Russians & Americans (1984)
Released at a juncture in his career marked by a seamless blend of folk-rock storytelling and a keen socio-political lens, this album stands as a testament to Stewart's enduring creativity. From the haunting echoes of lost love to the resonating tones of political tension during the Cold War, the album explores a spectrum of emotions and themes. Russians and Americans is not just an album; it's an exploration of the human experience through the artistry of one of folk-rock's most distinctive voices.
"The One That Got Away" is a masterclass in songwriting. The driving drumbeat and screaming saxophone hook lay the foundation for one of Stewart's all-time greatest songs. The orchestration, featuring guitar, piano, and horn accents, provides a perfect blend that's both smooth and impactful. The result is a memorable piece that exemplifies Stewart's musical ability. "Rumours of War" follows with a specific keyboard/horn riff that resonates instantly. This track brilliantly combines great guitar accents with a driving beat. Despite taking a political stance, Stewart artfully weaves descriptions of war without being overly graphic. The song elegantly explores the weight of historical conflicts on individuals' minds.
“Night Meeting" features a fantastic standout bassline and immediately sets up a unique atmosphere. Infused with slight reggae-like sounds reminiscent of The Police, the track delves into the destructive actions of governments during war. It's a musical journey that balances spaciousness with electricity and finesse. “Accident on 3rd Street" is a throwback to Stewart's folk-like storytelling. This track captivates with its rich and brilliant musical arrangement. The piano, acoustic guitar, accordion-like keyboard, and harmonica solo create an emotional, yet beautiful backdrop. Lyrically, it's a heartbreaking story, expressing Stewart's struggle to cope with the loss of his friend Linda who was taken too soon as a result of a drunk driving incident.
“Strange Girl" is the most commercial track on the record, but I feel it falls a bit short of Stewart's high standards. Despite great electric guitar accents, a driving beat, and impressive cowbell and harmonica, the chorus feels somewhat bland. It aims for catchiness but lands merely in the realm of being “just fine”.
"Russians and Americans" was the title track of the album. The track is a poignant call for peace between powerful nations. Stewart's message emphasizes our shared humanity, questioning the significance of geopolitical conflicts in the grander scheme. History teaches us that all great empires fall and we should learn from these lessons rather than having a pissing contest. A call to start thinking with your hearts rather than your heads. Musically beautiful, with acoustic guitar, gorgeous orchestration, and a harmonica that adds a poignant touch.
“Café Society" is epic and dramatic standing out as my ultimate highlight. Fluctuating in tempo and feeling, the track displays haunting piano notes and a pounding saxophone in a way that Stewart hasn't done before. It starts slow and builds up into grandeur, offering a dynamic listening experience. If you’re not stomping your feet and “thrashing” your head to this one, you are b-o-r-i-n-g.
“1-2-3" is a fun and playful number. It features great saxophone lines and excellent backing vocals. Its upbeat nature adds a playful element to the album, creating an enjoyable and energetic track. “The Candidate" returns to a mystical acoustic quality reminiscent of "Merlin’s Time” from his last record. This track, although a little short, provides a contemplative interlude. Its inclusion raises questions about its contribution to the overall narrative of the album though.
“The Gypsy and the Rose” is a standout on the record as this track excels in music, lyrics, and overall feel. Whether you're in Italy, Spain, England, or America, the song's upbeat and bright nature fits everywhere. Its universal appeal makes it one of my favorite additions to the album. "Lori, Don't Go Right Now" starts off with a chord progression reminiscent of The Beatles' "I’ll Be Back.” The track introduces a synth-infused 1984 Al Stewart style. The chords scratch that satisfying itch in the brain, complemented by gorgeous strumming and standout bass picking.
“In Red Square" is essentially the same song as the opener, but with different lyrics. “In Red Square" serves as a bonus, alternate version. Although the lyrics are strong, they don’t flow as seamlessly with the music as "The One That Got Away." The alternate version feels like it could accompany a different musical backing more effectively.
“How Does It Happen” is .. *sigh* .. definitely a song on this album. Perhaps fun for Al and Company to play, but it’s entirely skippable to me. It’s a bit bland and it’s silly without whimsy. Meaning silly can be good and fun, but in this case it is just a tad bit lame.
“The World According to Garp" close the album in signature Al style and tempo. It stands as a fairly standard Al song. While it might not receive as much love as other tracks, it maintains a solid quality that is worthy of inclusion in your library, though it falls towards the end of the highlight tracks for the record.
Overall, Russians and Americans was a bold record for Al Stewart during a polarizing time in America. It didn’t receive the love it should have, but it rightfully is not his most popular record. There are a few skips and hiccups on the album, for sure, but there are many many things to enjoy.
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Highlight Songs:
The One That Got Away
Cafe Society
Night Meeting
The Gypsy and the Rose
Lori Don’t Go Right Now
The World According to Garp
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Own it, Stream it, Forget about it?
There is enough on this album to warrant owning it. It’s got great cover art, and the songs that are really great on this album are REALLY great. If you are die hard against owning an album with a blunder or two on it and only believe in owning NSAs, then stream this album. But you better stream the hell out of the songs you enjoy because they are phenomenal
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Overall Rating:
4 Stars
