Top 10 Rocking Rod Stewart Songs From The 1970s

Rod Stewart Songs

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Our Top 10 Rod Stewart songs list looks at the Rod Stewart songs that the legend released as a solo artist during the 1970’s. Rod Stewart has released so much material and has been a member of so many bands that it would be impossible to make an overall top 10 Rod Stewart songs list that covered his entire career. We also intended to focus on his rock material that covered his 1970s period. Even though Rod Stewart released solo albums in the 80s and 90s, we have narrowed this list down to his classic songs recorded during the 1970s.

Rod Stewart’s first official solo album was released in 1969 and is entitled The Rod Stewart Album. The same album was released with a different title in the United Kingdom in 1970, entitled An Old Raincoat Never Lets You Down. From 1969 to 1979, Rod Stewart released nine solo albums. Nine albums in ten years is a pretty impressive body of work, considering how great most of those albums were. The man worked his tail off, and it showed that he was a constant presence on all types of music charts around the world.

Many people gave Rod Stewart a lot of flack for all the standard albums the singer released in the 2000s and 2010s. Those who criticized Rod Stewart for covering standards might not have realized that Rod Stewart has always been one of the greatest song interpreters of all time. Many of Rod Stewart’s most prominent rock songs from the 1970’s were written by other artists. Nonetheless, Rod Stewart has also written many rock classics. Rarely, a master song interpreter is also a master songwriter.

Our list of the top 10 Rocking Rod Stewart songs is purely subjective. This one is also about the rockers. “Tonight’s the Night, First Cut Is the Deepest, The Killing of Georgie (Part I and II), Your in My Heart, I Was Only Joking” were all great songs, but we are sticking to the Rocking Rod Stewart songs for this list. It also has to be on a Rod Stewart album, so no Faces material is here unless Rod also recorded it as a solo track, which he did with some of them. Our Rod Stewart songs list is just a list of Rod Stewart songs that we think define some of his best moments. He has had many others, but it’s fun narrowing it down to just 10.

# 10 – Every Picture Tells A Story –Every Picture Tells A Story

We open our Rod Stewart songs list with the great song “Every Picture Tells A Story,” the title track of Rod Stewart’s third studio album. Recorded in 1971 at Morgan Studios in London, the song epitomizes the blend of folk, rock, and country elements that Stewart so adeptly melded in what many consider his finest work. The album itself was co-produced by Stewart and guitarist Ronnie Wood, who also played a significant role in shaping the sound that defined this pivotal period in Stewart’s career.

The instrumentation of “Every Picture Tells A Story” is robust and eclectic, featuring a mix of acoustic and electric guitars, mandolin, and drums that provide a dynamic backdrop to Stewart’s raspy, expressive vocals. The musicians on this track include Ronnie Wood on guitar and bass, Micky Waller on drums, and Ian McLagan on keyboards, each contributing to the song’s vibrant, energetic feel. The song opens with a powerful, driving beat that propels the listener into a whirlwind of tales from Stewart’s past travels and romantic escapades, encapsulated by vivid lyrics like “Spent some time feeling inferior standing in front of my mirror” and “Paris was a place you could hide away…if you felt you didn’t fit in.”

Critically, “Every Picture Tells A Story” was hailed for its ingenious storytelling and raw, authentic sound, which resonated with listeners and critics alike. The track did not chart as a single but was instrumental in the album reaching the top of the charts in both the UK and the US. It encapsulates the spirit of an era when rock music was as much about telling compelling stories as it was about pushing musical boundaries. The narrative thread of the song, highlighted by the repeated refrain “Every picture tells a story, don’t it?” offers a reflective, sometimes ironic look at Stewart’s experiences and the lessons learned along the way.

# 9 – Three Time Loser – Atlantic Crossing

“Three Time Loser,” the opening track of Rod Stewart’s 1975 album Atlantic Crossing, demonstrates Stewart’s adeptness at fusing rock with elements of blues, underscored by authentic storytelling in his lyrics. The recording took place at the famous Muscle Shoals Sound Studio in Sheffield, Alabama, known for its rich history in shaping the sound of Southern soul and rock music. This track, like many on the album, was produced by Tom Dowd, who was instrumental in capturing the distinctive sound that marked Stewart’s transition to a more American musical influence.

The session featured prominent musicians known as the Muscle Shoals Rhythm Section, including Barry Beckett on keyboards, Roger Hawkins on drums, David Hood on bass, and Jimmy Johnson on guitar. Their contributions are critical to the song’s robust, rhythmic backbone that complements Stewart’s gritty vocal delivery. The lyrics of “Three Time Loser” delve into themes of romantic misadventures and personal reckoning, with Stewart recounting tales of love gone wrong with a mix of ruefulness and wry humor. Lines such as “Caught it up in Monterey / Shook it up in East Virginia” use geographic references to frame his experiences, enhancing the narrative quality of the song.

# 8 – Blondes Have More Fun – Blondes Have More Fun

“Three Time Loser” is a rollicking entry in Rod Stewart’s discography, opening his 1975 album Atlantic Crossing with an audacious blend of rock and blues. The recording took place at the famous Muscle Shoals Sound Studio in Sheffield, Alabama, known for its rich history in shaping the sound of Southern soul and rock music. This track, like many on the album, was produced by Tom Dowd, who was instrumental in capturing the distinctive sound that marked Stewart’s transition to a more American musical influence.

Despite its energetic delivery and strong musicianship, “Three Time Loser” did not emerge as a chart-topping single, but it played a significant role in the overall success of Atlantic Crossing, which was certified platinum. The song’s appeal lies in its combination of Stewart’s raw lyrical storytelling with the solid backing of seasoned session musicians, showcasing his ability to blend rock and blues into a compelling narrative about life’s less polished moments.

This focus on the specifics of the musicians involved and the lyrical content provides a clearer, factual backdrop that illustrates the song’s creation and its place in Rod Stewart’s musical journey during the mid-1970s.

# 7 – Pretty Flamingo

Rod Stewart’s cover of “Pretty Flamingo,” a song originally popularized by Manfred Mann in the 1960s, is featured on his 1976 album A Night on the Town. The recording sessions for the album took place across multiple locations, including the famous Muscle Shoals Sound Studio, and brought together an impressive lineup of musicians, reflecting Stewart’s deep connections in the music industry.

The ensemble for A Night on the Town included a range of well-known musicians who contributed to the rich sound characterizing this track. On bass guitar were Donald Dunn, Bob Glaub, David Hood, Willie Weeks, and Lee Sklar, each bringing their unique style to the mix. Guitarists on the album included Steve Cropper, Billy Peek, Joe Walsh, Jesse Ed Davis, David Lindley, Fred Tackett, and Pete Carr, adding a diverse array of guitar riffs and melodies that enriched the overall arrangement. The keyboard sections were handled by John Barlow Jarvis, David Foster, Barry Beckett, and J. Smith, providing depth and texture to the track.

The percussion and rhythm sections were no less star-studded, with Roger Hawkins, Andy Newmark, Al Jackson Jr., and Rick Shlosser on drums, complemented by Tommy Vig and Joe Lala on percussion. The string arrangements, crucial for enhancing the song’s lush, vibrant feel, were orchestrated by Jimmy Horowitz, Mel Lewis, and Arif Mardin. Additionally, the Tower of Power horn section added powerful French horn segments, while Jerry Jumonville and Plas Johnson contributed with tenor saxophone, rounding out the robust brass sounds.

# 6 – Cut Across Shorty – Gasoline Alley

Featured on Rod Stewart’s 1970 album Gasoline Alley, ” was recorded at Morgan Studios in London, under the production of Rod Stewart and Lou Reizner, a combination that lent a raw, authentic texture to the track, encapsulating the gritty essence of Stewart’s vocal style and the rustic charm of the instrumental backing.

The musicians on this recording include Ronnie Wood, whose guitar work adds a compelling layer of energy and rusticity to the track. Wood’s slide guitar, in particular, gives the song a distinctive country feel. The rhythm section features bassist Ronnie Lane and drummer Micky Waller, whose performances provide a solid foundation that complements Stewart’s vocal delivery. Ian McLagan’s keyboard playing enriches the texture, enhancing the song’s depth and vibrancy.

Lyrically, “Cut Across Shorty” tells the story of a young man named Eddie, a character embroiled in a race to win a marriage proposal. The lyrics, “Now a country boy called Shorty / And a city boy named Dan / Had to prove who could run the fastest / To wed Miss Lucy’s hand,” set up a narrative filled with urgency and competitive spirit, reflecting themes of love and rivalry. Stewart’s delivery of the lines, “And then like a bolt of lightning / A shot from a gun / Cut across Shorty / Shorty you’re gonna run,” captures the song’s dynamic pace and storyline, infusing it with palpable excitement and a bit of playful storytelling.

# 5 – You Wear It Well – Never A Dull Moment

“You Wear It Well,” from Rod Stewart’s 1972 album Never A Dull Moment, is a song that adeptly combines heartfelt lyrics with folk-rock instrumentation, showcasing Stewart’s distinctive raspy vocal style. The track was recorded at Morgan Studios, London, in early 1972, and features Stewart himself as the producer, further establishing his role not just as a performer but as a craftsman in the studio.

The song features a lineup of accomplished musicians who helped shape its unique sound. On guitar, Stewart was joined by Ron Wood, whose work provides a robust, melodic foundation. The track also includes contributions from Pete Sears on piano and bass, adding depth and rhythm to the composition. Micky Waller’s percussion complements the ensemble, providing a subtle yet effective backdrop for the vocal delivery. The arrangement is rounded out by the violin of Dick Powell, which introduces a distinctive texture that enhances the song’s rustic feel.

Lyrically, “You Wear It Well” speaks to a nostalgic affection and regret over a past relationship, with Stewart’s lyrics painting vivid pictures of shared memories and personal reflections. The opening lines, “I had nothing to do on this hot afternoon but to settle down and write you a line,” set a contemplative tone that carries throughout the song. Stewart’s ability to blend storytelling with a personal touch is evident as he sings, “You wear it well, a little old-fashioned but that’s all right.” This mix of fond reminiscence and a slight sense of longing resonates with listeners, making it one of his most lyrically engaging songs.

Critically, “You Wear It Well” was lauded for its lyrical sincerity and musical arrangement, helping it become a significant hit. The song reached number one on the UK Singles Chart and performed well in the United States. It has been widely regarded as one of Stewart’s finest compositions, often compared favorably to his earlier hit “Maggie May” because of its similar thematic elements and narrative style.

# 4 – Hot Legs – Foot Loose & Fancy Free

“Hot Legs,” a standout track from Rod Stewart’s 1977 album Foot Loose & Fancy Free, epitomizes the high-energy, rock-and-roll vibe that Stewart was famous for in the late 1970s. Produced by Tom Dowd and recorded at Cherokee Studios in Los Angeles, the song features a dynamic and straightforward rock arrangement that played a significant role in cementing Stewart’s reputation as a rock icon. The recording sessions highlighted the cohesive energy of The Rod Stewart Group, with notable contributions from Gary Grainger, Jim Cregan, and Billy Peek on guitars, Phil Chen on bass, Carmine Appice on drums, and John Barlow Jarvis on keyboards.

“Hot Legs” is characterized by its driving guitar riffs and Stewart’s distinctive, raspy vocal style. The lyrics, which playfully describe the allure of a woman with “hot legs,” showcase Stewart’s knack for combining rock’s rebellious spirit with catchy, somewhat cheeky lyricism. Lines like “Who’s that knocking on my door? It’s gotta be a quarter to four. Is it you again coming ’round for more?” with the repeated refrain “Hot legs, you’re wearing me out,” reflect a playful yet straightforward narrative style that was typical of Stewart’s hits during this period.

Critically, “Hot Legs” was well-received for its straightforward rock sound and became a staple of Stewart’s live performances due to its infectious energy and crowd-pleasing appeal. The song achieved considerable chart success, further solidifying Rod Stewart’s position in the rock and roll hierarchy. The accompanying music video, which featured Stewart performing with his band interspersed with footage of various women’s legs, played into the era’s burgeoning music video trend, adding a visual element that emphasized the song’s theme.

# 3 – Let Me Be Your Car – Smiler

“Let Me Be Your Car,” a notable track from Rod Stewart’s 1974 album Smiler, showcases a unique collaboration between Stewart and Elton John. This song, crafted by Elton John and his lyricist Bernie Taupin, combines Stewart’s raspy vocal style with John’s distinctive piano playing, resulting in a high-energy rock track enriched by its clever automotive metaphors. The song was recorded between November 1973 and May 1974 at Morgan Studios, London, and The Wick, Richmond. Stewart himself produced the track, adding a personal touch to its production.

The lineup for the Smiler album included some of the era’s most respected musicians. Ronnie Wood played both acoustic and electric guitar as well as bass guitar, while Martin Quittenton contributed additional acoustic guitar. The song’s rhythm section was fortified by Spike Heatley and Willie Weeks on bass guitar. Elton John not only co-wrote the song but also played piano and provided vocals, adding a significant layer of musical and vocal depth. Additional musical textures were provided by Pete Sears, who played piano, harpsichord, and celeste, and Ian McLagan, who contributed the Hammond organ. The string and mandolin parts were beautifully executed by Ray Jackson on mandolin and Ric Grech and Dick Powell on violin, respectively, while The Memphis Horns delivered powerful horn sections that enhanced the song’s dynamic range.

Lyrically, “Let Me Be Your Car” is filled with playful yet evocative imagery, using the car as a metaphor for a dependable yet thrilling partner: “Shift me into gear and I’ll be there / Fill me up with five star gasoline / I’ll be your car I’ll take you anywhere.” This analogy, paired with the energetic instrumental backing, creates a vibrant narrative that mirrors the collaborative energy between Stewart and John.

Although “Let Me Be Your Car” did not chart as a single, it remains a highlight of the Smiler album and is remembered for its unique pairing of two rock icons.

# 2 – Maggie May – Every Picture Tells A Story

“Maggie May” broke the mold for Rod Stewart, catapulting him from rising star to rock icon with its release on his 1971 album Every Picture Tells A Story. The track, not initially planned as the hit single, became an anthem of the era, capturing the essence of youthful longing and romantic disillusionment. Recorded at Morgan Studios in London, the song features a collaborative production effort by Stewart himself alongside guitarist Ronnie Wood. Their work produced a sound that was both raw and intimate, striking a chord with audiences worldwide.

The musicianship on “Maggie May” is exemplary of Stewart’s blend of rock and folk influences. The song starts with a haunting, unplugged mandolin intro played by Ray Jackson, setting a reflective tone that carries throughout the track. Ronnie Wood’s acoustic guitar complements Stewart’s raspy, emotive vocals, while Martin Quittenton’s additional guitar work adds depth to the arrangement. The lyrics, inspired by Stewart’s own experiences, narrate the story of a young man entangled with an older woman, exploring themes of infatuation and regret. Lines like “It’s late September and I really should be back at school” and “You stole my heart and that’s what really hurts” convey a narrative that is both personal and universally relatable, helping to solidify the song’s place in the hearts of listeners.

Upon its release, “Maggie May” soared to the top of charts, hitting number one in both the UK and the US. It became one of Stewart’s signature songs, defining his career as much as it defied the standard expectations of a chart-topping single at the time. The song’s success was bolstered by its extensive radio play and Stewart’s charismatic live performances, which often featured extended sing-alongs that resonated with his audience’s own experiences and emotions.

# 1 – “(I Know) I’m Losing You” – Every Picture Tells A Story

“(I Know) I’m Losing You” stands as a powerful testament to Rod Stewart’s raw vocal intensity and ability to infuse a rock sensibility into rhythm and blues roots. Featured on his seminal 1971 album Every Picture Tells A Story, this track exemplifies Stewart’s gritty approach to rock that defined much of his early career. The song, a cover of The Temptations’ classic, was recorded at Morgan Studios in London, with Stewart co-producing alongside long-time collaborators Ian McLagan and Ronnie Wood. This version diverges sharply from its Motown origins, showcasing a heavier, more guitar-centric sound that underscored Stewart’s raspy and emotionally charged vocal delivery.

The musicians on this track include some of the era’s most influential figures in rock. Ronnie Wood’s guitar riffs provide a dirty, unpolished edge that complements the driving bass line laid down by Andy Pyle. The session’s spontaneity is evident in the energetic drumming by Kenny Jones, which propels the song forward with a relentless urgency. This ensemble of musicians helped transform the original Motown smoothness into a rock anthem that resonated with the rebellious spirit of the early 1970s. Stewart’s interpretation not only paid homage to the roots of the song but also marked it indelibly with his distinctive style.

Critically, “(I Know) I’m Losing You” was acclaimed for its bold reimagining of a soul classic through a rock lens. Stewart’s version received significant airplay, contributing to the album’s climb to the top of both UK and US charts. The song’s gritty energy and Stewart’s passionate vocal performance are often cited as highlights of the album, showcasing his ability to cross genre boundaries seamlessly. His rendition is remembered not just for its chart success but for its artistic audacity—reinterpreting a familiar tune in a way that felt entirely new and vibrantly raw. The song remains a staple in Stewart’s live performances, a testament to its enduring appeal and his dynamic presence as a performer.