Every Picture Tells a Story

1	Every Picture Tells a Story 5:58
2	Seems Like a Long Time 4:00
3	That's All Right 6:00
4	Tomorrow Is a Long Time 3:44
5	Maggie May 5:46
6	Mandolin Wind 5:32
7	(I Know) I'm Losing You 5:21
8	Reason to Believe 4:10

Barnes & Noble

Rod Stewart will forever remain a puzzle. Seemingly as comfortable playing perfunctory blues with the Jeff Beck Group in his youth as tossing off novelty piffle like "Do Ya Think I'm Sexy" in later years, he also crafted an immortal and lasting rock album in EVERY PICTURE TELLS A STORY. The evidence remains: In the 1970s, at a time when Bob Dylan, Lou Reed, Neil Young, and Randy Newman were recording some of their best work, Stewart was arguably their equal. The songs, with their precise lyrics and emotional stories, and Stewart's raw, bluesy vocals still tell the story: "Maggie May," one of rock's timeless singles; "Find a Reason to Believe," a sensitive and moving cover of the shambling Tim Hardin tune; "Mandolin Wind," a unique love song; and "(I Know) I'm Losing You," a gritty, streetwise cover of the Temptations' hit. And then there's "Every Picture Tells a Story" itself, a universal tale of a son going out on his own, delivered from the mouth of a callow but unforgettable boy man. Bill Wyman

All Music Guide

Without greatly altering his approach, Rod Stewart perfected his blend of hard rock, folk, and blues on his masterpiece, Every Picture Tells a Story. Marginally a harder-rocking album than Gasoline Alley -- the Faces blister on the Temptations cover "(I Know I'm) Losing You," and the acoustic title track goes into hyper-drive with Mick Waller's primitive drumming -- the great triumph of Every Picture Tells a Story lies in its content. Every song on the album, whether it's a cover or original, is a gem, combining to form a romantic, earthy portrait of a young man joyously celebrating his young life. Of course, "Maggie May" -- the ornate, ringing ode about a seduction from an older woman -- is the centerpiece, but each song, whether it's the devilishly witty title track or the unbearably poignant "Mandolin Wind," has the same appeal. And the covers, including definitive readings of Bob Dylan's "Tomorrow Is Such a Long Time" and Tim Hardin's "Reason to Believe," as well as a rollicking "That's All Right," are equally terrific, bringing new dimension to the songs. It's a beautiful album, one that has the timeless qualities of the best folk, yet one that rocks harder than most pop music -- few rock albums are quite this powerful or this rich. Stephen Thomas Erlewine