Catch Bull At Four [Remaster]

Performer: Cat Stevens
Artist: Linda Lewis
Distributor: Universal Distribution

Notes: Personnel: Cat Stevens (vocals, acoustic guitar, Spanish guitar, electric mandolin, pennywhistle, piano, electric piano, organ, synthesizer, drums, percussion); Alun Davies (acoustic guitar, Spanish guitar); Andreas Toumazis (bouzouki); Del Newman (strings); Jean Roussel (piano, organ); Alan James (bass instrument); Gerry Conway (drums); Linda Lewis, C.S. Choir (background vocals). Catch Bull at Four began with a statement of purpose, "Sitting," in which Cat Stevens tried to talk himself into believing that he hadn't stalled, beginning to worry that he might be falling behind schedule or even going in circles. It may be that Stevens' recent experiences had contributed to his sense that he was running out of time. Though he was never a directly confessional writer, one got the sense that his disaffection with the life of a pop star was reasserting itself. And while he was touring unhappily around the world, the world was still going to hell in a handbasket. Yet Stevens was still motivated by his urge to help mankind mend its ways. Love provided some comfort, but for the most part, the singer who had seemed so excited on his last album now sounded apprehensive. Stevens set his reflections to a mixture of musical styles that included traces of old English folk songs, madrigals, and Greek folk music along with more typical rock stylings, all performed with the stop-and-start rhythms that added drama to his performances. Nevertheless, Catch Bull at Four was a more difficult listen than its three predecessors. Coming off the momentum of Teaser and the Firecat, it roared up the charts to number one, but stayed in the Top Ten fewer weeks than its predecessor. Fans who had been stirred by Stevens' rhythmic tunes and charmed by his thoughtful lyrics were starting to lose interest in his quasi-religious yearnings, busy arrangements, and self-absorbed, melodramatic singing. His career still had a ways to go, but as of Catch Bull at Four, he had passed his peak. ~ William Ruhlmann Cat Stevens began to taper off the winning streak he'd scored with TEA FOR THE TILLERMAN and TEASER AND THE FIRECAT on this 1972 release. CATCH BULL AT FOUR still fared well commercially, yet it lacked the focus and immediate appeal of its predecessors. Still, the album showed Stevens's remarkable talent for writing insightful, moving lyrics and memorable, infectious melodies. Aside from the exuberantly joyous "I Can't Keep It In," the mood of CATCH BULL AT FOUR is a bit darker and edgier. In "Sitting," for example, the singer is dogged by thoughts of stagnation and mortality while a chiming, minstrel-esque keyboard riff plays in the background. The somber mood is heightened by some hushed acoustic guitar-driven numbers ("Boy with a Moon and Star on His Head") and some stark piano ballads ("Sweet Scarlet"). The fact that Stevens was experimenting more with styles, arrangements, and dynamics here may have given some fans pause, yet his trademark charm is still in evidence, as is the dependable strength of his songwriting.

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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