FOOLISH BEHAVIOUR WORLD TOUR - 1981/82
here we are THE tour:
"FOOLISH BEHAVIOUR" (and it was)
we are proud to present you:
for a larger view)
Little Rock'n Roller
In My Heart
Lovin' You Is Wrong
Won't Dance With Me
- I Don't
Want To Talk About It
Ya' Think I'm Sexy?
Wear It Well
- I Was
01 Dortmund, Germany
02 Düsseldorf, Germany
04 Stuttgart, Germany
06 Graz, Austria
07 Wien, Austria
09 Zürich, Switzerland
11 Bruxelles, Belgium
12 Rotterdam, Netherlands
20 Dublin, Ireland
21 Dublin, Ireland
24 Glasgow, Scotland
25 Glasgow, Scotland
26 Glasgow, Scotland
28 Leicester, UK
29 Leicester, UK
01 London, Wembley Arena, UK
02 London, Wembley Arena, UK
03 London, Wembley Arena, UK
05 London, Wembley Arena, UK
06 London, Wembley Arena, UK
07 London, Wembley Arena, UK
09 Manchester, UK
10 Manchester, UK
11 Manchester, UK
13 Birmingham, UK
14 Birmingham, UK
16 Brighton, UK
17 Brighton, UK
Sacking day! Rod sacks band members Gary Grainger, Phil Chen
and Kevin Savigar after they refuse to fly from London to
L.A. to appear on the American Music Awards with him.
11 Stockholm, Sweden
12 Köbenhavn, Denmark
13 Göteborg, Sweden
16 Paris, France
17 Lyon, France
19 Köln, Germany
21 Hamburg, Germany
22 Hamburg, Germany
23 Berlin, Germany
25 Linz, Austria
26 München, Germany
28 Frankfurt, Germany
29 Frankfurt, Germany
30 Bremen, Germany
- May 1981
Rod Stewart tours Japan, Hongkong and Bangkok with a new band
line up, including members Robin Le Mesurier, Danny Johnson,
Jimmy Zavala and Jay Davis. Jim Cregan and Carmine Appice
are kept from the old line up and Kevin Savigar rejoins after
patching things up with Rod.
"Harry The Hook" and "The Somerset Segovia"
engaging in Foolish Behaviour....
ska and soul revival that recently stirred up the British
recording business enough to be tipped as new music for the
eighties sounded old hat to Phil Chen, that's because he was
playing them both first time around as guitarist with Jimmy
James and the Vagabonds back in the sixties, after he'd quit
Kingston, Jamaica, for London's thriving scene.
he was playing bass and ready to abandon the Vagabonds for
studio work, a move that reflected his realisation that the
band, unlike their well-remembered contemporary in the clubs,
Geno Washington, had failed to transfer the infectious vigour
of ther live work to record.
CHEN - bass
versatile style as a session player meant his name turned up
on album sleeves by talents as diverse as Jeff Beck and Jimmy
Witherspoon, Linda Lewis (with whom he toured too) and Cleo
Laine, as well as on Pete Townshend's 'Tommy' soundtrack, and
still he hankered to be in a band. He was in and out of Arrival,
Gonzales, the Butts Band and Streetwalker, and might've joined
the Faces after Ronnie Lane left in 1973, but although it was
three more years before he worked with Rod, he was a cert for
the Rod Stewart Group from the moment it crossed Rod's mind
to form it. An active member of the group's productive songwriting
pool, he's unstoppably adept at every rhythm from breakneck
rock and roll to relaxed reggae and plays the lot with a faultless
balance of feeling and technique.
Appice has been laying down the beat behind the Rod Stewart
Group since Rod put the band together in 1976, but he would've
been with him seven years before, had an intended merger actually
occurred between Carmine and bassist Tim Bogert of the Amercian
Vanilla Fudge and Rod and his boss in the Jeff Beck Group.
But Beck rowed himself out of the arrangement via a car crash
and Rod followed Beck's bass player, Ron Wood, to the Faces.
So Carmine and Bogert formed Cactus instead.
New Yorker, Carmine served his musical apprenticeship in bar
misvah bands before joining the Penguins.
APPICE - drums
as Vanilla Fudge, they specialised in slow-motion versions
of rock classics like 'Eleanor Rigby' (allegedly approved
by the Beatles themselves) and were best-known for their dramatic
reworking of the Supremes 'You Keep Me Hangin' On', which
was a hit both sides of the pond and resurfaced on Rod's 'Foot
Loose & Fancy Free' after Carmine jogged his memory. Although
he had to wait a while to team up with Rod, part of that earlier
abortive association took place in 1972, when Beck, Bogert
& Appice was born. KGB followed stormily before his call-up
for the Rod Stewart Group - and that almost didn't happen,
because according to Rod, "it was such an obvious choice,
I didn't realise it".
the world's most accomplished technicians, Carmine also belies
the notion that rock drummers have nothing to give but the
beat. " I studied theory and harmony in school", he points
out, "and I've been singing for years and years, so I like
to do vocals and help arrange harmonies - I like to be involved".
Nor is he one to keep his skills with his sticks a secret,
spending much of the short time that's left spare from recording
and touring, playing drum doctor with his travelling Ludwig
career in rock'n'roll makes quick reading.
1971-75: guitarist with Strider.
1975 (June - September): guitarist with Strapps.
1975-76: banana salesman.
1976-: guitarist with the Rod Stewart Group.... Banana salesman?
Well, if a rock'n'roll recession had him briefly flogging
Fyffes instead of knocking out riffs, it clearly didn't do
him any lasting harm, because since being recruited to Rod's
group, Gary's been much more than just the gun-powder in the
barrel of the band (a part Rod knew he could play), he's also
been Rod's most prolific songwriting partner (a role Gary
couldn't have counted on).
GRAINGER - guitars
"I write a lot", he says, "though I can't sing to save my life
- I might as well tap my foot as try and sing - but Rod seems
to hear melodies in the chords I play, similar to the ideas
I've got in my head. He seems to know what I want in that respect".
Ironically, for such a powerful player who looks like he's trying
to strangle his instrument whenever he takes a rock'n'roll solo,
he's come up with a handful of ballads, an occurrence that's
still more surprising since he's seldom set out to write one.
But that fact doesn't mean Gary's gone soft. Far from it. Always
open to ideas, he's been invigorated by the new wave. "Having
listened to what was going on in England, the ideas I've had
have been more energetic, more enthusiastic", he explains. "It
was the way it felt at the time - all aggression". Gary Grainger
with added aggression? Say a prayer for his picks and strings.
CREGAN - guitars
are more reasons for records reaching No 1 than just the singer
and the song. Occasionally a few inspired instrumental moments
in the middle will transform an entire performance and turn
a good song into a great single.
stunning acoustic guitar break on Steve Harley and Cockney
Rebel's 'Make Me Smile' did exactly that in 1975, although
ist benefits for Harley were short-lived, because the following
year Rod pinched him for his own band. Before Cockney Rebel,
Jim had added as sweet and sure a touch as any English virtuoso's
since rock'n'roll began to a succession of groups that seemed
somehow to sell themselves (and him) short.
Toes and Stud both failed to fulfill his faith in them, while
the inventive Family - as much by their dogmatic refusal to
follow any other direction than their own often eccentric
one - had all but denied themselves the very highest peaks
of popularity even before he joined in 1972.
had more than the bones of a band when he saw him on stage
with Cockney Rebel in L.A, and though he jokes that he was
impressed as much by Jim's way with a bottle as his skill
with his instrument, he's quick to admit his value to the
group right from the off. A master of electric and acoustic
guitar, a source of sound ideas in the studio and unstinting
energy on stage, he's also composed some of the most irrestible
melodies on Rod's recent albums.
Savigar got the nod in the summer of 1978, the Rod Stewart
Group had already been together for two years. "It was difficult
to come in as a new boy", he admits, "and it took a little
while to break through. I was a bit uneasy at first, but it
worked out - after a couple of months it was fine".
first days would've been a testing time for a musicianwith
a dozen bands behind him, but for a newcomer like Kevin it
could've been more Bermuda Triangle than mere deep end.
SAVIGAR - keyboards
not entirely wet behind the ears, he'd only been out of music
school (London's Trinity College of Music, where he'd studied
classical piano) for two years, and his practical playing
experience since graduation had been confined to pit bands
in West End theatres, sessions for TV jingles, and short stays
with what Kevin calls "blue denim bands".
long wourld tour was a hard honeymoon, but it proved the relationship
with Rod and the rest of the group would work, and in the
studio since then he's created a more dominant role for keyboards
than they'd had lately on Rod's recordings. Whe he first stepped
on stage with Rod, his face was almost as pale with fright
as the paint job on his white piano. "I'd never been in a
band where there's so much presentation on stage", he says.
"In fact, I'd like to rephrase that - I'd never been in a
band"! That piano is no longer white and Kevin's looking healthy.
Rod Stewart Group
good bunch of chaps"
he calls them and adds:
"I think if they weren't people I could get on with,
they would've been treated as a backing group.
As it is, they're far from treated as a backing group -
they get looked after".
Stewart on his band, 1980.