Tea for the Tillerman [Deluxe Edition] [Digipak]

Performer: Cat Stevens
Engineer: Nick Gomm; Paddy Kingsland; Nick Gomm; Paddy Kingsland
Producer: Paul Samwell-Smith; Bernie Andrews; Bernie Andrews
Distributor: Universal Distribution

Notes: Personnel: Cat Stevens (vocals, guitar); Alun Davies (guitar); John Rostein (violin); John Ryan (bass); Harvey Burns (drums). This is a limited edition digipak. Personnel: Cat Stevens (vocals, guitar, keyboards); Alun Davies (guitar); John Rostein (violin); John Ryan (bass); Harvey Burns (drums). Producer: Paul Samwell-Smith. Reissue producer: Bill Levenson. Digitally remastered by Bill Levenson (December 1999, Sterling Sound, New York, New York). Personnel: Cat Stevens (vocals, guitar, piano, keyboards); Alun Davies, Yusuf, John Themis, Yusuf Islam (vocals, guitar); John Gibbons , Wayne Hernandez, John Gibbons (vocals); Mark Warner (guitar); Larry Steele (electric guitar, percussion); John Rostein (violin); Peter Bradley Adams, Jean Roussel, Peter Adams (keyboards); Trevor Barry, John Ryan , Bruce Lynch (bass guitar); Gerry Conway (drums, percussion); Perry Melius, Perry Melius, Harvey Burns (drums); Chico Batera, Crispin Robinson, Crispin Robinson (percussion); Anna Peacock, Anna Peacock, Suzanne Lynch (background vocals). Audio Remasterer: Ted Jensen. Liner Note Authors: Alun Davies; Paul Samwell-Smith. Recording information: Island Studios, Basing Street (1969-2006); Japan (1969-2006); KCET-TV (1969-2006); Los Angeles, CA (1969-2006); Morgan recording Studios, Willesden (1969-2006); The BBC (1969-2006); The Playhouse Theatre (1969-2006); The Troubadour (1969-2006). Author: Yusuf Islam. Illustrator: Yusuf Islam. Photographers: Chris Walter; Peter Sanders; Barrie Wentzell. Arranger: Del Newman. Mona Bone Jakon only began Cat Stevens' comeback. Seven months later, he returned with Tea for the Tillerman, an album in the same chamber-group style, employing the same musicians and producer, but with a far more confident tone. Mona Bone Jakon had been full of references to death, but Tea for the Tillerman was not about dying; it was about living in the modern world while rejecting it in favor of spiritual fulfillment. It began with a statement of purpose, "Where Do the Children Play?," in which Stevens questioned the value of technology and progress. "Wild World" found the singer being dumped by a girl, but making the novel suggestion that she should stay with him because she was incapable of handling things without him. "Sad Lisa" might have been about the same girl after she tried and failed to make her way; now, she seemed depressed to the point of psychosis. The rest of the album veered between two themes: the conflict between the young and the old, and religion as an answer to life's questions. Tea for the Tillerman was the story of a young man's search for spiritual meaning in a soulless class society he found abhorrent. He hadn't yet reached his destination, but he was confident he was going in the right direction, traveling at his own, unhurried pace. The album's rejection of contemporary life and its yearning for something more struck a chord with listeners in an era in which traditional verities had been shaken. It didn't hurt, of course, that Stevens had lost none of his ability to craft a catchy pop melody; the album may have been full of angst, but it wasn't hard to sing along to. As a result, Tea for the Tillerman became a big seller and, for the second time in four years, its creator became a pop star. ~ William Ruhlmann TEA FOR THE TILLERMAN is one of Cat Stevens's finest albums, and a gem in the crown of early 1970s singer/songwriterdom. Stevens manages to have his cake and eat it too, simultaneously achieving pop accessibility and artistic relevance. While inviting rhythms (buoyed by Stevens's dynamic acoustic strumming) and pop hooks abound, the feel is decidedly gentle and spare. Apart from the occasional string section, Stevens is accompanied only by a three-piece band as he sings his introspective lyrics with appreciable fervor. While there are some relatively conventional love songs here ("Hard Headed Woman," "Wild World"), the most memorable moments come when Stevens's lyrics venture further afield. "Father and Son" is a poignant but realistic and unsentimental portrait of the generation gap, capable of reducing any given dad or junior to tears. "On the Road to Find Out" and "But I Might Die Tonight" reflect Stevens's existential dilemmas, and the resulting spiritual quest that would later lead him to embrace the Islamic faith. The graceful beauty of arrangements, performances, and songs makes TEA FOR THE TILLERMAN a folk-rock classic. Mona Bone Jakon only began Cat Stevens' comeback. Seven months later, he returned with Tea for the Tillerman, an album in the same chamber-group style, employing the same musicians and producer, but with a far more confident tone. Mona Bone Jakon had been full of references to death, but Tea for the Tillerman was not about dying; it was about living in the modern world while rejecting it in favor of spiritual fulfillment. It began with a statement of purpose, "Where Do the Children Play?," in which Stevens questioned the value of technology and progress. "Wild World" found the singer being dumped by a girl, but making the novel suggestion that she should stay with him because she was incapable of handling things without him. "Sad Lisa" might have been about the same girl after she tried and failed to make her way; now, she seemed depressed to the point of psychosis. The rest of the album veered between two themes: the conflict between the young and the old, and religion as an answer to life's questions. Tea for the Tillerman was the story of a young man's search for spiritual meaning in a soulless class society he found abhorrent. He hadn't yet reached his destination, but he was confident he was going in the right direction, traveling at his own, unhurried pace. The album's rejection of contemporary life and its yearning for something more struck a chord with listeners in an era in which traditional verities had been shaken. It didn't hurt, of course, that Stevens had lost none of his ability to craft a catchy pop melody; the album may have been full of angst, but it wasn't hard to sing along to. As a result, Tea for the Tillerman became a big seller and, for the second time in four years, its creator became a pop star. [In 2008, Tea for the Tillerman appeared in a beautifully remastered edition containing a bonus disc with 11 tracks; and a booklet with brief essays by Yusuf Islam (Stevens' current name), producer Paul Samwell-Smith and guitarist Alun Davies, and complete lyrics and photos. The bonus material was written and recorded for the album. The disc opens with the original demo for "Wild World" with Stevens accompanying himself on acoustic guitar, perhaps the first recorded version of the track. This is followed by two selections -- "Longer Boats" and "Into White" -- taken from a solo concert at the Troubadour in Los Angeles. There's also a great 1969 piano demo of "Miles from Nowhere" that approaches the final album arrangement. The first time Stevens' wonderful studio/backing band appears is on "Hard Headed Woman," from a 1976 tour of Japan. The great Alun Davies, Stevens' right-hand mate on acoustic guitar is here, showing his dusky brilliance. The recording is solid but it's not perfect;, but it contains the drama and intimacy Stevens was capable of injecting his songs with in a live setting. Davies and Stevens' rapport on a stage is even more remarkable than it is in the studio, as a pair of performances from the Majikat Earth Tour in 1976 reveal. "Where Do the Children Play" is one of disc two's real highlights. The real rarities come near the end of the disc, though, with Stevens performing at Yusuf's Caf� in 2006 accompanied by Davies and a small band. Both songs "Father and Son" and "Wild World" have aged exceedingly well. Making this well worth the money for the update.] ~ William Ruhlmann & Thom Jurek

Rolling Stone (2/18/71, p.50) - "...Cat's melodies and lyrics are disarmingly, deceptively simple. He seems to fasten without effort onto tunes with a life of their own..." Rolling Stone (2/18/71, p.50) - "...Cat's melodies and lyrics are disarmingly, deceptively, simple. He seems to fasten without effort onto tunes with a life of their own..." CMJ (7/24/00, p.24) - "...Classic folk-pop....gorgeously remastered...breathing new life into tunes...while remaining faithful to the albums' original majesty..." Goldmine - Sound 5 Stars - Classic, Indispensable Q (Magazine) (p.124) - 4 stars out of 5 -- "TEA FOR THE TILLERMAN was his second album of 1970 and it turned him into an international star..."

Cat Stevens's debut single found its way to the U.K. charts while he was still in his teens. He became an international star with 1970's TEA FOR THE TILLERMAN, which showed an evolution in his style. With his distinctive voice, memorable melodies, and sensitive, socially conscious lyrics, Stevens typified the singer-songwriter aesthetic of the early '70s. His records from that period were incredibly successful, familiar to anyone growing up at the time. Over the years, his music grew a little less accessible, and by the end of the '70s he had converted to Islam, changed his name to Yusuf Islam, and retired from pop music. A 2006 comeback album, recorded under his new name, was a lovely return to form.

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