Tracks:
- Lord Grenville
- On the Border
- Sand in Your Shoes
- If It Doesn't Come Naturally, Leave It
- Flying Sorcery
- Broadway Hotel
- One Stage Before
- Year of the Cat (Peter Wood co-wrote)
Time Passages (Arista/US, RCA/UK, 1978) - This LP continued the Stewart-Parsons partnership, proven so profitable by Year of the Cat's success, and to good effect: It hit the Billboard Top 10 and produced two hit singles, the mellow, reflective title track and the undeniably catchy "Song on the Radio." As is obvious from its title, the album's theme covers time, be it time running out ("Man for All Seasons", "End of the Day"), the discovery that it's time to take action ("Almost Lucy") or reconstruct oneself (the breezy "Valentina Way"), or recalling a time gone by ("The Palace of Versailles," "Timeless Skies").
Musically, we see (hear) the return of Stewart's old-school posse (Tim Renwick, Peter Wood, Andrew Powell), appearances by notables like drummer Jeff Porcaro and steel guitarist Al Perkins, and the nucleus of what will become Shot in the Dark, Stewart's early 1980s backing band: Peter White, vocalist Krysia Kocjan (now using the surname Kristianne) and bassist Robin Lamble.
Tracks:
- Time Passages
- Valentina Way
- Life in Dark Water
- A Man for All Seasons
- Almost Lucy
- The Palace of Versailles
- Timeless Skies
- Song on the Radio
- End of the Day (Peter White co-wrote; reportedly this song inspired his aspiration to follow a solo-artist path, something he eventually did, and quite successfully).
24 PCarrots (Arista/US, RCA/UK, 1980) - The theme became "change." Busy as Alan Parsons became with his own successful Project, Al Stewart found himself with a record due and without a producer. With a new decade looming and a new album to create, a new challenge for Stewart seemed timely: He took on the mantle himself, co-producing with recording engineer Chris Desmond. A new attitude showed itself too: While the songwriter's sense of whimsy and love for wordplay have been hinted at on past releases (come on - "The Elf"?), never before has it been so up-front as on the disc's cover, which features Xed out parrots and a P in its title replaced respectively by bright orange carrots and the letter C. Obviously, something is different - and much of what's changed is the sound. Stewart is in collaboration mode - 24PC features four Stewart-White tunes and it's apparent that his new backing band (Peter White and his Shot in the Dark mates, who now include guitarist Adam Yurman and saxophonist Bryan Savage), supplemented by various session players (among them alternating drummers Jeff Porcaro, Russ Kunkel and Steve Chapman [now Stewart's manager]) contributed to the album's harder-rocking sound.
Article comments
1 - uao
No comments yet?
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."