Smiler Album Review: 1975

Rod Stewart's Speculative Smiler Smile

Published in the US on January 2, 1975, Beetle US Music Magazine’s album review of Rod Stewart’s Smiler was titled “Rod Stewart smiles” and written by Sue St. Marie. The review opened with a playful nod to rock rumours:

You've all read and heard the rumors that Paul McCartney is dead, that Jim Morrison is still alive and that David Essex is really Syd Barrett. Well, those may or may not be true, but I think "Smiler" gives us a new bit of speculation that we can chew the fat about endlessly.

Rod Stewart has ... dare I say

Article Overview

Publication Details

Magazine: Beetle US Music Magazine.

Date: January 2, 1975.

Format: Two-page album review.

Rod Stewart smiles

Album Review

by Sue St. Marie

You've all read and heard the rumors that Paul McCartney is dead, that Jim Morrison is still alive and that David Essex is really Syd Barrett. Well, those may or may not be true, but I think "Smiler" gives us a new bit of speculation that we can chew the fat about endlessly.

Rod Stewart has ... dare I say it... no teeth! That's right, kids. And I'll bet the last molar in my sensuous mouth that Mr. Adorable lost his uppers and lowers in some ancient soccer match. There's no repressing these footballers. Anyone seeking proof of my gossip need only check out the photography on "Smiler" wherein Rod gives us a number of coy grins, yet refuses to give us a glimpse of his pearly whites. However, The Music contained on "Smiler", Rod's fifth solo album (sixth if you count "Singing It Again, Rod") is not lacking in bite, and it is evident that neither Rod nor his music have lost any balls, in soccer meets or otherwise. (Back to the photos, ladies and gents!

"Smiler" opens with Mr. Berry's "Sweet Little Rock'n'Roller", Rod's version of which is on a par with the Faces' rockier numbers. Even Slade would have a hard time com-con-peting with Roderick, sidering the fine treatment he gives this old warhorse.

"Farewell" is another Stewart/Martin Quittendon collaboration and, as always, it sounds in the "Maggie/Mando-Wind" groove, though it is a highly charged emotional number. But seriously, this mandolin fetish is getting to be a bit much.

"Sailor" is a Stewart/Wood comp and it sounds like a "Sticky Fingers" outtake with Rod overdubbing the lead vocals. Horns and sexy female backup vocals add to the Stones makeup and Woods turns in a fine performance on guitar.

Next comes Rod's tribute to the late and much lamented Sam Cooke, the continuing story of which has probably not ended yet. First it was "Twistin' The Night Away" and this time it's "Bring It On Home To Me/You Send Me", both of which are treated well by the razor-craned Tartan warrior. Rod sounds loose and easy, probably having quaffed a few bottles of champers afore giving his lungs a stretch. The strings on this two-in-one combo are lush enough to simulate the feeling of having your fave lover stroking your stomach. Ooooh...

The John/Taupin composition "Let Me Be Your Car" comes up next, killing side one with some more Stones rock. Elton plays piano admirably well and adds on the vocals giving the song the same duet effect as on the chorus of "Happy" or "Tumbling Dice" or "It's Only Rock And Roll" or just about anything else the Stones have recently released as a single (with the exception of "Angie").

Side two bows with "(You Make Me Feel Like) A Natural Man", a number penned by Carole King, her then-hubby Gerry Goffin and Atlantic heavy Jerry Wexler. Rod changed the gender so's he wouldn't have to sing that he felt like a woman, so maybe he's also given up on wearing dresses and ballet outfits onstage. Anyway, this number leaves me cold, not because Rod can't sing it and not because his hand-picked selection of ravers can't play it, but because the song's always made me puke. More twangling mandolin, too. Personal bias.

Sorry. "Dixie Toot" is another Stewart/Wood tune and features, get ready for this, a rock structure embroidered with Dixieland and gospel backing, compliments of the Chris Barber Jazz Band and some slinky female backup vocals. Good number which should have some strong airplay potential.

"Hard Road" was written by the inimitable team of Harry Vanda and George Young, leaders and songwriting nucleus of The Easybeats, the glorious band you read a discourse on the last ish in "Pockmark". Anyway, "Hard Road" isn't the toughest song in the world to master, and Rod knows it, consequently rockin' it for all it's worth.

"I've Grown Accustomed To Her Face" is a guitar instrumental that will annoy some and inspire others. No comment. "Girl From The North Country" is passable, no, even good, but still nothing to swoon over.

"Mine For Me" is the Paul McCartney tune that Paulie supposedly wrote specifically for our hero. Tho' Rod figured it was a leftover from "Red Rose Speedway", he recorded it

anyway. With the help of the Tropic Isle Steel Band, Rod turns in a fine version. It would have been nice to hear him use the Steel Band on some reggae, but you can't have it all.

After the ages of hassling between Warner Brothers and Mercury (there was a dispute as to who owned this disc, 'coz of Rod's repack "Sing It Again"), it's good to finally have Rod back in good style. Though his choice of material is questionable sometimes, one cannot pick and choose. "Tis a good disc; as usual, his solo discs are better than the Faces' LPs. Which brings us to another sore point. The Faces are primarily focusing their energies on singles these days, so if you want a healthy chunk of Rod/Faces product, this is for you.

'An, I ask you squire, where else can you get photos of Rod's Mum, Dad, Bruvver, Ron Wood's Mum, Dad an' chauffeur not to mention Mickey Waller's dog? An' it's go' awrl is friends on it as well. Ain't no snob, squire. 'E's just plain folk. Even if 'e ain't got no teef.