It's a gigantic pyramid, working up to fame with 'Year of the Cat,' then coming back to where I came in. It's not a bad life. You can cast the odd, wistful glance in the direction of Elton John, but then of course you have to put up with being Elton John.
Not long ago, Al Stewart was asked about his long, storied music career, which peaked (in terms of US pop-chart acclaim) in the mid-1970s - the above is his witty reply. For Stewart's fans and devotees, his has not been a bad life at all: The artist's deep, rich, peak-heavy discography - the 40th anniversary of his first recorded solo release comes Aug. 12 - features scads of inspired music, thoughtful lyrics and ideas and a wealth of stories from the mind of an imaginative man with a perennial eye on the past, present and future.
For those in need of an introduction to the folk-rock troubadour's huge catalog, those interested in learning what he has done beyond his big hits - those who could use a reminder of the man's singular voice and prolific ideas - here we will explore all of Stewart's official releases in brief. The hope is that you will give his music a spin and expose yourself to a highly literate, intelligent artist whose carefully crafted works can amuse, enlighten, enthrall and provoke.
"The Elf" b/w "Turn into Earth" (Decca, 1966) - After an unpleasant stint in public school, young Alastair Stewart turned to scribbling poetry and expressing himself via the guitar. (Robert Fripp was an early teacher.) As a teen, the Scottish native began playing in dancehall bands in his hometown of Bournemouth, England. His dreams of making music took him to London in 1965. There, in the big city, rock and folk-rock music ruled the scene. These were the days of Lonnie Donegan's skiffle and Pentangle Bert Jansch's folk songs, the Beatles and the British invasion and swinging London. Stewart landed gigs as compere (host) at the cool Soho folk clubs Bunjies and Les Cousins; he began performing his own songs before long. In 1966, he landed a deal with Decca Records that gave the world "The Elf," a twee ditty that uses magical creatures to reflect the life of a Bournemouth songwriter. The single (which featured a pre-Zep Jimmy Page on guitar) didn't sell well - just under 500 copies, according to legend. The B-side is, according to Stewart, an unmemorable tune written by the Yardbirds' Paul Samwell-Smith. "The Elf" is available on To Whom It May Concern, a retrospective of early Stewart recordings.
Article comments
1 - uao
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While I'm not a major fan of Al Stewart's, I've always found him pleasant.
However, I'm quite a big fan of the Love Chronicles album, shamefully out of print and nearly impossible to find on CD. Page is inspired; working out some of the textures he'd eventually explore on Led Zeppelin III. And the pseudonym-ed Fairport Convention are great on it, too.
"Time Passages" was one of my first 'favorite' songs, when it was new in 1978.
Great work, nice depth on a neglected artist.
2 - riverman60640
Hi Natalie thank for the wonderful writing about Al Stewart. I have been a b-i-g fan since "Year" enjoying his and Peter White's releases ever since.
3 - NR Davis
Thank you.
4 - Michael J. West
I'm going to commit blasphemy among Al Stewart fans, but somehow having been acquainted with his work since being in utero makes me feel sufficiently educated to make the following assertion:
Love Chronicles is the blandest, most uninspired record of Stewart's career. Especially in context: the beautiful and luxuriant Bedsitter Images right before it, the raw and vaguely bluesy Zero She Flies right after it. It's a blemish on his wonderful career and I make sure to program LC out when I listen to To Whom It May Concern.
You, however, Ms. Davis, have done a great job here. I loved reading this and picked up a lot of stuff I didn't know. Thanks!
5 - NR Davis
Thanks, Mr. West. Opinions can vary as to the relative value of each album, so your assessment of LC is as valid as anyone's.
BI, for instance: Al ultimtely decided that its production was overblown and had the album remixed. I happen to quite enjoy the original chamber-backed version. Oh well.
At one point, Al took a dim view of all of his first four albums, though he has since reconsidered, IMO, wisely. There is some incredible stuff on those albums, including LC (I happen to prefer ZSF too).
Perceptions are individual and can change over time. Favorite LPs change all the time, and that's OK: This week, it's PPF for me, but last week it was Between the Wars and next week it may be something else. That's cool. And it's just as OK for a fan to say that something in the catalog isn't quite his or her cup of chai.
Since in utero? My kids had the same experience.
6 - Michael J. West
I have always had an affinity for Russians and Americans, myself. But lately it's been Modern Times--especially the title track. The lyric is so bittersweet, but the instrumental ending just flows over you like a summer evening breeze.
In utero indeed, Ms. Davis, and good on ya for giving your kids the same. When I was a toddler, my mom kept Time Passages and Modern Times (the US cover, with the mansion and the greenish dusk sky) in heavy rotation. So I would tell people my favorite records were "the Blue Al Stewart and the Green Al Stewart."