Tracks:
- Last Days of the Century (Peter White co-wrote)
- Real and Unreal
- King of Portugal (Peter White co-wrote)
- Red Toupee (Peter White co-wrote)
- Where Are They Now (Peter White co-wrote)
- Bad Reputation (Peter White co-wrote)
- Josephine Baker (Peter White co-wrote)
- License To Steal
- Fields Of France
- Antarctica (Peter White co-wrote)
- Ghostly Horses of the Plain (Steve Recker co-wrote)
- Helen and Cassandra (only available on CD version)
Chronicles (EMI, 1991) - Much better retrospective than Best of Al Stewart - then again, this enterprise was blessed with much "creative interference" from the artist himself. This collection includes the big hits and some live tracks from the Roxy era, but also offers a wee peek into Stewart's bedsit-era output. The liner notes (by David Dasch, former editor of Stewart fan newsletter Chronicles) present information on the background of each song.
Tracks:
- Year of the Cat
- On the Border
- If It Doesn't Come Naturally, Leave It
- Time Passages
- Almost Lucy
- Song on the Radio (CD only)
- Running Man (CD only)
- Merlin's Time
- In Brooklyn
- Soho (Needless to Say) [live; CD only]
- Small Fruit Song
- Manuscript
- Roads To Moscow (live)
- Nostradamus 1/World Goes To Riyadh/Nostradamus 2 (live)
Rhymes in Rooms (Mesa/US, EMI/UK, 1992) - Preceding this lovely live set, which features the duo of Stewart and Peter White and covers a wide range of songs from Stewart's career so far. Generally, this is the setting in which you'll find Stewart the performer these days. Now signed to Mesa Records, he experiences music-business drama again and takes his own advice: If it doesn't come naturally, leave it. By changing the business model - hitting the road as a solo player or with one or two co-performers, he is able to take his songs on the road in the US and Europe and have them promoted via word-of-mouth. It's a long-term plan that eventually pays off. The power of the songs and the stripped-down beauty of Stewart and White on their guitars (Peter also shines on accordion and piano), so lovingly captured by producer Michael Fagrey on RiR, present the reasons why. Frankly, as much as I love the Live at the Roxy band performances, I prefer Rhymes in Rooms.
Tracks:
- Flying Sorcery
- Soho (Needless To Say)
- Time Passages
- Josephine Baker
- On the Border
- Nostradamus
- Fields of France
- Clifton in the Rain/A Small Fruit Song
- Broadway Hotel
- Leave It
- Year of the Cat
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.