I wanted to go out and enjoy myself alone. In fact, when I was in the Faces, they used to lock me in a hotel room with a bottle of wine and say, “You’re not coming out ‘till it’s finished.” Because I was notorious. We had 18 people crammed in there, so all the solos were played live.ĪP: Was it freeing to perform songs from an era where songwriters were a separate entity?STEWART: I’ve always found songwriting a bit of an agony, really. The whole thing was recorded live in Jools’ studio, which is not a big studio. It was pure pleasure and I think that comes across when you listen to it. We didn’t have any arguments or fights or anything like that. And one thing I said to Jools was, I’m not going to do any slow songs, I want all upbeat, happy (claps his hands) which we need in these grim times that we live in.ĪP: What was it like doing this record?STEWART: I love the whole process of doing live shows. I did “The Great American Songbook,” so for me this was a natural progression. Both of us (Holland) were brought up on this music. Stewart was recently in New York, and before heading off to a downtown pub to watch his beloved Celtic soccer team take on rivals Hibernian, he took some time to chat with The Associated Press about making music, maintaining his health and whether there’s retirement in his future.ĪP: What was the appeal of going back to these tunes?STEWART: They make you tap your feet. Stewart, who has written his share of hits, was happy to concentrate on crooning. So bands always kept doing it,” Holland said. I think everybody thought they could write songs after that.
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