#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.

#256: The Velvet Rope- Janet Jackson

Listened to: MP3

I’m not gonna lie, I was dreading this. I never liked any Jackson terribly much. But I’m listening to it as I type, and there’s an emotion here that’s just…raw….and…beautiful. Yeah, it’s beautiful. I can feel it even in the first track “Velvet Rope” (ok, technically “Interlude: Twisted Elegance” is the first track, but I’m talking about real songs). Apparently Janet suffered bouts of depression while working on this album, and this truly is a portrait of the artist as a young woman suffering. It’s enthralling to hear her voice calling out, trying so hard to be heard.

“You” seems to crawl out at you, and has this intense vibe that strikes at your core. There’s been speculation that Janet is singing about Michael on this track. She claims it’s about herself, but it’s so intense, so sharp, so biting that you just end up feeling like she’s singing about you. Great, great track.

The video for “Got ‘Til It’s Gone” is by Mark Romanek, aka I think it’s genius, and it’s incorporation of Joni Mitchell basically guarantees greatness. And that’s correct. It’s greatness. The “Speakerphone Interlude” is…interesting, and leads into “My Need”, which is a great, sultry song that sounds more like Portishead’s Dummy than the bob exposing chick I’d grown up knowing. “Go Deep” is…well, my father is here, and I’m a little embarrassed to have this track on, you dig? It’s that fucking sexual. “Free Xone” is a harsh attack on homophobia, and god bless Janet for doing it. In an era of hip-hop homophobia, it’s nice to see that music used to be more tolerant. The interlude that says “You don’t have to hold on to the pain to hold on to the memory” is almost as moving as the song that follows it. Look, the gay part of me happens to adore “Together Again” and I’m sure I’ll be listening to it again, with the straight part of me in the corner cringing. But this is a great song, and you all know it. Plus, it’s so moving when you realize what it’s about (click the link).

“Empty” is good, but a little annoying with that beat. It’s just getting on my nerves. “What About” has a real nice vibe, and I’m loving the guitar. That beauty I felt in the first track comes out in ten fold on this one, mixed with Alanis fury. Seriously, if you do nothing else, look up this track, it’s violent and beautiful. Plus vulgar as shit.

“Every Time” is a song we’ve all heard on the radio, and on it’s own it sounds kind of sappy, but in the context of the album, it’s almost as beautiful as “Time” was on Tom Wait’s Raindogs. Though, admit, it does sound a little bit like a song from a Disney movie. Now, in her cover of “Tonight’s The Night” Janet Jackson proves that she can actually make a Rod Stewart song dirtier. Rod’s singing to a chick. Janet’s singing to a dude and the other chick who’s going to be in their threesome. Yeah, whether you find it hot or nauseating, it’s sure as hell effective. “I Get Lonely” is more standard fair, so I’m sure if this is your style, you’ll enjoy it. It does nothing for me, but I appreciate it.

The…uh… “Rope Burn” is….um…yeah. Wow. I feel like I need a cigarette after that.
“Anything” is a little less sex and a little more sexy. Seriously, I feel like Janet’s coming on to me now. The album closes with “Special”, which then abruptly ends, and since iTunes shows us there’s more to the track we wait. Eventually sound comes back in and we get a fun little track that closes out the album a great deal better than special would.

Let’s be real here, I sometimes get overly praising. But this album isn’t my style of music, and I thought it was great. That oughta say something. Janet, I was never a fan, but I can see why so many people are. Great, solid album.

-Mike

See you guys tomorrow for #157: Closer by Joy Division.