Al Stewart - Russians & Americans

I have always liked Al Stewart. From those early hits there was something about his style of writing and his vocals that just seemed to get me right in the feels. Chris de Burgh was the same for me, but it was really only those two Rupert Hine albums in the early '80s I liked. Whereas with Mr. Stewart I'd sort of followed at a distance for a long time - at least the songs on the radio. Then after his 1980 release 24 Carrots that had "Midnight Rocks" there was radio silence.

It wasn't until 1984 that he'd emerge with Russians & Americans, and I don't remember anything at all being played on the radio. Which was a shame, as this was a really cool album, and it had tapped into the very real tensions that were omnipresent in the early '80s.

The songs here, as you'd expect, aren't typical pop songs. Al was a dense writer and for those used to a chorus, hook and maybe a bridge before being bashed with a hook again, this was harder to follow. It wasn't sing-along song time with Mr. Stewart, it was sit yourself down and have the lyrics handy time.

There is a payoff. But you have to invest the time.

Although having said that he goes and writes the weirdly banal but oddly catchy "Strange Girl" that does indeed bash you over the head with the chorus.

The centrepiece here is the title track. I've actually not heard this since the '80s. When I found the album, in mint condition I must add, in the dollar bin I was immediately transported back in time. Whereas much of the record is full band that is more rock and roll than you'd expect from a '70s troubadour, "Russians & Americans" is anchored by acoustic guitar and vocal and then as the song progresses is accompanied by lush strings. Songs that are anchored to a particular time have a tendency to age badly. When you start a song with "Here we are on the edge of 1984 / Bracing ourselves once again" it only feels current for a moment, then stays in the past. As it turns out, with the cyclical nature of events to repeat themselves we find ourselves once again in a similar situation and the song serves as a reminder that nothing really changes.

Al Stewart actually pulled a bait and switch and managed to release a progressive rock record disguised as a pop album. Although more akin to something by Supertramp than Pink Floyd, it was pretty ambitious. Mike Flicker, who had produced those early Heart albums and even worked with Canadian rocker Trooper, produced the album.

Unlike his platinum '70s releases, there wasn't an obvious single or hit. The first track "The One That Got Away" was really good, but it was very much a song out of time. It likely would have been huge in '78 but in '84 was a bit of an anomaly. It was "Rumours of War" though that could have been on FM as it was just quirky enough with the synth lines to garner some airplay. I always thought of Kate Bush when I heard it back in the day, but Kate didn't release Hounds of Love until 1985, and Al was just a tad early.

There weren't any duds on the record, just no obvious singles. Just really good songs.

Sadly this mostly stayed under the radar.