Cat Stevens -

Cat Stevens (born July 21, 1948) is an English singer/songwriter who was primarily active as a recording artist between 1966 and 1978. Scoring a deal with Decca just shy of age 18, he burst onto Swinging London with the chipper “I Love My Dog” in late 1966. The following year saw back-to-back albums of mostly exuberant, harpsichord/string-laden folk pop.

After a brush with death, a mellowed and bearded Stevens emerged with 1969’s “Where Are You” single, which previewed the serious, adult-oriented stance of 1970’s Mona Bone Jakon and Tea for the Tillerman albums. Hitting transatlantic paydirt with the latter’s angular, acoustic “Wild World,” he enjoyed his most successful run with the 1971/72 albums Teaser and the Firecat and Catch Bull at Four and the singles “Morning Has Broken,” “Moonshadow,” “Peace Train,” and “Sitting.”

In 1975, another near-death experience sparked a period of further self-reevaluation. As his musical career faltered, Stevens converted to Islam and retired to a life of orthodoxy.

In 1989, the rechristened Yusaf Islam drew fire when he purportedly backed the Ayatollah Komeini’s fatwa against Salman Rushdie, author of The Satanic Verses, a book construed as critical of the Islamic faith. In 2000, Yusuf denied these accusations on an episode of VH-1’s Behind the Music.

Twenty-eight years after retiring the name Cat Stevens, Yusuf returned to music in 2006 and has since recorded four albums in his orthodox iteration.

Early Life

Cat Stevens was born Steven Demetre Georgiou on July 21, 1948, in London’s Marylebone district. He was the youngest of three children born to a Greek father and Swedish mother. The family lived above a restaurant that they owned and operated on Shaftesbury Avenue.

Georgiou taught himself piano as a child and took up guitar at age 15. After enrolling for a year at the Hammersmith School of Art to study cartooning, he decided to pursue music. His early influences included The Beatles, The Kinks, Biff Rose, Leo Kottke, Paul Simon, Lead Belly, and Muddy Waters. Knowing that his name would be difficult for people to pronounce, he adopted the stagename Cat Stevens, in part because his then-girlfriend said he had cat eyes.

In 1966, Stevens was discovered by (ex-Springfields) musician/producer Mike Hurst, who helped the 18-year-old secure a deal with Decca. Steven’s debut single, “I Love My Dog” (b/w “Portobello Road”), appeared that September on Decca-subsidiary Deram.

Matthew and Son

Cat Stevens released his debut album, Matthew and Son, on March 10, 1967, on Deram.

Stevens frames his early catalogue around brisk, orchestrated pop with tight verse–chorus shapes and bright ensemble passages. Mike Hurst arranges the material with brass, strings, and stacked percussion that underline Stevens’s compact vocal lines and clipped guitar patterns.

Stevens wrote ten of the album’s twelve songs. He co-wrote “Portobello Road” with lyricist Kim Fowley and adapted “I Love My Dog,” which he later credited jointly to Yusef Lateef. The Tremeloes had already charted with his “Here Comes My Baby,” and he reclaims that song here.

The set alternates between rapid, punctuation-heavy numbers with snare-forward drive and midtempo pieces shaped by contoured vocal turns over chamber textures. “Matthew and Son” uses staggered brass stabs and sudden ascents to match its depiction of workday pressure. “I Love My Dog” leans on a steady, lightly pulsed rhythm section with a low-register string line. “Here Comes My Baby” moves at a brisk pace with clipped guitar figures and quick vocal pivots.

A1. “Matthew and Son” (2:46)
A2. “I Love My Dog” (2:23) — Stevens later credited the composition jointly to Yusef Lateef.
A3. “Here Comes My Baby” (2:58) — first issued as a 1967 hit by the Tremeloes, whose version reached No. 4 UK.
A4. “Bring Another Bottle Baby” (2:44)
A5. “Portobello Road” (2:29)
A6. “I’ve Found a Love” (2:32)
A7. “I See a Road” (2:11)

B1. “Baby Get Your Head Screwed On” (2:22)
B2. “Granny” (3:12)
B3. “When I Speak to the Flowers” (2:25)
B4. “The Tramp” (2:11)
B5. “Come on and Dance” (2:10)
B6. “Hummingbird” (2:36)
B7. “Lady” (3:04)

Sessions occurred between July 1966 and February 1967 at Decca Studios in West Hampstead with producer Mike Hurst and engineer Vic Smith. Nicky Hopkins plays keyboards on “Matthew and Son,” and future Led Zeppelin bassist John Paul Jones appears on select tracks arranged by Hurst with Alan Tew.

Deram preceded the album with “I Love My Dog” (b/w “Portobello Road”) in September 1966, which reached No. 28 UK. They followed with “Matthew and Son” (b/w “Granny”) in December 1966, which hit No. 2 and prompted Stevens’s appearances on Ready Steady Go! and Top of the Pops.

In the US, Deram issued Matthew and Son as a six-song album that drops four songs — “Portobello Road,” “Granny,” “The Tramp,” and “Come on and Dance” — and adds both sides of his subsequent single.

“I’m Gonna Get Me a Gun”

Cat Stevens released the standalone single “I’m Gonna Get Me a Gun” on March 24, 1967, a fortnight after the UK release of his debut album Matthew and Son.

Stevens fronts a studio ensemble that includes pianist Alan Tew, who also arranged the orchestral accompaniment. The track balances brisk, clipped rhythms with layered strings and piano, driving the tension of the song’s narrative.

“I’m Gonna Get Me a Gun” frames a protagonist plotting to obtain a firearm out of frustration with his work and social standing, while “School Is Out” continues in the same brisk, contoured style.

A. “I’m Gonna Get Me a Gun” (2:11)
B. “School Is Out” (2:55)

Sessions occurred on 23 January 1967 at Decca Studios in London with producer Mike Hurst and studio engineers.

“I’m Gonna Get Me a Gun” reached No. 6 on the UK Singles Chart and No. 4 in New Zealand.

“A Bad Night”

On July 28, 1967, Cat Stevens released his fourth single: “A Bad Night,” a standalone track backed with “The Laughing Apple,” an eventual album deep cut.

“A Bad Night” blends three separate compositional ideas with abrupt tempo shifts, orchestral layers, and experimental effects including flanging and backmasked cymbals. Stevens’ vocals open the piece, accompanied by acoustic guitar before the onset of orchestra. Lyrically, the song depicts a breakup and captures the protagonist’s sense of misfortune.

A. “A Bad Night” (3:07) — written by Cat Stevens; lyrics describe a troubled evening following a relationship ending.
B. “The Laughing Apple” (2:39) — written by Cat Stevens; later included on his second album New Masters.

The session occurred on July 3 at Olympic Studios in London with producer Mike Hurst and arranger Arthur Greenslade, who conducted a 35-piece orchestra members alongside keyboardist Nicky Hopkins. The production juxtaposes acoustic intimacy with sudden orchestral bursts, giving the track a dynamic, shifting texture.

Stevens performed the song on multiple BBC programs, including Top of the Pops, Monday Monday, and Saturday Club. It reached No. 15 in New Zealand, No. 20 on the UK Record Retailer chart in the UK, and peaked in the Top 10 in Malaysia and Rhodesia.

“A Bad Night” remained a non-album track until its inclusion on the 1970 Decca compilation The World of Cat Stevens.

New Masters

Cat Stevens released his second album, New Masters, in December 1967 on Deram.

New Masters pairs Stevens’ contoured vocal lines with large, layered arrangements that alternate between chamber-lean textures and weightier orchestral surges. He fronts a studio ensemble drawn from London session regulars, including bassist Herbie Flowers, bassist–arranger John Paul Jones, guitarist Big Jim Sullivan, keyboardist Nicky Hopkins, drummer Chris Hunt, and a large, uncredited contingent of string and woodwind players.

Stevens wrote all twelve songs. The only track previously associated with another artist is “The First Cut Is the Deepest,” first recorded earlier that year by UK-based American soul-pop singer P. P. Arnold.

Several pieces move with clipped, brisk pacing under tightly stacked strings (“Kitty,” “Smash Your Heart”), while others favor softer contours and slower, brushed rhythms (“I’m So Sleepy,” “Blackness of the Night”). “Northern Wind” shifts from sparse piano phrases to a wide, slow-cresting rise patterned on orchestral builds, and “The Laughing Apple” moves in sharp turns between hushed verses and bright, brassy swells. “Moonstone” drifts on a mid-tempo pulse with flickering details that mirror its tale of a magical artifact.

Canvass One
A1. “Kitty” (2:23)
A2. “I’m So Sleepy” (2:24)
A3. “Northern Wind” (2:51)
A4. “The Laughing Apple” (2:39)
A5. “Smash Your Heart” (3:02)
A6. “Moonstone” (2:18)

Canvass Two
B1. “The First Cut Is the Deepest” (3:03)
B2. “I’m Gonna Be King” (2:30)
B3. “Ceylon City” (2:29)
B4. “Blackness of the Night” (2:31)
B5. “Come On Baby (Shift That Log)” (3:52)
B6. “I Love Them All” (2:12)

Sessions occurred between July and November 1967 at Decca Studios in West Hampstead and Olympic Studios in London with producer Mike Hurst and engineers from both facilities.

Deram preceded the album with “Kitty” (b/w “Blackness of the Night”) on 1 December 1967.

Stevens originally wrote “The First Cut Is the Deepest” in 1965 as a demo to promote his songwriting, and in 1967 he sold it for £30 to P. P. Arnold. Arnold recorded it that spring for her album The First Lady of Immediate, and her up-tempo, soulful rendition—featuring harpsichord, horns, and strings—reached No. 18 on the UK Singles Chart, giving the song its first hit exposure well before Stevens’ own recording appeared on New Masters later that year.

The song subsequently became a hit for other artists in the 1970s. Canadian singer Keith Hampshire took it to No. 1 on the RPM 100 national singles chart in May 1973 and also topped the Canadian Adult Contemporary chart, while charting at No. 70 on the US Billboard Hot 100. Rod Stewart’s 1977 version, recorded at Muscle Shoals Sound Studio and released as a double A-side with “I Don’t Want to Talk About It” in the UK, spent four weeks at No. 1 on the UK Singles Chart and reached No. 21 on the US Billboard Hot 100.

1968–69 Singles

After the second album, Cat Stevens grew frustrated with producer Mike Hurst’s insistence on recreating the orchestrated style of his debut. He deliberately complicated his contract with expensive orchestral demands and legal threats, seeking greater creative control while still under Deram Records.

On February 23, 1968, Stevens released his standalone fifth single: “Lovely City (When Do You Laugh?)” backed with “Image of Hell,” both recorded in January. This was Stevens’ first self-produced single, assisted by Decca producer Noel Walker. The A-side pairs galloping twelve-string guitar with layered orchestration, depicting the West End of London, while the B-side alternates tense chord shifts with rapid pace.

A. “Lovely City (When Do You Laugh?)” (2:41)
B. “Image of Hell” (3:07)

Shortly after the single’s release, Stevens was hospitalized with tuberculosis, forcing a near nine-month pause in his career. The illness prompted a period of reflection that reshaped his artistic outlook, steering him toward more introspective, folk-oriented material.

Meanwhile, “Lovely City (When Do You Laugh?)” reached No. 8 in Malaysia and No. 10 in Singapore. In Australia, it retrospectively dented the Kent Music Report. While Stevens recovered, disputes with Deram over creative control intensified.

On October 18, 1968, Stevens released his sixth single: “Here Comes My Wife” backed with “It’s a Super (Dupa) Life,” both produced by Mike Vickers. The A-side retains pop-oriented phrasing and baroque-pop textures, while the B-side features playful, energetic arrangements. These sessions reflect Stevens’ early efforts to assert independence within the label’s constraints, navigating both stylistic ambitions and contractual tensions.

A. “Here Comes My Wife” (3:00)
B. “It’s a Super (Dupa) Life” (2:50)

“Here Comes My Wife” reached No. 12 in New Zealand but stalled in other markets, reflecting continued limitations under Deram’s promotion.

On June 13, 1969, Stevens re-emerged with “Where Are You” / “The View From the Top”, produced by Mike Vickers. The A-side introduces tender, spacious arrangements with contoured vocals, fully embracing his emerging folk-rock style. The B-side retains harpsichord and string elements from his earlier baroque-pop approach, signaling a transitional phase.

A. “Where Are You” (3:02)
B. “The View From the Top” (3:00)

“Where Are You” showcased Stevens’ embrace of folk-rock, though chart performance remained limited as he established his new sound. The single appeared in a picture sleeve featuring Stevens’ new bearded look, marking both a visual and stylistic shift toward his next creative chapter.

Mona Bone Jakon

Cat Stevens released his third album, Mona Bone Jakon, on April 24, 1970, on Island.

Stevens shifted from ornate late-60s pop to a sparse, close-miked sound built around acoustic guitars and light percussion, marking the start of his early-70s singer-songwriter phase. He plays multiple instruments (acoustic/classical guitar, piano, Minimoog) and fronts a compact trio of guitarist Alun Davies, bassist John Ryan, and drummer Harvey Burns, with then-Genesis frontman Peter Gabriel adding flute to “Katmandu.”

Jakon splits between hushed laments and brighter, restorative pieces. “Lady D’Arbanville” opens with stately, interlaced guitars over a steady, body-tapped rhythm pattern; its near-choral backdrop and rising vocal line cast a ceremonial tone. “Maybe You’re Right” moves in measured steps as he narrates relational collapse with clipped cadences that mirror the song’s emotional restraint.

“I Think I See the Light” lifts the pace with brisk strumming and a more urgent vocal contour, while “Trouble” pares everything down to a quiet plea shaped by long-held phrases and open, lingering chords. “Katmandu” centers on finger-picked patterns and flute lines that drift in soft spirals, and “Lilywhite” closes with a tapering string figure that dissolves into silence.

A1. “Lady D’Arbanville” (3:45)
A2. “Maybe You’re Right” (3:25)
A3. “Pop Star” (4:13)
A4. “I Think I See the Light” (3:55)
A5. “Trouble” (2:49)

B1. “Mona Bone Jakon” (1:42)
B2. “I Wish, I Wish” (3:50)
B3. “Katmandu” (3:22)
B4. “Time” (1:26)
B5. “Fill My Eyes” (3:00)
B6. “Lilywhite” (3:41)

Sessions occurred in January–February 1970 at Olympic and Abbey Road in London with producer Paul Samwell-Smith and engineer Michael Bobak.

Island promoted Mona Bone Jakon with “Lady D’Arbanville” (b/w “Fill My Eyes”), which reached No. 8 on the UK Singles Chart.

Tea for the Tillerman

Cat Stevens released his fourth album, Tea for the Tillerman, on November 23, 1970, on Island.

Stevens sings in a pared-down acoustic setting shaped by guitarist Alun Davies, bassist John Ryan, and drummer Harvey Burns with select parts for congas, tambourine, and piano. The album presents concise pieces built around voice-and-guitar contrasts and brief surges in ensemble intensity.

Select songs shift between hushed passages and sudden dynamic lifts. “Where Do the Children Play?” opens with sparse guitar strokes that broaden into a measured rise of piano and percussion. “Hard Headed Woman” alternates between quiet, suspended verses and abrupt vocal peaks. “Sad Lisa” centers on slow piano figures and a faint string presence that pulls the song into a dim, weighted mood.

“Miles from Nowhere” moves at a brisk pace with sharper accents. “But I Might Die Tonight” compresses its ascent into a short, urgent span, while “On the Road to Find Out” stretches gradual build-ups over a longer form. “Father and Son” frames two contrasting vocal registers—one low, one bright—with soft filigree from Davies. The closing “Tea for the Tillerman” reduces to piano and voice in a brief, calm exit.

A1. “Where Do the Children Play?” (3:56)
A2. “Hard Headed Woman” (3:48)
A3. “Wild World” (3:20) — Stevens addresses a departing lover.
A4. “Sad Lisa” (3:40) — A portrait of a withdrawn figure whose sorrow is conveyed through slow piano lines.
A5. “Miles from Nowhere” (3:33)
A6. “But I Might Die Tonight” (1:51)

B1. “Longer Boats” (3:12)
B2. “Into White” (3:24)
B3. “On the Road to Find Out” (5:08)
B4. “Father and Son” (3:41) — Stevens contrasts a cautious paternal voice and an impatient youth seeking independence.
B5. “Tea for the Tillerman” (1:01)

Sessions occurred between May and July 1970 at Morgan, Island, and Olympic studios in London with producer Paul Samwell-Smith and engineering staff at the respective sites.

Island issued “Father and Son” in October 1970 with “Moonshadow,” a then-exclusive b-side. In January 1971, A&M issued “Wild World” as a US single (b/w “Miles from Nowhere”). Both gained substantial play, with “Wild World” reaching No. 11 on the Billboard Hot 100.

Three songs from the album—“Where Do the Children Play?”, “On the Road to Find Out”, and “Sad Lisa”—appear in the 1971 black comedy Harold and Maude, starring Bud Cort and Ruth Gordon.

Teaser and the Firecat

Cat Stevens released his fifth album, Teaser and the Firecat, on October 1, 1971, on Island.

Teaser and the Firecat presents ten compact pieces with intimate vocals, steady mid-tempo strums, and spare passages that place piano and acoustic figures upfront. Cat Stevens fronts a core band of guitarist Alun Davies, bassist Larry Steele, keyboardist Jean-Alain Roussel, and drummers Harvey Burns and Gerry Conway, with select parts by English pianist Rick Wakeman and singer Linda Lewis.

Stevens wrote nine songs and arranged the traditional hymn “Morning Has Broken,” which carries additional lyrics by Eleanor Farjeon. Wakeman plays the piano arrangement on that track.

The album opens with short, contemplative pieces and moves into sturdier songs with rising rhythmic emphasis. “The Wind” centers on two-chord ascents and soft inflections folded into a brief, steady pulse. “Rubylove” shifts to bright phrases with Greek bouzouki figures that trace contoured lines around the vocal. “If I Laugh” drifts on patient cadences that stretch and contract under light cymbal patterns. “Tuesday’s Dead” pivots on firm, upward-struck accents that lift into a faster refrain. “Morning Has Broken” builds from a hymnlike opening into a widened mid-section shaped by Wakeman’s climbing piano runs. “Peace Train” moves from hushed verses into a more forceful beat marked by insistent acoustic strums and swelling strings.

A1. “The Wind” (1:42)
A2. “Rubylove” (2:37)
A3. “If I Laugh” (3:20)
A4. “Changes IV” (3:32)
A5. “How Can I Tell You” (4:28)

B1. “Tuesday’s Dead” (3:36)
B2. “Morning Has Broken” (3:20) — traditional hymn arranged by Stevens with added lyrics by Eleanor Farjeon
B3. “Bitterblue” (3:12)
B4. “Moonshadow” (2:52)
B5. “Peace Train” (4:12)

Sessions occurred between July 1970 and March 1971 at Morgan Studios in London and Paramount in Los Angeles with producer Paul Samwell-Smith and engineers at both facilities.

Island promoted the album with “Moonshadow” (b/w “Father and Son” in the UK and “I Think I See the Light” in the US). “Peace Train” followed worldwide (b/w “Where Do the Children Play?” in most territories), and “Morning Has Broken” appeared in early 1972 (b/w “I Want to Live in a Wigwam”).

“Peace Train” reached No. 2 in New Zealand, No. 3 in Australia and Canada, and No. 7 on the US Billboard Hot 100. “Morning Has Broken” reached No. 3 in New Zealand, No. 4 in Australia and Canada, No. 6 in the US, and No. 9 on the UK Singles chart. Both singles also topped the US AC chart.

Teaser and the Firecat reached No. 1 in Australia and No. 2 on the UK Album chart and the US Billboard 200.

Catch Bull at Four

Cat Stevens released his sixth album, Catch Bull at Four, on September 27, 1972, on Island.

Stevens expands his palette with denser arrangements, heightened rhythmic force, and greater use of piano and electric textures, carrying forward elements of his early-70s sound while pushing into darker, weightier territory. He fronts a compact ensemble of guitarist Alun Davies, bassist Alan James, keyboardist Jean Roussel (Hammond, electric piano), and drummer Gerry Conway, with added Spanish-guitar passages by Jeremy Taylor and bouzouki by Andreas Toumazis.

Stevens wrote nine songs and co-wrote one with Taylor and Toumazis. “O Caritas” adapts lyrics translated into Latin by Taylor with thematic input from Toumazis.

Catch Bull opens with firm, piano-driven motion and moves through narrative pieces, electric-leaning passages, and quieter closing tracks. “Sitting” sets a quickened pace shaped by rising piano figures and tightened percussion. “The Boy With a Moon and Star on His Head” flows in long, contoured lines with Spanish-guitar accents that brighten its storytelling. “Angelsea” pivots on a cycling synth pattern and brisk strumming that lends the verses a restless push.

“Silent Sunlight” pulls back to soft cadences and open intervals. “Can’t Keep It In” snaps forward on clipped acoustic strokes and a bounding rhythm that widens at the refrain. The Latin-sung “O Caritas” frames rapid phrasing over nimble Spanish-guitar patterns. “Freezing Steel” moves with a heavier downbeat and sharper edge, while “Sweet Scarlet” and “Ruins” settle into pared-back piano and acoustic settings that slow the pace as the album closes.

A1. “Sitting” (3:14)
A2. “Boy With a Moon and Star on His Head” (5:57)
A3. “Angelsea” (4:30)
A4. “Silent Sunlight” (3:00)
A5. “Can’t Keep It In” (2:59)

B1. “18th Avenue (Kansas City Nightmare)” (4:21)
B2. “Freezing Steel” (3:40)
B3. “O Caritas” (3:41) — lyrics translated into Latin by Jeremy Taylor with thematic input from Andreas Toumazis
B4. “Sweet Scarlet” (3:49)
B5. “Ruins” (4:24)

Sessions occurred in May 1972 at The Manor Studio in Oxfordshire, Château d’Hérouville in France, and Morgan Studios in London with producer Paul Samwell-Smith.

Island previewed the album with “Sitting” in July 1972 (b/w “Crab Dance”), which reached No. 16 on the Billboard Hot 100. “Can’t Keep It In” followed worldwide (typically b/w “Crab Dance”).

Foreigner

Cat Stevens released his seventh album, Foreigner, in July 1973 on Island.

Stevens veers from his earlier acoustic-centered sound toward longer forms, thicker keyboard layers, and R&B-leaning rhythm work. He plays multiple keyboards (piano, Fender Rhodes e-piano, synthesizer, organ, Clavinet, guitar-synth) with backing by guitarist Phil Upchurch, keyboardist Jean Roussel, bassists Paul Martinez and Herbie Flowers, and drummers Bernard Purdie and Gerry Conway, with additional backing by vocalists Patti Austin, Barbara Massey, and Tasha Thomas and a horn section by Tower of Power.

Side One houses the extended “Foreigner Suite,” which moves between slow, piano-led openings, middle sections driven by clipped rhythms and climbing vocal phrases, and late passages that taper into calmer cadences.

Side Two presents shorter, self-contained pieces. “The Hurt” uses a stop–start pulse to underline its shifting vocal intensity. “How Many Times” unfolds over spare piano chords and subdued pacing. “Later” tightens into a more forceful rhythmic pattern shaped by steady downbeats and repeating keyboard figures. “100 I Dream” closes with patient stretches and a softened ascent in its final passage.

A. “Foreigner Suite” (18:19)

B1. “The Hurt” (4:18)
B2. “How Many Times” (4:26)
B3. “Later” (4:44)
B4. “100 I Dream” (4:09)

Sessions occurred in March 1973 at Dynamic Studios in Kingston, Jamaica, and Atlantic Studios in New York with Stevens producing and engineering staff at both facilities.

Island issued “The Hurt” as the album’s lone single, backed with the earlier “Silent Sunlight.”

Buddha and the Chocolate Box

Cat Stevens released his eighth album, Buddha and the Chocolate Box, on March 19, 1974, on Island.

Stevens returns to shorter forms with dense arrangements, layered choir parts, and a fuller rhythmic presence than on his earlier acoustic-centered work. He fronts a compact core of guitarist Alun Davies, bassist Bruce Lynch, keyboardist Jean Roussel, and drummer Gerry Conway, supported by a large vocal ensemble and added parts by three guitarists and a banjo player.

Buddha moves between bright, rising themes, reflective ballads, and pieces colored by thickened backing vocals. “Music” opens with a firm pulse and repeating keyboard figures that lift into brass-tinged peaks. “Oh Very Young” shifts to open chords and a gentle pace marked by its high choral line. “Sun/C79” alternates between calmer stretches and sections where the vocals push against a heavier backdrop. “Ghost Town” carries a quicker undercurrent that steadies the track’s clipped phrasing. On the second side, “Ready” rides a steady pace with sharpened strums, while “King of Trees” expands across long, rising passages and a vocal climb near its midpoint. “A Bad Penny” turns on a tighter rhythm with a late swell in the brass, and “Home in the Sky” closes on a widened, choir-supported ascent.

A1. “Music” (4:21)
A2. “Oh Very Young” (2:36)
A3. “Sun/C79” (4:35)
A4. “Ghost Town” (3:10)
A5. “Jesus” (2:14)

B1. “Ready” (3:18)
B2. “King of Trees” (5:07)
B3. “A Bad Penny” (3:21)
B4. “Home in the Sky” (3:38)

Sessions occurred in February 1974 at Sound Techniques Studios in London with producers Cat Stevens and Paul Samwell-Smith and engineer John Wood. Mixing occurred at Sound Techniques, AIR Studios, and Morgan Studios with Victor Gamm, Alan Harris, Robin Black, and Roger Quested.

Island previewed the album with “Oh Very Young” (b/w “100 I Dream”), which reached No. 10 on the Billboard Hot 100 and No. 2 on the Billboard Easy Listening chart. “Ready” followed in November 1974 and reached No. 20 in Canada.

Compilation

In July 1975, A&M and Island issued Greatest Hits, a compilation of cuts from four Cat Stevens since Tea for the Tillerman (barring Foreigner). It also includes two otherwise non-album songs: “Two Fine People” and the Sam Cooke cover “Another Saturday Night.” Both appeared as stop-gap singles in the twenty-month gap between Buddha and his next album.

Stevens released “Another Saturday Night” in August 1974, backed with the Buddah closer “Home in the Sky.” He reached No. 1 in Canada and No. 6 on the US Billboard Hot 100 with “Another Saturday Night,” originally a 1963 US No. 10 hit for Cooke.

In May 1975, Stevens released “Two Fine People,” a melodramatic soft-rock number backed with another Buddah track, “A Bad Penny.”

Numbers

Cat Stevens released his ninth album, Numbers, on November 30, 1975, on Island.

Stevens frames the album as a self-contained narrative cycle with thicker ensemble passages, broadened keyboard textures, and sharp rhythmic turns that alternate between brisk, clipped motion and slower, weightier sections.

He fronts a core group of guitarist Alun Davies, keyboardist Jean Roussel (piano, Yamaha organ, Wurlitzer electric piano, Hammond, ARP synthesizers, string synthesizer), bassist Bruce Lynch (bass, double bass), and drummer Gerry Conway. Added parts come from alto saxophonist David Sanborn, percussionist Chico Batera, accordionist Gordie Fleming, and a small group of guest singers that includes Art Garfunkel, Lewis Furey, Brenda Russell, and Tasha Thomas.

Numbers opens with instrumental scene-setting and moves through narrative pieces that shift between urgent pacing, mid-tempo stretches, and choral peaks. “Whistlestar” lays out the setting with repeated keyboard figures that widen across its instrumental framework. “Novim’s Nightmare” pushes forward with steady percussion and rising vocal contours. “Majik of Majiks” carries sharper rhythmic motion marked by Sanborn’s alto lines, while “Drywood” leans on longer chord spans and patient pacing. Side B turns to quicker, brighter material: “Banapple Gas” runs on a springy rhythm with abrupt turns in the chorus; “Land o’ Freelove & Goodbye” traces softened cadences; “Jzero” stands out for its orchestral lift and shifts between calm openings and fuller mid-sections. “Home” stretches across slow, sustained chords, and “Monad’s Anthem” closes with a tightened, chantlike ascent.

A1. “Whistlestar” (3:46)
A2. “Novim’s Nightmare” (3:50)
A3. “Majik of Majiks” (4:30)
A4. “Drywood” (4:53)

B1. “Banapple Gas” (3:07)
B2. “Land o’ Freelove & Goodbye” (2:50)
B3. “Jzero” (3:44)
B4. “Home” (4:09)
B5. “Monad’s Anthem” (2:16)

Sessions occurred in October 1975 at Le Studio in Morin Heights, Quebec, with Cat Stevens producing and staff engineers handling the recordings.

Island issued “Banapple Gas” as the album’s lone single, backed with the Buddah track “Ghost Town.”

Religious Conversion

After Numbers, Stevens underwent a profound personal transformation that would reshape both his life and music.

In 1976, while on holiday in Malibu, he experienced a near-fatal drowning, recalling that he cried out, “Oh, God! If you save me I will work for you.” Immediately, a wave carried him back to shore, an event he described as a turning point that intensified his long-standing search for spiritual meaning. Up to that point, Stevens had explored various spiritual and mystical systems—Buddhism, Zen, the I Ching, tarot, numerology, and astrology—but this encounter with mortality crystallized his desire for a deeper, more structured path.

Shortly afterward, a gift from his brother—a Qur’an obtained during a trip to Jerusalem—introduced him to Islam. Fascinated by its narratives and moral framework, Stevens quickly identified with the story of Joseph, seeing parallels between the prophet’s trials and his own experiences in the music industry. A later visit to Marrakesh further inspired him, where he was captivated by the adhān, the Islamic call to prayer, which he understood as “music for God”—a concept wholly distinct from the fame- and profit-driven motivations he had known in popular music.

Gradually, Stevens embraced Islam, describing the transition as a natural continuation of his lifelong spiritual quest. This period of reflection and study would profoundly influence his lyrical themes, infusing his work with a sense of purpose, introspection, and devotion that became evident on subsequent recordings.

Izitso

Cat Stevens released his tenth album, Izitso, in April 1977 on Island.

Stevens updates his earlier acoustic-leaning approach with a keyboard-forward palette that centers sequencers, multi-layered synthesizers, and brisk rhythm parts. Several tracks adopt clipped electronic patterns uncommon in his prior work.

He fronts a rotating cast drawn from US and UK studios, including fusion pianist Chick Corea, Muscle Shoals guitarist Pete Carr and drummer Roger Hawkins, and bassist David Hood. Additional parts come from steel guitarist Weldon Myrick, guitarist Reggie Young, harmonica player Broderick Smith, harpist Marjorie Lagerwall, and vocalists Elkie Brooks and Suzanne Lynch. Sessions also involve multiple drummers (Andy Newmark, Bill Berg, Barry Morgan) and a large pool of keyboardists and guitarists across the five studios.

Stevens wrote eight songs. Bassist Bruce Lynch and keyboardist Jean Roussel co-composed the instrumental “Was Dog a Doughnut?” Paul Travis and David Gordon provided “Child for a Day,” earlier placed in the 1977 film First Love. “(Remember the Days of the) Old Schoolyard” first appeared on Linda Lewis’s 1975 album Not a Little Girl Anymore.

Select songs divide between concise electronic-driven pieces and reflective mid-tempo tracks. “Old Schoolyard” opens with children’s voices, then accelerates into bright horn punctuations over a firm pulse. “Life” shifts through sections with abrupt contours, alternating electric keys, bouzouki fills, and interlocking rhythm layers. “Killin’ Time” uses clipped guitar figures atop steady drums. “Kypros” builds from drum-machine motion into a swelling lattice of Polymoog lines, piano circles, and bouzouki patterns. “Bonfire” moves at an easy pace with warm keyboard voicings and Corea’s electric-piano touches. “Was Dog a Doughnut?” centers on sequenced pulses, phased lines, and sliding guitar phrases. “Child for a Day” adopts a calm, drifting feel with understated organ and unhurried rhythm placement.

A1. “(Remember the Days of the) Old Schoolyard” (2:44) — Originated as a 1975 single and album track by Linda Lewis, written by Cat Stevens. Lyrics recall early friendships and schoolyard memories.
A2. “Life” (4:56)
A3. “Killin’ Time” (3:30)
A4. “Kypros” (3:10)
A5. “Bonfire” (4:10)

B1. “(I Never Wanted) To Be a Star” (3:03) — Lyrics reference Stevens’s early career and titles from his 1960s singles.
B2. “Crazy” (3:33)
B3. “Sweet Jamaica” (3:31)
B4. “Was Dog a Doughnut?” (4:15)
B5. “Child for a Day” (4:23)

Sessions occurred from September 1976 to March 1977 at Muscle Shoals Sound (Sheffield, Alabama), Sound 80 (Minneapolis), Ardent (Memphis), Le Studio (Morin Heights, Quebec), and Sweet Silence (Copenhagen) with Stevens and Dave Kershenbaum producing. Engineers across locations include Harvey Goldberg, Mike Stavros, Tom Jung, and Nick Blagona.

Island promoted the album with “(Remember the Days of the) Old Schoolyard” (b/w “Land O’Freelove & Goodbye”), released June 1977. It became his final Top 40 entry of the decade in both the US and UK.

“Child for a Day” was later placed by Susan Dey and William Katt’s film First Love (1977).

Back to Earth

Cat Stevens released his eleventh album, Back to Earth, in December 1978 on Island.

The album pares down his late-1970s production into a relaxed, introspective collection, blending acoustic strumming, gentle keyboards, and subtle synth textures. Two pseudoinstrumentals frame the set, while other tracks range from mid-tempo reflective numbers to rhythmically driven pieces. Stevens’ vocals float over understated arrangements, with occasional brass and saxophone accents, layered backing vocals, and light percussion shaping the atmosphere. The album’s tone is settled, intimate, and contemplative, emphasizing clarity and balance rather than dramatic peaks.

Stevens wrote eight of the ten tracks. Alun Davies co-wrote “Daytime” and “Bad Brakes.” Milton Nascimento contributed vocals to the instrumental “Nascimento.”

Musically, the album divides into reflective ballads, rhythmically buoyant numbers, and softly flowing instrumentals. “Just Another Night” opens with calm acoustic strums and lyrical resignation, while “Bad Brakes” introduces a funk-infused drive with electric guitar accents. “Daytime” layers harp and electric piano around a floating melody. “Randy” and “Last Love Song” sustain gentle sways with restrained string and keyboard touches. The instrumentals, “The Artist” and “Nascimento,” provide atmospheric textures with subtle saxophone and horn arrangements. The closing track, “Never,” leaves a meditative, concluding resonance.

A1. “Just Another Night” (3:49)
A2. “Daytime” (3:55) — co-written with Alun Davies, lyrics contemplate the advantages of daylight over night, inspired by UNICEF’s “Year of the Child” program
A3. “Bad Brakes” (3:27) — co-written with Alun Davies, story-driven, rhythmically propulsive piece about travel mishaps
A4. “Randy” (3:12) — intimate love pledge with restrained strings and keyboard swells
A5. “The Artist” (2:32) — instrumental, soft swaying textures and gentle keyboard layering

B1. “Last Love Song” (3:27) — piano-driven ballad expressing exasperation and longing
B2. “Nascimento” (3:16) — instrumental with Milton Nascimento on vocals, disco-jazz pulse with saxophone and horn textures
B3. “Father” (4:08) — contemplative, jazzy arrangement reflecting on parental and spiritual connections
B4. “New York Times” (3:24) — socially pointed number with backing vocals by Luther Vandross, bass by Will Lee
B5. “Never” (3:01) — closing track, gentle acoustic strums and meditative phrasing signaling farewell

Sessions occurred in November 1978 at Sweet Silence Studios (Copenhagen), Long View Farm (Massachusetts), Advision Studios (London), CBS Studios (New York City), and Le Studio (Morin Heights, Quebec), produced by Paul Samwell-Smith.

Stevens performs electric and acoustic guitars, steel guitar, piano, electric piano, Hammond organ, ARP String Synthesizer, harmonica, and bass, with Alun Davies on guitars and Brian Cole, Eric Johnson, Bruce Lynch, and Will Lee contributing additional guitar and bass parts. Jean Roussel handled keyboards, brass, strings, and arrangements. Drums and percussion were provided by Gerry Conway and Steve Jordan. Don Weller (saxophone) and Tower of Power (horns) appear on “Nascimento.” Backing vocals include Paul Samwell-Smith, The McCrarys, and Luther Vandross.

Island promoted the album with the singles “Bad Brakes” (b/w “Nascimento”), “Last Love Song” (b/w “Nascimento”), and “Randy” (b/w “Nascimento”). “Last Love Song” was released in February 1979 in the UK, and “Randy” followed in April 1979.

Back to Earth peaked at No. 33 on the Billboard 200 and No. 89 in Australia. It marked the end of Stevens’ contemporary Western music output for 28 years, preceding his hiatus and subsequent conversion to Islam as Yusuf Islam.

Discography: