GoatersLeftShin
Well-Known Member
- Joined
- 3 Jan 2019
- Messages
- 1,653
- Team supported
- MCFC
Maggie May and Mandolin Wind are my favourite songs by Rod Stewart, but I've never listened to this album. Although I count the likes of "Do you think I'm sexy", "Sailing" as guilty pleasures maybe these songs have tainted me not to listen to him as an 'album man' if that makes sense. However, MM and MW are simple magnificent songs and the backing and his voice are perfect. In fact, I'd go to say that at times with the Faces (and on his own) he rivals the Stones for that rocky/country/bluesy vibe.Every Picture Tells a Story
Rod Stewart
No Wait! Dont leave because its Rod 'dya think i'm sexy' Stewart! I promise this is worth three listens and is really good.
There is an interesting comparison for me with the last pick, OB1’s Sheer Heart Attack, an album I absolutely loved at the time, performed by a group that I later fell out of love with . My pick is also by an artist I later became to actively dislike (because of his choice of material) and yet I still absolutely love this album and play it regularly more than 50 years after its initial release.
1971 was the year that Rod Stewart became a superstar (the same year that Bowie and Bolan had similar breakthroughs). Having featured in bands with Long John Baldry and Jeff Beck, Stewart made two solo albums ’An old raincoat won’t ever let you down’ and ‘Gasoline Alley’ and fronted all the vocals to the Faces first album ‘First Step’. But it was ‘Every Picture Tells A Story’ that broke him into the stratosphere with the album being voted Rolling Stone album of the year. A rare event where the critical and the commercial conclusions were as one.
Stewart referenced Sam Cooke as a critical influence to his singing style which is to all intents and purposes an extension of his speaking voice. Like Cook he sang above his natural register and had the ability to give authenticity to songs, as if old songs had been ‘found’ rather than recently composed if that makes any sense - Mandolin Wind is a prime example of this skill.
So enough of the context what about the record?
Every Picture Tells a Story is a melange of hard rock, blues and country, it’s an album that takes you to a small smoky venue, it ambles into the room with a cocky grin, half-drunk on its own raw energy, only to leave you exhilarated but also touched and uplifted by the beauty and sadness of a number of songs. There is something on the album for everyone. Country, Folk, Blues and Rock and in 1971, the songs appealed to an audience that wanted music they could relate to and it sold very very well. You could play this album to anyone and they will find something to like (Rob, I think you will like the variety of instruments, violin, mandolin, mouth harp and the fact you can here every instrument clearly). Rod co-wrote three tracks on the album including the stand out ‘Maggie May’ and ‘Mandolin Wind’
Although the album is a Rod Stewart solo effort, the album’s DNA is inseparable from the Faces’ signature blend of rock and roll, blues rock, boogie rock, and folk rock, infused with a loose, energy that set them apart from their contemporaries (maybe other than the Stones where there are obvious connections - Wood was a Rolling Stone personified!) . Their style was defined by a raw, unpolished sound, emphasising feel and spontaneity over technical precision. The Band and a selection of other musicians were integral in shaping the sound and spirit of Every Picture Tells a Story, providing the loose, ragged charm that underpins the album’s enduring appeal.
Ronnie Wood’s guitar work is a standout, alternating between gritty, driving riffs and more subtle passages that perfectly complement Stewart’s voice. His contribution to tracks like the title song and "Maggie May" provided a raw edge. Wood also played bass on a number of tracks as did Pete Sears and Danny Thompson who added double bass to Mandolin Wind. Ian McLagan’s keyboards bring a warm, organic texture, adding depth to the arrangements. Martin Quittenton who was co-composer of Maggie May played acoustic piano. Faces, Ronnie Lane and Kenny Jones played Bass and Drums on ‘I Know, Im Losing You’. Maggie Bell of Stone the Crows fame provided some of memorable backing vocals. The recording of the album featured much impromptu arrangement and improvisation and that is a big part of its enduring charm.
More than just instrumentalists, the Faces embodied a spirit of camaraderie and fun that defines the album. The band’s chemistry gave Stewart the perfect environment to craft an album that feels deeply personal and irresistibly communal. Together, they created a record that defines the very heart and swagger of early '70s rock at its finest.
There is no bad track albeit some lyrics, particularly on the title track, contain outdated stereotypes that jar these days.
‘Every Picture Tells a Story’ Rod and Ronnie recorded the song in a spontaneous session. The structure of the track was barely sketched out beforehand, with much of it coming together in the studio. Wood’s guitar work, which alternates between jagged riffs and bluesy licks, was largely improvised on the spot. Meanwhile, Stewart's vocals were delivered with an off-the-cuff intensity, as though he were recounting the song’s globe-trotting tale to a group of mates over a drink.
The recording process was so casual that Stewart later admitted he wasn’t entirely certain about some of the lyrics, which were cobbled together from ideas he had jotted down and expanded on during the session. The unpolished, almost chaotic energy of this session gave the song its infectious vitality. However, the freeform nature of the recording also contributed to some of its more controversial elements, including lyrics that reflect outdated racial stereotypes—something Stewart later acknowledged as a sign of the times.
‘Seems Like a Long Time,’ reflects Stewart’s interest in incorporating gospel. The track’s lush arrangement, featuring Ian McLagan on piano and the soulful backing vocals of Maggie Bell, giving it a contrast with the more raw feel of much of the album. Stewart's vocal delivery leans into the spiritual undertones of the songs lyrics. The production is a bit more polished than other tracks compared to the album's more organic moments.
The next track is a cover of Arthur Crudup’s blues classic ‘Thats all right’ which serves as a tribute to early rock and roll. (I think it was Elvis’s first single). The recording process for this track was intentionally stripped-down and informal, reflecting the grit of the original. Wood’s electric guitar work dominates the track but I really enjoy Ian McLagan’s piano which adds a boogie-woogie texture that roots the track firmly in its blues heritage.
Rod Stewart’s cover of Bob Dylan’s “Tomorrow Is a Long Time” is one of the album’s most understated tracks. Stewart, a devoted Dylan fan, chose to reinterpret this lesser-known song with a delicate, folk-inspired arrangement. The recording features Martin Quittenton on acoustic guitar, whose intricate work provides the foundation for Stewart’s introspective vocal performance. Danny Thompson, a renowned bassist from the British folk scene, played double bass, adding warmth to the track. The minimalist approach allowed the melancholy of Dylan’s lyrics to shine. The track was crafted with a focus on subtlety and as such it works well in showcasing Stewart’s versatility and demonstrates beautifully his ability to excel with quieter, more introspective material.
‘Maggie May’ is a track that is familiar with everyone. It purports to tell the story of Rod’s deflowering by an older woman and it does so with some charm. I still remember his early performances on TOTP where he and the Faces kicked footballs into the audience. The mandolin solo was famously composed and played by a young Ray Jackson of Lindisfarne who was paid an eye watering £15 (or £12 if you read other articles!) for his efforts. He later claimed a share of the royalties from the song on the basis he was its co-composer, a claim that Stewart described as ‘Ridiculous’.
Mandolin Wind is simply the best thing he has ever done. An interesting fact about the recording is that Rod Stewart himself played the majority of the acoustic guitar parts on the track, a departure from his usual role as lead vocalist. Stewart's guitar work helped shape the pastoral atmosphere of the song, emphasising its intimate and reflective tone. What makes this even more notable is Stewart's self-admitted modesty as a guitarist—he has often said he was never particularly confident in his playing. However, his performance on "Mandolin Wind" demonstrated his ability to convey raw emotion through simplicity. The mandolin part that complements the song’s acoustic texture was performed by Martin Quittenton who’s delicate touch adds a rustic, folk-inspired quality that perfectly underscores the song’s themes of love and resilience
(I Know) I’m Losing You is my favourite track on the album. I'ts a fiery cover of the Temptations classic. The track showcases the Faces in full force, with their raw, unpolished energy taking the song in a completely different direction from the soulful original. The session was a testament to the band’s improvisational prowess. In particular, Kenny Jones thunderous drumming gave the song an edge of primal urgency. I love the way he propels the song forward, increasing the intensity but not a single drum beat out of place or unnecessary. The recording captures the spontaneity of a live performance, which was precisely the band’s intention. Interestingly, the track was recorded in a single take. The Faces’ chemistry was so tight during the session that they captured the gritty, intense atmosphere of the song on their first try. The result is a blistering rock reinterpretation that stands as one of the most powerful moments on the album.
The album closes with “Reason to Believe,” a tender, heartfelt cover of Tim Hardin’s folk classic. The track was recorded with a sparse arrangement a deliberate choice that contrasts with the album’s more boisterous numbers.
Martin Quittenton’s acoustic guitar playing forms the backbone of the track, with its gentle strumming providing a delicate framework for Stewart’s introspective vocals. Pete Sears’ bass work subtly reinforces the melody without overpowering it, and the restrained instrumentation gives the song a timeless quality. Stewart’s performance on “Reason to Believe” is deeply affecting, as he captures the song’s themes of disillusionment and hope with sincerity. It was originally intended as the lead single from the album, but it was quickly overshadowed by the success of “Maggie May,” which became a surprise hit. Despite this, “Reason to Believe” remains a standout, rounding off the album on a poignant note.
Hope those that know the album like it and those that don’t know it enjoy it as if it were 1971!
What a fantastic write up and I can't wait to listen to this album - thanks!