Al Stewart
Biography
Glasgow-born Al Stewart has been an amazingly prolific and successful musician across 40 years and counting (as of 2009), working in a dizzying array of stylistic modes and musical genres -- in other words, he's had a real career, and has done it without concerning himself too much about trends and the public taste. He's been influenced by several notables, to be sure, including his fellow Scot (and slightly younger contemporary) Donovan, as well as Ralph McTell, Bob Dylan, and John Lennon -- but apart from a passing resemblance to Donovan vocally, he doesn't sound quite like anyone else, and has achieved his greatest success across four decades with songs that are uniquely his and impossible to mistake. Stewart was born in Glasgow, Scotland, in 1945, and was swept up a decade later in the skiffle boom that took young Britons by storm -- he decided to take up guitar after hearing Lonnie Donegan's music. By the early '60s, his family was living in Bournemouth, and he joined a local band, the Trappers, in 1963, and was already writing songs by that time. He was an admirer of the Beatles as their fame swept out of Liverpool and across the country, and even managed once to get backstage to meet John Lennon and play a few notes for him, at one of their Bournemouth performances.
He studied guitar with Robert Fripp, no less, and later played keyboards in a band called Dave La Caz & the G Men, who managed to open for the Rolling Stones at the outset of the latter's career in 1963. A true milestone for Stewart took place when Dave La Caz & the G Men recorded one of his songs, "When She Smiled," in early 1964.
It was around this time that Stewart discovered the music of Bob Dylan, who was in the midst of his "protest" song phase -- what he referred to as his finger-pointing songs. The mix of topicality, folk melodies, and the growing prominence of rock instrumentation that he heard in Dylan's music inspired Stewart, who was now prepared to devote as much energy to composition as he had to performing. He went so far as to cut a demo single of Dylan's "The Times They Are A-Changin'" backed with one of his originals, entitled "The Sky Will Fall Down." Though nothing came of it directly, the demo and the song, and the tenor of the times, inspired Stewart to head to London in search of success. He failed to interest anyone in recording him or his topical song "Child of the Bomb" -- the "Ban the [H] Bomb" movement in England being a hugely popular and urgent cause at the time -- and retreated to performing for a time, as part of the burgeoning London folk scene, which was already home to such figures as Davy Graham, Martin Carthy, and Isla Cameron. He fell in with some of the younger figures on the scene, playing shows with Bert Jansch, Ralph McTell, and Sandy Denny, and also shared living quarters for a time with a visiting American named Paul Simon, from New York, who had already recorded an album, as well as numerous singles with a partner, and was immersing himself in the English folk scene.
His friendship with Simon led to Stewart's first gig as a session musician on record, playing guitar on the song "Yellow Walls" from Jackson C. Frank's album Blues Run the Game, which Simon produced. By this time, Stewart had also appeared on the BBC, and was playing better gigs and starting to be noticed. Finally, in 1966, he was signed to Decca Records to cut a single featuring an original of his, "The Elf," on the A-side (the B-side, oddly enough, was his rendition of the recent Yardbirds LP cut "Turn into Earth" -- even more curiously, in terms of coincidence, future Yardbirds guitarist Jimmy Page was one of the players on those sessions). Stewart's single was not a success, though the composition has the distinction of being one of the earlier -- if not the earliest -- pop songs inspired by J.R.R. Tolkien's Lord of the Rings. Stewart was undaunted, and he remained part of the thriving London music scene, and his efforts paid off in 1967 when CBS Records, the U.K. division of Columbia Records in America (which couldn't use the "Columbia" name in England, as it was the property of a division of EMI) signed him to record his debut album, Bedsitter Images. The latter was a superb showcase for Stewart's songwriting, but not for the sound he visualized for his music -- heavily orchestrated and, in his eyes, grotesquely over-produced, he felt his voice and even his songs were lost amid the densely layered accompaniments. But the record generated a massive amount of publicity for him, and put Al Stewart on the pop music map as a contender, and someone worth watching and hearing.
By then, he was known to the music journals, and at his performances he could show off his songs his way (and one of his shows in 1968 featured accompaniment by no less than his former teacher Robert Fripp and several others who would figure large in a group called King Crimson a year or so later). In 1969 came a second album, Love Chronicles, whose epic title track broke ground among respectable recordings for its use of language (a colloquial term for intercourse) as well as running-time barriers, and included Fairport Convention among the backing musicians. Stewart's writing had already showing a remarkable degree of growth from what were hardly modest beginnings, at least in terms of ambition -- his songs were increasingly coming across as something akin to "sung" paintings, mixing topicality, a command of detail and imagery, and distinctive use of language. But with Zero She Flies he took a major step forward with the song "Manuscript," which was his first to draw extensively from history, and also to incorporate sea images. These were elements that would all manifest themselves ever more strongly in his work across the decades to come. Following the release of Orange in 1972, he would turn away from the deeply personal songs and devote an increasing part of his music to sources out of history, plunging into such subject matter in the first person, as almost a musical precursor to Quantum Leap.
Stewart made the leap in October of 1973 with the release of Past, Present and Future, an LP's worth of songs that would explore past lives (and the future by way of the past, on "Nostradamus"). The latter song and "Roads to Moscow" also gave him his first major exposure in America, where FM and college radio stations quickly picked up on both songs. Suddenly, from being all but unknown on the far side of the Atlantic, Stewart had a serious cult following on American college campuses, especially in the Northeast (where New York's WNEW-FM radio gave all of Past, Present and Future, and especially the two songs in question, lots of airplay). He followed this up in the fall of 1974 with Modern Times, produced by Alan Parsons, which was thick with contemporary, historical, and literary references.
It would be a full year before his next album showed up, but when it did, that record completely altered the landscape under Stewart's feet, and far beyond as well. Year of the Cat (1975) turned Al Stewart from an artist with a wide cult following at America's colleges into a fixture on AM radio, the title song rising into the Top Ten in the U.S. and, ultimately, around most of the world. In the United States, in an effort to capitalize on his sudden fame -- as not only "Year of the Cat" but "On the Border" also charted high -- a double album of tracks from his four prior British LPs was issued. And in the fall of 1978, Time Passages, his newest album, was released to great success, including a Top Ten single for the title track. A year of touring to huge audiences around the world followed, all of it very strange when one considers how far removed from the dominant late-'70s sounds of punk, disco, and new wave Stewart's music was. In the summer of 1980 came his next album, 24 Carrots, but neither it nor any of the singles pulled from it were ever able to repeat the success of those three prior LPs or their accompanying 45s. Indian Summer (1981), a mixed live and studio album, also failed to perform up to expectations.
Stewart, who had been a mainstay of Arista Records in America for the last three years of the 1970s, was dropped by that label soon after Indian Summer's release. He didn't disappear, however, either on record or in concert, and continued to tour and record. The much more overtly political album Russians & Americans (1984) and the lighter Last Days of the Century (1988) kept his name out there, and he also recorded another concert album, the all-acoustic Rhymes in Rooms (1992). And in an increasingly rare sort of gesture, in 1993 he released Famous Last Words, and album dedicated to the late Peter Wood, who had co-written "Year of the Cat." He also continued to explore history in song with Between the Wars (1995), which dealt with events between 1918 and 1939. Stewart's 21st century recordings include A Beach Full of Shells (2005) and Sparks of Ancient Light (2008). When he isn't recording or touring, he keeps busy with his hobby of collecting fine, rare wines. His post-1980 work is less easy to find than compilations of his hits from the mid- to late '70s, which are downright ubiquitous, and in 2007 his British CBS albums were released on CD in America through Collectors' Choice. Stewart was also given the comprehensive box set treatment by EMI in 2005 with the five-CD set Just Yesterday. ~ Bruce Eder, All Music Guide
Selected Discography

Sparks Of Ancient Light
2008

Orange
2007

Greatest Hits
2004

The Best of Al Stewart: Songs From The Radio
1986

Time Passages
1978

Year Of The Cat
1976
The photo was sooo long ago...hard to believe we were that young.... It has been a long road. Al is a great musician, writer and too his hobby is Russian history so yes, he would have made a great historian. Always stay cool, Al ...you are the greatest.
Trav |
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Al Stewart should make a remake of every song so I can hear him sing each song and that would be perfect. :)
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Al Stewart is the History Professor of Rock. If he had no musical talent he would be an historian.
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I realize it's hard to classify Stewart, but I'd hardly compare him to James Taylor or America. And Steely Dan is a stretch, especially when you consider Stewart's later work.
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wowthe review told me alot i didn't know about this dude. quit a history. interesting talent
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Al Stewart song, Time Passages is really great isn't it? It reminds me of Reelin' in the Years by Steely Dan. These songs just seem to fit more and more with the passage ot the time. Such a sweet beautiful sadness. Wish I didn't know now what I didn't know then.
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I saw Al in 1984ish in a concert in the round..never had I had a discussion at a concert about military history (Roads to Moscow) great artist, ghttp://www. p a n d o r a . c o m / m u s i c / a r t i s t / a l + s t e w a r t # r e a t show.
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Ack! Where's Last Days of the Century!?? Okay, I will clearly admit that I'm not the follower like the rest of your posters here, but I do enjoy his music. I first learned of him around 1986 or 1987 buying LDOTC. I loved the album, LDOTC is good, Red Toupee is fun, Joesphine Baker is good, Antarctica and Ghostly Horses of the Plain are solid. However, the best song on there is Where are They Now. Oh my does that song hit me... Anyway, cheers for Al!
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Such a sweet man. I saw him perform at my college, Western Washington in Bellingham. The only concert I attended the two years I attended there.
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Year of The Cat is still one of the very best songs ever written. I'm just now getting into Al's music. J. Defalco - get me an autgraph...
Al - thank you for your music....esp e c i a l l y that masterpiece, Year Of The Cat. |
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I have connections. . . M y father-in-la w , good friends w/ Al, just had dinner with him in Aug. 2008 after a concert in California and is finally helping my dream come true...Meeti n g the One & Only AL STEWART. No one can compare to his style and remarkable ability to put a smile on my heart. Keep up the GREAT work Al.
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Al's the Man!! This review above doesn't do his career justice. Much of his best work has been done in the past 10 years. He has a new CD being released in September 2008.
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Did you guys know that Peter White was Al Stewart's partner in the 70s? They wrote many hits together and if you listen to those songs now you can hear Peter's excellent guitar work... That was 30 years ago!!! Hard to imagine that. Start a station named Peter White and give him a try. Also search for both of their names together on youtube and check out some of their concerts.
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I had totally forgot about Al.
His mid-seventie s LPs were highpoints of music when they came out. His soft, breezy, semi-acousti c sound is not only appealing but also creates an ambiance which few other styles can. Give the man a loud applause and standing ovation! |
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I agree completely with woodsyboredo m . Al's creativity has never "dried up." Some of his best music has come from album's released in the last 20 years. The aforemention e d "Between the Wars," and "A Beach Full of Shells" to name two. His latest, "Sparks of Ancient Light" will be released in September 2008 and I've heard wonderful things about it. Al Stewart is one of the most under appreciated artists of his generation.
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I wouldn't say that his creativity dreid up more that the contractural stuff made him less inclined to make records. he has released a number of good albums in the 2000s and he tours and is an engaging and fun performer. The album "Between the Wars" with Lawrence Juber of Wings has some VERY good songs on it indeed.
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Al Stewart still gives a great concert, and you should list his recent album "A Beach Full of Shells". Great song: "Immelman Turn"
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