12 Songs, 57 Minutes

EDITORS’ NOTES

The ‘90s heard Rod Stewart find his musical métier. As a mature singer with a well-worn voice still capable of subtle flourishes, Stewart used his keen sense for covers to great effect. Tom Petty’s “Leave Virginia Alone” was a top-notch pop tune with dramatic chord twists and a convincingly pleading chorus. Bob Dylan’s “Sweetheart Like You” was tailor-made for Stewart’s sorrowful growl, and the traditional folk of “Purple Heather” never sounded more convincing than hearing Stewart gently gilding its bucolic wonder. Trevor Horn’s production makes great use of warm synths and foreboding rhythms for Chris Rea’s “Windy Town” and Paul Buchanan’s “The Downtown Lights.” Tom Waits’ “Hang On St. Christopher” is stripped of Waits’ abrasive edge. Sam Cooke’s “Soothe Me” reveals more of Stewart’s R&B roots while Stewart’s one original composition, “Muddy, Sam and Otis” pays direct tribute to Muddy Waters, Sam Cooke, and Otis Redding, singers who taught Stewart much of his craft. One of Stewart’s finest “later” works. 

EDITORS’ NOTES

The ‘90s heard Rod Stewart find his musical métier. As a mature singer with a well-worn voice still capable of subtle flourishes, Stewart used his keen sense for covers to great effect. Tom Petty’s “Leave Virginia Alone” was a top-notch pop tune with dramatic chord twists and a convincingly pleading chorus. Bob Dylan’s “Sweetheart Like You” was tailor-made for Stewart’s sorrowful growl, and the traditional folk of “Purple Heather” never sounded more convincing than hearing Stewart gently gilding its bucolic wonder. Trevor Horn’s production makes great use of warm synths and foreboding rhythms for Chris Rea’s “Windy Town” and Paul Buchanan’s “The Downtown Lights.” Tom Waits’ “Hang On St. Christopher” is stripped of Waits’ abrasive edge. Sam Cooke’s “Soothe Me” reveals more of Stewart’s R&B roots while Stewart’s one original composition, “Muddy, Sam and Otis” pays direct tribute to Muddy Waters, Sam Cooke, and Otis Redding, singers who taught Stewart much of his craft. One of Stewart’s finest “later” works. 

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