Never a Dull Moment is the fourth solo album by rock musician Rod Stewart. It was released in the summer of 1972; that year it became a UK number-one album for two weeks and reached number two on the US Album chart. The track "You Wear It Well", co-written by Stewart and classical guitarist Martin Quittenton, was a smash hit (another UK No. 1; in US No. 13), as well as "Twisting the Night Away", a song originally recorded and written by Sam Cooke. Like many of Stewart's albums from the era, Never a Dull Moment features significant musical contributions from the members of his band Faces. Other guest musicians included Ray Jackson of the band Lindisfarne on mandolin, Spike Heatley on upright bass, Gordon Huntley on steel guitar, Dick Powell on violin and Pete Sears on piano and bass.
Kay Kingsley, a sophisticated and successful songwriter in New York City. falls in love with a widowed rancher, Chris Heyward, she meets at the Madison Square Garden Rodeo and they get married, and leave for his ranch in the west. Her friends warn her of an early disillusionment with life on a ranch, far away from the glitter and bright lights of Broadway. Kay makes one difficulty adjustment after another, as the ranch is presided over by Chris's kids, and an incident occurs with a neighbor that prompts Kay to return to her glamorous life in New York. But she soon finds her heart is with Chris and his children.
Never a Dull Moment is a 1972 album by rock musician Rod Stewart. It became a UK number-one album (for two weeks) and reached number two on the US Album chart the same year. The track, "You Wear It Well", co-written by Stewart and classical guitarist Martin Quittenton, was a smash hit (another UK No. 1; in USA No. 13), as well as "Twistin' the Night Away", a song originally recorded by Sam Cooke.
Essentially a harder-rocking reprise of Every Picture Tells a Story, Never a Dull Moment never quite reaches the heights of its predecessor, but it's a wonderful, multi-faceted record in its own right. Opening with the touching, autobiographical rocker "True Blue," which finds Rod Stewart trying to come to grips with his newfound stardom but concluding that he'd "rather be back home," the record is the last of Stewart's series of epic fusions of hard rock and folk…
Improving upon its predecessor in virtually every way, Plains Of The Purple Buffalo uses more of what made their debut so fantastic, creating a very solid release. *Shels opts for rather vast song compositions upon this album, creating an almost dreamlike air and sprawling instrumental sections. Despite this, strong instrumentation, such as commanding guitars and pulsing drum beats, keep the release grounded enough so that it does not feel too far off for a listener to easily grasp. Brass sections are tastefully placed, usually in the more ambient, or quiet, portions of each song. This usage of brass instruments is extremely refreshing, providing a rather unique feel to quite a few songs. Consisting of a large variety of instrumental arrangement, Plains Of The Purple Buffalo does not allow a single moment to feel incomplete.