Here we go again. I know that’s what you’re thinking. Another Rod Stewart article by Ryan. And yes, another one. I am making this one the most complete exploration of Rod Stewart’s output. As I scour the internet, I have seen that Stewart is sometimes largely ignored. As a fan I try and explain to everyone that he might posses the biggest, longest must under appreciated career in music.
With Stewart approaching nearly 60 years of continuously producing and recording music the only question is what will he do next? He has done everything from R&B, folk, rock, disco, The Great American Songbook and just about everything in between.
So the information found in this series of articles will be a breakdown/review of every, yes every song Rod Stewart recorded, released or was a part of. I think I have them all and I think I have heard them all (a big shoutout to Antonio of Rod Stewart FC Pals for sending me hard to find bonus tracks from The Great American “Snorebook” his words not mine.) If there are missing songs, wrong information, or any other musings that you disagree with, please let me know. I want this to be the most complete review of all of Rod Stewart’s songs.
Part 1: Where Our Hero Tries to Find His Voice: The Singles 1964-1969
If you dig enough you will find some truly funny stories from Rod Stewart about his early days of trying to find his way into the music world. From busking in Paris to performing in bands such as Steampacket and Shotgun Express, Rod covered a lot of blues and R&B songs from his heroes. You can hear in his early recordings a young man desperately trying to sound like Sam Cooke. And while the music during this blossoming period is fun, it doesn’t really catch on.
I struggled to find actual dates for a lot of these songs, I do know that Rod’s first solo single is the blues standard by Sonny Boy Williamson, “Good Morning Little School Girl”. In the liner notes to “Storyteller” Rod states that John Paul Jones of Led Zeppelin is on bass, how cool is that?
1. Good Morning Little School Girl (Sonny Boy Williamson)
The opening guitar on this blues standard is instantly catchy. Rod states in “Storyteller” that The Yardbirds recorded this song as well, “mere weeks” before he did making his version “fairly useless”. But ignore that and Rod sounds confident and at home with the blues. For a first effort it is pretty solid. Nothing earth shattering but the song is well done and a nice start for our hero.
Grade: B
2. Up Above My Head (Sister Rosetta Thorpe)
Long John Baldry opens the singing on this uptempo number originally released in 1939. Rod and John do a call and answer and the song is bursting with energy. The sound is right and the band is tight. I imagine this is a fun song to play. The song play out goes on a little too long before it picks up again causing the song to lose some momentum.
Grade: B-
3. I’m Gonna Move to the Outskirts of Town (Casey Bill and Roy Jacobs)
Another blues number that Rod attempts with some success. Originally recorded as “We Gonna Move (To the Outskirts of Town)” in 1936, but often changed to I’m. Although it is missing the rough and tumble grittiness of the original, Rod’s version is commendable.
Grade: B-
4. Bright Lights, Big City (Jimmy Reed)
Recorded in 1961 by Jimmy Reed, Rod would tackle this song just three years later, and it is just ok. This is a song I can hear Rod trying really hard on, and without some discipline he over sings some parts with varying degrees of success. It would be another couple years before Rod Stewart, became Rod Stewart and this is a song where he lacks some identity.
Grade: C
5. Ain’t That Lovin’ You Baby (Jimmy Reed)
Another Jimmy Reed classic that Rod tries his hand at. While Reed’s version is vastly superior, Rod pops it up a little bit causing the song to lose some of it’s bite. Rod also over sings this song as well but it doesn’t come across as trying too hard as on “Bright Lights, Big City”.
Grade: C+
6. Don’t You Tell Nobody (Willie Dixon)
Rod gets down and dirty by barking at his lady friend telling her not to tell anyone what they have been up to. Not too effective and the song just seems to shamble along.
Grade: C-
7. Just Like I Treat You (Willie Dixon)
A meandering dip into blues doesn’t really deliver. Where as Rod tried to overdue “Don’t You Tell Nobody” here he tries to tone it down, which makes it not pop. As I listen to these songs again I can’t help but notice Rod is trying to find his voice, which in turn leads to some varying degrees of success.
Grade: C-
8. Mopper’s Blues (Big Bill Broozny)
Easily the weakest song Rod has recorded to this point. It is way over produced. The backing band is distracting and unnecessary. Rod’s version mirrors Muddy Waters’ version not the superior Big Bill Broozny original. Rod also leaves off a couple verses which makes the song a repetitive bore.
Grade: D
9. Keep Your Hands Off Her (Huddie “Lead Belly” Ledbetter, I actually can’t find out if he is the writer of this song. HIs version and his name are the only mentions of this song I can find, if you know please help,)
A really fun ditty that is almost great. Rod has lots of fun with this song telling another man to keep his hands off his “heavy hipped woman”. Why I enjoy this song is I can hear Rod smiling as he sings it. Part of the appeal of Rod Stewart for me has always been “he’s one of the guys”. “Keep Your Hands Off Her” is a perfect example of a song that Rod sings and enjoys.
Grade: A-
10. The Day Will Come (Barry Mason)
A true pop song in an early recording career of covering blues songs. A warning perhaps of armageddon and how the common man is the one fighting the fight. I read that the writer of the song was not too impressed with Rod’s version stating that Rod really did not want to sing it.
If that is true I disagree with both men. It is not earth shattering but Rod sings the song well and the song is effective. And I think Mason is giving his song too much credit. Yes, it is cool lyrically but it is nowhere a song that if it was sung by someone else would make it anything more than Rod did.
Grade: B
11. Why Does it Go On (Barry Mason)
I’m sensing a theme here with Barry Mason and his song writing, but this song is better than “A Day Will Come”. But trading in the fantastical images of the end of the world to an almost Bob Dylan style of song makes it much more effective.
Rod is in top form as well as I think he is starting to find his voice. And although Rod has such a great voice for blues, as you will find out a little later on, possibly his best genre is folk/rock.
Grade: A
12. Can I Get a Witness (Holland, Holland and Dozier)
A Steampacket song that Rod and Long John Baldry trade roles of “Up Above My Head”, where Rod takes over the lead and John is the callback during the song.
It is fun, light and not quite great, but enjoyable.
Grade: B-
13. Baby Take Me (Jo Armstead, Nickolas Ashford and Valerie Simpson)
A true all in Steampacket song with Rod, Long John Baldry and Julie Driscoll all taking the lead at some point. And while I do adore Long John and Julie, Rod is starting to separate himself from them in terms of becoming a lead vocalist and not just part of a band. His charm and vocal prowess cannot be denied in this song and it sines through the speakers.
Grade: B+
14. Oh, Baby Don’t You Do It (Holland, Holland and Dozier)
Long John Baldry takes the lead on this song with Rod regulated to backing vocals. It is slightly over produced and doesn’t stick the landing. John Baldry has a very distinct voice and it is oozing with personality. This song however did nothing for his career.
Grade: C-
15. Lord Remember Me (unknown, I can’t find this writer, possibly a traditional song, again please reach out to me if you know.)
Long John again steps into the lead vocalist role with Rod providing backing vocals. It is a little strange hearing a gospel song from Steampacket, and although lyrically it’s a little different, I am guessing they heard Sam Cooke sing this song at some point. John Baldry’s powerful voice shines on this track. The message is lost on me because I am not the biggest fan of gospel music, the power of John Baldry’s voice cannot be denied.
Grade: B-
16. Shake (Sam Cooke)
The first Sam Cooke song Stewart recorded is a doozy. So much fun and so much energy. Listening to this song you can hear how much Rod loves Sam Cooke. Stewart has alway said he could never sing a Sam Cooke song better so he just tries to make it his own. And while “Shake” sticks pretty close to Sam’s Rod does Sam proud.
Grade: A
17. I Just Got Some (Willie Mason)
A blues song about, well *ahem* sex. Rod is really getting into a groove. HIs confidence is booming and it is conveyed in his delivery. He tones it down when needed and cranks it up when he needs to. I like this song and it moves well, never really slows down.
Grade: B+
18. I Could Feel the Whole World Turn Around (Ray Smith & Tony Colton)
Rod teams with Beryl Marsden (I think?) on this fun ditty that is slightly over produced but nevertheless breezy fun. Maybe that is he determent to the song. It feels safe, not challenging Rod or the band. But it is snappy and catchy.
Grade: B-
19. Come Home Baby (Barry Mann & Cynthia Well)
Rod teams up with P.P. Arnold on a fun track that gives each artist time to shine. Rod opens the song with, “I know just how bad I hurt you” it gives us a glimpse of what’s to come as Stewart is one of the best at phrasing lyrics. I think this is a hidden gem that begs to be heard.
Grade: A-
20. Stone Crazy (Buddy Guy)
Rod slows it way down to blues standard by the wonderful Buddy Guy. It sticks really close to original, but with not quite the same bite. Buddy and Rod both pour their hearts into the song but Buddy’s band is tighter making the song more cohesive. Not bad, but Rod would have more success soon in the blues department.
Grade: C+
21. Little Miss Understood (Mike D’Abo)
A slightly overindulgent song that is also slightly over produced and over sung but the lyrics about a woman who walks the streets to make money is brilliant. It is one song that I wish Rod would try again with a better understanding of lyric phrasing and a tighter overall production. The song is good though and it well worth a listen or two.
Grade: B
22. So Much to Say (Rod Stewart & Mike D’Abo)
Awesome! Rod’s first song writing credit! But, um yeah this song is just there. Rod tries his hand at blues again and the results are the best. Even Rod states in “Storyteller”, “A lousy wavering vocal here causes me to shudder in embarrassment.” I agree with Rod, back to the drawing board.
Grade: D
23. The Blues (unknown, can’t find a writing credit)
A much better foray into the blues by Stewart. The band sounds so much better and it isn’t just a piano like in “So Much to Say”. It’s a rollicking 4 minute blues song with a killer guitar solo. Also, I love that the band stops and lets Rod sing some lyrics with bass and drums before cranking it back up.
Grade: B-
24. Cloud Nine (Barrett Strong & Norman Whitfield)
More fighting guitars gives this blues song a heavy rock feel, Rod would really get into this very soon as a member of The Jeff Beck Group. But he is cutting his teeth here with killer results. Stewart is really coming into his own and would be just a couple of years from superstardom, “Cloud Nine” lays the foundation.
Grade: B+
25. Shock Treatment (?)
Yikes. I guess the big draw here is Frank Zappa produced this. I am glad it is only 1:47, it is a tough listen. It just is too much and too lame.
Grade: F
26. Diamond Joe (?)
Not sure who Rod is trying to sound like at the beginning of the song and I am not sure that it isn’t a joke, but about half way through he settles into a pretty fun rock song. With a funky bass and a driving force “Diamond Joe” is a little rough but fun.
Grade: B-
27. Engine 4444 (Art Wood)
Rod is second fiddle on this song featuring Art Wood. Nothing to write home about, but it is fun. And Rod loves trains, a theme he would return to many times in his career.
Grade: C+
28. In A Broken Dream (David Keith Bentley)
A fun story about this song, I will have Rod tell it to you, again this appears in “Storyteller”. “ This was only meant to be a demo, which I did for a friend in exchange for a new set of carpets for my automobile (he was a car salesman trying to enter the field of rock & roll management-a lethal combination). He said “I only want a guide vocal to show my new signing how it should be sung.” I, of course obliged like a friend. Subsequently, three years later, it was released and became a major hit in Europe. I was conned. Never mind, life goes on.” This is a brilliant song. So good and I hope Rod got the carpets he wanted for his car, he deserves them.
Grade: A+
Stay tuned for part two, In Which Our Hero Joins a Band or Two