![]() ![]() The two men agreed to participate in the ownership of the song and share Stewart's royalties. The structure of the lyrics in this song was similar enough to a Bob Dylan song of the same title that, after its completion, the song was then sent to Dylan, asking whether he had a problem with it. Unfortunately, it wasn't a big hit in England, but it's like a national anthem here. With these kids now I don't make that mistake - I take them on tour with me, so I can watch them grow up. I suddenly realized I'd missed a good five years of Sean and Kimberly's life because I was so busy touring all the time. Stewart told Mojo magazine in 1995 that he considered "Forever Young" to be one of his favourite songs and the reason for writing it was, "I love 'Forever Young', because that was a real heartfelt song about my kids. Stewart wrote the song with two of his band members: guitarist Jim Cregan and keyboardist Kevin Savigar. The song was a Top 20 hit on the Billboard Hot 100, peaking at #12, and #9 on the Canadian RPM Magazine charts. " Forever Young" is a song by British singer-songwriter Rod Stewart, first released on his 1988 album Out of Order. ![]() Nielsen, 73, carted out a different custom-made guitar for every song, one with the Beatles imprinted on it, and closed out the one-hour set with his legendary five-neck guitar for “Goodnight.Jim Cregan, Kevin Savigar, Bob Dylan, Rod Stewart Zander also brought on his talented son Robin Taylor Zander as a guitarist and back-up vocalist, giving him a chance to sing lead on “So Good to See You.” (His daughter Holland later came on to sing back-up vocals on “Surrender.”) (It was recorded in Japan, where the band had already broken out big, a plot twist that was evoked in the mockumentary “This is Spinal Tap” five years later.) It took a release of a livelier live version of “I Want You to Want Me” in 1979 to find an audience stateside, giving the band its first top 10 hit. 1 hit, the emotive ballad “The Flame,” but he could still bring the fire to songs like “Southern Girls” and “Ain’t That a Shame.”Īnd the crowd ate up the three songs that have become staples on classic rock radio: “Dream Police,” “I Want You to Want Me” and “Surrender.” None of the three songs were pop hits when first released to radio in the late 1970s, a period of disco dominance. Zander, now 69, may have lost a bit of vocal suppleness singing the band’s lone No. Zander also wore a shirt with the band’s name on it. And in case you didn’t know who was on stage, their classic logo was embossed on the screen behind them the entire time. The Illinois band attacked its hour-long set with confidence and energy befitting a group that has spent thousands of hours on stage and a deep enough catalog to play a vastly different array of songs from its last visit to Ameris in 2019. When he sat down for an acoustic mini-set, a common type of segment for many acts, he said, with a sardonic edge: “It’s not because I’m tired like some critics say.” Then he insulted said critics with a one-word epithet.Ĭredit: Robb Cohen for the Atlanta Journal-ConstitutionĬheap Trick, a fellow Rock and Roll Hall of Fame inductee who opened for Stewart, still has that rock and roll spark, led by creator and guitarist Rick Nielsen and two other key members from the band’s heyday: bassist Tom Peterssen and lead singer Robin Zander. “I feel like I’m in a Bee Gees video!” he cracked. He also got annoyed when a fan was whipping air too hard in his face. During “Maggie May,” when a mic went out, he joked that he might have to give everyone a refund, then had the band go back to the start of the guitar solo. Stewart was very much in control of the proceedings. and other civil rights legends behind him. For instance, he did a spirited version of “It Takes Two,” a 1966 Marvin Gaye/Kim Weston duet he did with Tina Turner in 1990 and a solemn “People Get Ready,” the Impressions song he covered with Jeff Beck in 1985 that featured images of the Rev. ![]() And he skipped over many of his big hits (”Infatuation,” “Passion,” “Downtown Train,” “This Old Heart of Mine”) for covers, though they were mostly covers he’s previously recorded. There were no deep cuts for the hardcore fans. The set list was curated to ensure maximum familiarity. But the women were also consummate musicians, highlighted by an energetic Irish interlude during “Forever Young” and a bit of “West Side Story” panache in the middle of “Young Turks.” The women also provided Stewart time to take a breath and change outfits by performing Blondie’s “Call Me” and Donna Summer’s “Hot Stuff” in his stead. ![]()
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