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# Disc length: 1969 seconds
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# Revision: 4
# Processed by: cddbd v1.5.2PL0 Copyright (c) Steve Scherf et al.
# Submitted via: CDex 1.51
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DISCID=5507af08
DTITLE=Rod Stewart / An old raincoat wont ever let you down
DYEAR=1969
DGENRE=Rock
TTITLE0=Street Fighting Man
TTITLE1=Man Of Constant Sorrow
TTITLE2=Blind Prayer
TTITLE3=Handbags And Gladrags
TTITLE4=An Old Raincoat Won't Ever Let You Down
TTITLE5=I Wouldn't Ever Change A Thing
TTITLE6=Cindy's Lament
TTITLE7=Dirty Old Town
EXTD=The Rod Stewart Album (Dennis Drake Mastering)\n\nOriginally Released 1969\nCD Edition Released 1988 ??\nRemastered CD Edition Released March 31, 1998\n\nAMG EXPERT REVIEW: On his debut album (titled An Old Raincoat Won't Ever Let You Down in Britai
EXTD=n, and The Rod Stewart Album in America, presumably because its original title was "too English" or cryptic for U.S. audiences), Rod Stewart essays a startlingly original blend of folk, blues, and rock & roll. The opening cover of the Stones' "Stree
EXTD=t Fighting Man" encapsulates his approach. Turning the driving acoustic guitars of the original inside out, the song works a laid-back, acoustic groove, bringing a whole new meaning to the song before escalating into a full-on rock & roll attack -- 
EXTD=without any distorted guitars, just bashing acoustics and thundering drums. Through this approach, Stewart establishes that rock can sound as rich and timeless as folk, and that folk can be as vigorous as rock. And he does this not only as an interp
EXTD=reter, breathing new life into Ewan MacColl's "Dirty Old Town" and defining Mike d'Abo's "Handbags & Gladrags," but also as a songwriter, writing songs as remarkable as "Blind Prayer," "An Old Raincoat Won't Ever Let You Down," and "Cindy's Lament."
EXTD= The music and the songs are so vivid and rich with detail that they reflect a whole way of life, and while Stewart would later flesh out this blueprint, it remains a stunningly original vision. -- Stephen Thomas Erlewine\n\nAmazon.com Editorial Rev
EXTD=iew\nFreshly split from the hard-edged Jeff Beck Group and about to join the anarchic Faces, Rod Stewart rocked out on his solo debut, but did so largely with the backing of acoustic instruments, reinventing songs like the Rolling Stones' "Street Fi
EXTD=ghting Man" and Ewan MacColl's "Dirty Old Town" with an appealing mix of rootsy, bluesy slide guitars and his own gravelly vocals. Backed with French horn and flutes, Mike D'Abo's "Handbags and Gladrags" has a gorgeous chamber-pop feel, and Stewart 
EXTD=contributes five original tunes, including "Man of Constant Sorrow" and "An Old Raincoat Won't Ever Let You Down" (the title track of the album's original English edition). Clocking in at only 33 minutes, The Rod Stewart Album is brief, but it's a b
EXTD=rilliant kick-off to the singer's long and storied solo career. --Daniel Durchholz \n\nAMAZON.COM CUSTOMER REVIEW\nRod Stewart's First Album Is A Winner, August 25, 2004\nReviewer: The Footpath Cowboy "rockerusa2002" (Kingston, NY United States)\nTH
EXTD=E ROD STEWART ALBUM is an exceptional debut from the English/Scottish rock singer/songwriter/interpreter. The songs here and on the next three albums feature lyrics about misfits, survivors, and downtrodden individuals that only cut deeper as the ye
EXTD=ars go by. "Handbags And Gladrags" features Stewart as a grandfather concerned about his granddaughter's behavior, but also expresses how I've felt when I saw that friends of mine have exhibited self-destructive tendencies, while "I Wouldn't Ever Ch
EXTD=ange A Thing" could just as well be me saying that I've done what I felt was necessary to keep myself in good physical condition, even if it meant refusing to go back to my old school for food-related functions and thus alienating myself from some o
EXTD=f my old friends. There are numerous other treasures here, and I heartily recommend that you get this album, the next three, and/or THE MERCURY ANTHOLOGY.\n\n\nAMAZON.COM CUSTOMER REVIEW\nI keep coming back, March 4, 2003\nReviewer: A music fan\nThe
EXTD=re are a few artists of brilliant natural talent who seem unable to manage their careers after their initial success. I'm not talking about one-hit wonders, but genuine talents who get sidetracked somehow. Elvis is definitely one of them, and so is 
EXTD=Rod Stewart. Rod's 80s stuff might be terrible (some of it is at least as bad as Elvis's "movies") but maybe the intelligence and emotion in "Handbags" or the self-awareness and humor of "Every picture tells a story" are still there somewhere. So I 
EXTD=find myself continually defending Rod to my friends: "You just don't understand, he used to be SO good." I still predict a late-career comeback for Rod, a la Solomon Burke's "Don't Give up on Me."\nMaybe Rod's early succes had something to do with h
EXTD=is supporting cast. After all, Mick always had Keith to keep him musically focused. Ron Wood could have played that part for Stewart, but that did not come to pass. For whatever reason, Rod opted for superstardom, and oh the difference to us. (For a
EXTD= five-star album, check out "Every Picture Tells a Story").\n\n\nAMAZON.COM CUSTOMER REVIEW\nRod The Mod's Debut, April 4, 2001\nReviewer: Thomas Magnum (NJ, USA)\n\nRod Stewart's debut is a pleasing mix of songs varying between rock and blues. Mr. 
EXTD=Stewart had just left The Jeff Beck Group, so some of the songs like "Blind Prayer" and "Dirty Old Town" have a blues sound. But he was starting to lay down the groundwork for his future album with songs like "Man Of Constant Sorrow", "An Old Rainco
EXTD=at Won't Ever Let You Down" and "Cindy's Lament" that are more in the acoustic based rock that he would be known for. He also covered The Rolling Stones "Street Fighting Man" which he does a nice version of and also set a trend of doing a few covers
EXTD= per album. One nice surprise is "Handbags & Gladrags" that has an almost baroque sound to it. A very solid and impressive debut.\n\n\nAMAZON.COM CUSTOMER REVIEW\nTwenty-five years ago, Rod Stewart HAD IT!, March 18, 1999\nReviewer: Edward A. Lorah 
EXTD="edlorah" (Seattle, WA USA)\nTwenty-five years ago, before he squandered his talent and reputation, Rod Stewart had an extraordinary gift for songwriting and for selecting other songwriters' material that showcased his vocal abilities. The songs on 
EXTD=this album are some of the best he ever produced-powerful, sensitive, and nuanced. He also knew how to pick a band-the rhythm section of Ron Wood and Mick Waller (from the first Jeff Beck album) provided the incredibly tight but slightly boozy-feeli
EXTD=ng rhythm section that would carry the next several albums. This album rates four stars-there are very few five star albums-but you might also check out Gasoline Alley, Stewart's masterpiece and arguably a five star record.\n\n\nHalf.com Details \nC
EXTD=ontributing artists: Ian McLagan, Keith Emerson, Mike D'Abo, Ron Wood \nProducer: Lou Reizner\n\nAlbum Notes\nPersonnel: Rod Stewart (vocals, guitar); Martin Quittenton (acoustic guitar); Ron Wood (electric & slide guitar, bass); Martin Pugh (guitar
EXTD=); Ian McLagan (piano, organ); Mike D'Abo (piano); Keith Emerson (organ); Micky Waller (drums).\n\nAll tracks have been digitally remastered.\n\nIn between their departure from the Jeff Beck Group and their joining the Small Faces, Rod Stewart and b
EXTD=uddy Ron Wood went into the studio to record THE ROD STEWART ALBUM (aka AN OLD RAINCOAT WON'T EVER LET YOU DOWN). Within the span of eight songs, Stewart used his soulful rasp to dismiss any ideas that he was merely Beck's singer. With Wood riding s
EXTD=hotgun and playing potent bottleneck guitar, Stewart's talents were demonstrated on mostly self-penned material.\nThe only exceptions were a rollicking "Street Fighting Man," a baroque reading of Mike D'Abo's "Handbags And Gladrags" (featuring D'Abo
EXTD= on piano) and folkie Ewan MacColl's "Dirty Old Town." Stewart's own material showed off a love of sweeping storytelling ("Blind Prayer"), and even a bit of proggy experimentation ("I Wouldn't Ever Change A Thing" with Keith Emerson on organ).\n\n\n
EXTD=ROLLING STONE REVIEW\nRod Stewart, lead singer with the off-again on-again Jeff Beck group, has come up with a superb album of his own. Imagination pervades the music, in the choice of material, in the frequent use of beautiful bottleneck guitar wor
EXTD=k to draw out the subtler aspects of many cuts (Ron Wood is responsible here), and in the range Stewart himself displays on virtually every vocal.\n\nBritish albums are often over-done, with good ideas transformed into gimmicks; on this record the m
EXTD=usic sustains itself through innumerable listenings. A bass solo is not an indulgence here but a perfect lead-in to striking piano; the bottleneck is so sparing that you simply hunger for more of that brilliant sound. What is more amazing is that th
EXTD=e musicians make their statements with the same sort of friendly sympathy that recently has been displayed only by the Stones and by the three geniuses of Traffic. Their soul is in their timing.\n\nStewart opens by taking the big risk, with "Street 
EXTD=Fighting Man." And, like Johnny Winter's "Highway 61 Revisited," Rod's performance shows no self-consciousness, no worry about the "right way" to do it. He starts in the middle, brakes with a crash, and then a familiar "We Love You" riff on the pian
EXTD=o carries the song back to the Stones' beginning. Rod's ending. It's just a fine piece of music, not a cover.\n\n"Man of Constant Sorrow" is next; Stewart's own guitar is up front, while Wood's bottleneck creeps in from the other channel, adding dep
EXTD=th to a vocal that is just about the definition of English soul. The richness of this album begins to suggest itself here--this is not just another solid Joe Cocker LP, but something more. You don't hear Ray Charles or anyone else looking over Stewa
EXTD=rt's shoulder, but an echo of lessons well earned.\n\n"Handbags & Gladrags" clinches it. It will remind most of the Stones' "No Expectations"; the same soft despairing heart-breaking Floyd Cramer-style piano played by Mike D'Abo, and again, the sort
EXTD= of restraint and timing that makes the listener wish the song would never end. It's a very sophisticated composition, a brief story that's full of emotion but which never slides into dull sentiment. Like the rest of the songs Stewart is singing her
EXTD=e, it's not going to get old.\n\nStewart's LP is perhaps the only album released this year that reflects something of the feeling of Beggars' Banquet, aside from Let It Bleed. And, unlike so many of the records of 1969, issued with a flood of hype a
EXTD=nd forgotten after a dozen playings, this one is for keeps. Many LPs are a lot flashier than this one, but damn few are any better. (RS 51 - Feb 7, 1970)  -- GREIL MARCUS YEAR: 1969
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