FLAC (tracks + .cue, log, scans) | 1h 49 min | Genre: Rock, Pop | 776 MBDisk 11 Maggie May2 Reason To Believe3 Handbags & Gladrags4 Sailing5 Tonight’s The Night (Gonna Be Alright)6 The Killing Of Georgie (Part I and II)7 I Don’t Want To Talk About It8 The First Cut Is The Deepest9 You’re In My Heart (The Final Acclaim)10 I Was Only JokingDisk 21 It Takes Two (with Robbie Williams)2 Stay With Me (with Faces)3 Young Turks4 What Am I Gonna Do (I’m So In Love With You)5 Every Beat Of My Heart6 Forever Young7 Downtown Train8 Rhythm Of My Heart9 Have I Told You Lately10 Tom Traubert’s Blues (Waltzing Matilda)11 If We Fall In Love Tonight12 Stop Loving Her TodayRod Stewart first embraced his appeal to the middle of the road way back in 2002 when he recorded It Had to Be You, the first in a series of explorations of the Great American Songbook. Given those albums, it’s no great surprise to hear Stewart sing with an orchestra on You’re in My Heart: Rod Stewart with the Royal Philharmonic Orchestra. What is a surprise is that he’s hopped upon the orchestral overdub bandwagon, letting the Royal Philharmonic Orchestra glop on strings and horns over original vocal tracks for such hits as “Maggie May.” Clever guy that he is, Stewart contributes a couple of ringers — including a duet with Robbie Williams on “It Takes It Two” — but those only wind up illustrating how stilted and stiff the overdubs are. On those hybrids, Stewart doesn’t seem to be riding the waves of the music, which is a gift he’s had since the beginning. Instead, the vocal tracks are tweaked to suit the needs of the orchestra, which gives You’re in My Heart an odd stuffiness. Even on his Great American Songbook albums, Stewart hasn’t sounded stuffy, so the fault isn’t his, unless he should be blamed for consenting to this project in the first place. The reason why the record doesn’t work is the concept itself: it’s wrapping warm, empathetic recordings in a lounge robe that winds up as suffocating as a straightjacket. ~ Stephen Thomas Erlewine