When Al Stewart stormed the airwaves with “Year of the Cat,” a vast majority of radio listeners deemed him an overnight sensation. But in reality, the singer, songwriter and multi-instrumentalist spent a whole decade cutting records and logging hours on the tour circuit before achieving stardom.
Born in Scotland, Stewart was just a wee lad when he relocated to England, where his musical career was launched. His first effort, a quirky little ditty, “The Elf” was backed by a cover of the doomy Yardbirds’ “Turn Into Earth.” Appearing in 1966, the single featured the handiwork of Yardbirds guitarist and future Led Zeppelin fretmaster Jimmy Page.
Although Al Stewart’s previous albums were lauded by critics, they were perhaps a bit too unconventional for the average vinyl consumer. Traditional British folk, frequented by progressive rock aspirations, set to picturesque prose involving historical figures and events, tended to be his specialty.
While Stewart’s seventh studio album, Year of the Cat (Janus Records) held tight to the template, such elements were amplified into a sparkling pop-rock sheen under the guidance of acclaimed producer and musician Alan Parsons.
Blessed with a warm and friendly lilt in the style of George Harrison and Donovan, Stewart translates the material on Year of the Cat in top-notch storyteller mode. Exploding with character and color, the compelling compositions come to life as Al Stewart wraps his melodious vocals around the words and music
Early 1977 saw the title track of the album – which speaks of a love affair in Casablanca – crack the Top 10. Ignited by a roll of elegant piano flourishes, “Year of the Cat” gradually escalates into a stirring symphony, complemented by blazing saxophone and guitar solos.
An ode to English Naval Commander Lord Richard Grenville, “Lord Grenville” clocks in as a mid-paced piano-based piece, shimmering with sweeping rhythms, and the spunky shuffle of “On the Border” is stamped with catchy Spanish guitar licks.
Generated by the booming burr of a Hammond organ, “Sand In Your Shoes” chimes brightly with ’60s flavored folk-rock sensibilities, and then there’s the mesmerizing “One Stage Before” that slings a shot of psychedelic phasing into the brew for added affects.
British World War II pilot Amy Johnson – who mysteriously vanished at sea – is the subject of “Flying Sorcery,” which glides with beauty and grace, and offers a bout of bluesy harmonica fills, where “If It Doesn’t Come Naturally, Leave It” springs forth to a frisky beat and infectious hooks, and “Broadway Hotel” is buttered with a chorus of weeping violins.
A striking synthesis of folk, classical, pop and rock music, Year of the Cat deftly demonstrates Stewart’s ability for crafting, singing and playing literate songs with poise and sincerity. There’s a lot of mobility and flexibility going on here, yet the album is expertly orchestrated and flows at an informal tempo.
Following the phenomenal success of Year of the Cat, Al Stewart racked up a few more hit singles like “Time Passages,” “On the Radio” and “Midnight Rocks,” and continues to create fine music to this day. But there is no question Year of the Cat remains his strongest outing and is as vital now as it was then.
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