Rod Stewart: "Every Picture Tells a Story" Album (1971)
- Rod Stewart
- Jul 15, 1971
- 7 min read
Rod Stewart’s Every Picture Tells a Story was released as an LP album in the UK by Mercury Records (catalog number 6338 063) on July 16, 1971. (May 1971 (US)
Label: Mercury Records
Producer: Rod Stewart
Band Context: Recorded during a transitional period for Stewart, who was balancing his solo career with his role in the Faces, a rock band he joined in 1969. The album blends his solo artistry with the raw, collaborative energy of the Faces.
Musical Style: A fusion of rock, folk, blues, and soul, showcasing Stewart’s gravelly voice and eclectic influences. The album is noted for its loose, organic feel, combining heartfelt ballads with rollicking rockers.
Recording and Production
Studio: Morgan Studios, London
Musicians: The album featured key members of the Faces, including Ronnie Wood (guitar), Ian McLagan (keyboards), and Ronnie Lane (bass on some tracks). Other contributors included drummer Micky Waller, mandolin player Ray Jackson, and Maggie Bell on backing vocals for the title track.
Approach: Stewart aimed for a spontaneous, live-in-the-studio vibe, with minimal overdubs. This gave the album its raw, authentic sound. He produced it himself, allowing creative control to shape the record’s diverse palette.
Challenges: Stewart was still finding his footing as a solo artist while maintaining his commitment to the Faces. The album’s success helped solidify his reputation as a solo star.
Track Listing and Key Songs
The album consists of 10 tracks, blending original compositions, covers, and traditional songs.
Every Picture Tells a Story (Rod Stewart, Ronnie Wood)A rollicking title track with a driving rhythm, featuring Stewart’s storytelling and Ray Jackson’s mandolin. It sets the album’s tone of raw energy and narrative depth.
Lyrics reflect a young man’s journey through life’s adventures, with a nod to Stewart’s own experiences.
Seems Like a Long Time (Ted Anderson) A soulful cover of a song by folk artist Ted Anderson, showcasing Stewart’s emotive vocal delivery and the band’s tight interplay.
That’s All Right (Arthur Crudup) A medley with the traditional folk song “Amazing Grace.” This bluesy rendition pays homage to Elvis Presley’s version while adding a folk twist.
Amazing Grace (Traditional, arr. Stewart) Seamlessly blended with “That’s All Right,” this brief interlude highlights the album’s folk influences.
Tomorrow Is a Long Time (Bob Dylan) A tender cover of Dylan’s 1963 song, showcasing Stewart’s ability to interpret folk with emotional depth. His version is softer and more introspective than Dylan’s original.
Henry (Martin Quittenton) A short instrumental prelude to “Maggie May,” featuring acoustic guitar and mandolin, setting a reflective mood.
Maggie May (Rod Stewart, Martin Quittenton) The album’s centerpiece and Stewart’s breakthrough hit. A semi-autobiographical tale of a young man’s relationship with an older woman, it became a global No. 1 single.
Features Ray Jackson’s iconic mandolin riff and a loose, heartfelt arrangement. Initially a B-side, its popularity propelled the album to success.
Notable for its lack of a traditional chorus, relying on storytelling and melody.
Mandolin Wind (Rod Stewart) A fan favorite and one of Stewart’s finest compositions. A folk-rock ballad about love and devotion, inspired by his relationship at the time.
Ray Jackson’s mandolin and Ronnie Wood’s guitar create a pastoral, evocative sound.
(I Know) I’m Losing You (Norman Whitfield, Eddie Holland, Cornelius Grant) A high-energy cover of The Temptations’ 1966 soul hit, transformed into a gritty rock anthem. The Faces’ backing adds a raucous edge.
Reason to Believe (Tim Hardin) A poignant folk ballad, originally by Tim Hardin. Stewart’s version, with its delicate arrangement, became a hit single (often paired with “Maggie May” as a double A-side).
Showcases his ability to convey vulnerability and heartbreak.
Themes and Lyrics
Storytelling: The album’s title reflects its lyrical focus on vivid, personal narratives. Songs like “Maggie May” and “Every Picture Tells a Story” draw from Stewart’s experiences, blending humor, romance, and introspection.
Eclectic Influences: The album bridges rock’s energy, folk’s introspection, and soul’s emotional depth, reflecting Stewart’s diverse musical tastes.
Youth and Reflection: Many tracks explore themes of young love, wanderlust, and self-discovery, resonating with listeners of the early 1970s.
Critical Reception
Initial Response: Critics praised the album for its authenticity, versatility, and Stewart’s distinctive voice. It was seen as a bold statement of his solo identity, distinct from his work with the Faces.
Commercial Success: The album reached No. 1 in both the US (Billboard 200) and UK (UK Albums Chart), driven by the success of “Maggie May” and “Reason to Believe.” It was certified Platinum in the US.
Accolades: Rolling Stone ranked it No. 173 on its 2020 list of the 500 Greatest Albums of All Time, lauding its “ragged glory” and Stewart’s vocal prowess. It’s often cited as a defining album of the early 1970s rock era.
Legacy and Impact
Cultural Significance: Every Picture Tells a Story established Rod Stewart as a major solo artist, distinct from his bandmate persona in the Faces. “Maggie May” became an enduring classic, covered and referenced widely.
Influence: The album’s blend of rock, folk, and soul influenced later artists, from singer-songwriters to roots-rock bands. Its raw production style set a template for authentic, unpolished rock records.
Stewart’s Career: The album’s success launched Stewart into superstardom, paving the way for hits like Never a Dull Moment (1972) and his later pivot to pop and disco in the late 1970s.
Enduring Popularity: Tracks like “Maggie May” and “Mandolin Wind” remain staples on classic rock radio, and the album is frequently cited in discussions of Stewart’s best work.
Additional Notes
Cover Art: The album’s cover features a colorful, cartoonish illustration of Stewart, reflecting the era’s playful aesthetic. It’s iconic for its bold design and connection to the album’s storytelling theme.
Ray Jackson Controversy: Mandolin player Ray Jackson claimed he was under credited for his contributions, particularly on “Maggie May” and “Mandolin Wind.”
Stewart later acknowledged Jackson’s role, but the issue remains a footnote in the album’s history.
Faces Synergy: The album’s overlap with the Faces’ sound (several members played on it) made it a bridge between Stewart’s solo and band work, though it’s distinctly his vision.
Chart Statistics for "Every Picture Tells a Story" (Album)United States: The album topped the Billboard 200 chart for four weeks starting October 2, 1971. It was certified Platinum by the RIAA, indicating over 1 million copies sold.
United Kingdom: It reached number one on the UK Albums Chart for six weeks in 1971.
Other Countries: The album also hit number one in Canada and Australia in September 1971.
Critical Recognition: It was ranked number 172 on Rolling Stone’s 2003 list of the "500 Greatest Albums of All Time," later adjusted to number 177 in the 2020 revision.
Sales: The album has sold over 7 million copies worldwide.
Chart Statistics for "Maggie May" (Single)United States: "Maggie May" reached number one on the Billboard Hot 100 on October 2, 1971, for five weeks. It was ranked the No. 2 record for 1971 on the Billboard Hot 100.
United Kingdom: The single topped the UK Singles Chart for five weeks starting October 9, 1971. It was the No. 2 record for 1971 on the UK Singles Chart.
Other Countries: It simultaneously hit number one in Australia (four weeks) and Canada (one week) in 1971.
Certifications: In 2021, "Maggie May" was certified two-times Platinum by the RIAA for sales of 2 million units in the US.
Additional Notes: Initially released as the B-side to "Reason to Believe," "Maggie May" gained traction after radio DJs, notably in Cleveland and Chicago, began playing it, leading to its reclassification as the A-side. It was inducted into the Grammy Hall of Fame in 2017 and ranked number 141 on Rolling Stone’s 2024 list of "The 500 Greatest Songs of All Time."
Simultaneous Number-One Status Rod Stewart was the first artist to achieve a simultaneous number-one album (Every Picture Tells a Story) and single ("Maggie May") in both the United States and the United Kingdom. This occurred in October 1971, with the album and single topping the Billboard 200 and Hot 100, and the UK Albums and Singles Charts, respectively. This feat is noted in multiple sources, with Pitchfork stating, “To this day, Stewart is the only artist to have accomplished this.”
Additional Context
Cultural Impact: The success of "Maggie May" and the album propelled Stewart from a relatively known artist in the UK (via his work with the Faces) to global stardom. The single’s unexpected rise, driven by radio play, and the album’s blend of rock, folk, and blues, resonated widely.
Recording Details: "Maggie May" was recorded in two takes, with contributions from Faces members (Ronnie Wood, Ian McLagan), Martin Quittenton (acoustic guitar), and Ray Jackson (mandolin). The album featured a mix of originals and covers, with "Maggie May" and "Mandolin Wind" highlighted as standout tracks
The LP cover for Rod Stewart's "Every Picture Tells a Story", had notable differences between the US and UK versions, particularly regarding the sleeve and additional features like a tear-off poster.
Front Cover US and UK: The front cover artwork for both regions was essentially the same, featuring an illustration of Rod Stewart in a colorful, cartoonish style, designed by John Craig.
US Version:
Inner Sleeve: The US release, issued by Mercury Records, typically included a custom inner sleeve with lyrics printed on it. This was a common feature for US LPs at the time, providing fans with song lyrics for tracks like "Maggie May," "Mandolin Wind," and others.
Tear-Off Poster: Some US pressings included a perforated, tear-off poster as part of the packaging. This poster was a unique feature, often replicating the front cover artwork or featuring additional promotional imagery of Rod Stewart. The poster was attached to the inner sleeve or included as a separate insert, designed to be detached without damaging the main sleeve. This addition was a marketing tactic to enhance the album’s appeal, especially given Stewart’s rising popularity in the US.
UK Version:
Inner Sleeve: The UK release, also on Mercury Records, typically had a plain inner sleeve without printed lyrics. UK LPs of the era often used generic paper or plastic-lined sleeves unless the album was a special edition.
No Poster: There is no definitive evidence that the UK version included a tear-off poster. UK pressings were generally more utilitarian, focusing on the music rather than additional promotional items like posters, which were more common in the US market to attract buyers
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