Here we continue with the second installment of my foray through the discography of folk-rock legend Al Stewart. Part One covers 1966 through 1982, the years that took the Scotland-born Brit from London's folk-club scene to global rock-star status and from post-adolescent confessionals to historically based observations of the human condition. We pick up the musical journey after the release of Indian Summer/Live, the last LP from his so-called superstar years.
The success of Year of the Cat, Time Passages and 24 CParrots gave Al Stewart a brand-new lifestyle. He was living in Los Angeles now and was treated like a huge star, a major deal. Which he was: He'd sold millions of records and had headlined major sold-out concerts (as documented in Indian Summer and Live at the Roxy '81). In the 1970s he had even found a new hobby that continues to be a passion for him: wine collecting. Life was good. But then came the lawyers.
Russians and Americans (Passport/US, RCA/UK, 1984) - By the mid-1980s, the mainstream pop-music world had pretty much had its fill of singer-songwriters. The record buying public had moved past trends that started in the 1970s - we had survived punk, had seen new wave turn old and had packed away spandex. And we had our MTV - consequently, many music consumers put music's superficial aspects over artistic ones. The music business, on the other hand, was becoming more corporate. True, money had always been the thing for the money men behind the star maker machinery. In previous decades, though, some sort of love for music existed in the hearts of most of those in the field. This was becoming less and less the case. The record labels saw a public in search of fluff - and they were (and still are) all too happy to give (and tell) the public what it thinks it wants.
In this climate, Stewart released R&A, an album that takes on contemporary life while continuing to look at yesterday through modern eyes. The album, produced by Michael Flicker (though European editions add that Peter White and Rolf Henneman offered production assistance), shows the artist still collaborating with White and the Shot in the Dark crew and with many of the old crew (Andrew Powell, Steve Chapman, Phil Kenzie). A newcomer was backing singer Marcy Levy, who toured with Bob Seger, co-wrote Eric Clapton's 1977 hit "Lay Down Sally" and, under the name Marcella Detroit, was due to become part of Shakespear's Sister in the late 1980s.
Article comments
1 - Michael J. West
R&A is not at the top of the list of greatest Al Stewart recordings
The Hell it's not! It's at the VERY top of my list.
Incidentally, "The Gypsy and the Rose" is also UK only. I have the original US pressing or R&A and it ends with "The Candidate."
It's awfully hard to get past the synthesizers in LoDC. The songs really are as good as you say but the synths do date the album horribly.
2 - NR Davis
I'm with you on the LDOTC synths, Mr. West. Oh, yes. And thank for the head's up on "Gypsy and the Rose" - I thought I'd included that it was UK only, but I'll repair that. As for R&A, I'm glad it's your favorite. It isn't mine, and of course the piece is labeled Opinion, but that doesn't mean I don't love it. That would be categorically false.
3 - Michael J. West
Of course you're right, Ms. Davis, that the piece is labeled Opinion. But acknowledging that at the outset would have made it much harder to argue passionately and heatedly, which is the fun part of arguing isn't it?
While I'm here again, I might as well add that in so many ways it seems like Between the Wars was the album that Al had been wanting to make forever--most of his historical interest is in that period and the guitar parts for him and Juber both are an excellent showcase. In your encounters with him, Ms. Davis, did you ever ask him if he had a particular favorite among his releases?
4 - Jet in Columbus
As sad as it is to say this, I think two factors drove me away from Al.
Being a HUGE fan of Alan Parsons, when he wandered off to work on his other projects, Al's sound did indeed change, and it hurt, because I consider the Year of the cat, and Time Passages to be two of my all time favorite albums.
Another thing that kept me out of touch was that as Disco and Rap/hip-hop started taking over in that era, he got less airplay.
I thoroughly enjoyed both parts of this article, and you have my sincere compliments.
Jet
5 - NR Davis
Mr. West: Couldn't say. I don't find arguing or debate at all enjoyable.
You make a great observation about BTW, which many consider one of his masterpieces. Most of the time I've spent with Al has involved subjects other than him, but I do know that his favorite changes fairly regularly (and often it is whatever was released most recently). He has told me that "Optical Illusion" is one of his favorite compositions.
Mr. Jet: That is perfectly understandable, but do recall that Al was making music before his association with Parsons. Each man has his own muse to follow: Parsons followed his, before, during and after Al [the Project started in 1976]; it only makes sense that Al would do the same. Do not feel badly about it, though; your reasoning made sense and worked for you, which is what counts.
I thank you very much indeed for your kind words and hope you'll try some of his non-Parsons stuff with an open mind. I believe you'll find it a worthwhile experience - and trust me, Alan Parsons will be perfectly OK with you listening to his stuff and enjoying other stuff as well. :)
6 - Rob Macdonald
Natalie, I've just read Pt1 and Pt2 after attending Al's astonishing live performance at The Dome in Brighton (as it was November and he was in Brighton, he re-learnt the words to to 'Not the One' which as always been a favourite of mine). Thank you so much for this. I was considering extending the commentary on Al's albums on Wikipedia, but your words are so much better than any I would write, perhaps you might rise to the task?
7 - Jack Schwab
I interviewed Al regarding his association with Tori Amos. It was done for the Caldwells' "Really Deep Thoughts" Tori 'zine. They had the right to do with it whatever they wanted. I admit to over-reacting and acting immaturely at the time of publishing. That being said, Al himself was disappointed with the end result, as both him and Steve Chapman had approved my version. If any of you reading this are curious after all this time, it can be arranged to send you a hard copy. It's too long to transcribe again and save to a USB to send as an attachment.