Take Five: Early Al Stewart Classics

Al Stewart came to worldwide fame with the release of 1976’s Year of the Cat. That lush album skillfully combined the Scottish singer-songwriter’s vivid, cinematic storytelling lyrics and superbly catchy and melodramatic arrangements. But the title track and “On the Border” were hit singles. Stewart followed that album with Time Passages, another hit record featuring two more hits: its title track and “Song on the Radio.” Stewart continues to record and tour to this day, make compelling music that showcases his many gifts.

But Stewart was no newcomer to the music scene in ‘76. Year of the Cat was in fact his seventh album. And while the records made before his blockbuster breakthrough sold but a fraction of the later releases, they’re filled with great lyricism and creative instrumentation. In celebration of Stewart’s 80th birthday (September 5), here are five essential tracks from Al Stewart’s earlier days.

“The Elf” single (1966)
Stewart’s debut single was this jaunty folk number, with a singalong character that highlighted his Scottish roots. “The Elf” didn’t chart, but it’s a lovely exemplar of folk-rock, British Isles style. Stewart is joined on acoustic guitar by session musician Jimmy Page. Its flip side, “Turn Into Earth” was first recorded by the Yardbirds, Page’s group.

“You Should Have Listened to Al” from Love Chronicles (1969)
The dramatic underpinning of Al Stewart’s lyrics is a central quality of his music. The humor within his music is not often commented upon, but there are flashes of it if one looks (listens) closely enough. Stewart’s second LP Love Chronicles is a more straight-ahead affair than his debut album, and it’s notorious for one of the first uses of the f-word in a recorded pop song (the album’s lengthy title track). Contrasting that serious tune, “You Should Have Listened to Al” takes a more lighthearted approach to affairs of the heart. When Stewart found widespread success in 1976, a compilation called The Early Years brought together some of his pre-fame recordings. This track is a highlight of that collection as well.

“I Don’t Believe You” from Orange (1972)
A consummate and prolific songwriter, Al Stewart has rarely seen the need to cover songs written by other artists. But he’s on record as being a major Bob Dylan fan, and for his fourth album, 1972’s Orange, he turned in a tasty folk-rock reading of Dylan’s “I Don’t Believe You (She Acts Like We Never Have Met).” Orange is also notable for it session players: future Yes keyboardist Rick Wakeman and future Elvis Costello and the Attractions bassist Bruce Thomas.

“Terminal Eyes” from Past, Present and Future (1973)
After mining themes of love for much of his material, Stewart executed a sharp pivot with 1973’s Past, Present and Future. A concept album rooted in history, the album applied Stewart’s masterful storytelling skills in service of top-notch songs. Side Two of the album featured two epic-length tracks, “Roads to Moscow” and “Nostradamus.” In between those was the relatively compact “Terminal Eyes,” a musical suicide note with an arrangement inspired by the Beatles’ “I Am the Walrus.”

“Carol” from Modern Times (1975)
Once he moved toward wide-screen lyrical themes, Stewart largely left behind love songs. But for Modern Times – sixth studio LP and final release before the blockbuster Year of the Cat, he did pen the breezy and propulsive “Carol,” a tune inspired by a New York City groupie (“everybody’s and nobody’s lover”). The tune effectively combines Stewart’s folky musical foundation with vivid lyricism and supremely catchy guitar licks.