10
Apr 08

ROD STEWART – “Sailing”

FT + Popular96 comments • 4,678 views

#377, 6th September 1975

Fads come and go in the world of business: a recurrent buzzword right now is ‘simplicity’ – boil that report down to a sheet of A4, find the “nugget” in that presentation, apply the ‘elevator test’: if you can’t summarise an idea in 30 seconds, it’s worthless. The tone is a weird combination of zen and macho.

I’m all in favour of cutting out waffle but not when nuance gets thrown out too. The simple truth about simplicity is that most of the ideas that pass the elevator test are banal and useless: it’s the implications of an idea that are often the interesting bit, and they’re what gets lost. And I’d say the same of this record: Stewart seems to be trying to create something that’s expressing yearning in as straightforward and widescreen a way as possible, but all subtlety’s been boiled away and we’re left with a great voice being put to dreary use.

You might disagree, of course – “Sailing” is slow and doesn’t develop much but at least it’s not bombastic, and there’s no sense that Stewart’s a phoney or the sentiment untrue – it’s just too blankly expressed to matter to me. But whether you like “Sailing” or not it’s worth considering how rock got to this point. Other styles of music, after all, didn’t develop anthems: music hall had singalongs but nothing this slow and hymnal, gospel and soul demanded participation from audiences sometimes but not (it seems to me) this kind of mass assent. “Sailing” is a record by a credible, respected artist which has less energy and spark than the grimly cynical Rollers.

Of course it’s a simple function of audience size – if you can get that many people into one place to hear you, then it becomes a lot more tempting to produce music which will create the kind of mass communal experience “Sailing” does – no coincidence that Rod was a big football fan, or that “Sailing” had a second life on the terraces. (This is why I’m wary of complaints about artists ruining their sound to find mass appeal – what if it’s not the numbers of people listening in total which damages the music, just the number doing it in one place?)

It’s also worth asking why a song striking this particular note was so successful: what, if anything, was there in the cultural atmosphere that made Rod’s simple longing for home so effective? I do actually remember this song – and I was 2, so that’s how ubiquitous and user-friendly it was! – but I didn’t know the chords it was striking, so I leave that question up to you.

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Comments

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  1. 61
    a logged out p^nk s lord sukråt wötsit on 10 Apr 2008 #

    well as i phrased the question [individual] and [the band names] clearly does count, just not in a terribly interesting way — i just think there’s something a bit amazing that this strategy of self-announcement is so unusual

    haha deep purple and the london symphony orchestra WINNAH

  2. 62
    a logged out p^nk s lord sukråt wötsit on 10 Apr 2008 #

    sorry chris that sounded way ruder than i meant it to! am clearly obsessed by something i am not articulating or communicating (as per usual)

  3. 63
    Chris Brown on 10 Apr 2008 #

    I suggested them rather than, say Dennis Wilson And Rumbo because I thought I remembered hearing somewhere that the New Bohemians were already an extant act before she joined. But I may have misremembered that. I think the same might go for Billy J Kramer And The Dakotas, including the bit about my possibly having misremembered it.

    I realise that a pair of group names together is more interesting though. Come to think of it, didn’t Motorhead and Girlschool call themselves Headgirl anyway?

  4. 64
    Lena on 10 Apr 2008 #

    It’s odd but I don’t remember this song at all, even though it was a big hit on both sides of the Atlantic – either I didn’t hear it much or it didn’t grab me. Canada wasn’t in Vietnam so the sentiment wasn’t there to be appealed to, I guess. And the oldies show sticks to his early 70s songs, exclusively. Otherwise, he recorded with Glass Tiger and did another song (“Rhythm of My Heart”) which was written by a Canadian, so those tend to get airplay instead, as they help stations meet the CanCon quota…

    Does Cliff Richard and The Shadows count?

  5. 65
    crag on 11 Apr 2008 #

    Rod Stewart was a great singer- his late 60’s/early 70’s work makes that clear. Brilliant as these early tracks were, however, its obvious that these performances are precisely that -performances. Musically speaking Rod was a great actor- able to convincingly convey warmth and sincerity thru the natural vocal talent he’d been blessed with. One never gets the impression that Rod was genuinely spilling his guts out on record in a Plastic Ono Band stylee. Rather you feel that if he could have been as sucessful a footballer or perhaps even gravedigger as he was a singer he probably would’nt have minded, content to keep his singing for drunken performances down the pub for his mates.Any urgent ‘need’ to express himself musically is never evident. As such the emotions one hears on “Angel”, “Mandolin Wind” etc etc are probably no more genuine than those displayed “Sailing”.

    The quality of his vocal work, however, combined with how well it all fitted with the pleasing myth/legend of ‘Rod the loveable romantic rogue’ meant that during the career peak of “Every Picture”/”Dull Moment” this didn’t matter and his 2 previous charttoppers are IMO amongst the finest #1s of the decade.

    By 1975 ,though, with no real incentive either musically or financially to carry on, the only emotion he was able or perhaps willing to now project was that of cloying over-sincerity as shown by the dreary uninterested crooning heard here.

    This, combined with the ‘message’ he was sending out to his audience changing from inclusive(“i’m a just an ordinary working class lad like you!Share in my sucess!”) to exclusive(“i might just be an ordinary working class lad – but i’m better than YOU will ever be and dont forget it!’-similar to the transformation undergone by Robbie Williams 2 decades later post”Angels”) all added up to a lousy record and the start of one of the sorriest falls from grace in rock history.

  6. 66
    Erithian on 11 Apr 2008 #

    I disagree, I don’t think there was a notable drop in quality until a couple of years after this. 1976 saw “The Killing of Georgie”, the song he says he’s most proud of and rightly so, and “Tonight’s the Night” which might have fed on his rock-royalty persona but was a damn good song. Even the controversial number one in ’77 was a fine record IMHO. The shark-jump came a year or so later…

  7. 67
    Marcello Carlin on 11 Apr 2008 #

    BUNNY BOILERS AHOY!!!

    Actually the “shark jump” to which Erithian refers is, perversely but predictably, my favourite of Rod’s many number ones…

  8. 68
    Tom on 11 Apr 2008 #

    That’s enough Rod number ones talk – long-eared Ed.

  9. 69
    Billy Smart on 11 Apr 2008 #

    Mention of ‘Tonight’s The Night’ brings back the unwelcome memory of ITV’s 1998 ‘An Audience with Rod Stewart’ and his performance of the song as a duet with Emma Bunton – stop leering, grandad!

    Mention of ‘The Killing of Georgie’ brings back the ludicrous memory of a Rod documentary where he’s being being filmed on a yacht, wearing a captain’s cap, tipsy, and surrounded by a lot of equally silly people, reminiscing about how “brave” he’d been to release it.

    It’s funny how with Elton John, I always think “Hurray! Good old Elton! What a twit!”, but with Rod Stewart I always just think “Oh, what a TWIT!” in an exasperated way.

  10. 70
    crag on 11 Apr 2008 #

    I’d agree that “Georgie” is a good record and is certainly the last time Rod sounded even vaguely committed to his material IMO but I still dont think it compares to his early 70’s work in quality and view it as a blip in the downward spiral. “Sailing” is definitely where the rot began to set in.

  11. 71

    To up the disappointing controversy level on this thread, I am going to propose that there comes a time (for popular commnentators as for all humanity) when the justified cry “stop leering, grandad!” suddenly and unaccountably mutates into “hurrah that leering, fellow grandad, go not quiet into that bleak night etc” (adapt phrasing for gender and/or sexuality obv)

    translation: i no longer find what once appalled me abt r.stewart quite so appalling

  12. 72
    Tom on 11 Apr 2008 #

    This was the reasoning behind GRINDERMAN doing so well on critics’ lists I believe, though obviously the crits prefer Nick Cave’s play-acting the old goat to the real thing represented by Rod the Dirty Old Sod.

  13. 73
    Matthew H on 11 Apr 2008 #

    Well, Cave can voice it with a bit of wit and some winning sleaze – as well as knowing how it looks, it seems to me. Rod just thinks he’s “still got it”.

  14. 74
    crag on 11 Apr 2008 #

    I agree w/ you on the “grandad” front, pˆnk s lord sükråt cunctør. When you’re 21 and see a guy in his late 50s cavorting w/ some nubile young lady you think its the very definition of wrong. When you see the same thing when you’re in your mid-30s you think “Yes! There is hope for the future after all!”

  15. 75
    Marcello Carlin on 11 Apr 2008 #

    No, I just think of Gary Glitter.

  16. 76
    Erithian on 11 Apr 2008 #

    MC/Tom (#67-68) – did I actually say that the shark-jump came with the number one in question? I think it was round about the time he rhymed “Buenos Aires” with “what the fare is”!

  17. 77
    crag on 11 Apr 2008 #

    By “young lady” i meant “girl in her 20’s” not “school girl”…

  18. 78
    LondonLee on 11 Apr 2008 #

    I can’t believe you all like ‘Tonight’s The Night’ – “Loosen up that pretty French gown” “Spread your wings and let me come inside” and all that is like bad soft porn. You want to rush in to the song and tell the poor virgin girl to get the hell out of there.

    Teddy Pendergrass could probably get away with it but Rod just sounds like a nasty old lech.

  19. 79
    Marcello Carlin on 11 Apr 2008 #

    Not all of us, Lee.

  20. 80
    SteveM on 11 Apr 2008 #

    Rod has obviously been atoning for Maggie May all these years with his lusting after girls young enough to be his daughter.

  21. 81
    Tim on 11 Apr 2008 #

    Oh!

    Chas and Dave and Tottenham Hotspur!
    Status Quo and Manchester United!
    Fat Boys and the Beach Boys?

  22. 82
    Brian on 11 Apr 2008 #

    I love this song and ” Atlantic Crossing “.

    At the time of it’s release on vinyl it had all the slow songs ( ballads ) on one side and all the fast songs ( mostly rock ) on the other. I always saw that as a representation of USA – UK.

    If you are ever taking a plane somewhere, make sure this is on your ipod at take off.

  23. 83
    Chris Brown on 11 Apr 2008 #

    @82 – Well, you’re not allowed to use a iPod at takeoff. Which is probably quite a good reason to have that album on it IMO!
    I don’t really grasp the idea of putting fast songs on one side and slow ones in the other – doesn’t it just make the record sound more boring than it is? Mind you, the most recent act to do that were Counting Crows so that problem would hardly arise…

    The Pipes And Drums of the Royal Scots Dragoon Guards?

  24. 84
    Billy Smart on 11 Apr 2008 #

    The first Mary Jane Girls album has a slow and an uptempo side – clearly designed to be listened to by couples, who would improvise their actions around the music.

  25. 85
    Brian on 11 Apr 2008 #

    Chris @ 83 : Back in the day it was equivalent of a ” chill ” CD . And you’d party to other side. I believe there are still
    CD’s like this today.

  26. 86
    crag on 11 Apr 2008 #

    Of course one of Rod’s contemporaries that we will be discussing very shortly released two albums in ’77 that were state of the art in terms of one side being uptempo and the other being “chill out”…

  27. 87
    Billy Smart on 11 Apr 2008 #

    Indeed, combining posts 84 and 86, I can remember watching an interview with Marc Almond, where he talked about experiencing his sexual awakening choreographed to the movements of ‘Low’.

  28. 88
    Snif on 13 Apr 2008 #

    Fun Boy Three and Bananarama

  29. 89
    wwolfe on 15 Apr 2008 #

    In answer to your question as to why rock produced anthems in a way and to a degree unlike any other genre, I think it’s because it was treated as a quasi-religion in a way and to a degree that was unlike any other genre. Having grown up during the 1970s, my sense is that this approach to rock probably peaked during the first half of that decade.

  30. 90
    Chris Brown on 16 Apr 2008 #

    Dan Le Sac Vs Scroobius Pip?

    Two Men, A Drum Machine And Trumpet?

  31. 91
    swanstep on 23 Apr 2010 #

    Tom’s score for this track is, in my view, way too low. This is a better than average #1 in any year. In general, I think Popular has a blind-spot with respect to (hence is maximally unreliable about) slow anthems.

    I think people may be under some illusion about how easy it is write and convincingly perform – generally pull off – a Sailing or a Mull of Kintyre or a Hey Jude (or even an I’d like to Teach the world to sing). The simple truth is that it’s blimin’ hard to make such things. To see this, just think of all the horrible World Cup Football tunes there have been – think of the atrocities that the 2010 WC *will* bring. In all those cases, some song-writers and performers would have died and gone to heaven if they’d been able to come up with something as simple and graceful as S or MofK or HJ. If it was easy to come up with something that good they would have, but it’s very far from easy, so they didn’t. Normally they don’t even get close.

    I haven’t found the comments on this song to be particularly illuminating – blind-spot! – and, quite strikingly to me at least, there’s been little if any attempt made to answer Tom’s question about what chords this song was striking when it was released? I’ll do a little to fill that gap in a moment. Of course, on one level, I reject Tom’s presumption that some *special*, contextual explanation for S’s success is needed. No, Sailing would be a massive hit tomorrow, say if it were appearing for the first time as the 2010 England WC song. But set that point aside for the sake of the argument

    Basically, I see S as twinned with John Denver’s Jacques Cousteau theme ‘Calypso’. Calypso was #1 in the US at the same time as S was #1 in the UK. Bizarrely, S did nothing in the US and C did nothing in the UK, but both were top-5 in NZ in December 1975.

    At any rate, I see both these songs as part of a much larger trend towards pop expressions of the eco-/nature-consciousness that had begun near the end of the 1960s, but that would reach a peak in the mid ’70s with ‘oil crisis’ and the first big wave of environmental regulations and clean-up. (All of that went on the back-burner with the inflationary recessions of the late ’70s and the final risky flaring up phase of the cold war and the rise of Islamism starting in 1979.) Balancing out all the dire warnings of apocalyptic, ecological collapse and over-population in fiction and film of the mid ’70s, were a range of nature documentaries with Cousteau’s pre-eminent and back to nature imagery was kind of the rage – ften as subtext in tings about hang-gliding and the like as I vaguely recall. The use of S in the show Sailor, certainly as seen through a (still later) Falklands filter risks missing the ‘communing with nature’ aspect of Sailing that was originally *very* important. 1975 was the year of the Tommy film – which in its weird way is all about reconnecting with nature and leaving civilization behind – and even the mega-hit film that year, Jaws, had a big nature component to it. Of course the great predecessor for both Calypso and S is Neil Diamond’s soundtrack to the 1973 film of the bird/pop philosophy novel that was inflicted on every primary school kid at the time, Jonathan Livingston Seagull, e.g., here (especially) and here.

    Anyhow, although I may have got it out a little inelegantly, this is the central cultural movement into which Sailing plugged. As for S itself: it’s very pretty, and that little respite near the end, breaking down into flutish choral bits before the strings and guitar come back in is fantastic:
    7 (or at least 6 – but I’d say Mull of Kintyre is at least a 5 and probably a 6!)

  32. 92
    punctum on 23 Apr 2010 #

    I addressed his question at least in part in my original post but should have added that the song also became very popular as the template for a series of football chants. The Sutherland Brothers original, which was certainly closer in spirit, arrangement and performance, to the environmental ideals you’re talking about, didn’t do any commercial business but in tandem with “I’m Not In Love,” “Space Oddity” and “Bo Rap” it’s probable that UK 1975 audiences simply had a predilection at the time for epics, the Big Gesture.

  33. 93
    thefatgit on 23 Apr 2010 #

    Funny how the most laddish of the lads is lambasted for growing old (dis)gracefully. Rod’s played to type almost all of his adult life. He’s fabulously wealthy, been with some of the most beautiful women in the world and probably snorted most of Colombia up his nose. He’s lived to tell the tale. How beastly of him!

    Having said that, it’s not easy to like the guy. I enjoyed “Sailing” when it first came around. The 9 year-old me felt it was about adventure and exploration and that sense of achievement on returning home successfully. Little wonder Swanstep compares “Sailing” to John Denver’s Jacques Cousteau theme. I’m still not old enough to answer Tom’s question, but there was a trend towards the anthemic “lighters in the air” song around this time. I could still listen to it now, but there’s little else of Rod’s that would persuade me to part with my cash for it. “Maggie May” maybe.

  34. 94
    swanstep on 23 Apr 2010 #

    Thanks to punctum and thefatgit for feedback on my slightly grumpy note! Thinking things over a little more, even though I believe that there’s *always* room in the charts for a stonking, building ballad with a bit of finesse, I guess I am prepared to believe that there really was a ‘lighters in the air’/taste for the epic moment in 1975. The full stadium rock show circuit had finally crystallized technologiclly and institutionally at that point perhaps (Punctum said something like this above I think), and, as well as the tunes that have been discussed, 1975 was the year of Born to Run. As a primary school kid at the time I don’t remember hearing that until a little later, but when I did hear it, I remember thinking that Bruce’s magnificent whooping at the end of that track resembled the yodelly stuff on John Denver’s Calypso. And when Bruce whooped again at the end of the ’80s on Tunnel of Love it sounded even more like John Denver to my ears! Anyhow, back to Rod. S.. I agree he’s easy to hate (isn’t there a scene in a Pistols video where they pretend to shoot Stewart? e.g., ‘Rod at 2 o’clock! Fire.’), but Sailing is a good ‘un I reckon, and really well instrumented and arranged. I just listened to the Sutherlands & Quiver original version for the first time, and, yep, Stewart’s version has got all the trimmings and tinsel that money can buy by comparison. I don’t know whether Stewart himself can take any of the credit for the arrangement and production, but someone did really fine work there.

  35. 95
    thefatgit on 23 Apr 2010 #

    We’re not a million miles away from those Irish lads who trawled the MOR songbook for ballads with a “bit of finesse”. Plenty of fuel for the fire there, but of course we mustn’t wake bunny.

  36. 96
    Billy Smart on 23 Apr 2010 #

    And, oddly, we’ll be discussing them via their anomalous fast songs…

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