Tell Me What You Think

[Guest Adam G]

i think he was mimingwww.youtube.com/watch?gl=GB&hl=en-GB&v=xikQ0c5KdZE

I never said he wasnt on top of the pops I said he didnt play the mandolin

This is from his obiturary from the independant

In 1971 Rod Stewart invited Peel to pretend to play mandolin on a mimed performance of "Maggie May" for Top of the Pops. The Musicians' Union was enraged and insisted that Peel take no payment.

[Barry]

I never said he wasnt on top of the pops I said he didnt play the mandolin

This is from his obiturary from the independant

In 1971 Rod Stewart invited Peel to pretend to play mandolin on a mimed performance of "Maggie May" for Top of the Pops. The Musicians' Union was enraged and insisted that Peel take no payment.

I just knew this thread would end up with a dead DJ sitting on a Top Of The Pops stage pretending to play a mandolin.

I bloody knew it.

[Guest Adam G]

I just knew this thread would end up with a dead DJ sitting on a Top Of The Pops stage pretending to play a mandolin.

I bloody knew it.

Barry i cant keep correcting everyone but facts are facts John Peel was alive not dead when he pretended to play the mandolin . I dont want to be finikey but fact is facts

[Barry]

Barry i cant keep correcting everyone but facts are facts John Peel was alive not dead when he pretended to play the mandolin . I dont want to be finikey but fact is facts

Apologies, I should have typed 'now dead dj'.

I stand corrected.

[Guest Adam G]

Apologies, I should have typed 'now dead dj'.

I stand corrected.

shouldnt that be stand erected ?

[KevH]

I think he's crap,absolutely detested Maggie May,and I think his first love is of the pneumatic blonde variety. ATB Steve

Maggie May.Nothern classic mate.Played at all major venues. .

[KevH]

As an exercise of how far of topic a thread can go we've got miles to go yet ( I thought the fishing broadcasts we're going the right way)

Sorry.

[KevH]

Cromity

Can't help it...... - DOGGER.

[MikeHinNewJersey]

No he didnt he just pretended to play on the filming . A session player played on it. I know this because I also thought that till on the news a few years ago the player was trying to sue Stewart over money.

according to the album notes "The mandolin was played by the mandolin player in Lindisfarne. The name slips my mind."

.....Rockall.........

Edited October 29, 2009 by MikeHinNewJersey

[Jenko]

John Peel played the Mandolin on that

No .... John Peel didnt play the mandolin on Maggie May.. he pretended to play the mandolin on Top of the Pops while Rod Stewart mimed to the aforementioned track, its just one of those stories thats been passed down the years sorry ...Jenko

Edited October 31, 2009 by jenko

[Barry]

This blurb is probably what put light to the candle:

PR) Grammy Award-winning Rock and Roll Hall of Famer Rod Stewart will be releasing SOULBOOK on October 27th (J Records), a collection of classic Sixties/Seventies-era soul favorites, all newly recorded by the quintessential "blue eyed soul" singer of our generation. Rod Stewart possesses one of the most distinctive and interpretive voices in music -- his Grammy-Award winning recordings of the Great American Songbook have sold over 19 million albums and is the biggest selling ongoing series of new music recordings in history. With the same passion, Rod approaches some of the greatest soul songs ever written.

Rod recently said in Rolling Stone's "Greatest Singers of All Time" issue that at the age of 15, he used to listen to soul singers on the radio like Sam Cooke and Otis Redding, and blues singers like Howlin' Wolf and Muddy Waters, and knew that is how he wanted to sing. Elton John said "Bar none, Rod's the best singer I've heard in rock 'n' roll. He's also the greatest white soul singer" and in 2006, James Brown called Stewart "the best white soul singer." Comments Rod Stewart: "This is the album I've waited my whole lifetime to record. These are the songs that I've danced to, made love to, cried to and yes, even fell on the floor to as a young man in the infancy of my career. These songs and singers were the oxygen that fueled my passion to sing. When I was a skinny, cocky, all-mouth and trousers teenager living in North London without two pennies to rub together, I discovered the artistry of Otis Redding, Sam Cooke, Jackie Wilson, James Brown, The Temptations, The Four Tops and so many more. They were my Gods and my heroes."

The album features two stunning superstar duets, one with Mary J. Blige joining Rod on the Stylistics' 70s hit "You Make Me Feel Brand New" and the other with Jennifer Hudson on "Let It Be Me," inspired by the Jerry Butler/Betty Everett duet. In addition, soul great Smokey Robinson guests on "Tracks of My Tears" which he made famous as a member of the Miracles who recorded that track in 1965, and musical giant Stevie Wonder accompanies Rod on harmonica on his massive 1969 hit "My Cherie Amour."

Album producers include Stewart's longtime collaborator Steve Tyrell who worked with Rod on his Grammy award-winning Songbook series, and joining Rod for the first time is Grammy/Emmy award-winning producer Steve Jordan (Keith Richards, John Mayer) who bring legendary musicians into the studio including Motown players Bob Babbitt and George Bohannen, Memphis legends Willy Mitchell, Charles Hodges, Wayne Jackson and Jack Hale. Additional musical heavyweights include Ray Parker, Jr., Dean Parks, Waddy Wachtel, Darryl Jones, Leland Sklar, David Paich, Greg Phillinganes, Michael Bearden, Tom Scott, Chuck Finley, Ricky Lawson, many of whom played on the original recordings of these classic songs.

Recorded this summer and engineered by Al Schmitt, Sam Cooke's original producer/engineer, along with Niko Bolas (Neil Young, Warren Zevon, Keith Richards) and Bill Schnee (Steely Dan, Marvin Gaye, Gladys Knight), the album features Rod singing great landmark tracks such as "You've Really Got A Hold On Me" (originally performed by The Miracles) , "Wonderful World" (Sam Cooke) "What Becomes of the Brokenhearted" (Jimmy Ruffin), "Tracks of My Tears" (The Miracles)," "My Cherie Amour (Stevie Wonder)," "Just My Imagination" (The Temptations), "(Your Love Keeps Lifting Me) Higher and Higher" (Jackie Wilson), "It's The Same Old Song" (The Four Tops), "If You Don't Know Me By Now" (Harold Melvin and & Blue Notes), and "Love Train" (O'Jays). Find a complete track listing below.

With an estimated 250 million in album and single sales, Rod Stewart is one of the most successful performers of all time. A Grammy-Award winning Rock and Roll Hall of Famer, Rod Stewart's Great American Songbook series has been a record-breaking success. In 2006, he released Still The Same, Great Rock Classics of Our Time, his first rock album in over eight years, which entered the charts at #1. He has sold out concerts across the globe and his last 5 studio albums have held the top spots on the Billboard charts. Rod spent this summer recording the album and criss-crossing the country on a 20 city North American tour.

Soulbook - Track Listing
"It's The Same Old Song"
"My Cherie Amour" (Featuring Stevie Wonder)
"You Make Me Feel Brand New" (Duet with Mary J. Blige")
"(Your Love Keeps Lifting Me) Higher And Higher"
"Tracks Of My Tears" (Featuring Smokey Robinson")
"Let It Be Me" (Duet with Jennifer Hudson")
"Rainy Night In Georgia"
"What Becomes Of The Broken Hearted"
"Love Train"
"You've Really Got A Hold On Me"
"Wonderful World"
"If You Don't Know Me By Now"
"Just My Imagination"

[NUFCSOUL]

Correct - John Peel sat there on TOTP and pretended to play the mandolin. It was indeed the guy from Lindisfarne - Ray Jackson who did try to claim 'royalties' to amount of 1million as it had became an iconic part of the song over the years. He lost and his session fee was all he got all those years ago - £15 !!

Back to the Rod discussion - saw him with the Faces in 73 as well - awesome bluesy boozy good time band - very appealing to a young lad.

Yes Rod has churned out some drivel - American Songbook!! but I don't think (and I can't ask him of course) he thinks he's the saviour of black American music. Our scene is flooded with all sorts of songs and artists we class as 'Northern'/soul and I don't think for one moment as Rod sang in the sweaty Soho clubs with the likes of Long John Baldry Jeff Beck etc that he ever thought he was anything other than an up and coming addition to the British blues/r n'b scene of the time, that turned into blues rock.

By the way if any money happens to ever find it's way to the writer of the songs he covers, via the maze of publishing deals etc then that will of course be a good thing - soul singer? Never in a million years - Soul admirer and advocat of the genre - YES! Not his fault he's in a better position to exploit it and he's covered Sam Cooke for bloody years by the way - if that got some young kid into soul then so be it.

[Guest posstot]

Firstly apologies if this is old news but I've just had it posted on my site and would like the boards views, my response from the site follows the piece:

WHO OWNS HISTORY?

It is often said that one should never pick a fight with someone who

"order's ink by the barrel." That is of course a reference to picking a

fight with the press, because you simply can't win. They will overwhelm

you with written documentation.

The same concept can also be applied to individuals who would like to

adjust their historical legacy in whatever way that would make their

legacy somehow different for people who don't have first hand knowledge,

than what the reality of the memories of the people who did have first

hand knowledge of what that individual's actual legacy was.

Individuals who control the written (including text, graphics, video,

audio) documentation about their own historical legacy are in a position

to frame that legacy in whatever manner they would like to. These

individuals know that their written documentation will outlast the

"opinions" of people who have firsthand knowledge of the truth. Thus

they are in a position to create their own version of history with the

full knowledge that 100 years after the fact, it will be their version

of history that will be regarded as the factual truth as opposed to the

"opinions" of other people, who are now dead.

THOSE WHO TAKE THE TIME TO DOCUMENT IT

I say all of this to let you know that is exactly what is occurring in

the case of Rod Stewart and that it was predicted by Soul-Patrol many

years ago, when we analyzed the 1 hour broadcast on VH-1 of "Rod

Stewart: Behind the Music."

In that episode of VH-1's Behind the Music it was made quite clear that

one of the highlights of Rod Stewart's career (from Rod Stewart's

perspective) was the "kinship" between himself and singers such as Sam

Cooke, David Ruffin, and others. He talked at length about his desire to

not only emulate their singing styles, but to be remembered as primarily

a "soul singer" himself. Of course many pictures were shown of Rod

Stewart with these artists, both onstage and in social situations. The

implication of this was to imply that Rod Stewart was somehow a "peer"

of artists like Sam Cooke, David Ruffin, and others.

To many people at that time, this was regarded as nothing serious,

simply an obscure television program about an average artist, who made

more headlines in his career because of wild partying, failed marriages

and illegitimate children, than for any musical accomplishments.

However, we took that documentary to task, suggesting that Rod Stewart

was trying to utilize that one hour piece of filmed documentation, that

would not only be seen by millions of people on TV, but also archived in

museums, libraries, schools, etc as the single piece of authoritative

documentation about the career of Rod Stewart. Over time as there are

fewer people alive with first hand knowledge of Rod Stewart's actual

performances, this documentation moves closer to being "fact".

VALIDATION BY THE NEGRO

"Rod Stewart is the greatest blue eyed soul singer of all time"

--James Brown

Rod Stewart's latest album is entitled "Soulbook," an album of classic

soul cover songs, including several duets with artists like Mary J.

Blige, Jennifer Hudson, and Stevie Wonder. Most folks won't give it more

than a passing thought.

The issue of "validation" has been an ongoing part of the long saga of

"culture banditry." It means getting the "victim" to become an active

co-conspirator in their own victimization.

This willingness on the part of the victim to be an active

co-conspirator in their own victimization, in exchange for short term

economic gain, is literally the very definition of "culture banditry."

In fact the very notion of "selling your own down the river," has been a

part of the legacy of Black Americans right from the start, when they

were often sold into slavey in the first place by their own brethren.

However in the case of Rod Stewart, it goes well beyond

simple/traditional "culture banditry" for the sake of economic gain.

This isn't just about selling an album or a series of shows. This is

more about trying to swindle Black folks quite literally of their own

history and a legacy that should be inherited by their children, not

inherited by the children of Rod Stewart.

That is what the name of this game is, and right now, Rod Stewart holds

all of the cards in his hand. That is because he has the ability to

document all of this in such a manner, that at the end of the day, the

"truth" that he documents, will be the only "truth" that matters.

What will be documented as a result of this album will be that "the

negro will have validated the greatness of Rod Stewart of creating Black

culture that is greater than that created by any Black person in

history."

And of course this greatness of Rod Stewart will all be validated by the

negro:

--No doubt there will be press events featuring Rod Stewart standing

next to various R&B performers.

--No doubt there will be TV appearances featuring Rod Stewart singing

duets with some of these performances.

--No doubt there will be concerts at venues like the Apollo Theatre &

perhaps Black churches around the United States.

--No doubt there will be quotes by negro spokespersons/organizations

about Rod Stewart "saving soul music."

--No doubt there will be a Grammy award nomination and presentation by a

negro artist of distinction, thanking Rod Stewart for "saving soul

music."

All of this will be carefully documented and packaged along with the

previous documentation.

INFORMATION USAGE

This validation by the negro, combined with the pre-existing

documentation on Rod Stewart's "soul singing" will be archived and kept

in a safe place for east future retrieval/distribution, thus insuring

that the children of Rod Stewart will inherit that legacy.

Then 50 years from now that documentation will be retrieved and

distributed around the world, to people who have no first hand knowledge

of Rod Stewart's actual performances.

And the truth that Rod Stewart has documented will be the ONLY truth

that matters.

My response:

Now I have a lot more to say about this but don't have the time right now; my response above is a little abrupt and I can see whoever wrote the piece has thought about it; and I would like to give a better reply than the one above - I haven't the time right now, so I thought I'd ask you your thoughts!?

**ARSED**

[ALIVE'N'KICKIN]

though he may be a jag bag, ohh la la is still a great song.

[Guest ScooterNik]

I would have thought that people like Rod Stewart were in the weakest position to rewrite their own history. Look at the millions of words, thousands of articles and pictures that have been published down the years, taking in the 'Rod the Mod' years, the boozy womaniser and succesful song murderer years and the middle aged, middle of the road years. One album isn't going to write all that out of history, no matter how paranoid the person behind that piece may be.

The people who can sucessfully rewrite their history are those who played a minor part in something, and then shouted from the rooftops about how important they were... Malcolm McLaren springs to mind here.

I've also noticed it quite a bit on internet forums which, although intrinsicly transient, plant seeds in peoples minds that get carried forward. I know of one scooterist who has claimed all sorts of things in his past, but has got caught out on more than one occasion. Guess which version survives though?

This album is just Rods nod to his roots, nothing more and nothing less.