domingo, 28 de octubre de 2018
Rod Stewart "The Best Of Rod Stewart"
The Best of Rod Stewart is a compilation album by British singer-songwriter Rod Stewart, released on the Warner Bros. record label in 1989. The album features many of Stewart's biggest solo hit singles, from 1971's "Maggie May" to "Downtown Train", which was released as a single in 1989.
Rod Stewart "Young Turks (Single & Video)"
"Young Turks" is a song by Rod Stewart that first appeared in 1981 on his album Tonight I'm Yours. The track showed Stewart with a new synth-pop and new wave sound. The term young Turk, which originates from the early 20th-century secular nationalist reform party of the same name, is slang for a rebellious youth who acts contrary to what is deemed normal by society. The phrase "Young Turks" is never heard in the actual song, the chorus instead centering on the phrase "young hearts be free tonight", leading to the song frequently being misidentified as "Young Hearts" or "Young Hearts Be Free".
The music for the song was composed by Carmine Appice, Duane Hitchings, and Kevin Savigar, with lyrics written by Stewart. The song, which was released as the first single from Tonight I’m Yours, was produced with synthesizers and a hi-hat played over a drum machine. On the Billboard Hot 100, "Young Turks" debuted at no. 61 on 17 October 1981 and peaked at no. 5 on 19 December 1981 – 9 January 1982. The song peaked at no. 11 on the UK Singles Chart and also was a top 5 hit in Australia, Belgium, Israel (no. 1) and Canada. Released a few months after MTV went on the air, it was the first video they played that contained breakdancing.
The video, directed by Russell Mulcahy and choreographed by Kenny Ortega, was filmed in the central downtown area of Los Angeles in the summer of 1981. The runaway couple ("Billy", played by Dale Pauley, and "Patti", played by Elizabeth Daily) mentioned in the song is juxtaposed by a group of dancers who seemingly intermix with them throughout the video. About 14 seconds after the start of the video, Billy emerges from one floor above the now long abandoned Licha's Santa Fe Grill, in reality at the northwest corner of 7th and Santa Fe Streets in Los Angeles, and descends a ladder before dropping the last few feet down to the street. A little more than one-third of the way through the song, Billy and Patti are shoved toward the entrance of the Hotel Hayward, in reality at the west corner of 6th and Spring Streets, again in Los Angeles, between a mile and a half and two miles to the northwest. The dancers eventually end up in a railway yard just to the east of the grill, to where the couple has returned and Rod Stewart is singing the last half of the song.
Stewart's videotaped rooftop performance of the song in Los Angeles (different from the aforementioned music video) appeared about one-third of the way through Dick Clark's three-hour American Bandstand 30th Anniversary Special Episode on 30 October 1981.
The music for the song was composed by Carmine Appice, Duane Hitchings, and Kevin Savigar, with lyrics written by Stewart. The song, which was released as the first single from Tonight I’m Yours, was produced with synthesizers and a hi-hat played over a drum machine. On the Billboard Hot 100, "Young Turks" debuted at no. 61 on 17 October 1981 and peaked at no. 5 on 19 December 1981 – 9 January 1982. The song peaked at no. 11 on the UK Singles Chart and also was a top 5 hit in Australia, Belgium, Israel (no. 1) and Canada. Released a few months after MTV went on the air, it was the first video they played that contained breakdancing.
The video, directed by Russell Mulcahy and choreographed by Kenny Ortega, was filmed in the central downtown area of Los Angeles in the summer of 1981. The runaway couple ("Billy", played by Dale Pauley, and "Patti", played by Elizabeth Daily) mentioned in the song is juxtaposed by a group of dancers who seemingly intermix with them throughout the video. About 14 seconds after the start of the video, Billy emerges from one floor above the now long abandoned Licha's Santa Fe Grill, in reality at the northwest corner of 7th and Santa Fe Streets in Los Angeles, and descends a ladder before dropping the last few feet down to the street. A little more than one-third of the way through the song, Billy and Patti are shoved toward the entrance of the Hotel Hayward, in reality at the west corner of 6th and Spring Streets, again in Los Angeles, between a mile and a half and two miles to the northwest. The dancers eventually end up in a railway yard just to the east of the grill, to where the couple has returned and Rod Stewart is singing the last half of the song.
Stewart's videotaped rooftop performance of the song in Los Angeles (different from the aforementioned music video) appeared about one-third of the way through Dick Clark's three-hour American Bandstand 30th Anniversary Special Episode on 30 October 1981.
Rod Stewart "Passion (Single & Video)"
"Passion" is a song by Rod Stewart that first appeared in 1980 on his album Foolish Behaviour. It was the lead single and greatest hit from the album.
The song reached number five on the US Billboard Hot 100 and number two in Canada. It was also a sizeable hit across Europe.
"Passion" describes the ubiquity of the phenomenon, delineating its universality by listing many of the people, places, and situations in which it is found. Passion is described as a powerful but dangerous essential motivator, being so compelling that it is prone to sometimes break outside the boundaries of loving relationships. 'Hear it on the radio' and 'read it in the papers' speaks of the potentially disruptive power of unleashed desire.
The song was also released as a 12-inch promotional single with an extended running time of 7:30.
"Passion" was prominently featured in the sleazy 1984 drama film New York Nights (later known as Shackin' Up).
The song reached number five on the US Billboard Hot 100 and number two in Canada. It was also a sizeable hit across Europe.
"Passion" describes the ubiquity of the phenomenon, delineating its universality by listing many of the people, places, and situations in which it is found. Passion is described as a powerful but dangerous essential motivator, being so compelling that it is prone to sometimes break outside the boundaries of loving relationships. 'Hear it on the radio' and 'read it in the papers' speaks of the potentially disruptive power of unleashed desire.
The song was also released as a 12-inch promotional single with an extended running time of 7:30.
"Passion" was prominently featured in the sleazy 1984 drama film New York Nights (later known as Shackin' Up).
Rod Stewart ""The Killing of Georgie (Part I and II) (Single & Video)"
"The Killing of Georgie (Part I and II)" is a song written and recorded by Rod Stewart and released as a track on his 1976 album A Night on the Town. The song tells the story of a gay man who was killed in New York City. A two-part song, Part I was the more popular hit and was blended into the more melancholy and sombre Part II.
The song was released as a single in August 1976 and spent ten weeks on the UK Singles Chart, reaching a peak position of No. 2. It charted moderately well elsewhere, reaching #25 in the Netherlands, #30 in the U.S. and #33 in Canada.
The song's lyrics tell the tale of a friend of the narrator, a gay man, the eponymous Georgie. The song follows Georgie through his life. When Georgie reveals his sexuality to his parents his father asks, "How can my son not be straight, after all I've said and done for him?" Georgie, cast out by his parents, heads for New York City where he becomes successful and popular in Manhattan's upper class, "the toast of the Great White Way". The narrator visits him in Summer 1975, when Georgie tells him he's in love; the narrator is pleased for him. Georgie attends the opening night of a Broadway musical, but has no interest in lingering afterward so he leaves "before the final curtain call" and heads crosstown. He is attacked near East 53rd Street by a New Jersey gang of thieves that was waiting in a car on a "darkened side street" and one thief inadvertently kills him. The narrator remembers Georgie's advice on living life to the full while young, before it ends. The song ends with the narrator begging Georgie to stay.
The year of Georgie's death is given as 1975 purely for the purposes of the song's rhyme. The murder of the individual on which the song is based occurred in 1974.
In the May 1995 issue of Mojo, Stewart explained: "That was a true story about a gay friend of The Faces. He was especially close to me and Mac. But he was knifed or shot, I can't remember which. That was a song I wrote totally on me own over the chord of open E." The switchblade knife in the song's lyrics implies that Georgie was stabbed to death.
When he was asked about writing a song with a gay theme, Stewart said, "It's probably because I was surrounded by gay people at that stage. I had a gay PR man, a gay manager. Everyone around me was gay. I don't know whether that prompted me into it or not. I think it was a brave step, but it wasn't a risk. You can't write a song like that unless you've experienced it. But it was a subject that no one had approached before. And I think it still stands up today."
Part I covers terrain similar to "Walk on the Wild Side" by Lou Reed and also uses sampling of melody and backing vocals.
Part II provides a coda to the song and employs a melody identical to The Beatles' "Don't Let Me Down". In a 1980 interview, John Lennon said, "the lawyers never noticed".
The song was released as a single in August 1976 and spent ten weeks on the UK Singles Chart, reaching a peak position of No. 2. It charted moderately well elsewhere, reaching #25 in the Netherlands, #30 in the U.S. and #33 in Canada.
The song's lyrics tell the tale of a friend of the narrator, a gay man, the eponymous Georgie. The song follows Georgie through his life. When Georgie reveals his sexuality to his parents his father asks, "How can my son not be straight, after all I've said and done for him?" Georgie, cast out by his parents, heads for New York City where he becomes successful and popular in Manhattan's upper class, "the toast of the Great White Way". The narrator visits him in Summer 1975, when Georgie tells him he's in love; the narrator is pleased for him. Georgie attends the opening night of a Broadway musical, but has no interest in lingering afterward so he leaves "before the final curtain call" and heads crosstown. He is attacked near East 53rd Street by a New Jersey gang of thieves that was waiting in a car on a "darkened side street" and one thief inadvertently kills him. The narrator remembers Georgie's advice on living life to the full while young, before it ends. The song ends with the narrator begging Georgie to stay.
The year of Georgie's death is given as 1975 purely for the purposes of the song's rhyme. The murder of the individual on which the song is based occurred in 1974.
In the May 1995 issue of Mojo, Stewart explained: "That was a true story about a gay friend of The Faces. He was especially close to me and Mac. But he was knifed or shot, I can't remember which. That was a song I wrote totally on me own over the chord of open E." The switchblade knife in the song's lyrics implies that Georgie was stabbed to death.
When he was asked about writing a song with a gay theme, Stewart said, "It's probably because I was surrounded by gay people at that stage. I had a gay PR man, a gay manager. Everyone around me was gay. I don't know whether that prompted me into it or not. I think it was a brave step, but it wasn't a risk. You can't write a song like that unless you've experienced it. But it was a subject that no one had approached before. And I think it still stands up today."
Part I covers terrain similar to "Walk on the Wild Side" by Lou Reed and also uses sampling of melody and backing vocals.
Part II provides a coda to the song and employs a melody identical to The Beatles' "Don't Let Me Down". In a 1980 interview, John Lennon said, "the lawyers never noticed".
Rod Stewart "Tonight's The Night (Single & Video)"
"Tonight's the Night (Gonna Be Alright)" is a song by Rod Stewart, recorded at Muscle Shoals Sound Studio in Sheffield, Alabama for his 1976 album A Night on the Town. The song became his second US chart topper on the Billboard Hot 100. It made its debut at number 81 on October 2, 1976 and rose quickly, climbing from number eight to the top of the chart on November 13, 1976, and remained on top for eight consecutive weeks until January 8, 1977. It was the longest stay of any song during 1976, as well as the longest stay at number one for Rod Stewart in his entire recording career. The song also peaked at No. 5 in the UK, No. 3 in Australia and charted well in other parts of the world. It was the number 1 song on Billboard's 1977 year-end chart. It became the best-selling single of 1977 in the United States. As of 2015, it is the seventeenth most popular song in the history of the chart.
According to Dan Peek of America, Stewart's inspiration for "Tonight's the Night" was America's Top 30 hit "Today's the Day": Peek recalls that one evening when he and his guest Rod Stewart were playing together in Peek's home recording studio: "I played 'Today's the Day', the song I had been working on. Rod said that he liked it and that it gave him an idea for a song. Of course after his recording of 'Tonight's the Night' came out I laughed when I remembered what he'd said. I'm sure I probably smacked my forehead and said: 'Why didn't I think of that?'"
The song features a French spoken part from Britt Ekland who was Stewart's girlfriend at the time. While primarily recorded at Muscle Shoals, the final vocal was recorded at Caribou Ranch studios, where Stewart, Ekland and producer Tom Dowd spent several days. The high-altitude result was a vocal an octave higher than "sea-based" versions--and fit the song perfectly. Some radio stations play edits of the song, shortening the coda, as well as the whispers, because they were deemed to be too suggestive for airplay, where the songs could be banned from being played on the air.
According to Dan Peek of America, Stewart's inspiration for "Tonight's the Night" was America's Top 30 hit "Today's the Day": Peek recalls that one evening when he and his guest Rod Stewart were playing together in Peek's home recording studio: "I played 'Today's the Day', the song I had been working on. Rod said that he liked it and that it gave him an idea for a song. Of course after his recording of 'Tonight's the Night' came out I laughed when I remembered what he'd said. I'm sure I probably smacked my forehead and said: 'Why didn't I think of that?'"
The song features a French spoken part from Britt Ekland who was Stewart's girlfriend at the time. While primarily recorded at Muscle Shoals, the final vocal was recorded at Caribou Ranch studios, where Stewart, Ekland and producer Tom Dowd spent several days. The high-altitude result was a vocal an octave higher than "sea-based" versions--and fit the song perfectly. Some radio stations play edits of the song, shortening the coda, as well as the whispers, because they were deemed to be too suggestive for airplay, where the songs could be banned from being played on the air.
Rod Stewart "Hot Legs (Single & Video)"
"Hot Legs" is a single by Rod Stewart. Stewart included the song on his 1977 album Foot Loose & Fancy Free. The 1977 single performed moderately well on the United States Hot 100 (#28), and well on the UK Singles Chart (#5). In the UK, "Hot Legs" and "I Was Only Joking" charted together as a double A-side.
In 1993, Stewart recorded a live version during his MTV Unplugged session which appeared on the album Unplugged...and Seated. Artists who have recorded cover versions of "Hot Legs" include Tom Jones, Tina Turner, and American rock band Orgy. Bon Jovi have occasionally covered this song during their "The Circle Tour".
Since the original recording/video, the lyrics in the last verse have been changed.
The lead guitar that is prominent throughout the song was performed by Billy Peek, a Saint Louis, Missouri native who was in Rod Stewart’s band in the mid-seventies.
In 1993, Stewart recorded a live version during his MTV Unplugged session which appeared on the album Unplugged...and Seated. Artists who have recorded cover versions of "Hot Legs" include Tom Jones, Tina Turner, and American rock band Orgy. Bon Jovi have occasionally covered this song during their "The Circle Tour".
Since the original recording/video, the lyrics in the last verse have been changed.
The lead guitar that is prominent throughout the song was performed by Billy Peek, a Saint Louis, Missouri native who was in Rod Stewart’s band in the mid-seventies.
Rod Stewart "Foot Loose & Fancy Free"
Foot Loose & Fancy Free is Rod Stewart's eighth album, released in November 1977 on Riva Records in the UK and Warner Bros in the US.
The album is the final album in a string of Stewart's acclaimed 1970s albums, beginning with Atlantic Crossing and ending with A Night On The Town. The album contains elements of hard rock ("Hot Legs"), funk rock ("You're Insane"), and progressive rock ("You Keep Me Hanging On"), as well as Stewart's usual ballads ("You're In My Heart"). "I Was Only Joking", a tale about regret and the care-free minds of the young, has become one of Stewart's most loved compositions.
The album is the final album in a string of Stewart's acclaimed 1970s albums, beginning with Atlantic Crossing and ending with A Night On The Town. The album contains elements of hard rock ("Hot Legs"), funk rock ("You're Insane"), and progressive rock ("You Keep Me Hanging On"), as well as Stewart's usual ballads ("You're In My Heart"). "I Was Only Joking", a tale about regret and the care-free minds of the young, has become one of Stewart's most loved compositions.
Rod Stewart "A Night On The Town"
A Night on the Town is Rod Stewart's seventh album, released in 1976. The cover art is based on Pierre-Auguste Renoir's painting Bal du moulin de la Galette, with Stewart inserted in the centre in period costume. On 30 June 2009, Rhino reissued the album as a two-disc CD with bonus tracks. Stewart performed "Big Bayou" regularly with The Faces during their final US tour the previous year, although that version was based on the one Ronnie Wood released on his solo album, Now Look. A Night on the Town was Stewart's last UK number-one studio album until Time in 2013.
The album is regarded as one of Stewart's finest hours, with many songs still on rotation at Classic Rock radio stations. "The Killing Of Georgie" is one of Stewart's most hard hitting set of lyrics, a melancholic tale of a gay friend who is cast out by his family and becomes a sensation in the New York nightlife, only to be mugged and beaten to death by a New Jersey gang in New York City. Controversial "Tonight's the Night" was a No. 1 hit but was banned by some radio stations due to the very obvious lyrics about sex and loss of virginity. A cover of Cat Stevens' "The First Cut Is The Deepest" was also a success and has since become one of Stewart's signature songs. Another controversial song, The Balltrap, again had explicit sexual references in its lyrics as well as a touch of racism towards a trashy woman.
The album is regarded as one of Stewart's finest hours, with many songs still on rotation at Classic Rock radio stations. "The Killing Of Georgie" is one of Stewart's most hard hitting set of lyrics, a melancholic tale of a gay friend who is cast out by his family and becomes a sensation in the New York nightlife, only to be mugged and beaten to death by a New Jersey gang in New York City. Controversial "Tonight's the Night" was a No. 1 hit but was banned by some radio stations due to the very obvious lyrics about sex and loss of virginity. A cover of Cat Stevens' "The First Cut Is The Deepest" was also a success and has since become one of Stewart's signature songs. Another controversial song, The Balltrap, again had explicit sexual references in its lyrics as well as a touch of racism towards a trashy woman.
Rod Stewart "Every Picture Tells A Story"
Every Picture Tells a Story, released May 1971, is the third album by Rod Stewart. It incorporates hard rock, folk, and blues styles. It went to number one on both the UK and US charts and finished third in the Jazz & Pop critics' poll for best album of 1971. It has been an enduring critical success, including a number 172 ranking on Rolling Stone's 2003 list of the 500 greatest albums of all time.
The album is a mixture of rock, country, blues, soul, and folk, and includes Stewart's breakthrough hit, "Maggie May", as well as "Reason to Believe", a song from Tim Hardin's debut album of 1966. "Reason to Believe", with Pete Sears on piano, was released as the first single from the album with "Maggie May" as the B-side, however, "Maggie May" became more popular and was a No. 1 hit in both the UK and US.
The album includes a version of Arthur Crudup's "That's All Right (Mama)" (the first single for Elvis Presley) and a cover of the Bob Dylan song "Tomorrow Is a Long Time," an outtake from Dylan's 1963 album The Freewheelin' Bob Dylan (it would see release on 1971's, Bob Dylan's Greatest Hits Vol. II).[citation needed]
All five members of the Faces (with whom Stewart at that time was lead vocalist) appeared on the album, with guitarist/bassist Ronnie Wood and keyboardist Ian McLagan on Hammond B3 organ being employed most. Due to contractual restrictions, the personnel listings were somewhat vague, and it was unclear that the full Faces line-up recorded the version of the Motown hit "(I Know) I'm Losing You". Other contributors included Ray Jackson on mandolin (though Stewart forgot his name and merely mentioned "the mandolin player in Lindisfarne" on the sleeve). Micky Waller on drums. Maggie Bell performed backing vocals (mentioned on the sleeve as "vocal abrasives") on the title track, and Madeline Bell sang backup on the next track, "Seems Like A Long Time". Pete Sears played all the piano on the album except for one track, "I'm Losing You", which had Ian McLagan on piano, along with the Faces as a band.
The album reached the number-one position in both the UK (for six weeks) and the US (four weeks) at the same time that "Maggie May" was topping the singles charts in both territories, making Stewart one of the few artists to achieve such a feat. It has often been voted among the best British albums of all time.[citation needed]
The Temptations cover, I Know I'm Losing You reached the top 40, at No. 24 on the Billboard Hot 100 in the US.
The album has been an enduring critical success, including a number 172 ranking on Rolling Stone's 2003 list of the 500 greatest albums of all time. In 1992, the album was awarded the number-one spot in Jimmy Guterman's book The Best Rock 'N' Roll Records of All Time: A Fan's Guide to the Stuff You Love. It was ranked 99th in a 2005 survey held by British television's Channel 4 to determine the 100 greatest albums of all time.
In a retrospective review for AllMusic, Stephen Thomas Erlewine wrote: "Without greatly altering his approach, Rod Stewart perfected his blend of hard rock, folk, and blues on his masterpiece, Every Picture Tells a Story."
The album is a mixture of rock, country, blues, soul, and folk, and includes Stewart's breakthrough hit, "Maggie May", as well as "Reason to Believe", a song from Tim Hardin's debut album of 1966. "Reason to Believe", with Pete Sears on piano, was released as the first single from the album with "Maggie May" as the B-side, however, "Maggie May" became more popular and was a No. 1 hit in both the UK and US.
The album includes a version of Arthur Crudup's "That's All Right (Mama)" (the first single for Elvis Presley) and a cover of the Bob Dylan song "Tomorrow Is a Long Time," an outtake from Dylan's 1963 album The Freewheelin' Bob Dylan (it would see release on 1971's, Bob Dylan's Greatest Hits Vol. II).[citation needed]
All five members of the Faces (with whom Stewart at that time was lead vocalist) appeared on the album, with guitarist/bassist Ronnie Wood and keyboardist Ian McLagan on Hammond B3 organ being employed most. Due to contractual restrictions, the personnel listings were somewhat vague, and it was unclear that the full Faces line-up recorded the version of the Motown hit "(I Know) I'm Losing You". Other contributors included Ray Jackson on mandolin (though Stewart forgot his name and merely mentioned "the mandolin player in Lindisfarne" on the sleeve). Micky Waller on drums. Maggie Bell performed backing vocals (mentioned on the sleeve as "vocal abrasives") on the title track, and Madeline Bell sang backup on the next track, "Seems Like A Long Time". Pete Sears played all the piano on the album except for one track, "I'm Losing You", which had Ian McLagan on piano, along with the Faces as a band.
The album reached the number-one position in both the UK (for six weeks) and the US (four weeks) at the same time that "Maggie May" was topping the singles charts in both territories, making Stewart one of the few artists to achieve such a feat. It has often been voted among the best British albums of all time.[citation needed]
The Temptations cover, I Know I'm Losing You reached the top 40, at No. 24 on the Billboard Hot 100 in the US.
The album has been an enduring critical success, including a number 172 ranking on Rolling Stone's 2003 list of the 500 greatest albums of all time. In 1992, the album was awarded the number-one spot in Jimmy Guterman's book The Best Rock 'N' Roll Records of All Time: A Fan's Guide to the Stuff You Love. It was ranked 99th in a 2005 survey held by British television's Channel 4 to determine the 100 greatest albums of all time.
In a retrospective review for AllMusic, Stephen Thomas Erlewine wrote: "Without greatly altering his approach, Rod Stewart perfected his blend of hard rock, folk, and blues on his masterpiece, Every Picture Tells a Story."
Rod Stewart "Gasoline Alley"
Gasoline Alley is the second solo studio album by the British singer-songwriter Rod Stewart. It was released in June 1970. It is included in the book 1001 Albums You Must Hear Before You Die. Originally released in the UK on the Vertigo label, it was re-mastered and re-issued in 2008 by a Russian reissue label, Lilith Records Ltd. It is a collection of covers combined with Stewart's own compositions. Like many of Stewart's solo albums from the period, it featured significant musical contributions from the other members of his band Faces.
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