"Foot Loose & Fancy Free" by ROD STEWART - November 1977 UK Eight Studio LP on Riva Records (Warner Brothers in the USA) featuring Steve Cropper, Gary Grainger, Billy Peek, Jim Cregan and Fred Tackett on Guitars, David Foster, John Barlow Jarvis and Nicky Hopkins on Keyboards, John Mayall on Harmonica, Mark Stein on Backing Vocals, Carmine Appice on Drums, Phil Chen on Bass and more (September 2000 UK Warner Brothers CD Reissue in the Warner Remasters Series – Patrick Krauss Remaster) - A Review by Mark Barry...

 

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"...Don't you count on me to be here when the sun goes down..." Rod sang on the snotty "Born Loose" - his stab at "Saturday Night's Alright For Fighting" (complete with Harmonica playing from British Blues Legend John Mayall). Our Mod was born loose, but not stupid it seems - except when it came to love. 

 

With a personal life straddling success vs. excess and an aging fan base moved on to maybe bigger and funkier things, there were many who fancied Rod Stewart the songwriter and raconteur as being over by the time "Foot Loose & Fancy Free" hit the shops in November 1977. Punk spirit or no - his long list of rocking affairs in bars and leggy-models' bedrooms was already passé as far as the new Punk Turks were concerned - and certainly they took the almighty piss out of him by the time December 1978's "Blondes Have More Fun" arrived (they didn't think he was sexy, flush bank account or not).

 

But for me and despite the rather ugly-ish lyrical content in "Hot Legs" that makes for an awkward listen in October 2022 - there are many winners on his last great album of the Seventies. Even the epic cover of "You Keep Me Hanging On" certainly had its moments - Del Newman's string arrangements and those odd drops in the tempo that rewired an overly familiar song. And lyrically "I Was only Joking" is probably the only song that comes close to the genius words in 1976's "The Killing Of Georgie Part I & II". It's a damn shame though that these Warner Remasters don't really go the hog on presentation - the album's fabulous 12-page booklet that came with original LPs completely AWOL - lyrics and cartoon drawings referencing every song. But let's deal with what we do have...

 

UK released 6 September 2000 - "Foot Loose & Fancy Free" by ROD STEWART on Warner Brothers 9362-47731-2 (Barcode 093624773122) is a straightforward CD Reissue and Remaster in the Warners Remasters Series that plays out as follows (44:44 minutes):

 

1. Hot Legs [Side 1]

2. You're Insane

3. You're In My Heart (The Final Acclaim)

4. Born Loose

5. You Keep Me Hanging On [Side 2]

6. (If Loving You Is Wrong) I Don't Want To Be Right

7. You Got A Nerve

8. I Was Only Joking

Tracks 1 to 8 are his 8^th Studio Album "Foot Loose & Fancy Free" – released November 1977 in the UK on Riva Records RVLP 5 and November 1977 in the USA on Warner Brothers BSK 3092. Produced by TOM DOWD – it peaked at No. 3 in the UK and No. 2 in the USA. 

 

The three-way six-leaf foldout inlay is functional at best – album credits – that Scotland and Beer Bottle photo – but the elaborate and decidedly cool 12-page LP-sized booklet from the original vinyl is not here nor any liner notes on the history or charts etc. The PETER KRAUSS 24-bit digital Remaster is great – incredibly clear on what was clearly a very well recorded LP in the first place. And Stewart had surrounded himself and Producer TOM DOWD with his usual crew plus some. 

 

Players included - Steve Cropper, Gary Grainger, Billy Peek, Jim Cregan and Fred Tackett on Guitars, David Foster, John Barlow Jarvis and Nicky Hopkins on Keyboards, Phil Kenzie on Saxophone, John Mayall on Harmonica ("Born Loose" only), Mark Stein on Backing Vocals, Carmine Appice on Drums, Phil Chen on Bass, Strings arranged by Del Newman and more.

 

Just weeks prior to the LP release on 4 November 1977, the arm-swaying ballad "You're In My Heart (The Final Acclaim)" was issued as the album lead-off 45-single in October 1977 with "You Got A Nerve" from the LP on the flipside. Warner Brothers WBS 8475 (USA) and Riva Records RIVA 11 (same B-side) did big business on both sides of the pond – No. 3 in the UK and No. 4 in America. Time to follow that with a rocker and the obvious choice was the down and decidedly dirty Side 1 opener "Hot Legs" – issued January 1978 as a 45-single in the USA on Warner Brothers WBS 8535 with another LP cut on the flipside "You're Insane". Blighty issued it 20 January 1978 on Riva Records RIVA 10, but with the far better "I Was Only Joking" as the B-side. Perhaps none too enamoured with the seriously sexist lyrics – it hit only No. 28 in America but with its better B-side did way better in England – No. 5. And quite why the RIVA 11 catalogue number came before RIVA 10 in England is anyone’s guess?

 

With "I Was Only Joking" relegated to a B-side in the UK, Riva tried no more singles in Blighty, but the USA featured it as 45 number three. "I Was Only Joking" was issued Stateside on Warner Brothers WBS 8568 in April 1978 in an edited form (4:48 minutes) with the Side 1 finisher "Born Loose" on the flipside – but its chart high of No. 22 is to be considered a disappointment given how good the A-song is. There is also a 9 April 1978 Mono Edit Promo-Only version of "I Was Only Joking" that could have been issued as a Bonus Track along with the Stereo Edit of the issued single, two goodies fans would have enjoyed, but no such luck. 

 

The two Side 2 cover versions are cleverly arranged - wildly away from the format of the originals yet somehow complimentary in their new incarnations. Motown's Holland-Dozier-Holland wrote "You Keep Me Hanging On" which The Supremes made a hit of in 1966, while a trio of Soul and R 'n' B writers for Stax Records - Homer Banks, Raymond Jackson and Carl Hampton - gave their magisterial creation "(If Loving You Is Wrong) I Don't Want To Be Right" creation to Luther Ingram in 1972 (it's been covered by loads of other artists including The Emotions and Millie Jackson). Take that slow guitar solo that appears three and half minutes into "(If Loving You Is Wrong) I Don't Want To Be Right" - given a very subtle bottom end by both John Jarvis and David Foster on Keyboards later added to by Phil Kenzie on Saxophone. So damn good. 

 

And then there's the album's forgotten little sweetie - "You've Got A Nerve" - a bitter afterthought ballad - a loved-you-once-but-don't-now song where both Jim Cregan and co-writer Gary Grainger hold sway on Sitar and Guitars. It finishes with what has to be an accomplished Rod winner - the kid at school who messed around with all the rules. The Remaster is gorgeous - full and clear. In and out of jobs, running free, Dad said we looked ridiculous, hiding behind the wine and beer - another superb Stewart/Grainger song. 

 

Here in late 2022 - "Foot Loose & Fancy Free" is the sort of Rod Stewart studio album that's actually forgotten about 45 years after the event, but I'd argue it's a lean and mean little brat worthy of your forgiveness and immaculate benevolence. Or in the words of the great man - "Go Tartan or Go Home!"

 

Recommended - even if we (and he) did look ridiculous...

"A Night On The Town" by ROD STEWART – June 1976 UK and US Seventh Studio Album on Riva/Warner Brothers Records featuring Guitarists Joe Walsh of Eagles, Steve Cropper of Booker T. & The MG’s, David Lindley of Jackson Browne’s Band, Fred Tackett of Little Feat with Barry Beckett and David Foster on Keyboards - Lee Sklar, Donald "Duck" Dunn and Willie Weeks on Bass with Roger Hawkins on Drums, Tower of Power on Horns and Brook Honicutt and Britt Eckland on Backing Vocals (November 2000 UK Warner Brothers CD Reissue and Keith Blake Remaster in the Warner Remasters Series) - A Review by Mark Barry...

 

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"...Oh Georgie Stay..."

 

Common consensus has it that Rodders and his run of Seventies classic albums ended in 1977 with "Foot Loose & Fancy Free" – only to nose-dive into the bum-wiggling Disco embarrassment that was "Blondes Have More Fun" in December 1978. And with my hand on my Tartan-ish heart, I would have to agree.

 

But re-listening to the one before – the 1976 Britt Eckland lurve-in that is "A Night On The Town" and I am transported back to a time when being happy with 50 to 60 per-cent of the album was enough. And in the case of the magnificent Side 1 social statement "The Killing of Georgie (Part I and II)" – I was even moved to tears back in the day and still am.

 

Issued in the USA and Blighty in November 2000 - this largely forgotten Warners Remaster CD is 22 years old in 2022 and is unfortunately deleted. Once a cheap as chips fiver-English, it can go for twenty-five, so hunt around. To the Slow and Fast Halves...

 

UK released November 2000 - "A Night On The Town" by ROD STEWART on Warner Brothers 9362-47730-2 (Barcode 093624773023) is part of the 'Warner Remasters' Series and is a straightforward CD reissue of his 1976 LP that plays out as follows (41:12 minutes):

 

Slow Half [Side 1]

1. Tonight's The Night (Gonna Be Alright)

2. The First Cut Is The Deepest

3. Fool For You

4. The Killing Of Georgie (Part I and II)

 

Fast Half [Side 2]

5. The Balltrap

6. Pretty Flamingo

7. Big Bayou

8. The Wild Side Of Life

9. Trade Winds

Tracks 1 to 9 are his seventh studio album "A Night On The Town" - released June 1976 in the UK on Riva Records RVLP 1 and Warner Brothers BS 2938 in the USA. Produced by TOM DOWD - it peaked at No. 1 in the UK and No. 2 in the US album charts. "Tonight's The Night (Gonna Be Alright)", "Fool For You", "The Killing Of Georgie (Part I and II)" and "The Balltrap" written by Rod Stewart - the other five tracks are cover versions (each discussed below).

 

MUSICIANS featured were:

GUITARS - Steve Cropper (of Booker T. & The MG's), Joe Walsh (of Eagles), Jesse Ed Davis, Billy Peek, David Lindley (of Jackson Browne's band) and Fred Tackett (of Little Feat)

KEYBOARDS - Barry Beckett, David Foster, John Jarvis and J Smith

HORNS – Tower Of Power

BASS - Duck Dunn (Booker T & The MG's), Bob Glaub, David Hood, Willie Weeks and Lee Sklar

DRUMS and PERCUSSION - Willie Correa, Roger Hawkins, Al Jackson and Nigel Olsson (Elton John's Band), Tommy Vig, Joe Lala (of Manassas)

 

The foldout three-way gatefold slip inlay offers only credits alongside that photo which adorned the inner sleeve of the 1976 LP and naught else. For such a huge album, it seems kind of cheap and piddly and has not been expanded ever since. But the 24-Bit High Resolution Audio supplied in this Warner Remaster done by KEITH BLAKE rocks like the proverbial clappers. The recordings were top notch originally anyway, but this CD has a real punch and swagger – amplifying what was boogie-on-down one minute (Side 2) – then Soulful and swaying the next (Side 1). To the record...

 

Recorded in America with a very Memphis Rock-Soul feel and produced by the legendary Tom Dowd – Rod's previous LP "Atlantic Crossing" wasn't just a nod to his new future and aspirations – Stewart had literally upped sticks to the USA to escape (like so many at the time) ludicrously crippling British taxation laws that we're robbed him of almost all his earnings. More importantly, with "Atlantic Crossing", Stewart had also left behind the 'sound' of his old British Steamhammer, Jeff Beck Group and Faces muckers Ronnie Wood, Ian McLagan and Martin Quittenton. Now it was sessionmen galore – Soul Boys like Steve Cropper and Jesse Ed Davis who also understood and loved Rock and R&B and Funk. There was a deliberate commercialism to "Atlantic Crossing" – a ten-track winner full of potential singles – least not of all the arms-waving-in-the-air Celtic-ish ballad "Sailing" (a cover version of a Sutherland Brothers single from 1972 on Island Records penned by Gavin Sutherland) of course repeating the No. 1 status of the album in the UK. 

 

Again produced by TOM DOWD and featuring virtually the same crew as "Atlantic Crossing" – "A Night On The Town" went down the same path – and arguably more successfully than before. A huge fan fave and a great bedroom potboiler, "Tonight's The Night (Gonna Be Alright)" opens proceedings on Side 1 with naughty talk of sweet virgins of the world and Britt Eckland speaking in French (not exactly giving instructions on how to make a really good Cucumber Sandwich). The song's sexy sway and 'let's get upstairs quickly my dear' lyrics was so fruity for 1976 that several American Radio Stations banned it as 'lewd'. The public naturally ran towards it with gusto. In 2022 though, "Tonight's The Night (Gonna Be Alright)" probably has fond memories for us olden-types, but is admittedly sounding a tad dated if not a wee bit ridiculous too. Eight weeks as a US No. 1 single however, and I'm sure Rod Stewart's bank accounts would disagree. It was a monster song in 1976 and 1977 officially saw it named as one of the year's biggest plays – sexpot or not.

 

Up comes Rod's first cover version – a gorgeous and still moving take on the Cat Stevens 60ts Deram song "The First Cut Is The Deepest" – Stewart again showing his extraordinary knack of making someone else's great song seem like it had always been his (it became the third and last single off the album in April 1977). He ends Side 1 with two of his own - "Fool For You" – a nice ballad that deserves rediscovery as a deep album cut – but is trounced by the majesty and genuine brilliance of "The Killing of Georgie (Part I and II)". A tale of an English gay man rejected by his parents, who then emigrates and becomes the toast of New York and its notorious scene (no party was complete without him) – only to be knifed in a New Jersey street gang spat days after he'd finally found love. Stewart can pen a memorable lyric – all the good ones can – but he nailed it with Georgie. His lifestyle-knowing and his empathy for this extroverted character imbibes the song with a shocking reality, acceptance and heart too that was rarely ever publicly aired by other artists. When it goes into that 'oh Georgie stay' refrain in Part II with the ladies so Soulfully backing up his aching vocals – it's probably the defining moment in a long career of greatness. Re-listening to it in 2022 (it was issued as the second single from the album in August 1976), and I was and still am, impossibly moved by it.

 

Side 2 (the fast half) opens up with the tease of "The Balltrap" – a typically snotty rocker (he is so good at these) telling us of a lady with perhaps dubious intentions towards his frequently removed undergarments. It's a hoot still and was the B-side of the "Tonight's The Night (Gonna Be Alright)" 45-single in many areas. We then get into the final run of four cover versions – Manfred Mann's "Pretty Flamingo" (written by songsmith Marcus Barkan), American Cajun rocker Gib Gilbeau and his "Big Bayou" and the 50ts Country twang of Hank Thompson's "The Wild Side Of Life". They're good, but just a tad too functional and after the coherence of Side 1, made it feel like the LP was losing its way a bit. 

 

Rod finishes his seventh studio album on that other forgotten deep cut - "Trade Winds" – penned by American percussionist Ralph MacDonald (with William Salter). MacDonald is the author of "Where Is The Love" done by Roberta Flack and "Just The Two Of Us" done by Grover Washington, Jr with Bill Withers on Vocals. Rod imbibes this lovely Soulful ender with the feeling of a classic that's always been there – you just never noticed. MacDonald would put out his first solo LP on Marlin Records also in 1976 - "Sound Of A Drum" which contained his solo cut of "Where Is The Love" and Stone The Crows Vocalist Maggie Bell did a version of "Trade Winds" on her 1974 Polydor Records LP "Queen Of The Night" - her fabulous Scottish pipes up to the task (Bill Salter, the song's co-author even plays Bass on Maggie's version).

 

Back to the tune in hand and in keeping with Rod Stewart's knack for spotting an unsung gem, "Trade Winds" had appeared as far back as 1972 as the B-side to the monster Roberta Flack 45-single "The First Time Ever I Saw Your Face" on Atlantic 2864. To my knowledge MacDonald never did do a solo cut of it – so Rod's version of "Trade Winds" is a fabulous upgrade on 1972 and 1974 - maybe even an amalgam of both. However, even as a Remaster, it's a bit hissy admittedly in certain parts especially as Brooks Honicutt and Jerry Jumonville do their Vocal and Saxophone soloing. But still, what a great way to end Side 2.

 

For sure the inlay to "A Night On The Town" is merely functionary and some of the tunes are obvious cover version filler - but let's be clear - the good stuff is great and as an album, this 1976 platter is revered still for damn good reason.

 

"...Here I stand looking...what do I see...unhappy faces behind a painted smile...Heartache and loneliness dressed up in modern style...reflections of myself...life is no easy game..." - Rod sang on "Trade Winds" – a plea for cross denominational understanding – a song that ached for peace in a society gone crazy in many ways.

 

Revisit this album...though perhaps with a bottle of real ale instead of a glass of bubbly (and maybe loose the negligee too). Well done my exiled son...

"Atlantic Crossing" by ROD STEWART – August 1975 UK and US Sixth Studio Album on Warner Brothers Records featuring Steve Cropper and Donald Dunn of Booker T & The M.G.'s, Jesse Ed Davis, Jimmy Johnson, Fred Tackett, David Lindley, Barry Beckett, Nigel Olsson and The Memphis Horns (November 2000 UK Warner Brothers CD Reissue in the 'Warner Remasters' Series – Patrick Kraus Remaster) - A Review by Mark Barry...

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"...Home Again...Across The Sea..."

Issued in Blighty in November 2000 - can this forgotten CD Remaster really be 'over' 20 years old in 2021? Well it is - and at just above a fiver-English (brand new and sealed) from darling Jeff and his Amazonian hoards – tis still bloody good value for money too. 

Common consensus tells us that Rodders lost something in his transition from fantastic Faces frontman vocalist intertwined with a stunning solo career in the first half of the Seventies when he segued to this - his August 1975 Warner Brothers big Stateside push that came complete with a model wife, saffron scarf, bubbly glass in hand, Art acquisitions on the Malibu walls and burgers bigger than Kenny Everett's bum-pads in that now infamous slag-off sketch (very sexy Ken).  

But actually, as far as I'm concerned, the musical rot did not really start in until December 1978's "Blondes Have More Fun". I know some of the more sexist tunes like "Hot Legs" were hard to take then and even more so now – but like most fans of my advanced years, I've always held a torch for "Atlantic Crossing" (1975), "A Night On The Town" (1976) and "Foot Loose And Fancy Free" (1977)  - a trio of good to occasionally great albums in a period where most Rock acts were either floundering or downright superfluous to Rock 'n' Roll requirements. I don't want to talk about it – how you broke my heart - yes I do - here are the boozy half-and-half pass-the-champagne-Britt details...

UK released November 2000 - "Atlantic Crossing" by ROD STEWART on Warner Brothers 9362-47729-2 (Barcode 093624772927) is part of the Warner Remasters Series and is a straightforward CD reissue of his 1975 LP that plays out as follows (44:27 minutes):

Fast Half 

1. Three Time Loser [Side 1]

2. Alright For An Hour 

3. All In The Name Of Rock 'n' Roll 

4. Drift Away 

5. Stone Cold Sober 

Slow Half

6. I Don't Want To Talk About It [Side 2]

7. It's Not The Spotlight 

8. This Old Heart Of Mine 

9. Still Love You

10. Sailing 

Tracks 1 to 10 are his sixth studio album "Atlantic Crossing" - released August 1975 in the UK on Warner Brothers K 56151 (reissued January 1978 on his own label Riva Records RVLP 4) and August 1975 in the USA on Warner Brothers BS 2875. Produced by TOM DOWD - it peaked at No. 1 in the UK and No. 9 in the US album charts. "Three Time Loser", "All In The Name Of Rock 'n' Roll" and "Still Love You" written by Rod Stewart - "Alright For An Hour" co-written with Jesse Ed Davis while "Stone Cold Sober" was co-written with Steve Cropper of Booker T & The M.G.'s. The other five tracks are cover versions (each discussed below).

MUSICIANS featured were:

GUITARS - Steve Cropper (Booker T & The M.G.'s), Jesse Ed Davis, Jimmy Johnson and Fred Tackett 

MANDOLIN and VIOLIN - David Lindley 

KEYBOARDS - Barry Beckett and Albhy Galuten

HORNS - The Memphis Horns 

BASS - Duck Dunn (Booker T & The M.G.'s), Bob Glaub, David Hood and Lee Sklar 

DRUMS and PERCUSSION - Willie Correa, Roger Hawkins, Al Jackson and Nigel Olsson (Elton John's Band)

BACKING VOCALS - Cindy and Bob Singers, The Pets and The Clappers  

STRING ARRANGEMENTS - Arif Mardin for "Sailing" and "I Don't Want To Talk About It" - James Mitchell for "This Old Heart Of Mine"

The foldout three-way gatefold slip inlay offers only credits alongside that photo which adorned the inner sleeve of the 1975 LP and naught else. For such a huge album, it seems kind of cheap and piddly and has not been expanded ever since. But the 24-Bit High Resolution Audio supplied in this Warner Remaster done by PATRICK KRAUS rocks like the proverbial clappers. The recordings were top notch originally anyway, but this CD has a real punch and swagger – amplifying what was boogie-on-down one minute (Side 1) – then Soulful and swaying the next (Side 2). To the record...

Recorded in America with a very Memphis Rock-Soul feel and produced by the legendary Tom Dowd – the LP title wasn't just a nod to his new future and aspirations - Rod had literally upped sticks to the USA to escape (like so many at the time) ludicrously crippling British taxation laws that we're robbed him of almost all his earnings. More importantly, with "Atlantic Crossing", Stewart had also left behind the 'sound' of his old British Steamhammer, Jeff Beck Group and Faces muckers Ronnie Wood, Ian McLagan and Martin Quittenton. Now it was sessionmen galore – Soul Boys like Steve Cropper and Jesse Ed Davis who also understood and loved Rock and R&B and Funk. There was a deliberate commercialism to "Atlantic Crossing" – a ten-track winner full of potential singles – least not of all the arms-waving-in-the-air Celtic-ish ballad "Sailing" (a cover version of a Sutherland Brothers single from 1972 on Island Records penned by Gavin Sutherland) of course repeating the No. 1 status of the album in the UK. 

A huge fan fave and a great snotty little rock 'n' roller, "Three Time Loser" opens proceedings on Side 1 with a catchy chorus wrapped around a tale of too many girls our determined monogamist thought were the one only to find they left him with more than a memory. "Alright For An Hour" gets Funky - a slight Reggae swing where it's alright for a day but it didn't last through to the weekend (drums and bass so clear). Five minutes of a great guitar boogie follows with "All In The Name Of Rock 'n' Roll" where Rodders and his band take on New York and all points thereafter (a very Stones swagger to this one - look out kids - it's the FBI wanting to know what's that in your fruit bowl that's keeping up on stage all night every night). 

Not for the first time on this album does Rod tap into Dobie Gray's output when he hits us with a Soul-Rock Reggae-fied rendition of "Drift Away". Give me the beat boys to sooth my Soul - I wanna get lost in your Rock 'n' Roll and drift away. Originally written by Mentor Williams but made a hit on MCA Records by Dobie Gray, unfortunately Rod's version is strangely lacking despite all that great musicianship (Dobie's is one of the greatest Soul singles ever in my book – a song that actually touches you – something Rod’s version absolutely doesn’t). Back to boozy Mick Ronson-type Lou Reed riffage in the excellent "Stone Cold Sober" - a co-write with guitarist Steve Cropper of Booker T & The M.G.'s - one of the first tunes to make real use of The Memphis Horns as the guitars riff and the pianos roll – it ends Side 1 on a real high with great slide guitar and soloing too.

Time to smooch with the slow half. It seems astonishing even now that the stunning Danny Whitten-written Crazy Horse cover version of "I Don't Want To Talk About It" - a song that is so synonymous with Rod Stewart - wasn't actually issued as a 45-single in 1975 anywhere. It would have to wait until April 1977 in England to see it relegated to the B-side of "The First Cut Is The Deepest" on Riva Records RIVA 4 (the US single featured "The Balltrap"). This is really where his newer more sophisticated sound started - all those acoustic guitar notes and Arif Mardin arranged strings swirling around your speakers. "...Talk About It" is followed by a much more successful cover of "It's Not The Spotlight" - a Barry Goldberg and Gerry Goffin song made famous by both Bobby Bland and Dobie Gray - a street of dreams remembrance that still has the power to move. 

In November 1975 his own Riva Records issued his cover of The Isley Brothers Motown classic "This Old Heart Of Mine" as a single with "All In The Name Of Rock 'n' Roll" on its flip-side and was rewarded with a No. 4 chart position in the UK. I've never liked it - insipid really - but that Sax solo sounds splendid now. One of the album's forgotten tunes is his own "Still Love You" - an awkward declaration about a girl with cherry wine spilled on her dress - nights out dancing - two hearts now parted. And of course "Sailing" made him an international superstar in 1975 - a huge four-and-half-minute hit that had gone unnoticed when The Sutherland Brothers Band put it out in July 1972 on Island Records. It only goes to show his uncanny knack at noticing the potential in a song. 

For sure the inlay to "Atlantic Crossing" is merely functionary and some of the tunes are a wee bit 'too' saccharine for most tastes nowadays - but the good stuff is great.  

"...I am sailing, home again, across the sea, I am sailing stormy waters, to be with you, to be free..." - Rod sang on that global dominator of a song. Revisit this continent joiner of an album...though perhaps with a bottle of real ale instead of a glass of bubbly this time (and maybe loose the negligee too). Well done my son...