#172: Every Picture Tells A Story- Rod Stewart

Listened to: MP3

Now, I’m not too familiar with the work of Rod Stewart beyond his Greatest Hits album, so I looked forward to giving Every Picture Tells A Story a listen. The album opens on the title track, co-written by Stewart and Ronnie Wood, a former member of Rod’s The Faces, now in The Rolling Stones. The track is a fun, spirited rock track, and Stewart’s crackling, raspy voice fits it perfectly. When the back-up vocals jump in about a little more than halfway through, the song fins that one thing I felt it was missing before, and by the end, I’m wishing more than anything I could hear this on the original vinyl. The second track, “Seems Like A Long Time” is a great slow track, with Stewart’s rasp adding to the sentimentality, reminiscent of the best kind of Otis Redding ballad. After performing these two kind-of safe tracks, Stewart gets real fucking ballsy really fast by taking on the King. That’s right, track three is a cover of “That’s All Right” by Arthur Crudup, made famous by Elvis Presley. Rod’s interpretation is…well, I’ll stick to Elvis, thanks, and I’m pretty sure most people will agree. This track includes “Amazing Grace”, though for some of you this may come up as a different track. The “Amazing Grace” cover is a lot more enjoyable, giving it an old, weary, bluesy feel. The next track shows Rod again trying to take on a master, this time Bob Dylan with “Tomorrow Is A Long Time”, and even Elvis again, since this song was covered by him. Stewart’s rendition of the Dylan song is a lot better than his idea of an Elvis song, and Stewart seems truly sincere, like he’s actually bothered to look at the lyrics (you’d be surprised how many Dylan covers don’t).

After this comes the under a minute unmarked track O. Henry, and then the song everyone’s been waiting for, Rod’s signature song, “Maggie May”. Written about a true affair with an older woman, Stewart sings his raspy heart out on this rock and roll classic, by far the best track on the album, not to mention one of the most fun songs in the world to sing live for anyone. Even if you decide not to listen to this whole album, if you’ve never heard it before, give “Maggie May” a listen. “Mandolin Winds” is another Stewart original composition, and is nice, mellow, and thoroughly enjoyable when you just kick back and let it wash over you. After this comes a take on the Temptations song “(I Know) I’m Losing You”, which is a nice high energy funk-rock re-imagining and one of the better track son the album. The album concludes with “Reason To Believe”, originally the album’s lead single, until radio stations discovered they all liked the B-Side, “Maggie May” better. “Reason To Believe” is a nice finale, a kind hearted, sweetly energetic ballad-type track, which closes the album the way the whole album felt, kind of dead and dull, a little bit.

Personally, I don’t get it. It’s a good album, but I don’t think it’s great or mind-blowing. However, it’s clearly culturally significant, and when compiling a “Greatest” list, it’s got to be different than a “Favorites” list, and if this album is as significant as all it’s supporters seem to think, and it’s not unbearable (it’s actually quite enjoyable on the third or fourth listen) then it deserves to stay. However, I’m not buying it being #175.

-Mike

See you guys tomorrow for an album that should be ranked a hella higher than this, #435: To Bring You My Love by PJ Harvey.

#74: Otis Blue- Otis Redding

Listened to: MP3

Remember when I ripped into #147, that really unnecessary Otis Redding anthology? Well, today I get to prove I’m no anti-Otis, by giving you my review of one of the greatest soul albums ever recorded, Otis Blue. The album opens with “Ole Man Trouble”, and in my opinion this is one of the best album opener tracks of all time. Redding employs the Southern torture of the blues to the soul styling in the composition, which is very much in the style of Sam Cooke. On an album full of covers, Otis starts out showing us how damn good he can write. Most people unfortunately forget this track, probably because it’s followed by Redding’s most famous composition, though not made famous by him. “Respect”, the song that launched Aretha Franklin and became a women’s lib anthem everywhere was written…by a dude. Otis Redding’s “Respect” is hard to listen t without thinking of the (in my opinion) far-superior Franklin rendition, but it’s just different. Otis is singing for one man, Aretha sang for women everywhere. Perhaps this song wouldn’t have overshadowed “Ole Man Trouble” were it not for Aretha, but a world without Aretha is too scary to think of. This album serves another purpose besides showcasing Redding’s talents, and that purpose is shown in track 3. “A Change Is Gonna Come” is a song by a man Otis greatly admired, who died shortly before this album’s inception, the late Sam Cooke, to whom Otis pays tribute. This song has been considered the soul-singer’s answer to “Blowin’ In The Wind”, and there’s more than enough suffering in this song before Redding adds in his own sadness at the loss of Cooke. The visual that comes to mind with this track is the funeral scene in I’m Not There, and the horns only reinforce it. While I may not be the biggest fan of Mr. Cooke, I do believe this song is an incredible composition, and Redding does it justice and rightfully laments it’s composer.



“Down In The Valley” is a fun rendition of the Solomon Burke song, where Otis seems to really enjoy himself after virtually weeping on the last track. Some of the vocal acrobatics Redding lets out on this track make you envious of his talents, and that gritty crackle in his voice only enhances the feel. “I’ve Been Loving You Too Long” is a song I’m well familiar with as The Rolling Stones version, but I might have to admit that Redding not only does it far better, but might have composed the most beautiful song in his oeuvre and placed it smack dab in the middle of this genius album. This is a gorgeous track, where Otis lays the right level of pain and simplicity, and you just feel the need to hold someone you’ve loved too long close and slow dance. “Shake” is the second appearance of Sam Cooke’s songwriting on this album, and proves that both Cooke and Redding knew how to make a great song to dance to. Can’t you see all the hip suburban white kids dancing rebelliously to this track? Because I sure as hell can. The problem with “My Girl” is it’s a pretty standard performance. Now, I had an argument at band practice about this, but let’s be frank: If I want to hear my girl performed in the style of Smokey Robinson, I’ll listen to Smokey Robinson’s version. I’m looking for interpretation, not replication.
The last Sam Cooke song on the album is “Wonderful World”, which is not, in fact, the one you’re thinking of, unless you’re a die-hard Otis Redding or Sam Cooke fan. This track is another fun soul song, especially with some of that great harmony on the chorus that I wish would carry through for the rest of the song. “Rock Me Baby” is Otis putting emphasis on the vocals of a blues song, pulling out the melody of a B.B. King song. The melody in B.B. King songs are often forgotten, even by B.B. himself. Redding’s take on it is, in my opinion, fantastic, and it’s one of my favorite tracks on the album, since it’s unlike any of the others, and therefore displays the diverse range that Redding possessed.

Now we get to my least favorite track, Redding’s atrocious take on the Stones “Satisfaction”. Why in god’s name did this have to happen? It’s…it’s dreadful, and I can not understand how people enjoyed it. It’s one of the biggest sins since Paul Anka’s Rock Swings, in my humble opinion, and I’ll not speak of it any further. The album closes on the terrific “You Don’t Miss Your Water”, an emotional powerhouse of a finale where Redding throws his whole soul in the track and makes you heave with hurt at every note. It’s a suffering that feels so good, and it reminds you one last time why Otis Redding was an act like no other, a true one of a kind composer and performer.

Without a doubt, Otis blue is one of the greatest albums ever recorded, a landmark in soul and music in general, and should be ranked even higher than 74. Without a doubt the best album we’ve reviewed so far this month (but just wait two days). I really hope you guys at home enjoy this one.

-Mike

Oh, yippee. Roxy Music tomorrow. Specifically #394: For Your Pleasure. See you guys there.

#269: Some Girls- The Rolling Stones

Mike Natale:
Before I begin this piece, you are entitled, ad my readers, to understand it’s brevity. Last night, my best friend of many years, with whom I had been virtually inseperable for a majority of those years, announced to me and my family that he had joined the army, and that he was leaving for basic training on February 2nd. Naturally I was upset, and rather than allow these blog posts to become a soapbox on which I can immaturely rant about military propaganda (an issue it’s quite possible I’ll feel differently on after his 2 year term finishes out, and may in fact feel so differently I will regret using the term propaganda, as I should be clear is not a rational appraisal of the military’s advertisements, but instead a reflection of my current state of emotional disarray. I fully support the armed forces, but am distraught at the potentially permanent loss of my best friend) I have chosen to restrain myself and simply review albums. Yet, I am distracted, so I hope my readers will not mind if the next week or so of reviews are frank.

Listened to: MP3

I make no effort to hide the fact that I’m a huge Stones fan, and their first entry to the musical landscape with the addition of Ron Wood proves they kicked as much ass in a post-punk world as in the pre-hippie days.

“Miss You”, the albums opener, is a punk-blues blend that tears up the air each sound wave penetrates. At equal times soft ballad and heavy rock and roll wailing (with a pretty bitchin’ sax solo) this track is one of the Stones most popular, and a perfect way to open their triumphant return in 1978. “Just My Imagination (Running Away With Me)” seems like a heavier take on the early sounds of, well, The Rolling Stones. “Some Girls” is one of those great tracks that takes on a whole new life live.



All in all, the album is solid. Other than the tracks I mentioned, the real stand outs (to me) are obviously “Beast Of Burden” and “Shattered”. I cannot recommend this album enough.

-Mike

Again, sorry for the brevity. See you tomorrow for #129: 40 Greatest Hits of Hank Williams.