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Album Details  :  Rod Stewart    46 Albums     Reviews: 

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Rod Stewart
Allmusic Biography : Over the course of his career, Rod Stewart has had it all. Hes been lauded as the finest singer of his generation; hes written several songs that turned into modern standards; he sang with the Faces, who rivaled the Rolling Stones in their prime; he had massive commercial success. Stewart also saw his critical respect slip away during the 80s when he recorded lightweight pop, and although he did record some terrible albums -- and he would admit that freely -- Stewart will always be remembered as one of rock & rolls best interpretive singers as well as an accomplished, innovative songwriter, creating a raw combination of folk, rock, blues, and country that sounded like no other folk-rock or country-rock material. Instead of finding the folk in rock, he found how folk rocked like hell on its own. After Stewart became successful, he began to lose the rootsier elements of his music, yet he remained a superb singer, even as he abandoned his own artistic path in favor of following pop trends. Stewart began his musical career after spending some time as an apprentice with the Brentford Football Club, touring Europe with folk singer Wizz Jones in the early 60s; during this time he was deported from Spain for vagrancy. When he returned to England in 1963, he joined the Birmingham-based R&B; group Jimmy Powell & the Five Dimensions as a vocalist and harmonica player. The band toured the U.K. and recorded one single for Pye Records that featured Stewart on blues harp. After moving back to London, he joined Long John Baldrys band, the Hoochie Coochie Men. The group recorded a single in 1964, "Good Morning Little Schoolgirl," that failed to chart, and soon afterward the band evolved into Steampacket. During the summer of 1965, the group supported the Rolling Stones and the Walker Brothers on a U.K. tour and recorded an album that remained unreleased until 1970. Early in 1966, Steampacket disbanded and Stewart became a member of the blues-rock combo Shotgun Express, which released one single that fall before splitting. Stewart then joined the Jeff Beck Group at the end of 1966. With the Jeff Beck Group, Stewart began his climb to stardom. He and the former Yardbird guitarist pioneered the heavy blues-rock team of a virtuoso guitarist and a dynamic, sexy lead vocalist that became the standard blueprint for heavy metal. Truth, the bands debut album, was released in the fall of 1968, and became a hit in both America and Britain. The Jeff Beck Group toured both countries several times in 1968 and 1969, gaining a dedicated following. In the summer of 1969, they released their second album, Beck-Ola, which became another hit record in both the U.S. and U.K. However, the group fell apart in the fall. After rejecting an offer to join the American rock group Cactus, Stewart and Jeff Beck Group bassist Ron Wood joined the Small Faces, replacing the departed vocalist/guitarist Steve Marriott. With Wood switching over to guitar, the group shortened its name to the Faces and recorded its debut album, First Step. During this time, Stewart had also signed a solo contract, releasing his first album, An Old Raincoat Wont Ever Let You Down (retitled The Rod Stewart Album for its American release), at the end of 1969; the record failed to chart in the U.K., yet it made it to number 139 on the U.S. charts. On the album, Stewarts folk roots meshed with his R&B; and rock influences, creating a distinctive, stripped-down acoustic-based rock & roll that signaled he was a creative force in his own right. The Faces released First Step in the spring of 1970. The album was a departure both from the R&B;/pop direction of the Small Faces and the heavy blues of the Jeff Beck Group; instead, the group became a boisterous, boozy, and sloppy Stones-inspired rock & roll band. The album fared better in the U.K. than it did in the U.S., yet the group built a devoted following on both continents with their reckless, messy live shows. Stewart released his second solo album, Gasoline Alley, in the fall of 1970, supporting it with an American tour. The following year proved to be pivotal in Stewarts career. At the beginning of 1971, the Faces released their second album, Long Player, which became a bigger hit than First Step, yet his third solo album, Every Picture Tells a Story, made Rod Stewart a household name, reaching number one in both America and Britain. "Reason to Believe" was the first single from the album, becoming a minor hit in both countries, but when DJs began playing the B-side, "Maggie May," it became a number one hit in both the U.K. and U.S. for five weeks in September. The Faces released their third album, A Nod Is as Good as a Wink...To a Blind Horse, a couple of months later. Thanks to the success of Every Picture Tells a Story, the album was a Top Ten hit in both countries; it also launched the single "Stay with Me," which became the bands only Top 40 hit in the U.S. The following year, the Faces began a lengthy spring tour. During the tour, tensions grew within the band as Stewarts solo career increased in popularity. That summer, Stewart released his fourth solo album, Never a Dull Moment, which nearly replicated the success of Every Picture Tells a Story, peaking at number two in the U.S. and number one in the U.K. In the spring of 1973, the Faces released their final album, Ooh La La. Stewart expressed his disdain for the record in the press, yet it hit number one in the U.K. and number 21 in the U.S. After releasing the "Pool Hall Richard" single in the beginning of 1974, the band went on tour; it would prove to be their last. Stewart released Smiler in the fall of 1975. Smiler followed the same formula as his previous four albums -- and it also became a hit -- yet it showed signs that the formula was wearing thin. In March of 1975, he began a love affair with Swedish actress Britt Ekland; the romance, along with a bitter fight with U.K. tax collectors, prompted him to apply for U.S. citizenship. Atlantic Crossing, released in the summer of 1975, made the singers relocation explicit. Recorded with producer Tom Dowd and the Muscle Shoals rhythm section, the album removed much of the singers folk roots and accentuated his pop appeal. At the end of the year, Stewart left the Faces and the band finally called it quits. Recorded in Los Angeles with a group of studio musicians, 1976s A Night on the Town continued Stewarts move to slicker pop territory and proved quite successful, becoming his first platinum album; it featured the hit single "Tonights the Night," which was number one in the U.S. for eight weeks. Foot Loose & Fancy Free, released the following year, followed the same artistic pattern as A Night on the Town while surpassing its commercial performance, selling over three million copies. Stewart incorporated some disco to his musical formula for 1978s Blondes Have More Fun. Supported by the number one single "Da Ya Think Im Sexy?," the record became Stewarts first number one album since Every Picture Tells a Story, selling over four million records. By this time, Stewart was notorious for his jet-set lifestyle, particularly the series of actresses and models he dated. With 1981s Tonight Im Yours, Stewart began adding elements of new wave and synth pop to his formula, resulting in another platinum album. Soon afterward, his career hit a slump. His next four albums sounded forced and he only scored three Top Ten hits between 1982 and 1988; out of those four albums, only 1983s Camouflage went gold. Stewart rebounded with 1988s Out of Order, recorded with Duran Durans Andy Taylor and Chics Bernard Edwards. His version of Tom Waits "Downtown Train," taken from the 1989 four-disc box set Storyteller, became his biggest hit since "Da Ya Think Im Sexy?" Vagabond Heart (1991) reflected a more mature and reflective Rod Stewart and continued his comeback streak. Stewart reunited with Ron Wood to record an MTV Unplugged concert in 1993; the accompanying album, Unplugged...And Seated, launched the Top Ten hit single "Have I Told You Lately." Unplugged also returned Stewart to a more acoustic-based sound. On his 1995 album A Spanner in the Works, the singer explored a more polished version of this sound, scoring another hit with Tom Pettys "Leave Virginia Alone." The following year, he released If We Fall in Love Tonight, which was comprised of both previously released and new material. When We Were the New Boys, a return to his roots in trad rock, followed in 1998. In 2001, Stewart embarked on a new path with Human, an album that attempted to cross over to contemporary and urban audiences, but it failed with the critical and commercial public alike. His next project may have sounded equally unlikely, but it was much more successful. It Had to Be You, the first in his series crooning the Great American Songbook, became an adult contemporary favorite and lodged near the top of the album charts after its release in 2002. As Time Goes By followed it into the charts in 2003 and missed the top spot by only one notch. In late 2004, his third volume in the series (Stardust) hit number one. Thanks for the Memory became the fourth entry in the series in 2005. By the years end, all four volumes were collected in The Great American Songbook Box Set. In 2006, he continued his series of cover albums, but this time he focused on the rock & roll era. Still the Same: Great Rock Classics of Our Time appeared toward the end of the year, with a version of Creedence Clearwater Revivals "Have You Ever Seen the Rain" as its lead single. Stewart next tackled soul and Motown classics with 2009s Soulbook but returned to standards for 2010s fifth installment of his Great American Songbook series, Fly Me to the Moon. Stewart continued to flirt with the idea of a Faces reunion throughout this period, but even when the group was inducted into the Rock & Roll Hall of Fame in the spring of 2012, he stayed on the sidelines. Instead, Stewart prepped his first album for Verve: the seasonal set Merry Christmas, Baby, which appeared in October of 2012, the same month he published his memoir Rod: The Autobiography. Authoring his memoir inspired Stewart to return to songwriting, a discipline he had left behind in the 90s. His next album, Time -- his first for Capitol Records -- almost entirely comprised songs he had co-written, and they all had a distinctly autobiographical bent. Time was released in May of 2013. Following its success, Stewart returned to the studio to record another collection of original material. Another Country appeared in October 2015, and featured the single "Love Is." In 2017, he collaborated on a remix of his song "Da Ya Think Im Sexy?" with Joe Jonas DNCE. Stewarts next full-length album, Blood Red Roses, appeared in September 2018.
	Album: 1 of 46 Title:  Bright Lights - Big City Released:   Tracks:  14 Duration:  43:29 Scroll:  Up   Down   Top   Bottom   25%   50%   75% AlbumCover	1   Bright Lights  (03:17) 2   Why Does It Go On  (02:45) 3   Red Ballon  (04:17) 4   Wide Eyed Girl on the Wall  (03:12) 5   Shake  (03:31) 6   Keep Your Hands Off Her  (02:50) 7   Just a Little Misunderstood  (03:35) 8   The Day Will Come  (02:38) 9   Aint That Loving You Baby  (02:32) 10  Dont You Tell Nobody  (03:54) 11  Moppers Blues  (02:43) 12  Baby Come Home  (02:35) 13  Baby, Take Me  (02:08) 14  Can I Get a Witness  (03:32)
	Album: 2 of 46 Title:  An Old Raincoat Wont Ever Let You Down Released:  1969 Tracks:  8 Duration:  32:44 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Street Fighting Man  (05:07) 2   Man of Constant Sorrow  (02:33) 3   Blind Prayer  (04:40) 4   Handbags & Gladrags  (04:25) 5   An Old Raincoat Wont Ever Let You Down  (03:06) 6   I Wouldnt Ever Change a Thing  (04:46) 7   Cindys Lament  (04:28) 8   Dirty Old Town  (03:38)
	Album: 3 of 46 Title:  Gasoline Alley Released:  1970 Tracks:  9 Duration:  41:54 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Wikipedia   Allmusic    AlbumCover	1   Gasoline Alley  (04:04) 2   It’s All Over Now  (06:24) 3   Only a Hobo  (04:16) 4   My Way of Giving  (03:57) 5   Country Comforts  (04:45) 6   Cut Across Shorty  (06:31) 7   Lady Day  (04:00) 8   Jo’s Lament  (03:26) 9   You’re My Girl (I Don’t Want to Discuss It)  (04:27)
Gasoline Alley : Allmusic album Review : Gasoline Alley follows the same formula of Rod Stewarts first album, intercutting contemporary covers with slightly older rock & roll and folk classics and originals written in the same vein. The difference is in execution. Stewart sounds more confident, claiming Elton Johns "Country Comfort," the Small Faces "My Way of Giving," and the Rolling Stones version of "Its All Over Now" with a ragged, laddish charm. Like its predecessor, nearly all of Gasoline Alley is played on acoustic instruments -- Stewart treats rock & roll songs like folk songs, reinterpreting them in individual, unpredictable ways. For instance, "Its All Over Now" becomes a shambling, loose-limbed ramble instead of a tight R&B/blues groove, and "Cut Across Shorty" is based around a howling, Mideastern violin instead of a rockabilly riff. Of course, being a rocker at heart, Stewart doesnt let these songs become limp acoustic numbers -- these rock harder than any fuzz-guitar workout. The drums crash and bang, the acoustic guitars are pounded with a vengeance -- its a wild, careening sound that is positively joyous with its abandon. And on the slow songs, Stewart is nuanced and affecting -- his interpretation of Bob Dylans "Only a Hobo" is one of the finest Dylan covers, while the original title track is a vivid, loving tribute to his adolescence. And that spirit is carried throughout Gasoline Alley. Its an album that celebrates tradition while moving it into the present and never once does it disown the past.
	Album: 4 of 46 Title:  Every Picture Tells a Story Released:  1971 Tracks:  8 Duration:  40:38 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Wikipedia   Allmusic    AlbumCover	1   Every Picture Tells a Story  (06:00) 2   Seems Like a Long Time  (04:03) 3   That’s All Right  (06:00) 4   Tomorrow Is Such a Long Time  (03:44) 5   Maggie May  (05:47) 6   Mandolin Wind  (05:33) 7   (I Know) I’m Losing You  (05:23) 8   Reason to Believe  (04:08)
Every Picture Tells a Story : Allmusic album Review : Without greatly altering his approach, Rod Stewart perfected his blend of hard rock, folk, and blues on his masterpiece, Every Picture Tells a Story. Marginally a harder-rocking album than Gasoline Alley -- the Faces blister on the Temptations cover "(I Know Im) Losing You," and the acoustic title track goes into hyper-drive with Mick Wallers primitive drumming -- the great triumph of Every Picture Tells a Story lies in its content. Every song on the album, whether its a cover or original, is a gem, combining to form a romantic, earthy portrait of a young man joyously celebrating his young life. Of course, "Maggie May" -- the ornate, ringing ode about a seduction from an older woman -- is the centerpiece, but each song, whether its the devilishly witty title track or the unbearably poignant "Mandolin Wind," has the same appeal. And the covers, including definitive readings of Bob Dylans "Tomorrow Is Such a Long Time" and Tim Hardins "Reason to Believe," as well as a rollicking "Thats All Right," are equally terrific, bringing new dimension to the songs. Its a beautiful album, one that has the timeless qualities of the best folk, yet one that rocks harder than most pop music -- few rock albums are quite this powerful or this rich.
	Album: 5 of 46 Title:  Never a Dull Moment Released:  1972 Tracks:  9 Duration:  33:19 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Wikipedia   Allmusic    AlbumCover	1   True Blue  (03:34) 2   Lost Paraguayos  (03:59) 3   Mama You Been on My Mind  (04:29) 4   Italian Girls  (04:57) 5   Angel  (04:06) 6   Interludings  (00:40) 7   You Wear It Well  (04:22) 8   I’d Rather Go Blind  (03:53) 9   Twistin’ the Night Away  (03:15)
Never a Dull Moment : Allmusic album Review : Essentially a harder-rocking reprise of Every Picture Tells a Story, Never a Dull Moment never quite reaches the heights of its predecessor, but its a wonderful, multi-faceted record in its own right. Opening with the touching, autobiographical rocker "True Blue," which finds Rod Stewart trying to come to grips with his newfound stardom but concluding that hed "rather be back home," the record is the last of Stewarts series of epic fusions of hard rock and folk. Its possible to hear Stewart go for superstardom with the hard-rocking kick and fat electric guitars of the album, but the songs still cut to the core. "You Wear It Well" is a "Maggie May" rewrite on the surface, but it develops into a touching song about being emotionally inarticulate. Similarly, "Lost Paraguayos" is funny, driving folk-rock, and its hard not to be swept away when the Stonesy hard rocker "Italian Girls" soars into a mandolin-driven coda. The covers -- whether a soulful reading of Jimi Hendrixs "Angel," an empathetic version of Dylans "Mama, You Been on My Mind," or a stunning interpretation of Etta James "Id Rather Go Blind" -- are equally effective, making Never a Dull Moment a masterful record. He never got quite this good ever again.
	Album: 6 of 46 Title:  Sing It Again Rod Released:  1973 Tracks:  12 Duration:  52:05 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Wikipedia   Allmusic    AlbumCover	1   Reason to Believe  (03:45) 2   You Wear It Well  (04:10) 3   Mandolin Wind  (05:28) 4   Country Comforts  (04:45) 5   Maggie May  (05:14) 6   Handbags & Gladrags  (04:25) 7   Street Fighting Man  (04:58) 8   Twisting the Night Away  (03:07) 9   Lost Paraguayos  (03:49) 10  (I Know) I’m Losing You  (05:03) 11  Pinball Wizard  (03:12) 12  Gasoline Alley  (04:04)
Sing It Again Rod : Allmusic album Review : In some ways, 1973 was a little early for Rod Stewart to release a greatest-hits album, since he had only released four albums to that point. Nevertheless, Sing It Again Rod is a good collection, featuring most of the obvious choices from his first four records -- "Handbags and Gladrags," "Street Fighting Man," "Gasoline Alley," "You Wear It Well" and a full side of Every Picture Tells a Story ("Maggie May," "Mandolin Wind," "Reason to Believe," "(I Know) Im Losing You") -- plus nice surprises like "Lost Paraguayos" and his version of "Pinball Wizard," which had yet to appear on a Stewart record. Its an entertaining album, but its a little useless for anyone except the most casual fans, those who just want hits. Anyone else would be better served by the original albums, all of which are superb.
	Album: 7 of 46 Title:  Smiler Released:  1974 Tracks:  12 Duration:  42:42 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic   Wikipedia    AlbumCover	1   Sweet Little Rock ’n’ Roller  (03:45) 2   Lochinvar  (00:24) 3   Farewell  (04:35) 4   Sailor  (03:38) 5   Bring It on Home to Me / You Send Me  (03:59) 6   Let Me Be Your Car  (04:58) 7   (You Make Me Feel Like) A Natural Man  (03:53) 8   Dixie Toot  (03:26) 9   Hard Road  (04:29) 10  Ive Grown Accustomed to Her Face  (01:33) 11  Girl From the North Country  (03:54) 12  Mine for Me  (04:02)
Smiler : Allmusic album Review : Rod Stewarts classic formula ran out of gas on Smiler, his fifth solo album. The failure of Smiler wasnt a matter of weak songs, nor was it a matter of Stewart being in poor voice. Instead, the album failed because everything, from the choice of songs to the production, sounded too pat and predictable. The predictability held "Sweet Little Rock n Roller" from truly rocking and it made the reworking of "(You Make Me Feel Like) A Natural Man" unbearably smug. Apart from the freewheeling take on Elton Johns "Let Me Be Your Car" and the inspired version of Dylans "Girl From the North Country," Smiler is an utter waste of time.
	Album: 8 of 46 Title:  Atlantic Crossing Released:  1975 Tracks:  10 Duration:  44:44 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Wikipedia   Allmusic    AlbumCover	1   Three Time Loser  (04:07) 2   Alright for an Hour  (04:20) 3   All in the Name of Rock ’n’ Roll  (05:03) 4   Drift Away  (03:45) 5   Stone Cold Sober  (04:13) 6   I Don’t Want to Talk About It  (04:50) 7   It’s Not the Spotlight  (04:24) 8   This Old Heart of Mine  (04:07) 9   Still Love You  (05:13) 10  Sailing  (04:38)
Atlantic Crossing : Allmusic album Review : Rod Stewarts sixth album was called Atlantic Crossing because the singer was literally crossing the Atlantic, making America his new home for reasons of the heart (he was fully enamored with actress Britt Ekland at the time) and the wallet (he was eager to escape Britains restrictive tax rates). As it happens, 1975 was a perfect time for a new beginning for Stewart: the Faces were falling apart, his last LP, Smiler, wasnt roundly loved, and he had wrapped up his contract with Mercury and signed with Warner, so he completely rebooted, hiring legendary producer Tom Dowd to steer him through a slick, streamlined revamping of his signature sound. The first thing to be ditched were any traces of the ragged folkie who had popped up on all his first five solo albums, including on his career-making hit "Maggie May," a move that may partially have been due to Stewarts longtime writing partner Martin Quittenton deciding to sever ties with him. Without those ringing acoustic guitars, Dowd and Stewart ratcheted up the rock & roll, soul, and whiskey-soaked ballads, first taking a stab at recording the album with the MGs (outtakes of which popped up on Warners 2009 double-disc Collectors Edition of the album), then expanding this core group with other studio pros who could easily settle into a smooth, polished groove. The results were splashy without being glitzy, soulful without being gritty, an impressive big-budget revamp of Stewart that benefited enormously from a clutch of great songs, both originals and covers. Tellingly, all the great originals arrive on the first side dubbed "The Fast Half," with Rod writing blistering, funny rockers about being laid up three times with VD ("Three Time Loser") and suffering through an unwanted sobriety ("Stone Cold Sober"), then easing back for a quick romance on the Jesse Ed Davis co-written "Alright for an Hour" -- all good indications that his heart was still at a party. But the "Slow Half" did reveal that Stewart had lost none of his fine, nuanced interpretive skills, as he tore into Danny Whittens "I Dont Want to Talk About It," took his first stab at "This Old Heart of Mine," and kept "Sailing" from drifting away into sentimentality. When taken together, the two halves might have showcased a somewhat slicker Stewart, but he was still the same old Rod with a big, oversized heart and an irresistible bad boy smirk. He may have crossed the Atlantic, but he was none worse for the wear for his journey, at least not yet.
	Album: 9 of 46 Title:  A Night on the Town Released:  1976 Tracks:  9 Duration:  41:08 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic    AlbumCover	1   Tonight’s the Night (Gonna Be Alright)  (03:56) 2   The First Cut Is the Deepest  (04:31) 3   Fool for You  (03:49) 4   The Killing of Georgie, Part I and II  (06:27) 5   The Balltrap  (04:37) 6   Pretty Flamingo (early version)  (03:27) 7   Big Bayou  (03:53) 8   The Wild Side of Life  (05:09) 9   Trade Winds  (05:15)
A Night on the Town : Allmusic album Review : In some ways, its easy to think of A Night on the Town, Rod Stewarts second album for Warner, as a reprisal of the first, cut with many of the same musicians as Atlantic Crossing, produced once again by Tom Dowd, and even following its predecessors conceit of having a "Slow Side" and "Fast Side" (granted, this flips the two around, opening with the slow one first). Superficially, this seems true, but A Night on the Town has a crucial difference: despite its party-hearty title, this album finds Stewart folding folk back into his sound, a move that deepens the music tonally and emotionally, particularly in the case of "The Killing of Georgie (Pts. 1 & 2)," Rods most ambitious original. A winding, sensitive narrative about the murder of a gay friend -- a hate crime years before the term existed -- "The Killing of Georgie" finds Stewart filtering Dylan through his own warm, conversational style, creating a remarkable work unlike anything else in his body of work, yet the songs smooth synthesis of folk storytelling, soul, and incipient disco act as an appropriate conclusion to a side-long suite of songs of seduction, beginning with his classic come-on "Tonights the Night (Gonna Be Alright)," running through his splendid reading of Cat Stevens "The First Cut Is the Deepest," and his fine original "Fool for You." On the Fast Side, Stewart has only one original -- the lewd, riotous "The Balltrap" -- but he more makes up for it by spinning two country classics, Gib Guilbeaus "Big Bayou" and Hank Thompsons "The Wild Side of Life," into thick, Stonesy rock & roll, and turning Manfred Manns "Pretty Flamingo" into a rave-up. With all this in mind, A Night on the Town isnt a revival of Atlantic Crossing, its its inverse, with Stewart shining as an interpreter on the fast songs and writing the best slow ones, but its also its equal, proving that Stewart could still stay true to his open-hearted, ragged soul while on a big budget.
	Album: 10 of 46 Title:  Foot Loose & Fancy Free Released:  1977 Tracks:  8 Duration:  44:41 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Wikipedia   Allmusic    AlbumCover	1   Hot Legs  (05:15) 2   You’re Insane  (04:51) 3   You’re in My Heart (The Final Acclaim)  (04:30) 4   Born Loose  (06:04) 5   You Keep Me Hangin’ On  (07:28) 6   (If Loving You Is Wrong) I Don’t Want to Be Right  (05:26) 7   You Got a Nerve  (04:59) 8   I Was Only Joking  (06:07)
Foot Loose & Fancy Free : Allmusic album Review : Following the same formula as Atlantic Crossing and A Night on the Town, but not explicitly breaking the record into fast and slow sides, Foot Loose & Fancy Free was a limp effort from an increasingly complacent Rod Stewart. With the exception of the dumb, sleazy "Hot Legs," none of the rockers are discernible from each other, and this time he doesnt have a strong set of ballads to save him. The affectionately sappy acoustic ballad "Youre in My Heart" was the big hit, but Stewart sounds completely convincing only on "I Was Only Joking." Coming at the end of the album, the song seems like a justification for the uninspired, by-the-book record that preceded it.
	Album: 11 of 46 Title:  Blondes Have More Fun Released:  1978 Tracks:  10 Duration:  43:11 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Wikipedia   Allmusic    AlbumCover	1   Da Ya Think I’m Sexy?  (05:30) 2   Dirty Weekend  (02:35) 3   Ain’t Love a Bitch  (04:38) 4   The Best Day of My Life  (04:21) 5   Is That the Thanks I Get?  (04:32) 6   Attractive Female Wanted  (04:16) 7   Blondes (Have More Fun)  (03:47) 8   Last Summer  (04:06) 9   Standin’ in the Shadows of Love  (04:29) 10  Scarred and Scared  (04:53)
Blondes Have More Fun : Allmusic album Review : In its simplest terms, Blondes Have More Fun is Rod Stewarts disco album, filled with pulsating rhythms and slick, synthesized textures. Its also his trashiest, most disposable album, filled with cheap come-ons and bad double entendres. Of course, that makes Blondes Have More Fun one of his most enjoyable records, even if all the pleasures are guilty. With its swirling strings and nagging chorus, "Da Ya Think Im Sexy?" was the reason the record hit number one, and decades later, the song stands as one of the best rock-disco fusions. The rest of the record isnt as engaging, but he throws out a handful of winning tracks in the same mold, including "Aint Love a Bitch," "Attractive Female Wanted," and the title track.
	Album: 12 of 46 Title:  Greatest Hits Released:  1979-10-12 Tracks:  10 Duration:  47:58 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Hot Legs  (04:14) 2   Maggie May  (04:58) 3   Da Ya Think I’m Sexy?  (05:30) 4   You’re in My Heart (The Final Acclaim)  (04:30) 5   Sailing  (04:22) 6   I Don’t Want to Talk About It  (04:21) 7   Tonight’s the Night (Gonna Be Alright)  (03:34) 8   The Killing of Georgie, Part I & II  (06:29) 9   The First Cut Is the Deepest  (03:51) 10  I Was Only Joking  (06:07)
Greatest Hits : Allmusic album Review : Even though it has a couple of flaws -- particularly the appearance of "Maggie May," which doesnt quite fit in with the rest of the material -- Greatest Hits is an enjoyable sampler of Rod Stewarts first four Warner albums, including most of the hits but not necessarily all of his greatest performances.
	Album: 13 of 46 Title:  Foolish Behaviour Released:  1980-11-21 Tracks:  10 Duration:  40:58 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic   Wikipedia    AlbumCover	1   Better Off Dead  (03:08) 2   Passion  (05:32) 3   Foolish Behaviour  (04:23) 4   So Soon We Change  (03:45) 5   Oh God, I Wish I Was Home Tonight  (05:02) 6   Gi’me Wings  (03:45) 7   My Girl  (04:25) 8   She Won’t Dance With Me  (02:26) 9   Somebody Special  (04:26) 10  Say It Ain’t True  (04:03)
Foolish Behaviour : Allmusic album Review : Rod Stewart followed the faux-disco trash of Blondes Have More Fun with Foolish Behaviour, which sanded out most of the character of the previous album. The result was a bland but professional -- even at their worst, Rod and his band are always professionals -- collection, mainly comprised of dance-oriented, lightly synthesized pop/rock. The passionless "Passion" was the hit, but the only worthwhile song was the gorgeous "Oh God, I Wish I Was Home Tonight," which has the clever wit and self-depreciating melancholy of his finest work.
	Album: 14 of 46 Title:  Tonight I’m Yours Released:  1981 Tracks:  10 Duration:  41:32 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Wikipedia   Allmusic    AlbumCover	1   Tonight I’m Yours (Don’t Hurt Me)  (04:11) 2   How Long?  (04:14) 3   Tora, Tora, Tora (Out With the Boys)  (04:31) 4   Tear It Up  (02:28) 5   Only a Boy  (04:10) 6   Just Like a Woman  (03:57) 7   Jealous  (04:32) 8   Sonny  (04:04) 9   Young Turks  (05:03) 10  Never Give Up on a Dream  (04:21)
Tonight I’m Yours : Allmusic album Review : Though it lacks a truly great selection of songs, Tonight Im Yours is a fine latter-day effort from Rod Stewart, and one of the last records that makes Rod sound like hes hip. Sporting a shiny new wave production, Tonight Im Yours has a sleek, professional sound that can make even mindless rave-ups like "Tora, Tora, Tora (Out With the Boys)" a guilty pleasure. But the key to the album lies in songs like "Tonight Im Yours" and the haunting "Young Turks," where Rod sounds totally at ease with a synth pop beat. They are some of the best examples of mainstream rock co-opting the nervy, quirky appeal of new wave, and they make Tonight Im Yours an enjoyable, if lightweight, listen.
	Album: 15 of 46 Title:  Absolutely Live Released:  1982 Tracks:  19 Duration:  1:18:50 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   The Stripper  (00:12) 2   Tonight Im Yours  (04:01) 3   Sweet Little Rock And Roller  (04:03) 4   Hot Legs  (04:13) 5   Tonights The Night (Gonna Be Alright)  (03:58) 6   The Great Pretender  (03:34) 7   Passion  (05:04) 8   She Wont Dance With Me / Little Queenie  (04:34) 9   Youre In My Heart (The Final Acclaim)  (04:34) 10  Rock My Plimsoul  (04:24) 11  Young Turks  (05:05) 12  Guess Ill Always Love You  (04:51) 13  Gasoline Alley  (02:14) 14  Maggie May  (05:03) 15  Tear It Up  (03:14) 16  Da Ya Think Im Sexy?  (05:37) 17  Sailing  (04:27) 18  I Dont Want To Talk About It  (04:28) 19  Stay With Me  (05:14)
Absolutely Live : Allmusic album Review : It is never a good sign when a live album begins with a snippet of David Roses "The Stripper," and thats surely the case with Rod Stewarts 1982 album, Absolutely Live. This captures Rod at a particularly awkward stage, as his recordings were gradually becoming the commercial-minded dreck that many critics had claimed they were for years. Despite the negative press of his late-70s albums, they often had their moments, but Stewart lost his way in the early 80s, becoming glossier. Thats evident on this live album, where he sounds like hes going through the motions, even as he digs out such chestnuts as "Rock My Plimsoul." This isnt unlistenable, but its stilted and slick, losing much of the joie de verve that marked Rod at his best. Its the first bland, worthless record Stewart released, the first that felt like sheer product.
	Album: 16 of 46 Title:  Body Wishes Released:  1983-06-10 Tracks:  10 Duration:  41:29 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Wikipedia   Allmusic    AlbumCover	1   Dancin’ Alone  (04:02) 2   Baby Jane  (04:45) 3   Move Me  (03:36) 4   Body Wishes  (04:41) 5   Sweet Surrender  (04:00) 6   What Am I Gonna Do (I’m So in Love With You)  (04:20) 7   Ghetto Blaster  (04:08) 8   Ready Now  (03:36) 9   Strangers Again  (04:10) 10  Satisfied  (04:07)
Body Wishes : Allmusic album Review : Two of the songs are first-rate synth-laden, disposable pop/rock filler -- "Baby Jane" and "What Am I Gonna Do (Im So in Love With You)" -- but when those songs sound substantial next to dreck like "Ready Now" and "Sweet Surrender," its clear that Body Wishes is one of Rod Stewarts worst efforts.
	Album: 17 of 46 Title:  Camouflage Released:  1984-06-18 Tracks:  8 Duration:  37:46 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic   Wikipedia    AlbumCover	1   Infatuation  (05:13) 2   All Right Now  (04:42) 3   Some Guys Have All the Luck  (04:34) 4   Can We Still Be Friends  (03:51) 5   Bad for You  (05:18) 6   Heart Is on the Line  (04:04) 7   Camouflage  (05:19) 8   Trouble  (04:41)
Camouflage : Allmusic album Review : Camouflage is better than the disastrous Body Wishes, but thats only a relative term. Jeff Beck adds the occasional rock guitar flourish, but that doesnt save the faceless material. Again, the two singles -- "Infatuation" and "Some Guys Have All the Luck" -- are fine, ready-made pop hits, but they wear thin after a few plays, and theyre the best things on the record.
	Album: 18 of 46 Title:  Every Beat of My Heart Released:  1986-06-23 Tracks:  10 Duration:  42:33 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic   Wikipedia    AlbumCover	1   Here to Eternity  (06:01) 2   Another Heartache  (04:29) 3   A Night Like This  (04:05) 4   Who’s Gonna Take Me Home (The Rise and Fall of a Budding Gigilo)  (04:40) 5   Red Hot in Black  (03:18) 6   Love Touch (theme from Legal Eagles)  (04:03) 7   In My Own Crazy Way  (03:15) 8   Every Beat of My Heart  (05:18) 9   Ten Days of Rain  (05:23) 10  In My Life  (01:55)
Every Beat of My Heart : Allmusic album Review : With classical pianist Kevin Savigar established as his songwriting partner, Rod Stewart marched into the mid-80s in finer shape than hed been in for a few years. Every Beat of My Heart was his 15th solo album and, after the disappointments of the preceding Body Wishes and Camouflage, the wistful romance of the title track alone suggested that he was back on track. Unfortunately, it was not to be. One could compile a genuinely excellent collection from across Stewarts entire 80s output. But Every Beat of My Heart, like the LPs on either side of it, found him floundering directionless in a sea of, on the one hand, syrupy schmaltz; and, on the other, clichéd rockers, with just the occasional flash of style sneaking in, to remind us why we even cared any longer. "Love Touch," which joined "Every Beat" in the singles chart (courtesy of its starring role in the movie Legal Eagles) was certainly one of the weakest numbers he had ever touched, while the likes of "Here to Eternity" and "Another Heartache" might have been tolerable if Stewart hadnt already recorded them a dozen times already. But his version of the Beatles "In My Life" is beautiful, as heartfelt as he ever sounded and, again the title track is equally remarkable. Its just that two songs out of ten really isnt a good return on the price of an album.
	Album: 19 of 46 Title:  Out of Order Released:  1988-05-17 Tracks:  10 Duration:  46:44 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   TrackSamples   Allmusic   Wikipedia    AlbumCover	1   Lost in You  (04:58) 2   The Wild Horse  (05:01) 3   Lethal Dose of Love  (04:36) 4   Forever Young  (04:05) 5   My Heart Cant Tell Me No  (05:13) 6   Dynamite  (04:17) 7   Nobody Knows You When  (03:52) 8   Crazy About Her  (04:55) 9   Try a Little Tenderness  (04:31) 10  When I Was Your Man  (05:11)
Out of Order : Allmusic album Review : With the support of Power Station guitarist Andy Taylor and bassist Bernard Edwards, Rod Stewart rebounds from his previous career nadir of "Love Touch" with Out of Order. Alternating between professional, driving rock & roll like "Lost in You" and ballads like "My Heart Cant Tell You No," Out of Order is a well-constructed set of mainstream pop/rock and his best album since Tonight Im Yours, even if none of the songs rank among his best work.
	Album: 20 of 46 Title:  The Ballad Album Released:  1989 Tracks:  14 Duration:  59:45 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Allmusic    AlbumCover	1   Reason to Believe  (04:08) 2   Mandolin Wind  (05:33) 3   I’d Rather Go Blind  (03:53) 4   Angel  (04:06) 5   Bring It on Home to Me / You Send Me  (03:59) 6   (You Make Me Feel Like) A Natural Man  (03:53) 7   Girl From the North Country  (03:54) 8   Mine for Me  (04:02) 9   Handbags & Gladrags  (04:25) 10  Country Comforts  (04:45) 11  Tomorrow Is a Long Time  (03:46) 12  Seems Like a Long Time  (04:03) 13  Jealous Guy (live version)  (04:39) 14  I Wish It Would Rain (live version)  (04:35)
The Ballad Album : Allmusic album Review : Mercury/Polygram began recycling their Rod Stewart recordings almost immediately after he left the label for Warner. Rebounds The Ballad Album and its companion, The Rock Album, are simply 90s versions of such compilations as Sing It Again Rod. And, like that record, its enjoyable despite its haphazard collection simply because Stewarts Mercury records were so good. There are a couple of odd choices here -- his take of "(You Make Me Feel Like) A Natural Man)" is strangely misguided -- but for the most part, the collection is quite enjoyable, thanks to such masterpieces as "Reason to Believe," "Mandolin Wind," "Angel," "Girl from the North Country," "Handbags and Gladrags," "Country Comforts," and "Tomorrow Is a Long Time." The original albums are still preferable to budget-line compilations, but casual fans will certainly enjoy this disc without reservations.
	Album: 21 of 46 Title:  Bring It On Home Released:  1989 Tracks:  16 Duration:  1:05:44 Scroll:  Up   Down   Top   Bottom   25%   50%   75% AlbumCover	1   You Wear It Well  (04:09) 2   Handbags & Gladrags  (04:25) 3   Street Fighting Man  (05:09) 4   Mine for Me  (04:05) 5   Hard Road  (04:30) 6   Amazing Grace  (02:04) 7   I’d Rather Go Blind  (03:58) 8   Farewell  (04:35) 9   Bring It On Home to Me / You Send Me  (04:01) 10  Girl of the North Country  (03:56) 11  Dirty Old Town  (03:56) 12  Let Me Be Your Car  (04:53) 13  Italian Girls  (05:03) 14  True Blue  (03:34) 15  Sailor  (03:38) 16  Tomorrow Is Such a Long Time  (03:42)
	Album: 22 of 46 Title:  The Best of Rod Stewart Released:  1989 Tracks:  16 Duration:  1:12:40 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Wikipedia    AlbumCover	1   Maggie May  (04:58) 2   You Wear It Well  (04:22) 3   Baby Jane  (04:45) 4   Da Ya Think Im Sexy?  (04:19) 5   I Was Only Joking  (04:51) 6   This Old Heart of Mine  (04:11) 7   Sailing  (04:22) 8   I Don’t Want to Talk About It  (04:50) 9   You’re in My Heart (The Final Acclaim)  (04:30) 10  Young Turks  (04:34) 11  What Am I Gonna Do (Im So in Love with You)  (03:37) 12  The First Cut Is the Deepest  (03:51) 13  The Killing of Georgie, Part I and II  (06:29) 14  Tonight’s the Night (Gonna Be Alright)  (03:34) 15  Every Beat of My Heart  (04:42) 16  Downtown Train  (04:39)
	Album: 23 of 46 Title:  Storyteller Released:  1989-10-23 Tracks:  64 Duration:  4:53:42 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify    AlbumCover	1   Good Morning Little Schoolgirl  (02:08) 2   Can I Get a Witness  (03:35) 3   Shake  (02:50) 4   So Much to Say  (03:14) 5   Little Miss Understood  (03:38) 6   Ive Been Drinking  (03:19) 7   I Aint Superstitious  (04:55) 8   Shapes of Things  (03:19) 9   In a Broken Dream  (03:40) 10  Street Fighting Man  (05:07) 11  Handbags & Gladrags  (04:25) 12  Gasoline Alley  (04:04) 13  Cut Across Shorty  (06:31) 14  Country Comforts  (04:45) 15  It’s All Over Now  (06:24) 16  Sweet Lady Mary  (05:50) 17  Had Me a Real Good Time  (05:53) 1   Maggie May  (05:47) 2   Mandolin Wind  (05:33) 3   (I Know) I’m Losing You  (05:23) 4   Reason to Believe  (04:08) 5   Every Picture Tells a Story  (05:56) 6   Stay With Me  (04:39) 7   True Blue  (03:34) 8   Angel  (04:06) 9   You Wear It Well  (05:01) 10  I’d Rather Go Blind  (03:53) 11  Twistin’ the Night Away  (03:15) 12  Whats Made Milwaukee Famous  (02:53) 13  Oh No Not My Baby  (03:39) 14  Pinball Wizard  (03:41) 15  Let Me Be Your Car  (04:56) 16  You Can Make Me Dance, Sing or Anything  (04:22) 1   Sailing  (04:38) 2   I Don’t Want to Talk About It  (04:50) 3   Stone Cold Sober  (04:13) 4   To Love Somebody  (04:31) 5   Tonight’s the Night (Gonna Be Alright)  (03:56) 6   The First Cut Is the Deepest  (04:27) 7   The Killing of Georgie, Part I and II  (06:27) 8   Get Back  (04:25) 9   Hot Legs  (05:15) 10  I Was Only Joking  (06:07) 11  You’re in My Heart (The Final Acclaim)  (04:30) 12  Da Ya Think I’m Sexy?  (05:30) 13  Passion  (05:32) 14  Oh God, I Wish I Was Home Tonight  (05:02) 15  Tonight Im Yours  (04:10) 1   Young Turks  (05:03) 2   Baby Jane  (04:45) 3   What Am I Gonna Do (Im So in Love With You)  (04:19) 4   People Get Ready  (04:54) 5   Some Guys Have All the Luck  (04:34) 6   Infatuation  (05:13) 7   Love Touch (theme from Legal Eagles)  (04:03) 8   Every Beat of My Heart  (05:18) 9   Lost in You  (04:58) 10  My Heart Cant Tell Me No  (05:13) 11  Dynamite  (04:17) 12  Crazy About Her  (04:55) 13  Forever Young  (04:05) 14  I Dont Want to Talk About It  (04:53) 15  This Old Heart of Mine  (04:11) 16  Downtown Train  (04:39)
	Album: 24 of 46 Title:  Baby Come Home Released:  1990 Tracks:  14 Duration:  42:14 Scroll:  Up   Down   Top   Bottom   25%   50%   75% AlbumCover	1   Baby Come Home  (02:39) 2   Can I Get a Witness  (03:34) 3   Sparky Riders  (03:11) 4   Why Does It Go On  (02:48) 5   The Day Will Come  (02:40) 6   Keep Your Hands Off Her  (02:06) 7   Just a Little Misunderstood  (03:57) 8   I Just Got Some  (03:39) 9   Shake  (02:39) 10  Bright Lights, Big City  (03:18) 11  Aint That Loving You Baby  (02:33) 12  Dont You Tell Nobody  (03:58) 13  Moopers Blues  (02:44) 14  Just Like I Treat You  (02:23)
	Album: 25 of 46 Title:  The Original Recordings 1965-1968 Released:  1990 Tracks:  13 Duration:  39:42 Scroll:  Up   Down   Top   Bottom   25%   50%   75% AlbumCover	1   Why Does It Go On  (02:47) 2   I Just Got Some  (03:40) 3   Shake  (02:41) 4   Bright Lights, Big City  (03:17) 5   Just a Little Misunderstood  (03:57) 6   Keep Your Hands Off Her  (02:07) 7   Ain’t That Loving You Baby  (02:35) 8   Don’t You Tell Nobody  (03:58) 9   Mopper’s Blues  (02:46) 10  Just Like I Treat You  (02:23) 11  Wam Bam Thank You Mam  (03:15) 12  Red Ballroom  (02:57) 13  So Much to Say  (03:13)
	Album: 26 of 46 Title:  Rod Stewart Released:  1990 Tracks:  16 Duration:  49:35 Scroll:  Up   Down   Top   Bottom   25%   50%   75% AlbumCover	1   In a Broken Dream  (03:38) 2   The Blues  (03:56) 3   Cloude Nine  (03:36) 4   Just a Little Misunderstood  (03:56) 5   Sparky Rides  (03:12) 6   Red Ballroom  (02:55) 7   Why Does It Go On  (02:44) 8   The Day Will Come  (02:37) 9   I Just Got Some  (03:35) 10  Shake  (02:37) 11  Bright Lights, Big City  (03:16) 12  Keep Your Hands Off Her  (02:03) 13  Aint That Loving You Baby  (02:31) 14  Dont You Tell Nobody  (03:55) 15  Moppers Blues  (02:42) 16  Just Like I Treat You  (02:22)
	Album: 27 of 46 Title:  Downtown Train Released:  1990-03-06 Tracks:  12 Duration:  58:49 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Allmusic    AlbumCover	1   Stay With Me  (04:39) 2   Tonight’s the Night (Gonna Be Alright)  (03:56) 3   The Killing of Georgie, Part I and II  (06:27) 4   Passion  (05:32) 5   Young Turks  (05:03) 6   Infatuation  (05:13) 7   People Get Ready  (04:54) 8   Forever Young  (04:05) 9   My Heart Cant Tell Me No  (05:13) 10  I Dont Want to Talk About It (1988 version)  (04:53) 11  This Old Heart of Mine  (04:11) 12  Downtown Train  (04:39)
Downtown Train : Allmusic album Review : Downtown Train is a 12-track distillation of Rod Stewarts four-disc box set, but instead of containing early hits, it concentrates on 80s singles like "Passion," "Young Turks," "Infatuation," "People Get Ready," and "Forever Young," adding a few 70s songs ("Stay with Me," "Tonights the Night," "Killing of Georgie," "I Dont Want to Talk About It") and the new hit single "Downtown Train" for good measure. Although none of the material on the disc is bad, but the compilation lacks focus or cohesion, making it no more than a good sampler for casual fans.
	Album: 28 of 46 Title:  Vagabond Heart Released:  1991-03-25 Tracks:  12 Duration:  54:39 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Rhythm of My Heart  (04:14) 2   Rebel Heart  (04:10) 3   Broken Arrow  (04:26) 4   It Takes Two  (04:13) 5   When a Man’s in Love  (05:34) 6   You Are Everything  (04:09) 7   The Motown Song  (04:00) 8   Go Out Dancing  (04:20) 9   No Holding Back  (05:47) 10  Have I Told You Lately  (03:59) 11  Moment of Glory  (04:47) 12  If Only  (04:56)
Vagabond Heart : Allmusic album Review : Rod Stewart continued to regain his strength with Vagabond Heart, the follow-up to his comeback album, Out of Order. Vagabond Heart is a stronger, more diverse album than its predecessor, featuring a more consistent set of songs, including Robbie Robertsons "Broken Arrow" and the hit "Motown Song," as well as a convincing, impassioned performance by Stewart.
	Album: 29 of 46 Title:  Stay With Me Released:  1992 Tracks:  12 Duration:  50:35 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Allmusic    AlbumCover	1   Stay With Me  (05:07) 2   (I Know) Im Losing You  (04:51) 3   Maggie May  (05:16) 4   Every Picture Tells a Story  (02:34) 5   Jodie  (03:11) 6   Oh! No Not My Baby  (03:42) 7   I Wish It Would Rain  (04:36) 8   Country Comforts  (04:42) 9   Reason to Believe  (03:47) 10  Angel  (04:35) 11  Street Fighting Man  (05:00) 12  Pinball Wizard  (03:08)
	Album: 30 of 46 Title:  The Mercury Anthology Released:  1992-09-22 Tracks:  32 Duration:  2:21:05 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Allmusic    AlbumCover	1   Street Fighting Man  (05:07) 2   Man of Constant Sorrow  (02:33) 3   An Old Raincoat Wont Ever Let You Down  (03:07) 4   Handbags & Gladrags  (04:25) 5   Gasoline Alley  (04:04) 6   It’s All Over Now  (06:24) 7   Only a Hobo  (04:16) 8   Cut Across Shorty  (06:31) 9   My Way of Giving  (03:58) 10  Country Comforts  (04:45) 11  Maggie May  (05:47) 12  (I Know) I’m Losing You  (05:23) 13  Mandolin Wind  (05:33) 14  Every Picture Tells a Story  (06:00) 15  Reason to Believe  (04:08) 1   True Blue  (03:34) 2   Lost Paraguayos  (03:59) 3   Angel  (04:05) 4   You Wear It Well  (04:22) 5   I’d Rather Go Blind  (03:53) 6   Twistin the Night Away  (03:19) 7   What Made Milwaukee Famous (Has Made a Loser out of Me)  (02:51) 8   Oh No Not My Baby  (03:39) 9   Jodie  (03:09) 10  Stay With Me (live)  (05:32) 11  I Wish It Would Rain (live)  (04:21) 12  Jealous Guy (live)  (04:43) 13  Sweet Little Rockn Roller  (03:47) 14  Mine for Me  (04:03) 15  Let Me Be Your Car  (05:00) 16  Bring It on Home to Me / You Send Me  (03:59) 17  Farewell  (04:35)
The Mercury Anthology : Allmusic album Review : A two-disc anthology of Rod Stewarts early Mercury recordings, which, in conjunction with the albums he recorded with the Faces, are inarguably his finest (nothing from the Faces records is included). Most of the highlights of his terrific first four albums are here -- "Maggie May," "You Wear It Well," "Handbags and Gladrags," "Gasoline Alley" -- as well as selections from the lukewarm Smiler, a live album recorded with the Faces, and a couple of rare B-sides.
	Album: 31 of 46 Title:  Lead Vocalist Released:  1993-02-22 Tracks:  12 Duration:  55:09 Scroll:  Up   Down   Top   Bottom   25%   50%   75% AlbumCover	1   I Ain’t Superstitious  (04:53) 2   Handbags & Gladrags  (04:25) 3   Cindy Incidentally  (02:36) 4   Stay With Me  (04:39) 5   True Blue  (03:34) 6   Sweet Lady Mary  (05:48) 7   Hot Legs  (05:15) 8   Stand Back  (05:44) 9   Ruby Tuesday  (04:05) 10  Shotgun Wedding  (03:30) 11  First I Look at the Purse  (04:23) 12  Tom Trauberts Blues (Waltzing Matilda)  (06:12)
	Album: 32 of 46 Title:  A Spanner in the Works Released:  1995-06-06 Tracks:  12 Duration:  57:12 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Wikipedia   Allmusic    AlbumCover	1   Windy Town  (05:12) 2   The Downtown Lights  (06:33) 3   Leave Virginia Alone  (04:07) 4   Sweetheart Like You  (04:54) 5   This  (05:19) 6   Lady Luck  (04:25) 7   You’re the Star  (04:39) 8   Muddy, Sam and Otis  (04:42) 9   Hang on St. Christopher  (04:04) 10  Delicious  (04:43) 11  Soothe Me  (03:33) 12  Purple Heather  (04:56)
A Spanner in the Works : Allmusic album Review : Following the success of Unplugged...and Seated, Rod Stewart had shrewdly repositioned himself as a mature, middle-aged man who still had a slight streak of his wilder days in him. Unsurprisingly, the music both recalled his past glories in instrumentation, yet the attack was different -- the acoustics rocked, but it wasnt bracing; it was like a back-porch jam session. Stewart expanded that approach on A Spanner in the Works, his first album since Unplugged. The acoustics are still there, but theyre strummed a little more gently and set in a bed of unobtrusive synths. More importantly, Stewart tackles his most ambitious and varied set of material since A Night on the Town. From the pop/rock of Tom Pettys "Leave Virginia Alone" and the reflective take on Dylans "Sweetheart Like You" through the R&B tribute of "Muddy, Sam and Otis" and the rocking "Delicious" to the British folk of "Purple Heather," the songs recall his classic early albums in ambition and musical diversity. A Spanner in the Works isnt quite as successful as Gasoline Alley or Every Picture Tells a Story -- its a content album, not a probing one, which is appropriate for a middle-aged singer -- yet it is the most inspired and ambitious record Stewart released in nearly 20 years.
	Album: 33 of 46 Title:  When We Were the New Boys Released:  1998-06-01 Tracks:  10 Duration:  41:53 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Wikipedia   Allmusic    AlbumCover	1   Cigarettes and Alcohol  (04:03) 2   Ooh La La  (04:16) 3   Rocks  (04:45) 4   Superstar  (04:20) 5   Secret Heart  (04:07) 6   Hotel Chambermaid  (03:49) 7   Shelly My Love  (03:38) 8   When We Were the New Boys  (04:40) 9   Weak  (04:37) 10  What Do You Want Me to Do?  (03:34)
When We Were the New Boys : Allmusic album Review : When We Were the New Boys finds Rod Stewart tackling the music of his Brit-pop offspring and coming to terms with his pub rock roots. Its a bit of a risky move, since he could have embarrassed himself with stodgy singing but, surprisingly, he (more or less) pulls it off. Granted, hes not nearly as energetic as he once was, and he stumbles on occasion, but he recasts Oasis "Cigarettes and Alcohol," Primal Screams "Rocks," and Graham Parkers "Hotel Chambermaid" as comfortable rockers in the vein of "Hot Legs." Theyre not as vibrant as the Gallaghers rolling thunder or Bobby Gillespies ironic classicism, but theyre easily the best rockers Rod has cut in ages. Yet, like on any of his 90s records, he really shines on the ballads, giving Ron Sexsmiths "Secret Heart," Nick Lowes gorgeous "Shelly My Love," and Mike Scotts "What Do You Want Me to Do" lovely, unadorned readings, while letting his sentimental streak slip through in his original "When We Were the New Boys" and a cover of the Faces "Ooh La La," originally sung by Ron Wood. These unabashedly recall his rowdy, youthful days with the Faces, and theyre warmly nostalgic. He may be reveling in memory and trying recapture his youth, but Rod hasnt sounded this comfortable in years.
	Album: 34 of 46 Title:  Human Released:  2001-02-06 Tracks:  11 Duration:  45:26 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Human  (03:48) 2   Smitten  (05:00) 3   Don’t Come Around Here  (03:50) 4   Soul on Soul  (04:30) 5   Loveless  (04:00) 6   If I Had You  (04:18) 7   Charlie Parker Loves Me  (04:41) 8   It Was Love That We Needed  (04:11) 9   To Be With You  (03:55) 10  Run Back Into Your Arms  (03:26) 11  I Can’t Deny It  (03:44)
Human : Allmusic album Review : Throughout his career, Rod Stewart has been remarkably skillful at adopting current musical trends, whether it was disco, new wave, adult contemporary, or even Brit-pop. Still, his records started to slip off the radar screen toward the end of the 90s, so he parted ways with Warner Bros. and signed to Atlantic, where he released Human in early 2001. Again, he tried to change with the times, which, theoretically, may have been a wise move, since his thoroughly credible trad rock When We Were the New Boys was largely ignored. Since he tried contemporary rock, it made sense that the pendulum would swing back and he would take a stab at contemporary soul. Seems logical, but as the neo-TLC title track starts, its hard not to think "what the hell happened?" Chers neo-electro move on "Believe" made some sense, since she had always indulged in trashy modern dance, but Stewart never played that game -- even when at the height of superstardom, he never pretended to be hip, which is what hes trying to do here. Surrounded by skittering drum machines and En Vogue-styled harmonies, crooning Babyface-styled ballads, it sounds like hes auditioning for the La Face roster. Rarely does Human try to be outright modern dance music, instead blatantly stealing these production techniques for a set of mid-tempo tunes and ballads that are firmly adult contemporary territory in content -- theyre just delivered as if they had a chance of sitting at the top of the charts, alongside Pink. In general, the slow ballads wind up being a bit better, since Stewart has gravitated toward that style during the 90s, while the livelier numbers, such as "Dont Come Around Here" (the Mary J. Blige duet) also work at times. Still, its bizarre to hear Stewart in this setting, since he not only doesnt mesh with the sound, but he also has a really awkward batch of songs, typified by the clumsy "Smitten," the bewildering love song "Charlie Parker Loves Me," or the cut-time "loves merry-go-round" refrain of "It Was Love That We Needed." Consider this: the most effective songs are "To Be With You," "Run Back Into Your Arms," and "I Cant Deny It," three fairly conventional Rod Stewart numbers tucked away toward the end of the album. Apart from that, Human is the sound of an artist painfully trying to sound modern but -- by trying to sound fresh -- sounding older than he ever has.
	Album: 35 of 46 Title:  It Had to Be You… The Great American Songbook Released:  2002-10-21 Tracks:  14 Duration:  49:15 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Wikipedia   Allmusic    AlbumCover	1   You Go to My Head  (04:17) 2   They Can’t Take That Away From Me  (03:25) 3   The Way You Look Tonight  (03:49) 4   It Had to Be You  (03:24) 5   That Old Feeling  (02:54) 6   These Foolish Things  (03:48) 7   The Very Thought of You  (03:20) 8   Moonglow  (03:32) 9   I’ll Be Seeing You  (03:51) 10  Ev’ry Time We Say Goodbye  (03:27) 11  The Nearness of You  (03:00) 12  For All We Know  (03:24) 13  We’ll Be Together Again  (03:54) 14  That’s All  (03:03)
It Had to Be You… The Great American Songbook : Allmusic album Review : Its the kind of concept that seems brilliant on paper: revive the career of one of the great vocalists of the rock era by having him sing the great American pop songs of the pre-rock era. It was done before with Linda Ronstadt, and it worked well, so why not Rod Stewart, whose career was in shambles in 2002 following the disastrous modern R&B record Human? Clive Davis, the man behind Santanas comeback, masterminded the whole thing, and It Had to Be You was born. Again, the whole thing sounds good on paper, but in practice, its a bit of a mixed bag. Certainly, following a throat operation, Stewart is singing better than he has in years, and he feels much more comfortable here than he did on Human, but the whole project has an artificial undercurrent thats hard to shake, especially since the song selection, the arrangements, and the performances play it so safe theyre largely undistinguished. Its not necessarily bad, but it doesnt have much character outside of Rods voice, and his soulful rasp isnt really suited for these songs. Nevertheless, this is exactly what its billed as -- Rod sings the Great American Songbook -- and its done with professionalism and ease, so its a pleasant listen. But it wont replace Sinatra, of course, or even Ronstadts similar work with Nelson Riddle.
	Album: 36 of 46 Title:  As Time Goes By… The Great American Songbook, Volume Ⅱ Released:  2003-10-14 Tracks:  14 Duration:  46:02 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Wikipedia    AlbumCover	1   Time After Time  (02:59) 2   I’m in the Mood for Love  (03:07) 3   Don’t Get Around Much Anymore  (02:48) 4   Bewitched, Bothered & Bewildered  (04:14) 5   ’Till There Was You  (02:51) 6   Until the Real Thing Comes Along  (03:38) 7   Where or When  (03:10) 8   Smile  (03:13) 9   My Heart Stood Still  (03:03) 10  Someone to Watch Over Me  (03:31) 11  As Time Goes By  (03:50) 12  I Only Have Eyes for You  (03:08) 13  Crazy She Calls Me  (03:28) 14  Our Love Is Here to Stay  (02:57)
	Album: 37 of 46 Title:  Stardust… The Great American Songbook, Volume Ⅲ Released:  2004-10-18 Tracks:  14 Duration:  50:23 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Wikipedia   Allmusic    AlbumCover	1   Embraceable You  (03:31) 2   For Sentimental Reasons  (03:02) 3   Blue Moon  (04:05) 4   What a Wonderful World  (04:30) 5   Stardust  (04:02) 6   Manhattan  (02:54) 7   ’S Wonderful  (03:24) 8   Isn’t It Romantic  (03:51) 9   I Can’t Get Started  (03:24) 10  But Not for Me  (03:23) 11  A Kiss to Build a Dream On  (03:14) 12  Baby, It’s Cold Outside  (03:52) 13  Night and Day  (03:09) 14  A Nightingale Sang in Berkeley Square  (04:02)
Stardust… The Great American Songbook, Volume Ⅲ : Allmusic album Review : If the cover of Stardust: The Great American Songbook, Vol. 3 is any indication, even Rod Stewart is getting a little tired of the classy act hes had to put on over the last two years, as hes restyled himself as a crooner of pop standards. Gone are the straightforward portrait shots, and in is a jokey picture of Rod with a pair of hot legs. It unwittingly looks like a grown-up variation of the Blondes Have More Fun cover taken 26 years later (Rod still has the same basic hairdo, bless his heart), and its a welcome glimpse of the roguish charm and laddish sense of humor that used to be Stewarts calling card. Unfortunately, that attitude isnt heard anywhere on the music, which is, for all intents and purposes, pretty much the same as it was on the first two installments of The Great American Songbook. Like its predecessors, Stardust is built on the misconception that the great vocalist Stewart will sound great singing selections from the great American popular songbook, when his gifts are better suited for music rooted in folk, blues, and rock & roll. To his credit, hes sounding a bit more comfortable on this third go-round -- he doesnt sound as uptight, nor as mannered, as he did before. Part of this may be due to a shift in producers. Phil Ramone, who co-produced the first two, has left and has been replaced by Steve Tyrell, who releases albums in a similar vein himself. Under his watch, Stewart doesnt sound quite so studious and tentative, and the arrangements arent quite so fussy, which ultimately makes for a better record. That isnt the same thing as a good record, though. Stewart may be more comfortable and the production might be warmer, but The Great American Songbook is still a bad idea, no matter how slickly its delivered.
	Album: 38 of 46 Title:  Thanks for the Memory… The Great American Songbook, Volume Ⅳ Released:  2005-10-18 Tracks:  13 Duration:  43:13 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Wikipedia   Allmusic    AlbumCover	1   Ive Got a Crush on You  (03:08) 2   I Wish You Love  (03:38) 3   You Send Me  (03:36) 4   Long Ago and Far Away  (03:11) 5   Makin’ Whoopee  (03:44) 6   My One and Only Love  (03:25) 7   Taking a Chance on Love  (03:27) 8   My Funny Valentine  (02:49) 9   I’ve Got My Love to Keep Me Warm  (03:09) 10  Nevertheless  (03:50) 11  Blue Skies  (02:43) 12  Let’s Fall in Love  (03:15) 13  Thanks for the Memory  (03:10)
Thanks for the Memory… The Great American Songbook, Volume Ⅳ : Allmusic album Review : Fourth album, same as the first. Ever since he successfully reinvented himself as a lazy lounge singer in 2002 with It Had to Be You: The Great American Songbook, Rod Stewart has been reliable as clockwork, releasing a collection of classic pop standards -- predictable choices performed predictably -- every second or third week of October. Four albums in, producers may have come and gone -- Phil Ramone left last time, Richard Perry is no longer around, leaving producer Steve Tyrell and arranger Bob Mann as the men in charge (of course, Clive Davis, the mastermind behind this whole shebang, is still around) -- but its nearly impossible to tell the differences between Thanks for the Memory: The Great American Songbook, Vol. 4 and the first or either that came between. Sure, there is an ever-increasing number of duets on the records -- the first had none, the second had two, the third had four, and this has seven, including instrumental appearances by George Benson and Chris Botti -- but the arrangements never are risky and always sound better suited for background music in a cocktail bar than on record. Needless to say, it makes for rather boring listening and Stewart is starting to seem a little restless too, interjecting more "baby"s and "oh, Diana"s to his duet with Diana Ross on "Ive Got a Crush on You" than necessary. He didnt do that kind of ad lib on the first three albums, and he sounds a lot more casual overall on this fourth volume than he has before, but these are very minor differences: this remains the same sleepy, faux-classy music as before. Rods voice is still not suited for these songs and the songs arent arranged imaginatively; theyre arranged to remind the listener of other, better versions of the same tunes. So, theyre not great records, either by the yardstick of Rod Stewarts own work -- and, dont forget, hes made more than his fair share of great records -- or by the standard of traditional pop. But they are successful, since they appeal to listeners raised on rock yet who are nostalgic for their parents music, without wanting to hear the original recorded versions. So, bully for Rod the Mod -- hes found a way to have a successful career as a veteran without embarrassing himself as he did on Human. But for fans who not only cherish his 70s work, but stuck by him through the patchy 80s and could find worthwhile moments on such latter-day albums as When We Were the New Boys, these Great American Songbooks are not just tiresome, but rather depressing. And, in that light, Rods promise in the liner notes of "just think, this is only Volume IV" reads a bit like a threat.
	Album: 39 of 46 Title:  Still the Same… Great Rock Classics of Our Time Released:  2006-10-10 Tracks:  13 Duration:  47:01 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Wikipedia   Allmusic    AlbumCover	1   Have You Ever Seen the Rain  (03:14) 2   Fooled Around and Fell in Love  (03:50) 3   I’ll Stand by You  (04:31) 4   Still the Same  (03:40) 5   It’s a Heartache  (03:34) 6   Day After Day  (03:09) 7   Missing You  (04:20) 8   Father & Son  (03:38) 9   The Best of My Love  (03:46) 10  If Not for You  (03:38) 11  Love Hurts  (03:49) 12  Everything I Own  (03:08) 13  Crazy Love  (02:44)
Still the Same… Great Rock Classics of Our Time : Allmusic album Review : Early on in his career Rod Stewart established himself as one of rocks great interpretive vocalists, which made the flatness of his Great American Songbook series a bit puzzling. If any classic rock veteran of the 60s should have been able to offer new spins on old standards, it should have been Rod the Mod, who was turning Elvis "All Shook Up" inside out on Jeff Becks Truth and turned the Rolling Stones defiant "Street Fighting Man" into a folk-rock lament, all before "Maggie May" turned Rod into a star. But none of the Great American Songbook volumes strayed from the tried and true, which may have been part of the reason they were big hits -- after all, familiar songs are always warmly received when theyre performed in a familiar fashion -- but they were filled with undistinguished performances that bordered on laziness. It was possible to make excuses for his performances, chief among them that Stewart was simply not rooted in this material, so he simply chose the easiest route out of the song, but it didnt change the fact that all three records were deadly dull, even if they were enormous successes one and all. Its hard to give up that success, particularly for a veteran who was so desperate for a hit a few years back, he foolishly attempted the clunky modern R&B album Human, so its not surprising that when he moved on from the Great American Songbook, he chose a related project: Great Rock Classics of Our Time, which is the subtitle of 2006s Still the Same, his first new record since GAS, and one that shares the aesthetic of that respectful and commercial trawl through the past. Still the Same finds Rod singing 13 songs that more or less could be called rock standards, every one of them hits since Stewart himself was a hitmaker, most of them dating from the 70s, when he was a superstar (roughly ten, if you count "Love Hurts" as a hit for Nazareth, which in this context you should). Not a bad idea at all, at least on paper, since this would seem to return Rod to his strengths: singing rock & roll and pop, influenced by soul and a little bit of country and folk. This theory has a bit of a problem, however. Its made under the assumption that it would be the Rod of the 70s singing songs from the 70s instead of the Rod of the new millennium singing songs of the 70s -- and the latter, of course, is what is featured on Still the Same. That means instead of Rod the Interpreter you get Rod the Karaoke Star, singing over arrangements that arent merely familiar, but nearly exact replicas of the original hits. This isnt far removed from The Great American Songbook, which never offered a surprise, but those at least had the excellent work of Richard Perry, who was faithful without being slavish. Here, almost without exception, the arrangements deliberately recall the original hits, right down to grace notes and throwaway fills. This doesnt necessarily make for a lousy record, since Rod does indeed sound more comfortable fronting a rock band than he did singing with a big band, but Stewart makes no attempt to stamp these tunes with his own personality. Nowhere is that truer than on "Its a Heartache." Bonnie Tylers delivery on the original was a downright homage to Rod, so close to his raspy phrasing that it was (and is) often mistaken for Rod himself. So what does he do on his version? He copies it, right down to the inflections. Its not bad; its just pointless, because Tylers original sounds more like classic Rod than Rods does here. And while that sentiment may hold true for only "Its a Heartache," the rest of the album follows suit. The title Still the Same is all too true: these are the same versions of the same old songs you know and love, only theyre now sleepily sung by Stewart. Its not the worst album hes done, and its an improvement over The Great American Songbook if only because it plays to his strengths, but it aspires to be nothing more than pleasant and it achieves nothing so much as being just that.
	Album: 40 of 46 Title:  The Mod Released:  2008 Tracks:  22 Duration:  1:02:10 Scroll:  Up   Down   Top   Bottom   25%   50%   75% AlbumCover	1   I Got Mine  (02:51) 2   Moppers Blues  (02:43) 3   Runaway  (02:36) 4   That Man  (02:09) 5   Come On Children  (04:16) 6   Just Like I Treat You  (02:23) 7   Dont Tell Nobody  (03:56) 8   Hey Girl  (02:12) 9   My Minds Eye  (01:59) 10  Come Back and Take This Hurt off Me  (02:08) 1   Bright Lights Big City  (03:17) 2   Little Miss Understood  (03:57) 3   Keep Your Hands Off Her  (02:02) 4   Aint That Lovin You Baby  (02:32) 5   I Just Got Some  (03:37) 6   The Day Will  (02:38) 7   Donkey Rides a Pony  (03:13) 8   Baby Take Me  (02:09) 9   Why Does It Go On  (02:46) 10  Shake  (02:38) 11  Come Home Baby  (02:37) 12  Can I Get a Witness  (03:31)
	Album: 41 of 46 Title:  Soulbook Released:  2009-10-17 Tracks:  15 Duration:  53:57 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   It’s the Same Old Song  (04:15) 2   My Cherie Amour  (03:10) 3   You Make Me Feel Brand New  (04:36) 4   (Your Love Keeps Lifting Me) Higher and Higher  (03:21) 5   Tracks of My Tears  (03:36) 6   Let It Be Me  (03:16) 7   Rainy Night in Georgia  (04:13) 8   What Becomes of the Brokenhearted  (03:19) 9   Love Train  (03:03) 10  You’ve Really Got a Hold on Me  (03:17) 11  Wonderful World  (03:33) 12  If You Dont Know Me by Now  (03:59) 13  Just My Imagination  (03:35) 14  Only the Strong Survive  (03:24) 15  Never Give You Up  (03:20)
Soulbook : Allmusic album Review : Continuing his stroll through pops back pages, Rod Stewart moves on from the "Great Rock Classics of Our Time" and dives into the Soulbook, shorthand for all the great Motown and soul songs that still are in heavy rotation on oldies radio well into the new millennium. Apart from an oddly funkified spin of Sam Cookes "Wonderful World" and a version of Jackie Wilsons "(Your Love Keeps Lifting Me) Higher and Higher" that illustrates just how much range hes lost over the years, Rod doesnt spend much time with the soul and blues singers so influential on him, choosing instead to run through a bunch of Motown hits -- a full six of the 13 songs here are from the Motor City -- adding a couple of smooth soul hits from the early 70s, plus Chuck Jackson and Maxine Browns "Let It Be Me," which gives him an opportunity to duet with Jennifer Hudson. All this is firmly within Stewarts wheelhouse, perhaps too much so, an impression not helped by the overly familiar arrangements, right down to Stevie Wonder reprising his harmonica on "My Cherie Amour" -- these are all designed to evoke memories, not to dig into the heart of the songs. Its all pleasing enough, flowing better than the Great American Songbook albums, and not feeling as karaoke as the Great Rock Classics album, but its so comfortable, so easygoing, it verges on the forgettable.
	Album: 42 of 46 Title:  Fly Me to the Moon… The Great American Songbook, Volume Ⅴ Released:  2010-10-19 Tracks:  18 Duration:  1:01:35 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   That Old Black Magic  (04:35) 2   Beyond the Sea  (03:25) 3   I’ve Got You Under My Skin  (03:50) 4   What a Difference a Day Makes  (03:22) 5   I Get a Kick Out of You  (03:32) 6   I’ve Got the World on a String  (02:52) 7   Love Me or Leave Me  (03:07) 8   My Foolish Heart  (03:37) 9   September in the Rain  (02:55) 10  Fly Me to the Moon  (02:45) 11  Sunny Side of the Street  (02:56) 12  Moon River  (02:48) 1   Bye Bye Blackbird  (04:09) 2   All of Me  (03:09) 3   Shes Funny That Way  (03:23) 4   Cheek to Cheek  (03:29) 5   Aint Misbehavin  (03:49) 6   When I Fall in Love  (03:45)
Fly Me to the Moon… The Great American Songbook, Volume Ⅴ : Allmusic album Review : Rod Stewart has been mining the Great American Songbook for the better part of a decade, so it would only make sense that he would get a little bit better as time goes by. And, by some stroke of fate, Fly Me to the Moon -- the fifth installment in this never-ending series and first since 2005, as Rod spent the back half of the 2000s taking songbook detours into rock and soul -- is Stewart’s best album in the entire series. Some credit must be due to producer Richard Perry, who returns to the project after a few records off, but what distinguishes Fly Me to the Moon isn’t precision but relaxation. Rod is cool and loose, comfortable with the contours of these standards, which he should be after singing them for ten years. Standards still may not be suited for Stewart’s particular gifts -- unlike the rock and R&B numbers of his early years, he has absolutely no interest in rearranging the tunes or doing something unexpected with them, so he simply wraps his soulful rasp around them, sometimes sounding too ragged for the surroundings -- but he knows how to make his flaws work in his favor. He sounds like he’s having fun swinging through the tunes everybody knows by heart, and that’s the difference on an album that’s otherwise interchangeable with what came before: usually, the Great American Songbooks sound obligatory, but here there’s enough spirit coming from Rod to make this the best album in the series.
	Album: 43 of 46 Title:  Merry Christmas, Baby Released:  2012-10-30 Tracks:  13 Duration:  46:09 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Have Yourself a Merry Little Christmas  (04:31) 2   Santa Claus Is Coming to Town  (02:47) 3   Winter Wonderland  (02:26) 4   White Christmas  (03:49) 5   Merry Christmas, Baby  (03:53) 6   Let It Snow! Let It Snow! Let It Snow!  (02:51) 7   What Are You Doing New Year’s Eve?  (03:43) 8   Blue Christmas  (03:30) 9   Red‐Suited Super Man  (03:11) 10  When You Wish Upon a Star  (03:47) 11  We Three Kings  (03:27) 12  Silent Night  (04:24) 13  Auld Lang Syne  (03:45)
Merry Christmas, Baby : Allmusic album Review : Hard as it may be to believe, but Rod Stewart has gotten through five decades without succumbing to a holiday album. That streak ends in 2012 with the release of Merry Christmas, Baby, an easygoing and chipper collection of secular seasonal standards. A couple of carols are thrown in for good measure but these songs -- "Silent Night," "We Three Kings" presented as a duet with Mary J. Blige -- along with a mildly incongruous "When You Wish Upon a Star," slide by easily on the mellow big-band swing of the rest of the record. Song for song, Merry Christmas, Baby is very much of a piece with Rods ongoing Great American Songbook series, with Stewart not straying from the familiar form of these songs and producer David Foster laying on all manner of soft, soothing sounds, whether its acoustic guitars, synthesizers, strings, or a childrens choir on "Silent Night." Very rarely does this hint at the Rod of the 70s -- and when it does on the closing "Auld Lang Syne," its intro given a spare folky treatment reminiscent of his Mercury work, its a bracing, effective reminder of Stewarts skill as a singer -- and instead relies on a gladhanding charm that suits the season, not to mention Stewart in his crooning dotage.
	Album: 44 of 46 Title:  Time Released:  2013-05-03 Tracks:  28 Duration:  1:58:11 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   She Makes Me Happy  (03:44) 2   Can’t Stop Me Now  (04:26) 3   Its Over  (04:19) 4   Brighton Beach  (04:25) 5   Beautiful Morning  (03:58) 6   Live the Life  (04:26) 7   Finest Woman  (03:54) 8   Time  (04:27) 9   Picture in a Frame  (02:53) 10  Sexual Religion  (04:45) 11  Make Love to Me Tonight  (03:44) 12  Pure Love  (05:10) 13  Corrina Corrina  (03:26) 14  Legless  (03:50) 15  Love Has No Pride  (04:04) 1   Here Comes the Night  (03:28) 2   Cold Water  (03:58) 3   Shake Your Money Maker  (02:40) 4   Cant Stop Me Now (live)  (04:15) 5   Forever Young (live)  (04:36) 6   Its Over (live)  (04:43) 7   Rhythm of My Heart (live)  (06:11) 8   Finest Woman (live)  (04:19) 9   You Wear It Well (live)  (03:42) 10  She Makes Me Happy (live)  (03:55) 11  Have I Told You Lately (live)  (04:48) 12  Brighton Beach (live)  (04:48) 13  Sexual Religion (live)  (05:17)
Time : Allmusic album Review : Once he became a superstar, Rod Stewart essentially gave up on songwriting because, lets face it, its easier to play endless football and cavort with models. Every once in a while his muse returned, so he tried a little bit harder, such as in 1988 when he spun Bob Dylans "Forever Young" into a song of his own, which wound up as the last hit single of his that he ever wrote. After that, he floated through the 90s before finding a comfortable groove as an old-fashioned crooner in the new millennium, spending no less than a full decade revisiting songs from the Great American Songbook. Authoring his memoir -- simply titled Rod: The Autobiography -- jostled something within the old boy and he picked up his guitar once again, writing songs about his past and present. Hearing that Stewart strapped on a guitar suggests that perhaps hes returned to the well-weathered folk-rock of his earliest solo albums and, certainly, parts of Time -- the 2013 album that has his greatest concentration of originals in a quarter century -- flirt with folk. Appropriately, these are the songs where Rod is besotted with the past, offering what amounts to a capsule synopsis of his memoir on "Cant Stop Me Now," revisiting his early pre-fame days as a busker on "Brighton Beach," then telling us all to "Love the life you live/Live the life you love," a sentiment that manages to not be the stickiest thing here thanks to a wealth of love songs to his third wife, Penny. Stewarts overwhelming devotion certainly seems sincere -- its a common thread that ties Time to Rod: The Autobiography, which had a running theme of how he was saved by the love of a good woman -- but its also quite drippy, not helped by his decision to thread in elements of the Vegas schmaltz of his Great American Songbook ("Picture in a Frame") within whats essentially his revival of the glassy adult contemporary pulse of his Out of Order/Vagabond Heart days. At this point, after years of synthesized soft rock and glad-handed standards, this is a reflection of who Rod Stewart is in 2013: he is still a crowd-pleaser, still a bit of a sap, ready to romanticize days gone by but wanting to sound modern. As such, Time winds up a bit muddled, swinging from moments of genuine sweetness toward sharp saccharine, but even with all its flaws its nice to hear Stewart engaged again, both as a writer and a singer.
	Album: 45 of 46 Title:  Another Country Released:  2015-09-21 Tracks:  17 Duration:  1:08:19 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Love Is  (03:55) 2   Please  (04:22) 3   Walking in the Sunshine  (04:31) 4   Love and Be Loved  (02:55) 5   We Can Win  (05:00) 6   Another Country  (03:29) 7   Way Back Home  (04:35) 8   Can We Stay Home Tonight?  (04:04) 9   Batman Superman Spiderman  (03:34) 10  The Drinking Song  (03:38) 11  Hold the Line  (04:05) 12  A Friend for Life  (04:42) 13  Every Rock ’n’ Roll Song to Me  (03:19) 14  One Night With You  (03:34) 15  In a Broken Dream  (04:15) 16  Great Day  (03:38) 17  Last Train Home  (04:36)
Another Country : Allmusic album Review : Perhaps nobody was as surprised by Rod Stewarts return to songwriting as Rod Stewart. Rod hadnt bothered composing a tune in nearly two decades when he decided to write a brand new bunch of songs for 2013s Time, an album inspired in part by his 2012 memoir Rod: The Autobiography. Arriving after ten years of Great American Songbook albums, the change in style and song was refreshing, something fans (and some critics) noted. People pleaser that he is, Stewart decided to give them what they wanted for Another Country: another set of originals, augmented by a slyly chosen cover in Steve Harleys "A Friend for Life" (on the Deluxe Edition, he shows a bit of cheek by once again singing Python Lee Jacksons "In a Broken Dream," which he sang back in 1978). The success of Time loosened Stewart up a bit, so he takes some relative chances, moves that amount to a little bit of reggae ("Love and Be Love"), a Mumford & Sons stomp ("Hold the Line"), a sideways allusion to his MTV past (the synths on "Walking in the Sunshine"), cuts that rock a bit harder than anything on its predecessor ("Please"), and songs that triple-down on Stewarts sentimental streak. Never afraid to wear his heart on his sleeve, the stickiness of "Batman Superman Spiderman" -- a song written for his four-year-old son, who slumbers surrounded by dolls of Woody & Buzz and super heroes -- is nevertheless alarming, as is his overcooked football anthem "We Can Win." As goofy as these numbers are, theres also something appealing about them: Stewart isnt afraid to be an old softie, and hearing him be an easy touch on his own cornball terms is endearing. Usually, he reels in his inclination to go a bit over the top, but this is still an album of love and family, one thats set to songs with slight Celtic and country lilts. Hes not the man he was back in 1969, when his folk was simpler and hungrier, but hes not pretending to be. At 70, hes a content superstar taking stock of his life, where he is and where hes been ("The Drinking Song" is not boisterous, but a country song where he takes stock of what boozing cost), and it feels true to who he is today: an entertainer who is happy to reveal part of his heart because he now knows theres an audience who cares.
	Album: 46 of 46 Title:  Blood Red Roses Released:  2018-09-28 Tracks:  16 Duration:  1:02:56 Scroll:  Up   Down   Top   Bottom   25%   50%   75% Spotify   Allmusic    AlbumCover	1   Look in Her Eyes  (04:12) 2   Hole in My Heart  (03:27) 3   Farewell  (04:16) 4   Didn’t I  (04:01) 5   Blood Red Roses  (03:41) 6   Grace  (04:52) 7   Give Me Love  (04:08) 8   Rest of My Life  (03:28) 9   Rollin’ & Tumblin’  (03:37) 10  Julia  (03:35) 11  Honey Gold  (04:44) 12  Vegas Shuffle  (03:47) 13  Cold Old London  (03:41) 14  Who Designed the Snowflake  (03:07) 15  It Was a Very Good Year  (05:06) 16  I Don’t Want to Get Married  (03:12)