this year's best-seller:
"Blondes Have More Fun"

this year's best-seller "Blondes have more fun"

"The first dumb question journalists, and everyone else for that matter, ask me these days is if it's true blondes have more fun. How the hell do I know? Rock'n Roll isn't supposed to be taken seriously. Rock never changed the face of history, it's only a reflection of life. Frankly, one of the best numbers on my album is 'Scarred And Scared', a story song about a man on Death Row. Some of the more ridiculous rock critics and writers took it quite literally. It's absurd. Does Sir Laurence Olivier have to apologise for not being Richard III every time he plays the role? I think I'm getting to the point in my career where I should go back to recording other people's material like I did in the beginning. I can't win, first they complain and say 'Why don't you do something new?'. So I did 'Da' Ya' Think I'm Sexy?' which is not about me but reflects my sense of humour towards disco. Then they crucify me for going disco. What rubbish! I love dance music. I've played, performed and recorded rock songs people can dance to since I started singing 15 years ago. My disco entry, if you can call it that, wasn't a calculated move".

(Rod Stewart to "Cue")

The set contains:

  • Hot Legs
  • Born Loose
  • Tonight's The Night
  • Wild Side Of Life
  • Get Back
  • You're In My Heart
  • I Don't Want To Talk About It
  • Blondes Have More Fun
  • Da' Ya' Think I'm Sexy?
  • If Loving You Is Wrong
  • The Killing Of Georgie
  • Maggie May
  • (I Know) I'm Losing You
  • Sweet Little Rock'n Roller
  • Sailing
  • Twistin' The Night Away
  • You Wear It Well
  • I Just Want To Make Love To You
  • Stay With Me

Tourbook 1978
Tourbook 1978


Tour Logo

January 1979
31 Perth, Australia

February 1979
01 Perth, Australia
02 Perth, Australia
05 Adelaide, Australia
09 Melbourne, Australia
12 Sydney, Australia
13 Sydney, Australia
16 Brisbane, Australia
17 Brisbane, Australia
18 Brisbane, Australia
23 Auckland, New Zealand
27 Christchurch, New Zealand

March 1979
06 Tokyo, Japan
07 Tokyo, Japan
08 Fukuoka, Japan
10 Nagoya, Japan
11 Osaka, Japan
12 Osaka, Japan
14 Tokyo, Japan
15 Tokyo, Japan
18 Honolulu, HI, USA
19 Honolulu, HI, USA
20 Honolulu, HI, USA

April 1979
12 Edmonton, Canada
14 Vancouver, Canada
15 Vancouver, Canada
17 Denver, CO, USA
19 San Antonio, TX, USA
21 Houston, TX, USA
22 Houston, TX, USA
24 Birmingham, AL, USA
25 Atlanta, GA, USA
27 Lousville, KY, USA
28 Indianapolis, IN, USA
29 Cincinnati, OH, USA

Roddy 1978

November 1978
20 Paris, France
21 Bruxelles, Belgium
22 Rotterdam, Netherlands
24 Göteborg, Sweden
25 Stockholm, Sweden
27 Oslo, Norway
28 Köbenhavn, Denmark

December 1978
02 Manchester, UK
03 Manchester, UK
05 Manchester, UK
06 Manchester, UK
08 Leicester, UK
09 Leicester, UK
11 Brighton, UK
12 Brighton, UK
13 Brighton, UK
16 Birmingham, UK
17 Birmingham, UK
21 London, Olympia, UK
22 London, Olympia, UK
23 London, Olympia, UK
28 London, Olympia, UK
29 London, Olympia, UK
30 London, Olympia, UK

Pass 1978

May 1979
01 Chicago, IL, USA
02 Chicago, IL, USA
03 Cleveland, OH, USA
05 Cleveland, OH, USA
06 Toronto, Canada
07 Toronto, Canada
09 Montréal, Canada
11 Detroit, MI, USA
12 Detroit, MI, USA
13 Detroit, MI, USA
29 Pittsburgh, PA, USA
30 Landover, MD, USA

June 1979
01 Providence, RI, USA
02 Boston, MA, USA
04 Philadelphia, PA, USA
05 New York, NY, Madison Square Garden, USA
07 New York, NY, Madison Square Garden, USA
08 New York, NY, Madison Square Garden, USA
09 New York, NY, Madison Square Garden, USA
11 Kansas City, MO, USA
15 San Francisco, CA, USA
17 San Francisco, CA, USA
19 San Diego, CA, USA
21 Los Angeles, CA, The Forum, USA
22 Los Angeles, CA, The Forum, USA
24 Los Angeles, CA, The Forum, USA
25 Los Angeles, CA, The Forum, USA
26 Los Angeles, CA, The Forum, USA
28 Los Angeles, CA, The Forum, USA

MMMMThe Band 1978
Carmine APPICE - drums
Carmine Appice

Carmine (pronounced CAR-mine) has been breaking new ground in drumming for nigh on one decade. Maybe it's the way they're tucked behind a kit at the back of the stage, but only a handful of rock drummers have achieved the kind of prominence accorded to a whole legion of guitar artists. Carmine Appice is one of those few. Towards the end of teenage years spent tapping out the right rhythms in bar mitzvah bands, he joined the Pigeons, al local Long Island group that turned progressive as Vanilla Fudge and broke through with a grandiose slow motion reworking of a Supremes hit, 'You Keep Me Hangin' On', which made the British top ten in 1967 and eventually reached No 6 in America almost a year later. They tried the formula again with everything from Donovan's 'Season Of The Witch' to 'The Windmills Of Your Mind', but by 1969 Carmine and bassist Tim Bogert were making plans for a band with Jeff Beck and his vocalist, Rod Stewart.

But Rod joined the Faces and Beck almost wrote himself off in a car smash, so the pair formed Cactus instead, before finally getting together with Beck in 1972 for a two-year stint as an explosive strong-arm trio, Beck, Bogert & Appice. Between BBA and the Rod Stewart Group he had a spell with short-lived KGB. An immensly accomplished technician who spends his time off from the group conducting drum clinics for Ludwig coast to coast, he still found he had lessons of his own to learn from Rod. "Most Americans play rock'n'roll right on the beat", he explains, "and it was really weird to jump into the English way of playing. I'd studied for years, taught, written books, done clinics and everything was bam! right on the beat, and Rod kept saying, 'Look, you've got to lay behind the beat a little', and it's almost like playing in a very slight difference in tempo to the guitars and the bass".

A horn player who's solos have sent listeners searching through the sleeve credits on some of the most succesfull albums of the seventies, Phil Kenzie first blew tenor sax in the Liverpool clubs. Of the Merseybeat boom, but moved to London in 1965 where fat brass sections florished on the soul scene. By 1968 he was leading his own 10piece band, Sweetwater Canal, who's horns he took with him a year later to join the amitious Manfred Mann chapter three. A reunion with former Liverpool pal George Harrison led to sessions for the Beatles' swan song, Let It Be, and Harrison's own All Things Must Pass, as well as for Apple proteges such as Billy Preston and Doris Troy.

Phil KENZIE - horns
Phil Kenzie
He co-arranged the music for Jack Good's rock Othello, Catch My Soul, and played in the pit band of the London stage production, then began to capitalise on the reputation he had earned on the Apple sessions as a studio soloist. His contributions to albums like Wings' Band On The Run, David Bowie's Diamond Dogs and Roger Daltrey's Ride A Rock Horse may not have made him a household name, but they kept his bank manager smiling and his calendar full, while his immaculate work on all Stewart's major american success, Year Of The Cat, prompted Rod Stewart to hire him for Foot Loose & Fancy Free. Further sessions followed for Blondes Have More Fun, then the invitation to join the band.

Kevin doesn't mind having a briefer biog than the rest of the group, not because he's the new boy, but simply because at twenty one, and only two years out of music school, he doesn't have that much past to write about. Music school was Trinity Music College, London, where he studied classical piano. The ink was hardly dry on his diploma when he stepped into session work, mostly tinkling throught TV jingles; evenings and matinees he spent in the orchestra pits of West End shows. He joined Easy Street and recorded two albums with the group before it folded in 1977, then gigged and recorded with the Surprise Sisters.

Kevin SAVIGAR - keyboards
Kevin Savigar
Before joining the Rod Stewart Group in mid 1978 he was working with Steeleye Span's former singer Maddy Prior. Kevin's name was suggested by a friend of a friend of a friend, and after getting the thumbs up from the group's British contingent, who handled the auditions in London he flew to Los Angeles for Rod's final approval, which followed a rehearsal with the full line-up.

Jim CREGAN - guitars
Jim Cregan

If the term English can be applied to so universal a music as rock and roll, Jim Cregan is the essence of that Englishness. Unfailingly tasteful, his purity of touch and technical agility beg another word: finesse. Blossom Toes was where he began to take his music seriously, one of a score or so of fashionably progressive groups that hovered on the fringes of success. Jim moved on to Stud with Rory Gallagher's stranded sidemen from Taste, then switched from guitar to bass to replace John Wetton in the last of the legendary Family line-ups, whose erratic unpredictable career ground to a premature halt in 1973. Working either side of the control room window he produced and recorded with Linda Lewis, and accompanied her on a world tour with Cat Stevens, playing back-up for both.

Then back to band life with Steve Harley's revised Cockney Rebel, a gig that got off to a shining start with a breathtaking acoustic solo - first time in the studio - that blew "Make Me Smile (Come Up And See Me)" to No. 1.

He was playing with Harley in LA when Rod gave him the once over in 1976, but it was a matter of months before Rod came clean and asked to play butterfly to Gary Grainger's bee.

"I never played in a real serious rock'n'roll band before", he says, "only bands that thought they could play rock'n'roll. And it wasn't until I joined this one that I discovered I hadn't really been getting anywhere near it

A native of Kingston, Jamaica, with the look and lithe athleticism of a black belt, Phil left for London in 1965 as guitarist with Jimmy James and the Vagabonds, a band as much remembered for their bermuda shorts as the fervent following that sweated to their pioneering blend of soul and ska. (When he joined the Rod Stewart Group he found himself relearning and old Vagabond's crowd pleaser, 'This Old Heart Of Mine'. Phil swapped from guitar to bass and stayed with the band until 1970, whe he left to build a career as a session player.

Phil CHEN - bass
Phil Chen
The success of that move is underlined by the variety of his studio credits, which include work for Cleo Laine, Linda Lewis (with whom he also toured), Jimmy Witherspoon, Gary Boyle, Jeff Bleck ('Blow By Blow') and the 'Tommy' soundtrack. He missed his first opportunity to work with Rod in 1973, when Ronnie Lane quit the Faces, because he was stuck with the short-lived Butts Band in a Jamaican recording studio, but he was a natural choice when Stewart got around to forming his own group three years later, a second chance that offered the twin satisfactions of a challenge that sesson work now rarely provided and playing with an artist he really admired. "Playing with someone like Rod", he says, "and being part of a band, a team, who all got on well and played various types of music, that's what really attracted me. I really liked Rod's direction and I've always wanted to be in a group that was doing a mixture of music which was like sort of soul-based rock and roll. And I'd always done support gigs, so it was nice to have reached here and play to all these big audiences."
Billy PEEK - guitars
Billy Peek
When the spotlight turns on Billy Peek, it's no surprise he likes to do the duckwalk, that eccentric strut trademarked by Chuck Berry two decades ago, because Billy's spent more than half a dozen years reelin' and rockin' with the man himself! Brought up in Berry's home town of St. Louis, Missouri, he picked up guitar from his father and played in local bands until he joined Berry in 1969. As Billy puts it, "I was just lucky. I met Chuck Berry and he taught me how to play those things - and who else is a better teacher than the man who did them in the first place?" In fact, the pupil proved such a good learner that after a while the teacher admitted he could play better Berry than Chuck could. Rod wouldn't argue with that. He saw Billy with Berry on a television show and recruited him for the sessions that led to 'A Night On The Town', work Billy handled well enough to make himself a cert for the group Rod was planning to form. The Berry technique, according to Billy, is simple: all you have to do is hit everything on the down stroke. But try telling his guitar partners in the Rod Stewart Group it's that simple and they'll tell you otherwise, because it wasn't until they played with him that they realised what they'd thought were Chuck Berry rhythms were nothing like the real thing. Jim Cregan, who still finds it hard keeping up with him, says enviously, "Billy's only got tiny hands, but I'm sure he could crush telephones. He must have such strong wrists, because it's a murderous thing to have to play".
A lad with London running right through him the way Brighton does through seaside rock, Gary started out behind a drum kit, but shifted to the front line under the Stratocaster spell of Buddy Holly and the Shadows' Hank B. Marvin. By 1973 he had joined Strider, a hard working, hard playing outfit that clocked up more time in midnight motorway cafes than recording studios. Two albums came out, but the boys were always at their best on stage, where Gary would throw everything but the kitchen sink into solos that he played as if each night might be his last.
Gary GRAINGER - guitars
Gary Grainger
Laid back were Strider not! Soon after supporting the Faces on that group's final European tour, Strider themselves ran out of momentum and Gary was out of a job. He tried a bread round a was driving lorryloads of bananas from A-Z when Rod said would he? and he said not half! In the Rod Stewart Group he's learned to pace his playing throughout a set and added control to his unstoppable energy, though it took him a while to adjust to playing with instead of opening for Rod. "At first it seemed like we were on stage a long time, and I can remember me thinking 'Bugger me, what comes next?' because I was so conscious of not making a mistake and messing it up. But now all of a sudden we're playing the last number and I'm wondering where the night's gone, I'm enjoying myself so much". 'Foot Loose & Fancy Free' revealed his immediate impact in the recording studio, where he collaborated in the writing of four tracks as well as contributing his unerringly mature guitar work, a vital and original influence reaffirmed on 'Blondes Have More Fun'.

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