Cabe’s Collection – Al Stewart’s ‘Year of the Cat’

Cabe Eaton is an Austin-based music fanatic and author of the new book, ‘How Did This Sh*t Become a Number 1 Hit?: From WTF to #1 – 50 Bizarre Hits That Took Over the Charts and the Reasons Why.’ You can purchase his book from online booksellers, such as Strand Books. Cabe is digging into his extensive collection of recordings for 360°Sound and taking a fresh, track-by-track look at some classics.

Guitarist/singer/songwriter Al Stewart’s masterpiece Year of the Cat was released 50 years ago, in 1976. Persistence paid off for the Scotland-born, England-raised & educated Stewart. He paid his dues, as early folk/rock releases in the UK failed to gain traction. Things didn’t get much better on 1973’s Past, Present and Future, Stewart’s tepid debut in America. He finally broke through, as 1975’s Modern Times, produced by Alan Parsons, would introduce Stewart to the Billboard 200 album chart.

Stewart proceeded to hit his artistic stride with Year of the Cat. Bringing back Parsons to produce the project, and once again recording at Abbey Road studios in London, were no-brainers for Stewart and his new label, RCA. Parsons had established himself as an engineer on some high-profile LPs, including the Beatles’ Abbey Road and Pink Floyd’s Dark Side of the Moon. And his involvement on Stewart’s Modern Times added a commercial touch missing from the artist’s previous albums.

Cat went on to earn Stewart a Top 5 LP on the Billboard 200, and would ultimately be certified platinum, for sales of over a million in the US. The title track, with its distinctive piano riff, would take up residence in the brains of many an AM listener.

The album features keyboardist Peter Wood and bassist George Ford, who also played on Modern Times. Stuart Elliott, who would later work with the Alan Parsons Project, was brought in on drums. Peter White played acoustic guitar, while Tim Renwick handled electric guitars. String arrangements are by Andrew Powell, who would also provide strings for the Alan Parsons Project. Stewart’s girlfriend at the time, who was into Vietnamese astrology, provided the album’s title. And the legendary Hipgnosis created the album sleeve.

Year of the Cat turned out to be Al Stewart’s finest statement on record. Let’s savor it, track by track.

“Lord Grenville”

The lead track, “Lord Grenville,” is based on an historical event from the 16th century. It involves British Navy Vice Admiral Richard Grenville, who commanded a fleet of ships down to the Azores in 1591. After clashing with the Spanish while en route, Grenville’s ship was overtaken. The admiral himself would succumb to wounds sustained during the battle. The song features the metaphorical lyric, “Go and tell Lord Grenville that the tide is on the turn,” as well as hypnotizing guitar riffs by Renwick, and a swaying string arrangement by Powell.

“On the Border”

Peter White hops on Spanish guitar for “On the Border,” a fast-paced groover. Stewart’s lyrics, such as “smuggling guns and arms across the Spanish border,” and the declaration, “from Africa the winds they talk of changes coming,” – suggest more trouble afoot in the Iberian Peninsula. Ford’s thumping bass patterns and Elliott’s heavy hi-hat beat, make this track the closest thing to the disco music popular at the time. But the polyester-clad crowd wasn’t convinced; “On the Border” would just miss the US Top 40 when it was released as a single in April 1977.

“Midas Shadow”

In “Midas Shadow,” the conquistador in question is a modern day go-getter who gathers his fortunes “while the Spanish maids pick up the sheets” (again with the Spanish references). But the party soon sours as Stewart warns, “I know that when your well runs dry / You’ll want to know the reason / The empty night will bring you no reply / As it follows wherever you go” The smooth and sensual arrangement of the track is guided by Peter Wood’s electric piano.

“Sand In Your Shoes”

If “Sand In Your Shoes” sounds an awful lot like a Bob Dylan song, it’s because Stewart intended it to be. Not only does the singer take cues from Dylan’s mid-’60s repertoire (especially 1966’s Blonde on Blonde), he even attempts to pull off Dylan’s legendary vocal idiosyncrasies (“I know that innn your city skinnn”). Peculiarly, Stewart was convinced “Sand In Your Shoes” was an appropriate first single release. His instincts were spot on (sort of) as the tune would attain significant chart success… in South Africa.

“If It Doesn’t Come Naturally, Leave It”

Stewart sets his sights on Bruce Springsteen for the word-apalooza track, “If It Doesn’t Come Naturally, Leave It.” By 1976, The Boss was up to his third LP, Born to Run, yet Stewart was likely inspired by the dumps-and-mumps wordplay of Springsteen’s 1973 tune “Blinded By The Light” for his own rhymes and shenanigans. ‘Go Kart Mozart’ Wood tops it all off with an E Street-like piano accompaniment, while Renwick revs up his guitar ‘like a deuce.’

“Flying Sorcery”

“Flying Sorcery,” despite its mystical title, unexpectedly features Graham Smith’s honky-tonk harmonica blowing. White and Renwick churn out some rootsy acoustic and electric guitar work on this number, which Stewart penned about a couple growing apart, like two planes headed in different directions. The final “Are you there?” chorus is quite amusing as the artist quips, “Oh, I never thought you’d take me unawares / Just call me if you ever need repairs.”

“Broadway Hotel”

Stewart would later refer to “Broadway Hotel” as the “token waltz” of Year of the Cat. And it’s indeed one of the more interesting selections, as it involves a woman who checks into a hotel after realizing “Love was a rollaway / Just an unfold away,” only to end up bunking in with the room-service waiter who suggests, “Love was a steal away / Just a reveal away.” The droning melody sticks with you, like the aftertaste of a Swisher Sweet, but Bobby Bruce’s gypsy violin makes it all worthwhile.

“One Stage Before”

There’s something deeper than reincarnation on “One Stage Before.” Stewart ponders past performers who had played on the same stage as he, and expresses a sense of déjà vu: “But where or when we met like this last time I just don’t know / It’s like a chord that rings and never dies / For infinity.” The acoustic guitars chug right along while the echo effect placed onto Stewart’s voice – combined with some synthesizer noodling – adds even more mystique to an already trippy tune.

“Year of the Cat”

While Stewart and his band were on tour with Linda Ronstadt in 1975, Peter Wood would frequently play a piano riff based on three chords. Stewart liked it and wrote lyrics for the riff. He came up with “Foot of the Stage,” in homage to late English comic Tony Hancock. Stewart’s US label, Janus Records, would put the kibosh on the title and lyrics. Janus would also nix “Horse of the Year,” Stewart’s rewrite as a dig on Princess Anne (King Chuck’s sis). The third time was the charm. “Year of the Cat” was inspired by the 1942 film Casablanca. Stewart name checks Bogey and Peter Lorre in the lyrics, while it’s safe to assume the lady whose “eyes shine like the moon in the sea” is Ingrid Bergman.

Powell incorporates the haunting piano riff into his orchestration, reinforcing the mesmerizing feel. The gritty alto sax solo is performed by Phil Kenzie, who would later contribute the sax part to Stewart’s 1978 top 10 single, “Time Passages.” Released as a single in the fall of 1976, “Year of the Cat” would peaking at #8 in the US, Stewart’s highest-charting single to date. To this day, the song is a soft-rock radio staple.