Rod Stewart
Atlantic Crossing

The moment had to come for old Rod the Mod, one of the most eccentric personalities of the '70s music scene, and one of those who has survived more than a decade, and today is perhaps worshiped by old nostalgic rock lovers of the poppiest kind, and ultra-romantic ballads.

Rod Stewart's career has known several turning points, ranging from the Faces phase, the primordial and more genuine one, which saw the synergistic collaboration with Ronnie, the fifth Stone, the last to join, who will maintain his friendship with Rod even when he's caught up in the excesses of Jagger's band (though I would have seen Stewart as part of it, with his style and charisma, but the Glimmer Twins were untouchable), to the solo phase, which nonetheless produced excellent works. Trying to forget, at least for a moment, the entire '80s and beyond production (with unspeakable peaks, except for a few exceptions like the compilation of "If We Fall in Love Tonight"), let's focus on the US landing of the star, after a long journey across the Atlantic. "Atlantic Crossing" is perhaps Rod's most reference-worthy work, one that showcases what was previously learned in England, mixing it with new and exquisite sounds. It's the singer himself flaunting on the very fancy and eccentric cover, which depicts Rod as a superman.

The almost glam, clear and young sound of this work is what I most prefer, because it accompanies the scratched and almost hoarse voice of the Sir, as well as immersing us in those years (even if the sounds, in my humble opinion, are not among the most typical of the period scene). The perpetual vice of "stealing" tracks here and there remains, as had already happened since the artist's debut. Rod evidently does not like to fill us with original tracks, he prefers to dilute them, properly, among tons of covers, a personal choice, or perhaps of the record label, Warner. As respectable as this decision may be and make the singer an excellent interpreter with a great stage presence, iconic voice, and accompanied by a substantial instrumental ensemble, I cannot deny that it was heartbreaking to discover, some time ago, during my first listens to his discography, how much creative genius was wasted and unused. Because original pieces, Stewart has made them, and they are fantastic, but we see his production, at least the quality one, composed of a minimum of 70% (without exaggeration) of covers. Five are the original pieces, in fact, among ten excellent tracks. What a disappointment to think that "I Don’t Want to Talk About It," which I initially came to know in the '89 version, is a piece by Danny White of the Crazy Horses and "This Old Heart of Mine" is signed Motown for the Isley Brothers. But on further thought, what does it matter, Rod takes these classics of the Soul/R&B folkloric tradition, and makes them even better, transforms them into poignant ballads for broken hearts. If the first part of the record is indeed dedicated to rougher rock (always relatively), defined on the back cover as the "fast half," the second side introduces pieces with rounder and sweeter sounds ("slow half").

"Still Love You" is worth mentioning among his original tracks, reminding us of the artist's potential. Accompanied by classical guitar, this dedication is the pinnacle of emotion present in "Atlantic Crossing," the most critical and musically high emotional and sentimental point. To conclude, there is Sailing, in this version which fits perfectly with the main theme of the album, if it can have one; Rod is ready to set sail, to reach the promised land, that of hopes and broken dreams, but still, somehow, realized.