Cat Stevens had suffered from tuberculosis in 1968 and after considerable recuperation, he returned in early 1970 with this highly impressive album. Always a sensitive lyricist, the slightly pop styled songs he had released a few years previously had developed into some seriously reflective, spiritual and wise material. This was going to be his most productive and fecund period as a recording artist.
Then there is Father To Son. The original - so wise and sensitive. What a song. Maybe Cat Stevens’ finest song ever. It is uplifting, inspiring, heartbreaking and beautiful. Tea For The Tillerman ends this beguiling and interesting album with a minute’s worth of semi-song that breaks into a bit of gospel and then ends. You are left wanting more from that one, but not from the album as a whole. It is a good one, and so very 1970-71.
Cat Stevens released a series of phenomenally good albums in the early seventies. This is possibly the best of them. Back then he had the image of a wandering minstrel-troubadour and delivered wise, soothsayer-style lyrics in that reassuring voice of his.
Morning Has Broken is maybe my favourite, inspirational hymn of all time. Against a beautiful piano (played by Rick Wakeman of Yes), Stevens delivers in a lovely, gentle, sincere voice that makes it clear just what a beautiful song this was-is. Simply heart-warming, but sad too, in many ways. Just when you are feeling a bit sad and emotional, one of those punchy numbers is back with the rocking Bitterblue. I have to say at this point that the remastered sound is superb on this latest edition.
Moonshadow is one of those almost nursery-rhyme songs that Cat did so damn well. It is just totally entrancing. For me, Cat Stevens’ recordings from the early seventies bring so much joy, so much innocence, yet so knowing and wise at the same time. Peace Train continues in that wise vein - it is upbeat, vigorous and uplifting, full of gospelly handclaps and a vocal full of passionate conviction. Cat tells it as it is. Fantastic stuff. It is probably my favourite album of his.
After four folky, sensitive, acoustically-driven, wordily titled albums in Mona Bone Jakon, Tea For The Tillerman, Teaser And The Firecat and Catch Bull At Four, Cat Stevens decided to change direction somewhat. Possibly inspired by contemporaries in the prog rock genre, he went experimental, releasing an album containing only five tracks. The original "side one" was one continuous "suite" lasting eighteen minutes. All very ambitious. The problem with ambition is that it can over-reach, and to a certain extent that was what happened here. The concept didn't really work and, tellingly, the next album, Buddah And The Chocolate Box saw a return to the previous blueprint.
The "second" passage at about five minutes in, the "freedom calling" passage, would have made a fine Elton John-ish track. Each singing bit is linked by some impressive instrumental breaks. Stevens' voice, when it arrives, is strong and committed, the lyrics concerning his feelings about being considered something of a "foreigner" due to his Greek heritage, or so it sounds to me anyway. Stevens himself says it is about feeling a foreigner in attempting to play material influenced by black music. I'm not convinced by that, to be honest. While it has soulful aspects, it is certainly no exploration into black music.
The "there are no words" passage is evocative and Stevens' vocal is moving. This would have made a good track too. It is uplifting and inspiring, in a gospelly way at times. As I said earlier, there are several winning parts to this suite. The final piano part is infectious too. The whole suite is listenable, its eighteen minutes do not drag, due to its many changes of pace. Fair play to Stevens for attempting this.
The Hurt is a staccato rock tune with lots of female backing vocals and a strong vocal. How Many Times is a yearning ballad, with a solid bass, piano and drum backing. It is another emotive song. Later is probably the most "black music"-influenced number, with some funky wah-wah guitar and a pounding funk drum rhythm. It is a distinct change in style from anything Stevens had recorded previously. 100 I Dream has a catchy, almost country rock feel to it, the one throwback to his previous material. It is instantly recognisable as Cat Stevens and is a fetching track. It also has a few subtle soulful-funky touches as well.
This album is currently available very cheaply, particularly to download. It is well worth it.
After the experimental five track only album in Foreigner that perplexed critics and fans alike, Cat Stevens returned with an album that was far closer to his previous ones. It proved to be one of his most successful and fondly-remembered offerings.
This is slightly less of a folky album than its predecessors, though, carrying more of a rock thump to it in places. The old Stevens subtlety and unassuming beauty is omnipresent, however. The opener, Music, is a vibrant, drum, guitar and piano driven number. Very “rock”. Even Oh Very Young, the melodic hit single, has a catchy, mellow rockiness to it when it kicks in. The tune is just so typical Cat, though. So mellifluous. The piano is sumptuous. The song is simply beautiful. Sun/C79 has an intoxicating rhythm and pulsating attack from Stevens vocally and with his firmly strummed trusty acoustic guitar. Ghost Town is almost bluesy in places, with a harmonica backing and resounding drum sound.
Jesus is a short rumination upon the character of Christ and Buddha that unfortunately ends before it has truly got going. Many of the songs on the album were full of religious imagery, however. Ready is another short but catchy number. King Of Trees is longer - a lovely piano-led melody, full of cadence and harmonious backing vocals, a full minute or so before Stevens arrives. It seems allegorial about the environment. These songs are so sincere, so intense, so serious, but so appealing too. That familiar medieval-style keyboard is used on A Bad Penny to great effect, as it always is. Cat’s vocal is excellent on this one, as is the backing. Home In The Sky starts with some a capella vocals before a churchy piano and organ lead us into an infectious slow and beautiful closer. Beautiful is a word I have used a lot. “Music is a lady that I still love” sings Cat. Yes, and she is beautiful.
|Al Stewart||Clifford T Ward||Bread|