Rod Stewart - Lady Day - 1971 (live a cappella)
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- Опубликовано: 17 июн 2011
- Rod Stewart performing "Lady Day" from his 1970 album 'Gasoline Alley'.
This song was written by Rod and this clip shows him singing it for German television.
Please also check out "Gasoline Alley" (posted by someone else) from this session.
Thanks!
(No copyright infringement intended). 
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So touching. Highlight of German state-sponsored television with an educational mission.
What a great talent. Love this guy's music.
Fantastic.
WOW! Priceless . . .
Beautiful voice
Beautiful & Rod seems to keep it together with the hollering voices in the background. I've seen Gasoline Alley which is my fav cause it's originality, but this ones Great too! Thanks for sharing to everyone involved. :)
Fabby. Thanks.
Lady Day, Billie Holiday
Mod Rod !
♥️♥️♥️♥️♥️♥️
Paula Niebla bitch he mine
@@leiaknowshowtorockandroll7505 shut up
Hey there, this is brilliant !! Why this man had a drastic change in his career?! Do u have more of this session? Thanks for post it !!
Raspy Rapture
This is not as good as the recorded version - indeed in this version Stewart is taking the Michael out of the song. The album version is truly enhanced by the gorgeous classical guitar runs of one very shy, introverted, Martin Quittenton (co-composer of "Maggie May", "You Wear It Well" and "Farewell") who Stewart tried to project/promote during the very early 1970's. A really beautiful classical guitarist who made his mark within folk-rock music.
Just listen if you will to those counter melodies he plays both here and on tracks such as "Italian Girls", You Wear It Well", "Maggie May", "Lady Day", "Dirt Old Town", "Cut Across Shorty" et cetera.
Oh, wow. I've actually made comments on RUclips about how Rod had such fantastic orchestration of his songs in the '70s, and then it all seemed to stop in the '80s. Like the introductions to "Maggie May", "You Wear It Well", and then the orchestration of the songs throughout.
Did Martin also orchestrate "Tomorrow Is A Long Time"? And the other songs on "Every Picture"?
It's not just the classical guitar that's great in these songs, it's the layering of all types of strings.
What's amazing in the studio version of "Lady Day" isn't just the classical, or the layering of strings, it's also and especially that there seems to be an atonality to all the different melodies each individual string instrument is playing. It's as though they are all independent of each other, not working together, like they're isolated melody lines that don't relate to each other, yet, when you consider them in aggregate they work together brilliantly.
Can't disagree with your general comments. Stewart knew what he wanted in the studio and like many producers, gave these fabulous musicians free rein to assist in his production. Many of his acoustic tracks had three acoustic guitars, Quittenton on classical, Woody on lead acoustic and Stewart strumming the chords.
@@lyndamcardle4123 But did Martin contribute or drive the overall orchestration? Was it Martin's vision for how "Tomorrow Is A Long Time" would sound? It's such a different song from Dylan's or Elvis' version. Rod's version of that song it the best by far, and I say that as a mega-Elvis fan. I usually find Elvis' version of a cover to be the best, but in this case, no, Rod blew him away.
But I feel Rod's music in the '80s didn't match at all the creative orchestration he had in the early-to-mid '70s, so I have always felt it was because he had a certain producer involved in the '70s that he no longer worked with in the '80s.
Stewart produced his first five albums himself (though the late Lou Reizner got a co-producer credit for Gasoline Alley)...like Van Morrison, Stewart surrounded himself with innovative musicians who could translate and enhance his own and cover songs.
@@lyndamcardle4123 Interesting. He was a genuine musical talent. When I was young, and still today, I had a fantastic singing voice. But I had NO CLUE for how to arrange music. In my 40s I began to understand it intuitively, and now in my 50s I continue to learn at an accelerated pace. But I have always envied people who really were deep down real musical talents who understood music deeply. I actually have a very strong visual sense, so I understood architecture and painting at a younger age. But music for me is very different.