Al Stewart -

Al Stewart is a Scottish singer/songwriter who emerged from the British folk boom of the mid-1960s. He debuted with the 1967 orchestral-psych album Bed Sitter Images, his first of five albums on CBS, culminating with the lavish 1972/73 works Orange and Past, Present and Future. His 1975 release Modern Times marked his first collaboration with producer Alan Parsons, who also produced the 1976–78 RCA titles Year of the Cat and Time Passages. Further albums appeared at lengthier intervals over the following three decades.

Background

Al was born Alastair Ian Stewart on Sept. 5, 1945, in Glasgow, Scotland. His father, a Royal Air Force volunteer, died in a plane crash during a training mission before Al was born. He was raised by his single mother, who moved them to Wimborne, Dorset, England, when Al was a small boy.

In 1965, Stewart secured his first weekly residency at Bunjies Coffee House in London’s Soho district, where he played a solo acoustic set. He then became master of ceremonies at the Greek St. folk club Les Cousins, where he played alongside fellow hopefuls Cat Stevens, Bert Jansch, Roy Harper, and Ralph McTell. He briefly roomed on Dellow St. with a then-unknown Paul Simon, who was scoping the UK market during a short split from Art Garfunkel.

In his earliest studio credit, Stewart did “guitar picking” on the song “Yellow Walls” from the Simon-produced eponymous album by American folkie Jackson C. Frank, recorded in London and released in 1965 on Columbia. Stewart himself debuted with the 1966 Decca single “The Elf,” backed by a cover of The Yardbirds‘ “Turn into Earth” with Jimmy Page on guitar. Soon thereafter, Stewart signed to Columbia/CBS.

Bed Sitter Images

Al Stewart released his debut album, Bed Sitter Images, on October 6, 1967, on CBS.

He pairs voice and acoustic guitar with chamber strings arranged by conductor Alexander Faris, who frames the set with harpsichord colors, brass accents, and sectional swells that guide the pacing from pastoral narration to denser, orchestral passages.

Stewart wrote all eleven songs, which outline early themes of memory, displacement, and interpersonal distance. The 1970 reissue adds a cover of Mike Heron’s “Lover Man,” while Japanese editions incorporate later single material.

Bed Sitter Images opens with the title track, where swelling orchestration frames Stewart’s expressive vocals and lyrical storytelling, setting a dramatic and theatrical tone. “Swiss Cottage Manoeuvres” pairs delicate acoustic fingerpicking with brisk, regimented horn accents, creating a precise, almost ceremonial atmosphere. Instrumental pieces like “Denise at 16” and “Ivich” highlight acoustic and electric guitar work with contrasting textures—the former fragile and introspective, the latter dense and resonant, emphasizing low-register strings and controlled tension.

Songs such as “Samuel, Oh How You’ve Changed!” and “Clifton in the Rain” feature intricate guitar lines supporting narrative-rich vocals, where pacing alternates between reflective and urgent. “Pretty Golden Hair” and “Beleeka Doodle Day” combine orchestral swells with strikingly angular motifs, building intensity gradually while weaving in unexpected instrumental colors like organ and brass. Throughout, Stewart balances detailed fingerpicking, string arrangements, and brass accents to create tracks that range from intimate acoustic portraits to fuller, dramatic compositions, maintaining tightly structured dynamics and narrative momentum.

A1. “Bed-Sitter Images” (3:18)
A2. “Swiss Cottage Manoeuvres” (4:00)
A3. “The Carmichaels” (2:53)
A4. “Scandinavian Girl” (2:35)
A5. “Pretty Golden Hair” (3:39)
A6. “Denise at 16” (3:18)

B1. “Samuel, Oh How You’ve Changed!” (4:02)
B2. “Cleave to Me” (2:53)
B3. “A Long Way Down From Stephanie” (3:27)
B4. “Ivich” (4:25)
B5. “Beleeka Doodle Day” (7:08)

Sessions occurred in September 1967 with producer Roy Guest and engineer Mike Claydon. Faris conducted the orchestral players across the album’s string and brass charts.

In 1970, CBS reissued the album as The First Album (Bed-Sitter Images) with a new cover and an altered track list.

In Japan, Epic issued The News From Spain (The First Album), a revised version with both sides of his 1970 single “The News from Spain” / “Elvaston Place”.

Love Chronicles

Al Stewart released his second album, Love Chronicles, in September 1969 on CBS.

Stewart advances the orchestral folk approach of his debut with a fuller electric presence. The material shifts between concise, high-pace narratives and extended sections where acoustic patterns widen into long-form structures.

Four members of Fairport Convention perform under aliases: guitarist Simon Nicol (as Simon Breckenridge), guitarist Richard Thompson (as Marvyn Prestwick), drummer Martin Lamble (as Martyn Francis), and bassist Ashley Hutchings. Additional players include bassist Brian Brocklehurst, drummer Harvey Burns, and organists Steve Gray and Phil Phillips. The title opus features half of Led Zeppelin: Jimmy Page and John Paul Jones.

Stewart wrote all six songs. Guitarist Peter White co-wrote one track added to later CD editions, but the core LP contains no outside writers or covers.

Love Chronicles opens with “In Brooklyn,” where brisk acoustic strumming and layered instrumentation set a vivid, bustling scene. “Old Compton Street Blues” contrasts with a darker, brooding pace, combining tense guitar lines, subtle organ swells, and percussion that underscores the narrative of hardship and fleeting intimacy. “Life and Life Only” pairs fluid fingerpicking with restrained percussion, allowing Stewart’s densely packed verses to unfold with measured urgency, while “You Should Have Listened to Al” injects a lively tempo and brief, angular guitar solo that punctuates the conversational lyrics.

The eighteen-minute title track, “Love Chronicles,” extends from contemplative passages into drawn-out, intense guitar work, featuring Jimmy Page, with rising tension and dynamic shifts framing Stewart’s detailed, confessional storytelling. Across the album, Stewart interweaves intricate acoustic work, restrained electric flourishes, and selective orchestration to support narratives that move from intimate scenes to expansive, high-intensity retrospection.

A1. “In Brooklyn” (3:36)
A2. “Old Compton Street Blues” (4:15)
A3. “The Ballad of Mary Foster” (7:50)
A4. “Life and Life Only” (5:43)

B1. “You Should Have Listened to Al” (2:56)
B2. “Love Chronicles” (17:55) — autobiographical narrative detailing sexual encounters; first mainstream recording to use the word “fucking.”

Sessions occurred across 1968 and 1969 with producers Roy Guest, John Wood, and Stewart. John Wood and Ron Pender engineered the recordings.

In January 1970, Epic Records issued Love Chronicles in the US with a new cover.

The 2007 Collectors’ Choice edition includes the bonus tracks “Jackdaw” (3:20), “She Follows Her Own Rules” (3:18, Stewart/White), and “Fantasy” (2:15).

“Jackdaw” and “Fantasy” explore lighter, more buoyant textures—flute motifs, layered backing vocals, and agile acoustic guitar lines—balancing reflective moments with spirited instrumental interplay. “Jackdaw” features backing vocals by Krysia Kristianne (Natural Acoustic Band) and Robin Lamble (Byzantium).

Zero She Flies

Al Stewart released his third album, Zero She Flies, in April 1970 on CBS.

He shifts from the extended forms of Love Chronicles to shorter, tightly framed acoustic pieces accented by select guests: guitarist Michael Woods, bassist Louis Cennamo, drummer Gerry Conway, keyboardist Tim Hinkley (piano, organ), and multi-instrumentalist Trevor Lucas. The set balances quiet, close-miked songs with brisk, narrative material, including his first historically anchored lyric.

Stewart wrote nine of the ten songs and co-wrote one with Peter Morgan. Mimi Fariña sings the traditional “Lyke-Wake Dirge” on a later CD edition, but the core LP contains no covers.

Zero She Flies opens with “My Enemies Have Sweet Voices,” where acoustic guitar interplays with harmonica and organ accents to frame a plaintive, expressive narrative. “A Small Fruit Song” compresses intricate dual guitar lines into a brief, bright burst, punctuated by succinct, whimsical vocal phrasing. “Gethsemane, Again” combines steady acoustic picking with harmonically rich organ layers, heightening tension behind sharply contoured vocal lines. Instrumentals like “Burbling” and “Room of Roots” emphasize intricate fingerpicking, dynamic shifts, and fading textures, letting the guitar carry both movement and mood. “Electric Los Angeles Sunset” contrasts with electric guitar riffs over firm bass and drum patterns, building a tense, vivid urban soundscape.

“Manuscript” extends Stewart’s historical storytelling over measured tempo changes and layered accompaniment, while “Zero She Flies” balances electric and organ textures with gothic, surrealist phrasing that rises and recedes to match the lyrical imagery. Shorter, darker pieces like “Anna” and “Black Hill” pair sparse guitar with minimal vocals to convey introspection, and bonus tracks such as “Lyke-Wake Dirge” close with piano, horn, and layered vocals, delivering a final, intense flourish.

A1. “My Enemies Have Sweet Voices” (5:12)
A2. “A Small Fruit Song” (2:01)
A3. “Gethsemane, Again” (5:27)
A4. “Burbling” (3:22)
A5. “Electric Los Angeles Sunset” (3:48)

B1. “Manuscript” (4:43)
B2. “Black Hill” (1:25)
B3. “Anna” (1:49)
B4. “Room of Roots” (3:53)
B5. “Zero She Flies” (5:21)

Across the album, Stewart alternates delicate acoustic work, measured electric passages, and occasional instrumental interludes to create an intimate yet dynamically varied listening experience.

Sessions occurred in 1969 at Sound Techniques in London with producer Roy Guest and engineer Jerry Boys.

Epic issued the album in the US with variant sequencing on later reissues.

Orange

Al Stewart released his fourth album, Orange, in January 1972 on CBS.

Orange features Stewart’s shift from inward acoustic narratives to broader story-pieces with expanded arrangements.

He fronts a small backing unit with guitarists Tim Renwick (electric, Spanish), Cal Batchelor (Spanish), Timothy Walker (Spanish), keyboardist Rick Wakeman (piano, organ), organist Bob Andrews, bassists Bruce Thomas and Brian Odgers, and drummers Graham Hunt, Roger Pope, and John Willie Wilson.

Stewart wrote seven songs and covers Bob Dylan (“I Don’t Believe You”).

Orange opens with “You Don’t Even Know Me,” where Wakeman’s piano and organ intertwine with rhythmic bass, framing Stewart’s expressive vocals over steady percussion. “Amsterdam” pairs relaxed electric guitar lines with sparse accompaniment, letting narrative lyrics dictate the pacing. “Songs Out of Clay” layers dark acoustic guitar with contoured vocal lines, shifting subtly to mirror the lyrical tension. “The News from Spain” builds around expansive piano and organ passages, rising and receding to heighten heartbreak, while “I Don’t Believe You” adapts Dylan’s phrasing into Stewart’s vocal inflections over understated instrumental support.

Guitar instrumentals like “Once an Orange, Always an Orange” emphasize string-specific phrasing and orchestral touches. “I’m Falling” juxtaposes descending organ motifs with intimate vocals to convey disorientation, and “Night of the 4th of May” integrates acoustic and electric guitars, organ swells, and intricate bass patterns to intensify emotional weight. Bonus tracks like “Elvaston Place” use subtle electric guitar and rhythmic variations to convey intimacy, while covers such as “It Doesn’t Matter Anymore” blend Stewart’s phrasing with clean, supportive instrumentation. Throughout, the album alternates expressive acoustic passages, organ-driven builds, and selective electric accents to craft a dynamically detailed and narratively rich soundscape.

A1. “You Don’t Even Know Me” (3:56)
A2. “Amsterdam” (2:53)
A3. “Songs Out of Clay” (4:14)
A4. “The News From Spain” (6:32)

B1. “I Don’t Believe You” (3:34) — originated on Bob Dylan’s 1964 album Another Side of Bob Dylan, later covered by multiple 1960s folk interpreters
B2. “Once an Orange, Always an Orange” (4:15)
B3. “I’m Falling” (4:27)
B4. “Night of the 4th of May” (6:26)

Sessions occurred in September 1971 at Trident Studios, London, with producer John Anthony and engineer David Hentschel.

Orange features cover imagery by Keith “Keef” MacMillan.

Past, Present and Future

Al Stewart released his fifth album, Past, Present and Future, in October 1973 on CBS.

Past, Present and Future marks Stewart’s full turn toward historically framed longform narratives with broadened instrumentation, performed with members of Brinsley Schwarz, Cochise, Curved Air, Jody Grind, Junco Partners, and Quiver.

He fronts a rock ensemble featuring guitarists Tim Renwick (electric), Peter Berryman (acoustic), Isaac Guillory (acoustic, classical), and B.J. Cole (steel), bassists Bruce Thomas and Brian Odgers, drummer John Wilson, and keyboardists Peter Wood (piano, accordion), Rick Wakeman (piano, keyboards), Tim Hinkley, Bob Andrews, Bob Sargeant, and Francis Monkman (Moog synthesizer).

Past, Present and Future opens with “Old Admirals,” where acoustic chords support horns, percussion, and subtle synth textures, framing Stewart’s reflective vocals. “Warren Harding” pairs bright acoustic strums with lively piano and bass, giving a buoyant momentum to the historical narrative. “Soho (Needless to Say)” juxtaposes rapid-fire vocal phrasing with punchy basslines, organ swells, and sharp guitar licks, creating a tense, kinetic energy. “The Last Day of June 1934” balances light acoustic picking with understated instrumental layering, heightening the tension in the lyrical recounting of historical events. “Post World War Two Blues” combines upbeat acoustic patterns with steel guitar accents and layered choral voices, generating a bright, expansive texture.

“Roads to Moscow” extends nearly eight minutes, layering dark acoustic guitar with ominous orchestration, choirs, and gradual dynamic builds to reflect wartime scope. “Terminal Eyes” experiments with irregular phrasing and organ accents but remains diffuse compared with the record’s stronger tracks. The album closes with “Nostradamus,” an extended acoustic exploration punctuated by subtle effects and minor tonal shifts that stretch the narrative across its duration. Across the record, Stewart alternates intimate acoustic passages, orchestrated swells, and precise instrumental accents, using vocal contouring and rhythmic variation to weave personal and historical stories into a cohesive sonic tapestry.

A1. “Old Admirals” (5:55) — reflects on generational memory through the recollections of an aging seafarer
A2. “Warren Harding” (2:39) — recounts the scandals surrounding the U.S. president
A3. “Soho (Needless to Say)” (3:51)
A4. “The Last Day of June 1934” (4:47) — centers on the Night of the Long Knives
A5. “Post World War Two Blues” (4:16) — addresses postwar malaise through first-person snapshots

B1. “Roads to Moscow” (8:00) — tracks a soldier’s path from the 1941 invasion through the fall of Berlin and his later imprisonment under Stalin
B2. “Terminal Eyes” (3:21)
B3. “Nostradamus” (9:50) — surveys the apocalyptic aura around the 16th-century seer

Sessions occurred in April 1973 at Trident Studios, London, with producer John Anthony and engineer Mike Stone.

The album’s orchestral and auxiliary section includes percussionist Frank Ricotti, reed-and-string arranger Richard Hewson, concertinist Alistair Anderson, mandolin players Haim Romano and Dave Swarbrick, steel-band players Luciano Bravo, Lennox James, and Michael Oliver, plus backing vocalists Krysia Kocjan, John Donelly, Mick Welton, and Kevin Powers.

The UK edition features photography by Mario Grattarola, who shot Stewart in a drawing room setting at the Geffrye Museum. The US Janus edition uses a Hipgnosis/George Hardie image modeled on a Doctor Strange tableau.

In the US, Past, Present and Future appeared in May 1974 on Janus.

Modern Times

Al Stewart released his sixth album, Modern Times, in January 1975 on CBS.

Modern Times continues Stewart’s narrative-based songwriting with a more band-centered sound shaped by producer Alan Parsons with players from Fairport, Jellybread, String Driven Thing, and Sutherland Brothers & Quiver. Stewart wrote seven songs and co-wrote one (“Modern Times”) with Dave Mudge.

He fronts a mid-sized rock ensemble with variable use of five guitarists: David Ellis (acoustic), Simon Nicol (acoustic), Isaac Guillory, Tim Renwick (electric), and Stuart Cowell (dobro, electric). Stewart also employs two bassists (George Ford, Peter Moss) and drummers (Gerry Conway, Barry De Souza).

Modern Times also features percussionist Tony Carr, keyboardists Pete Wingfield, accordionist Peter Wood, and harmonica player Graham Smith. Backing vocalists Brian Bennett, Neil Lancaster, and Chas Mills. Andrew Powell contributes an orchestral arrangement for the title track.

Modern Times opens with “Carol,” a taut, upbeat track built on driving piano, punchy drums, and crisp electric guitar licks that accentuate the song’s dark narrative. “Sirens of Titan” stretches the arrangement with layered acoustic textures and intricate picking, its angular turns and eccentric lyrical imagery carried effortlessly by Stewart’s articulate vocals. “What’s Going On?” leans into acoustic strumming, harmonica fills, and a fluid mid-song solo, giving the track a measured, reflective momentum. “Not the One” sustains a soft, contemplative pulse with fingerpicked acoustic guitar and understated instrumental flourishes, while “Next Time” combines dark, minimal acoustic patterns with sharp, expressive guitar lines that punctuate the sparse framework.

“Apple Cider Re-Constitution” juxtaposes buoyant piano and nimble bass with spirited vocals, weaving a playful yet precise instrumental interplay. “The Dark and the Rolling Sea” drifts with hypnotic, lilting phrasing, blending electric and acoustic textures into a brooding, evocative soundscape. The album closes with the eight-minute title track, “Modern Times,” which unfolds with layered orchestration, dynamic folk-rock instrumentation, and a melancholic, wistful narrative, sustaining tension through careful pacing and expansive harmonic shifts. The album balances intricate acoustic and electric interplay throughout, with Tim Renwick’s lead guitar consistently providing clarity and drive across its varied moods.

A1. “Carol” (4:21)
A2. “Sirens of Titan” (2:46) — adapts elements of the Kurt Vonnegut novel
A3. “What’s Going On?” (3:32)
A4. “Not the One” (4:33)
A5. “Next Time” (4:17)

B1. “Apple Cider Re-Constitution” (5:16)
B2. “The Dark and the Rolling Sea” (5:05)
B3. “Modern Times” (8:38)

The album balances intricate acoustic and electric interplay throughout, with Renwick’s lead guitar consistently providing clarity and drive across its varied moods.

Sessions occurred in October 1974 at Abbey Road Studios, London, with producer Alan Parsons and engineers Parsons and Peter James.

Modern Times features a Hipgnosis cover shot at Stone House in Rushlake Green, Sussex. The image shows Stewart seated in a Cord automobile with model Ginger Gilmour, with the car sourced from guitarist Jimmy Page.

In March 1975, Janus issued Modern Times in the US with an alternate Stone House image. CBS reissued the album in 1977 in the UK and Europe with a new Stewart portrait.

Year of the Cat

Al Stewart released his seventh album, Year of the Cat, in October 1976 on RCA Victor and Janus.

Year of the Cat refines Stewart’s narrative style with fuller arrangements shaped by producer Alan Parsons, who frames Stewart’s voice and guitar within a polished ensemble sound marked by extended instrumental passages.

Stewart fronts a mid-sized group anchored by returning guitarist Tim Renwick, acoustic soloist Peter White, keyboardist Peter Wood, bassist George Ford, drummer Stuart Elliott, harmonica player Graham Smith, and string arranger Andrew Powell, with a supporting cast of backing vocalists and auxiliary players that includes alto saxophonist Phil Kenzie.

Year of the Cat opens with “Lord Grenville,” a spacious, orchestral ballad driven by measured strings and acoustic guitar that narrates the lost colony of Roanoke with a calm, expansive pacing. “On the Border” begins with ominous piano and builds through layered instrumentation, accented by intricate Spanish guitar lines that punctuate the narrative. “Midas Shadow” moves more languidly, featuring smooth keys and relaxed guitar riffs that underscore the protagonist’s stalled ambition. “Sand in Your Shoes” opens lightly with organ and accordion touches, carrying a gentle rhythmic sway as the story unfolds. “If It Doesn’t Come Naturally, Leave It” starts restrained before accelerating into bright piano passages and syncopated guitar flourishes, giving the track a lively pulse.

“Flying Sorcery” maintains a relaxed tempo, with organ, piano, and harmonica weaving through contoured guitar lines. “Broadway Hotel” combines 3/4 waltz phrasing with dramatic violin and piano breaks, supporting a reflective, narrative-driven delivery. “One Stage Before” layers echoing vocals over a steady, contemplative rhythm, with spacey production accenting moments of tension. The title track closes the album with an intricate build of piano, violin, guitar, and saxophone, shifting between measured verses and expansive instrumental passages that swell and contract, creating a cinematic, immersive atmosphere. Overall, the album balances slow, reflective arrangements with passages of heightened intensity and instrumental detail, maintaining a consistent focus on narrative and texture.

Stewart wrote eight songs and co-wrote one (“Year of the Cat”) with Peter Wood.

A1. “Lord Grenville” (5:00)
A2. “On the Border” (3:22)
A3. “Midas Shadow” (3:08)
A4. “Sand in Your Shoes” (3:02)
A5. “If It Doesn’t Come Naturally, Leave It” (4:28)

B1. “Flying Sorcery” (4:20)
B2. “Broadway Hotel” (3:55)
B3. “One Stage Before” (4:39)
B4. “Year of the Cat” (6:40) — Stewart, Peter Wood; opens with acoustic and electric guitar layers and builds a lush, cinematic texture as Stewart’s vocals frame the narrative. He sings in the second person, following a tourist swept into a gauzy romance by a mysterious silk-clad woman, observing that his tour bus has left without him the next morning, deciding to linger in her world. Stewart developed “Year of the Cat” from his unrecorded 1966 song titled “Foot of the Stage,” inspired by comedian Tony Hancock’s stage patter. Stewart fused that song’s melody with new lyrics, prompted by a Vietnamese astrology book opened to the Year of the Cat

Sessions occurred in early 1976 at Abbey Road Studios, London, and Davlen Sound Studios, North Hollywood, with Parsons producing and engineering.

Year of the Cat features artwork by Hipgnosis with illustration by Colin Elgie, who depicts a woman preparing for a costume party amid feline-themed objects.

RCA and Janus promoted the album with “Year of the Cat” (b/w “Broadway Hotel”), which appeared first in July 1976 in the UK and reached No. 8 on the Billboard Hot 100. “On the Border” followed in 1977 and reached No. 47 in Canada.

“Year of the Cat” has since been covered by later artists, including former Ambrosia frontman David Pack.

Time Passages

Al Stewart released his eighth album, Time Passages, in September 1978 on RCA Victor.

Time Passages extends the polished studio sound of Stewart’s prior two albums with Alan Parsons, who frames Stewart’s narratives in broad, mid-tempo arrangements with extended instrumental runs.

Stewart fronts a large Los Angeles ensemble with five guitarists (including Tim Renwick and pedal steel guitarist Al Perkins), four keyboardists (including J. Peter Robinson on grand piano and Peter Wood on organ and piano), reedist Phil Kenzie (alto saxophone), two bassists, two drummers (Stuart Elliott and Jeff Porcaro), and a supporting group of backing singers, with Andrew Powell arranging strings.

Stewart wrote seven songs and co-wrote two (“Time Passages” and “End of the Day”) with guitarist–keyboardist Peter White.

Time Passages opens with its title track, layering Peter White’s piano with swelling orchestration and Phil Kenzie’s alto sax to create a rich, measured build. “Valentina Way” accelerates with bright guitar riffs and a lively, syncopated pace. “Life in Dark Water” contrasts with tinkling synths and choir textures over tense, underwater-themed rhythms, punctuated by Tim Renwick’s articulate guitar lines. “A Man for All Seasons” carries bold piano and organ chords through a steady, expansive arrangement, while “Almost Lucy” eases into a dark, gentle, folky pattern with subtle percussion and shadowy backing vocals.

“The Palace of Versailles” mixes layered keys and guitar solos into a spacious, structured framework. “Timeless Skies” features contoured acoustic arpeggios and flowing chordal shifts that evoke nostalgia. “Song on the Radio” moves with a straightforward, sax-infused pulse, and the album closes with “End of the Day”, which combines airy guitar figures and restrained percussion into a reflective, measured finale.

A1. “Time Passages” (6:39)
A2. “Valentina Way” (4:02)
A3. “Life in Dark Water” (5:46)
A4. “A Man for All Seasons” (5:45)

B1. “Almost Lucy” (3:41)
B2. “The Palace of Versailles” (5:20)
B3. “Timeless Skies” (3:31)
B4. “Song on the Radio” (6:20)
B5. “End of the Day” (3:08)

Sessions occurred in June 1978 at Davlen Studios in Los Angeles with Parsons producing and engineering.

Time Passages features artwork by Hipgnosis, who depict a radio dial blending into a desert panorama outside a kitchen window.

RCA promoted the album with “Time Passages” (b/w “Almost Lucy”), which reached No. 7 on the Billboard Hot 100 and held No. 1 on the Billboard Adult Contemporary chart for ten weeks. Arista followed in January 1979 with “Song on the Radio” (b/w “A Man for All Seasons”), which reached No. 29 on the Hot 100 and No. 10 on the Adult Contemporary chart.

24 Carrots

Al Stewart released his ninth album, 24 Carrots, on August 20, 1980, on RCA Victor.

24 Carrots shifts Stewart from the symphonic studio model of his Parsons years to a leaner, band-centered sound with his new group Shot in the Dark. The arrangements favor brisk rhythms, tight guitar lines, and bright keyboard shapes across mid- and upper-tempo settings.

Stewart fronts the core unit of guitarist–keyboardist Peter White, guitarist Adam Yurman, bassist–acoustic guitarist Robin Lamble, alto saxophonist–flutist Bryan Savage, drummer Steve Chapman, and backing vocalist Krysia Kristianne, with auxiliary parts by session drummer Jeff Porcaro, RTF drummer Lenny White–associate Russ Kunkel, percussionist Lenny Castro, mandocello player Robin Williamson, and Celtic harpist Sylvia Woods.

Stewart co-wrote four songs with White, who shapes the album’s harmonic shifts and synthesizer voicings.

24 Carrots opens with “Running Man”, which pairs a spacious piano introduction with dynamic electric guitar lines and layered instrumentation to convey tension and motion. “Midnight Rocks” eases into a relaxed, jazz-inflected pace, highlighted by subtle post-chorus motifs. “Constantinople” launches with an urgent electric riff and brisk, propulsive rhythms, while “Merlin’s Time” unfolds through delicate acoustic patterns, airy synth washes, and an uplifting choir that suggest a medieval narrative. “Mondo Sinistro” contrasts with bright, synthetic textures and playful instrumental breaks.

The double track “Murmansk Run / Ellis Island” alternates between urgent, driving passages and measured, spacious interludes, threading historical references into layered arrangements. “Rocks in the Ocean” drifts over gentle organ textures with moderate momentum. “Paint By Numbers” reintroduces electric intensity, punctuated by articulate guitar passages. “Optical Illusion” settles into a contemplative, flute-accented layout with descending piano figures, and “Candy Came Back” rides energetic rhythms with vocal harmonies. “The Ringing of Bells” centers on a saxophone-led instrumental frame, and the album concludes with “Tonton Macoute”, a sparse, demo-like track with faint rockabilly inflections.

A1. “Running Man” (5:10)
A2. “Midnight Rocks” (3:54)
A3. “Constantinople” (4:40)
A4. “Merlin’s Time” (2:42)
A5. “Mondo Sinistro” (3:04)

B1. “Murmansk Run / Ellis Island” (7:13)
B2. “Rocks in the Ocean” (5:10)
B3. “Paint by Numbers” (5:26)
B4. “Optical Illusion” (3:27)

Sessions occurred in May 1980 at Davlen Studios in Los Angeles with Stewart and Chris Desmond producing and Desmond engineering.

RCA promoted 24 Carrots with “Midnight Rocks” (b/w “Constantinople”), issued in August 1980, which reached No. 24 on the Billboard Hot 100 and No. 13 on the Adult Contemporary chart. “Mondo Sinistro” followed as the second single, accompanied by a video that intercuts band performance with restaurant-table vignettes featuring Stewart and actress Cassandra Peterson. Arista later issued “Paint by Numbers” as a third single.

“Midnight Rocks” has since been covered by later artists, including Robin Williamson, who performed the song in his live sets.

Live: Indian Summer

In October 1981, Al Stewart released the double-album Live: Indian Summer, which contains one side of new studio material and three sides of concert numbers from an April ’81 show at The Roxy Theatre in Los Angeles.

The studio tracks were recorded with Shot in the Dark at Evergreen Studios, Los Angeles, and the live material captures the band performing Stewart’s mid-to-late ‘70s repertoire. Peter White contributed keyboards, acoustic and electric guitars, accordion, and percussion, while Adam Yurman added electric and acoustic guitar. Robin Lamble played bass and violin, Krysia Kristianne handled keyboards, penny whistle, and backing vocals, and Bryan Savage supplied flute and saxophones. Drums and percussion were provided by Harry Stinson and Steve Chapman, with additional backing vocals by Flo & Eddie and string arrangements by Andrew Powell and David Campbell.

Stewart wrote the majority of the material, with co-writing credits for “Pandora,” “Running Man,” “Time Passages,” and “Merlin’s Time” going to Peter White. “Year of the Cat” was co-written with Peter Wood. The live tracks reproduce Stewart’s studio songs in extended arrangements, retaining lyrical and instrumental details from their original releases.

Studio
A1. “Here in Angola” (4:37)
A2. “Pandora” (4:33)
A3. “Indian Summer” (3:33)
A4. “Delia’s Gone” (2:47)
A5. “Princess Olivia” (3:21)

Live
B1. “Running Man” (4:43) — from 24 Carrots
B2. “Time Passages” (6:26) — Time Passages
B3. “Merlin’s Time” (2:56) — 24 Carrots
B4. “If It Doesn’t Come Naturally, Leave It” (4:27) — Year of the Cat

C1. “Roads to Moscow” (8:13) — Past, Present and Future
C2. “Nostradamus – Part One / World Goes to Riyadh / Nostradamus – Part Two” (13:01) — Past, Present and Future

D1. “Soho (Needless to Say)” (3:43) — Past, Present and Future
D2. “On the Border” (4:46) — Year of the Cat
D3. “Valentina Way” (4:17) — Time Passages
D4. “Clarence Frogman Henry” (1:43)
D5. “Year of the Cat” (7:07) — Year of the Cat

Sessions occurred June–August 1981 at Evergreen Studios, Los Angeles, for the studio side, with the live tracks recorded in April 1981 at The Roxy Theatre. Chris Desmond and Al Stewart produced the album, with live recording captured on site.

Aaron Rapoport provided photography for the album packaging.

Russians & Americans

Al Stewart released his tenth studio album, Russians & Americans, in May 1984 on RCA Victor.

Russians & Americans marks Stewart’s turn toward contemporary political subjects with an ensemble built around his returning associates from Shot in the Dark, supported by numerous Los Angeles and London session players. He fronts a pool of guitarists, keyboardists, and drummers that includes drummer Denny Carmassi and saxophonist Phil Kenzie, with Peter White as his primary accompanist on acoustic guitar, electric guitar, accordion, and keyboards.

Stewart wrote nine songs and co-wrote two (“The One That Got Away,” “Lori, Don’t Go Right Now”) with Peter White. He covers Len Barry’s 1965 hit “One, Two, Three,” altering the lyrics to a geopolitical theme.

Russians & Americans opens with “The One That Got Away”, where Phil Kenzie’s sax glides over spacious orchestration, setting a contemplative tone. “Rumours of War” drives forward with dense synthesizers and punctuated drums, giving the track a taut, martial intensity. “Accident on 3rd Street” layers rapid-fire lyrics over tightly wound instrumentation, bending the phrasing around a propulsive acoustic and electric interplay. “Strange Girl” accelerates with brisk, angular guitar lines and insistent rhythms, framing sharply contoured vocal lines. The title track, “Russians & Americans”, balances acoustic ballad textures with orchestral swells, sustaining a measured, reflective momentum.

“Cafe Society” features expressive saxophone passages, layered strings, and dynamic percussion that shift between stately and expansive sections. “One, Two, Three” integrates acoustic and electric textures with rhythmically altered phrasing, while “The Candidate” offers a brief, flamenco-inflected acoustic solo that punctuates its concise structure. “The Gypsy and the Rose” combines up-tempo acoustic patterns with rolling basslines and string accents, driving a persistent, lively pulse. Other tracks like “Night Meeting” and “Lori Don’t Go Right Now” extend the modernized synth palette, but vary in instrumental density and momentum, alternating between expansive and sparse textures throughout the album.

A1. “The One That Got Away” (4:24)
A2. “Rumours of War” (5:25)
A3. “Night Meeting” (5:03)
A4. “Accident on 3rd Street” (3:30)

B1. “Strange Girl” (3:54)
B2. “Russians & Americans” (4:30)
B3. “Cafe Society” (6:37)
B4. “One, Two, Three” (3:16) — originated as a 1965 side by Len Barry, written by John Madara, David White, and Leonard Borisoff; the song later added Holland–Dozier–Holland to its credits after litigation over similarities to the Supremes’ “Ask Any Girl”
B5. “The Candidate” (2:06)

Sessions occurred in late 1983 and early 1984 at Cherokee Studios (Hollywood), Orca Studios (Encino), Abbey Road Studios (London), and Kendun Recorders (Burbank) with producer Mike Flicker and engineers at each facility.

RCA promoted Russians & Americans with “The One That Got Away,” followed by “Night Meeting.”

Last Days of the Century

Al Stewart released his eleventh album, Last Days of the Century, on August 24, 1988, on Enigma.

Last Days of the Century continues Stewart’s integration of historical and contemporary themes, featuring long-term collaborator Peter White alongside a mixture of Los Angeles session musicians. Guitarists Tim Renwick, Steve Farris, and Steve Recker provide electric and acoustic textures, with Tim Landers on bass, Vinnie Colaiuta on drums, and multi-instrumentalist Dave Camp on flute and saxophones. Tori Amos contributes background vocals on two tracks.

Stewart wrote six songs solo and co-wrote five with Peter White, except for “Ghostly Horses of the Plain,” co-written with Steve Recker, and two 2007 bonus tracks co-written with Tori Amos.

Last Days of the Century opens with the title track, where Peter White’s acoustic guitar introduces a brisk, layered arrangement of synths, bass, and drums that propels Al Stewart’s expressive vocal delivery. “Real and Unreal” slows the pace with spacious, jazz-tinged instrumentation, framing contemplative, angular vocal lines. “King of Portugal” and “Red Toupee” layer upbeat, rhythmic synths and acoustic guitar, producing tight, dance-ready textures, while “Where Are They Now” combines Spanish guitar, precise bass, and measured percussion to create a reflective, steady momentum.

“Bad Reputation” and “License to Steal” push forward with assertive electric guitar and punchy rhythms, juxtaposing concise vocal phrasing with dynamic instrumental bursts. “Josephine Baker” blends Peter White’s guitar and subtle strings, sustaining a flowing, contoured pulse. “Fields of France” pairs restrained piano with woodwinds to evoke a soft, mournful pace, and “Antarctica” drives with urgent guitar lines and layered synths, maintaining forward momentum over historical storytelling. The instrumental “Ghostly Horses of the Plain” closes with airy, spectral textures, drifting over acoustic guitar patterns and nylon-string passages.

A1. “Last Days of the Century” (6:17)
A2. “Real and Unreal” (3:35)
A3. “King of Portugal” (4:23)
A4. “Red Toupée” (3:34)
A5. “Where Are They Now” (5:55)

B1. “Bad Reputation” (4:54)
B2. “Josephine Baker” (4:11)
B3. “License to Steal” (3:51)
B4. “Fields of France” (2:55)
B5. “Antarctica” (4:05)
B6. “Ghostly Horses of the Plain” (2:26) — instrumental; vocal version available on later re-release

Throughout the album, tracks alternate between spacious, reflective arrangements and rhythmically taut, synth-infused sections, creating an oscillating sense of intensity and restraint.

Sessions occurred March–April 1988 at Capitol Studio B (Hollywood) and Ground Control (Santa Monica) with producer Joe Chiccarelli and engineering staff at both studios.

Last Days of the Century features back-cover photography by AWest.

Discography: