances Langford in 1935, it has been covered by many artists. I prefer the Ella Fitzgerald version. It’s bouncier and more fun. Stewart’s falls in-between the two. It is a little boring and a letdown after the greatness of Time After Time.
Grade: C-
443. Don’t Get Around Much Anymore (Duke Ellington, Bob Russell)
After the letdown of I’m In The Mood For Love, Stewart rebounds quite nicely with a bouncy fun song. Our Hero sings his heart and brings that right amount of fun.
The Duke Ellington music is so nicely played and Stewart wraps his vocals around Bob Russell’s lyrics only the way he can.
Grade: A-
444. Bewitched, Bothered & Bewildered (Richard Rodgers, Lorenz Hart) Duet with Cher
A sultry Cher is game on a winning cover of the 1940 classic. Maybe the earliest, best known version was by the American actress/singer Doris Day in 1949. Day plays it up nicely but forgoes some of the racier lyrics that involve alcohol and subtle not so subtle sexual innuendos.
Rod’s version starts with a tinkling piano and Our Hero offering his lady friend some brandy. The song is such a fun duet with both singers bringing their A game and play off each other wonderfully. The song only works if both singers sound flirty and Stewart and Cher reach that and then some.
The song was selected as the first single off of the album and went to number 17 on the Adult Contemporary charts. I remember before the album dropped hearing this at Barnes and Noble. I still get giddy hearing new Rod Stewart songs out in the wild. Bewitched, Bothered & Bewildered is a winning song and duet.
Grade: A
445. ‘Till There Was You (Meredith Willson)
A sexy, saucy song gives way to a beautiful love song. Not only is this a popular song, it’s been covered by many bands, including The Beatles from their album With the Beatles.
Rod’s version is a great song with Stewart really sinking his teeth into the lyrics and delivering a restrained and wonderful performance. A hidden highlight for sure.
Grade: A
446. Until The Real Thing Comes Along (Sammy Cahn, Saul Chaplin, L.E. Freeman, Mann Holiner, Alberta Nichols)
A popular song that has many writers, and has been rewritten multiple times since its release in 1936.
Rod’s version, is basically an updated version of Billie Holiday’s haunting 1942 version. Stewart sings with a broken heart that comes through the speakers and pierces the heart. Rod does subtle quivers with his voice, giving the song a lot of weight. A solid song.
Grade: B
447. Where or When (Richard Rodgers, Lorenz Hart)
A classic show tune that has been covered too many times to count. My personal favorite is the 1959 version by the awesome doo-wop band Dion and the Belmonts.
Stewart’s feels and sounds like Ella Fitzgerald‘s version and it is ok. The song by itself is not a favorite, and Rod’s version is a little safe yet again. For his part, Rod sounds great, the song is just boring.
Grade: C-
448. Smile (Charlie Chaplin, Geoffrey Claremont Parsons, John Turner)
A beautiful, wonderful song that is without a doubt one of my favorites in the whole Great American Songbook series. “Although a tear may be ever so near, that’s the time you must keep on trying, smile what’s the use in crying, you’ll find life is still worthwhile, if you just smile” Words to love by. And the song was just instrumental when it came out in the amazing, classic Charlie Chaplin film, “Modern Times” and given wonderful lyrics in 1954.
I adore this song.
Grade: A+
449. My Heart Stood Still (Richard Rodgers, Lorenz Hart)
A much more fun and better Rodgers and Hart song, My Heart Stood Still has bounce and flair. Stewart once again crushes it vocally.
One of the older songs, it was written in 1927.
Grade: B
450. Someone to Watch Over Me (George Gershwin, Ira Gershwin)
Another bouncy, fun song that Our Hero again shows his singing chops. The band plays loose and Rod really wraps his throat around the lyrics, with another really old song, first recorded in 1926.
Stewart’s version is more uptempo than a lot of the versions of the song which makes it more fun to listen to. Stewart dumps the opening of song that Ella Fitzgerald has in her cover. Fitzgerald’s version is beautiful, Stewart’s is more fun. The preference is up to the listener.
Grade: B-
451. As Time Goes By (Herman Hupfeld) Duet with Queen Latifah)
What can be said about this song that hasn’t been said before? First recorded in 1931. Of course it hit the big time by being featured in one of the greatest movies of all time, “Casablanca”. Not only that but the scene with Ingrid Bergman’s Ilsa asking Dooley Wilson’s Sam “Play it, Sam. Play, As Time Goes By”.
Queen Latifah is up to the task as her and Stewart find a nice groove throughout the song. It is just so hard to not think about one of the most iconic movie scenes of all time when you hear it. Stewart’s version is more upbeat and the band is having fun, but…
I am not sure. I do like this version, but nothing can top “Casablanca”.
Grade: B
452. I Only Have Eyes For You (Al Dubin, Harry Warren)
Another classic song from the 30’s that gave way to a popular doo-wop version by The Flamingoes, easily the most popular version of the song it is so synonymous with The Flamingoes that all other versions will be judged on theirs.
Stewart does an admirable job ditching the doo-wop for more straight big band style. Our Hero sings the hell out of the song and gives a winning version. I love this song. Stewart doesn’t disappoint.
Grade: A-
453. Crazy She Calls Me (Bob Russell, Carl Sigman)
”I say I’ll move the mountains, and I’ll move the mountains, if she wants them out of the way, crazy she calls me, sure I’m crazy, crazy in love, I’d say”
What I love about The Great American Songbook is while some of the songs have pretty straight forward lyrics and rhymes, every once in awhile a song adds a new level to the songwriting craft. Rhyming “way” with “say” might not be hard, but how it is structured in Crazy She Calls Me is songwriting at its best.
This also a sneaky Sam Cooke cover. Sam sang it gloriously on his 1959 album, Tribute to the Lady and Rod follows his version really close. Stewart ditches the background singers, but the tempo is the same. Both are wonderful, both should be heard.
Grade: A
454. Our Love Is Here To Stay (George Gershwin, Ira Gershwin)
From the 1938 film, “The Goldwyn Follies” and by a lot of Our Hero’s favorite singers. My personal favorite is by Nat “King” Cole. His vocals are smooth and romantic.
Stewart does a great job making the song more bouncy and uptempo. Rod’s vocals again shine through out the song and brings the album to a relaxing end.
Grade: B-
If you went to Target, you got an extra track. Or if you lived in Japan or the UK you were treated with an extra song.
455. My Favorite Things (Richard Rodgers, Oscar Hammerstein II)
Um, yeah. This song exists. I am not fan of super wussy Rod Stewart. The song has no bite. It is from one of my favorite movies, My Fair Lady, which started as a musical.
The song is fun and invokes images of Christmas, but Rod’s version is very safe and very just ok. Stewart sings well, but, I don’t know. The same guy that sang Hot Legs also sings, “snowflakes that fall on my nose and eyelashes”. It is one of the songs that I thought maybe Stewart was taking the piss out of us.
Grade: D
Stewart scored an even bigger hit with Volume II of The Great American Songbook. Rod was more confident in the record and it comes through in his performance. While not all the songs are winners, some are brilliant. The album strutted to number 2 on the Billboard charts and sold over 2 million copies in America alone. Guaranteeing more volumes of Stewart’s new found chart success.
In fact, in a year’s time, Rod Stewart would score his first number 1 album on Billboard in 25 years. But he wasn’t done with chart topping success there either.
Coming soon Part 12, In Which Our Hero Brings The Classics of American Songbook, Rock and Soul.