And much of that crudeness stems from Mick Waller's drumming. The crudeness he achieves on record is as much studied as it is technical. And to insure that success, he's kept his solo album band intact. From the beginning of his solo career, Stewart has striven to achieve an atmosphere of barely controlled chaos within his music. Musically, the album is also a continuance. Thematically, Never a Dull Moment continues nearly all the ideas first set forth in "Gasoline Alley." The major songs are by and large continuances or enlargements of a theme or fragment whose origins come in part from "Gasoline Alley," and are more fully treated on Every Picture Tells a Story. Stewart plays songs from his shuffling youth in front of ever-larger audiences. And more than anyone else with the pretensions, he fits the role of troubadour-the single, often lonely man, who writes and performs songs of his travels. Stewart is doubtless the best lyricist writing popular music. Since then he has rearranged his priorities in recording, and his albums, an equal measure of originals and exhumed classics like "Cut Across Shorty," have settled into that fairly predictable blend. But it is with Gasoline Alley's title song and his reworking of Elton John's "Country Comforts" that Stewart became seriously concerned with a partially autobiographical view of himself as vagabond. The idea of Stewart as the eternally travelling vagabond can be traced as far back as "Man of Constant Sorrow," from his first solo album. Rod Stewart's Never a Dull Moment continues and solidifies the tradition of the picaresque in rock music that he established with Every Picture Tells a Story.
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