Warner Bros. BS 2875
Released: August 1975
Chart Peak: #9
Weeks Charted: 29
Certified Gold: 12/19/75
To a lot of people, Rod Stewart onstage in midstrut -- hair flying, handy with brandy and partial to the broad smile and easy wink -- offers as good a definition of the full flash of rock & roll as one is likely to get. He's a wizard at the spotlight game, his long legs quickly laying claim to the private turf of a public master. Behind him, the Faces careen like well-oiled parts of a perpetual-motion machine gone somewhat daft of purpose, while their leader lines out antics and anthems, holding everything together with the strength and accessibility of his talent and personality. Mick Jagger, Roger Daltrey and even Elton John -- the latter a mere Doctor T.J. Eckleburg on Broadway to Stewart's alley-scuffling, eyeballing Gatsby -- may be as exciting, but the Rolling Stones and the Who are formal institutions -- visceral, more precise, a little threatening and definitely less friendly. Stewart, evenin front of thousands, projects an ex-athelete's warmth, sets up towel-snapping camaraderie among the players and somehow manages to embody both the extroverted, one-of-the-boys hijinks of the macho carouser and the introverted, aw-she'd-probably-never-notice-me-anyway vulnerability of the shyest kid on the block. Even as we envy his outgoing, big-winner's style, we revel in the knowledge he provides via self-mockery that he can lose as often and as badly as we do. That, I think, is a large part of his magic: He touches all of the places in the rock & roll heart.
"Alright for an Hour," coauthored by Stewart and Jesse Ed Davis, is an effective reggae number, its title the comic summary of an affair that "did not last through the weekend." "I'll take my dog and my car/The best things I've found so far," adds Rod before he exits, sailing into the slam-bang action of "All in the Name of Rock 'n' Roll," the picaresque saga of a carefree rock & roll band on the loose in America. The mood darkens a bit on Mentor Williams's "Drift Away," a song which fits Stewart's persona perfectly, chronicling th emood of a romantic young man who feels he may have missed something essential in his knockabout adventures and now needs a place to escape from it all. For me, Dobie Gray's hit version of a few years ago sounds routine and unemotional when compared with Stewart's striving desperation; when Rod sings, "Oh, give me the beat, boys, to soothe my soul/I want to get lost in your rock and roll/And drift away," he seems to mean it. Whoever decided to transform the song into lyrical reggae knew what he was doing. The first side closes with the jaunty "Stone Cold Sober," a number which nearly matches "Three Time Loser" in outrageous ebullience as the singer, "down in the alley again" and very content to be there, pours forth hilarikously the pros and cons of the spree.
Nothing much happens on the Slow Side until Stewart's own "Still Love You," a song which evokes all of Rod's aforementioned vulnerability and shy-guy tenderness as well as "Dirty Old Town," "Country Comforts," "Maggie May," "Mandolin Wind," "You Wear It Well" and other cherished experiences from a shared past. The lyrics, melody and singing are beautiful here; the loss and longing, as palpable as "two hearts gently pounding" and the bittersweet memory of the initial electricity between two lovers who had it all once, may even have it again. The album closes with Gavin Sutherland's lovely and mythic "Sailing," an appropriately symbolic anthem about a meaningful journey across sea and sky "to be near you, to be free."
If Atlantic Crossing isn't Rod Stewart's best record -- and it isn't -- it at least comes within hailing distance of earlier masterpieces.
- Paul Nelson, Rolling Stone, 9/25/75.
Rod Stewart is an always interesting but often uneven artist. His hoarse, whiskey singing could easily become mannered, but he really does have style -- his phrasing is excellent and he displays genuine sentiment. He is one of the few vocalists who can sing about "love" without having it sound like he just looked the word up in the dictionary.
Although Stewart's singing is consistently good, his writing and choice of material are uneven; he is either absolutely right or only half-right. I am not wholly convinced by his version of "This Old Heart of Mine," partly because I am stuck on the Isley Brothers' original and partly because, like most Holland-Dozier-Holland Motown-period songs, it depends on an upbeat tempo to disguise its defects. Stewart's version of "Drift Away," however, must be definitive; no one else can sing about rock as he can. "Stone Cold Sober" was written by Stewart and Steve Cropper, former guitarist for Booker T. and the MG's and a gifted producer. The rest of the material is spotty -- and Stewart gives it more than it deserves -- except for "Sailing," which closes the album and which is superb.
This is Stewart's first album recorded in the U.S. using only American musicians. He is reportedly happy with the results; he has reason to be pleased with 50 per cent of them.
- Joel Vance, Stereo Review, 12/75.
Stewart's first solo LP for the Warner Bros. label highlights his highly recognizable throaty vocals and his usual uncanny ability to choose what seems like material tailor made for him, as well as being able to come up with a strong selection of originals. Side one is primarily the kind of good-time rock grouping we associate with Rod when he is working with Faces, while side two is packed with the melodic songs the artist always seems to handle best on his own. Tom Dowd handled production here and creates an American feel not present in other Stewart efforts. Songs cowritten with the likes of Jesse Ed Davis and Steve Cropper, while other material comes from Gerry Goffin, Holland, Dozier & Holland, and Mentor Williams. The rogue and the romantic set against strong horns and standard rock backup or singing softly to solo saxes and strings, and there is a bit of it all here. Best cuts: "Three Time Loser," "Drift Away," "It's Not The Spotlight," "This Old Heart Of Mine," "Still Love You," "Sailing."
- Billboard, 1975.
After Smiler I was convinced that his talent had vanished, this makes it seem that he'll be breathing life into ten songs a year in perpetuity. The Southern session men he works with here suit his more generalized interpretive approach, on the "slow side" as well as the "fast." B+
- Robert Christgau, Christgau's Record Guide, 1981.
Atlantic Crossing wasn't simply the moment when Rod Stewart left Britain for the greener pasture of America, it was the moment when he accepted his role as a full-fledged, jet-setting superstar. Stewart abandoned the formula of his first five solo records, as well as most of his folk-rock and hard rock undercurrents, trading them for a professionally-polished, rock and soul-inflected pop, courtesy of Muscle Shoals' musicians and producer Tom Dowd. The glossy production doesn't obscure or trivialize Stewart's talents -- coming after the tired Smiler, the slickness actually accentuated his strength as an interpretive singer. "The fast half" suffers from a couple of weak tracks, but "Three Time Loser" and "Stone Cold Sober" catch fire, and "the slow half" is generally excellent, but Stewart's heart-wrenching rendition of Danny Whitten's "I Don't Want to Talk About It" ranks as one of his finest performances. * * * *
- Stephen Thomas Erlewine, The All-Music Guide to Rock, 1995.
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