Cat Stevens

Tea For The Tillerman is arguably Cat Stevens’ best known and most cherished album. Originally released in November 1970, Universal Music will be celebrating it’s 50th anniversary in style on 20th November 2020 with a multi-format release suite, including a very special 5CD/BD/1LP/12” Live E.P. Super Deluxe Edition reissue of one of music’s most classic albums.
The Super Deluxe set is features a brand new 2020 Remaster of the record, as well as a brand new 2020 Mix (overseen by Yusuf Islam producer / engineer David Hefti), with audio mixed from the original 1970 Island Records multi-track master tape. The 2020 Mix also appears on the 1LP which is 100% exclusive to this box set.

The Collected Cat Stevens is a three-disc box set that by no means eclipses the four-disc package released in 2001, bit does give it a good run for its money. Largely chronological, but oddly relegating some of Stevens' earliest hits to the end of the final disc, the box opens and closes with two of his most emotive numbers, the hit "Lady D'Arbanville," and the questioning "Father and Son," first heard in their familiar studio form, and then as live recordings. In between times, a total of 54 tracks bounces through Stevens career, from "Matthew & Son" through to "*"Midday (Avoid City After Dark)," credited to the singer's latter-day Yusuf Islam identity, and it's difficult to pick fault with any of the inclusions – even those which, like "Moonshadow," "Morning Has Broken" and, indeed, "Father and Son," are so tweely saccharin that it seems incredible anybody ever took them seriously. They did, though, and Stevens remains one of the few early-'70s singer/songwriters whose ouvre continues to attract new listeners with every passing generation. This smartly projected box will only add to their numbers.

The Collected Cat Stevens is a three-disc box set that by no means eclipses the four-disc package released in 2001, bit does give it a good run for its money. Largely chronological, but oddly relegating some of Stevens' earliest hits to the end of the final disc, the box opens and closes with two of his most emotive numbers, the hit "Lady D'Arbanville," and the questioning "Father and Son," first heard in their familiar studio form, and then as live recordings. In between times, a total of 54 tracks bounces through Stevens career, from "Matthew & Son" through to "*"Midday (Avoid City After Dark)," credited to the singer's latter-day Yusuf Islam identity, and it's difficult to pick fault with any of the inclusions – even those which, like "Moonshadow," "Morning Has Broken" and, indeed, "Father and Son," are so tweely saccharin that it seems incredible anybody ever took them seriously. They did, though, and Stevens remains one of the few early-'70s singer/songwriters whose ouvre continues to attract new listeners with every passing generation. This smartly projected box will only add to their numbers.

This concert is almost genius. I do highly recommend it. Cat Stevens was - and still is - a musician so advanced that he only needed, in order to mannifest himself, the voice and the guitar. This is one of the few concerts that was taped - and it is a stepping stone in the understanding of a phenomenon

One of the keys to the success of Hal Ashby's quixotic black comedy masterpiece, Harold and Maude, was the music of Cat Stevens. As with so many things with Stevens, the story of his contributions has a twist. Concerned at the time about the soundtrack sounding like a greatest hits collection, Stevens refused to let Director Hal Ashby and Paramount Pictures release it as an album.

Matthew & Son and New Masters – both released in 1967 – feature some classic songs including ‘I Love My Dog’, ‘Matthew & Son’, and ‘The First Cut Is The Deepest’.

Yusuf Islam (born Steven Demetre Georgiou, 21 July 1948), best known by his former stage name Cat Stevens, is a British musician of Greek Cypriot and Swedish ancestry. He is a singer-songwriter, multi-instrumentalist, educator, philanthropist and prominent convert to Islam.

The last time Cat tried something different without Alun Davies the results were lackluster (Foreigner), but not so Izitso. The songs feature the same inventive, rhythmic melodies that Cat excels at, this time rendered on keyboards and synthesizers rather than guitar. The album feels more contemporary as a result, at times reminiscent of Steve Winwood (“Crazy”) and Gentle Giant (“Killin’ Time,” “Life”).