The year 1975 marked several changes in Rod Stewart’s life that would ultimately shape the next years of his stellar career. Having just signed a new deal with Warner Bros., Rod became one of many British rockers who finally had enough of paying outlandish taxes at home and headed for greener pastures stateside, where he settled in L.A. It was also the year that the Faces were no more, as Ronnie Wood had by then already toured with and was now a full-time Rolling Stone. Rod, of course, was happy because since his debut LP (An Old Raincoat Won’t Ever Let You Down) was released, his solo career had gone from strength to strength and was not his primary source of income anyway.
For a lot of folks, it was the release of Stewart’s sixth solo album that was the beginning of the end of Rod’s credibility and reputation as one of the great singer-songwriters of his generation. I actually think these thoughts to be premature at the time because he would go on to release at least one more great album (A Night On The Town) and throughout the ‘80s he did manage to write and record some fairly solid material. So despite the horrid glam-influenced cover, Atlantic Crossing remains a solid rock album that contains some fine rock songs and as always, some beautiful ballads.
Produced by Tom Dowd and featuring the likes of The Memphis Horns and members of Booker T & The MG’s, this album still sounds crisp and funky in all the right places, and Stewart’s vocals are simply brilliant throughout the record. All these songs are superbly crafted, and Rod made an inspired choice by having a “fast side” for the rockers and a “slow side” for the ballads, which I love. He obviously loved it, too, and repeated the pattern on his next two albums. 
The fast side is first as the record kicks off with a Stewart original, the fiery “Three Time Loser,” which sets the tone for the party atmosphere of side one. “Alright For An Hour” is another of Rod’s songs and it sounds a lot like the reggae-rock tracks that permeated Ronnie Wood’s brilliant LP of the previous year, Now Look. One of my favorite songs that Rod has ever written “All In The Name Of Rock ’n’ Roll” adds some punch to the first half of the album and also sports a great infectious riff. Next up is a wonderful cover of the soul classic “Drift Away” that Rod clearly loved singing and boy, does it show; he really was in the zone back then.
“Stone Cold Sober” (penned by Stewart and Steve Cropper) closes out the fast side of the record with style and remains one of Rod’s most fun album tracks; Cropper also lays down some great slide-guitar licks for good measure. As great as the first half is, though, it was the slow second half that gave Rod some more massive hit singles and helped this record sell millions all over the world.
Starting with the sublime “I Don’t Want To Talk About It” was a good choice because as good as it is, what follows is equally inspiring. “It’s Not The Spotlight” is one of Stewart’s forgotten gems that still happens to be one of his finest ballads ever. The song was written by Gerry Goffin and Barry Goldberg and it perfectly articulates Rod’s life at the time as he was immensely famous and thus became a darling of the tabloids. A wonderful cover of The Isley Brother’s “This Old Heart Of Mine (Is Weak For You)” is far superior to the later version that Stewart scored a hit with in the late ‘80s as a duet with Ronald Isley.
Stewart’s own “Still Love You” is a sweet moment that gives way to the ultimate swan-song “Sailing.” Often maligned but never defeated, it has remained a staple of Stewart’s encores ever since its release, and although I’ve probably heard it a little too often over the years, it closes out this album superbly well.
Atlantic Crossing became a mammoth hit album for Stewart and in doing so became his second release to top both the US and UK charts, firmly cementing his place as a global superstar.