Track Listing

1. Sitting
2. The Boy With A Moon And Star On His Head
3. Angelsea
4. Silent Sunlight
5. Can't Keep It In
6. 18th Avenue (Kansas City Nightmare)
7. Freezing Steel
8. O' Caritas
9. Sweet Scarlet
10. Ruins

Product Details

• Amazon Sales Rank: #4063 in Music
• Released on: 2000-08-14
• Number of discs: 1
• Format: Original recording remastered
• Dimensions: .22 pounds
• Running time: 40 minutes

CD Description
Cat Stevens began to taper off the winning streak he'd scored with TEA FOR THE TILLERMAN and TEASER AND THE FIRECAT on this 1972 release. CATCH BULL AT FOUR still fared well commercially, yet it lacked the focus and immediate appeal of itspredecessors. Still, the album showed Stevens's remarkable talent for writing insightful, moving lyrics and memorable, infectious melodies. Aside from the exuberantly joyous "I Can't Keep It In", the mood of CATCH BULL AT FOUR is a bit darker and edgier.
In "Sitting", for example, the singer is dogged by thoughts of stagnation and mortality while a chiming, minstrel-esque keyboard riff plays in the background. The somber mood is heightened by some hushed acoustic guitar-driven numbers ("Boy with a Moon and Star on His Head") and some stark piano ballads ("Sweet Scarlet"). The fact that Stevens was experimenting more with styles, arrangements, and dynamics here may have given some fans pause, yet his trademark charm is still in evidence, as is the dependable strengthof his songwriting.

Customer Reviews

The Cat Grows Up In Style
This was the first Cat Stevens album I acquired, and it remains my favourite. Having grown up hearing him on the radio in the late 60s and into the 70s, I was sufficiently accustomed to his songs not to feel the need to explore his music further. Until a friend played me side 2 of this album.
What I heard was quite different from the gentle troubadour of 'Peace Train', 'Oh Very Young' and his other well known songs. This was much darker, edgier and introspective, tinged with a sadness not found in his other material.
The likes of 18th Ave and Freezing Steel speak of alienation and bewilderment, expressed with confusion and a degree of wry humour; Sweet Scarlet was heart rending from the moment I heard it and remains so to this day; and O'Caritas and Ruins conjure visions of fire and death, melancholy and regret, none of which I had associated with Cat before.
By contrast, the 1st side is somewhat lighter, but no less satisfyngly different from his previous work. Sitting speaks of his fear of being left behind but confronts it with the boldness and courage to overcome the challenge. Gentler ballads remain in the forms of Boy... and Silent Sunlight, but Angelsea is a bright and restless song of celebration, with bursts of hitherto unheard synths and backing vocals (from the likes of Linda Lewis!). Likewise the sparkling Can't Keep It In, with its electric guitar and organ is a stronger and more forthright expression than most of his earlier work, and amidst the more sombre tone of the majority of the album, seems to stand as a powerful statement of his intent to move forward regardless.
For me, this is an album that shows a man growing beyond the style (and lifestyle?) which had nurtured his initial succes, in spite of criticism from others who wanted him to remain the perfect folk pop minstrel, preserved in 60s aspic. A beautiful and courageous record.

Undoubtedly one of the Cat�s classic albums
It is unfortunate that many reviewers of 'Catch bull at four' have tended to regard it as a poorer quality album than its two predecessors 'Tea for the tillerman' and 'Teaser and the Firecat'. I feel that this does the album a great injustice; no artist should be expected to remain unchanging in style, and if he had simply stayed with a winning formula after the success of 'Teaser' Cat Stevens could have rightly criticized. However, Stevens demonstrated integrity and vision throughout the early years of the 1970s, with each of his first five Island Records albums showing a clear progression and artistic development, even if on occasions (perhaps most notably 'Foreigner') this was not always commercially successful.

After achieving a very focused and concise style on 'Teaser', Cat Stevens understandably wanted to experiment with more unusual song structures and ambitious arrangements, and the result is a somewhat more stylistically diverse album than its predecessors. As a result it is, if anything, a stronger, more musically satisfying album, and includes new elements such as electric guitar, synthesizer, female backing vocalists and the accomplished keyboard work of Jean Roussel. At the same time, the album retains much of what made Cat's earlier work appealing, and also includes the welcome re-appearance of the bouzouki to add its distinctive sound to 'O Caritas'.

The mood of the album is at times somber, reflecting Stevens' continuing spiritual pilgrimage at this time, and his deep feelings perhaps show through most in the opening track 'Sitting' and the bleak closing song 'Ruins'. Though there are a couple of weaker tracks (such as 'Boy...' which has a pleasant arrangements but a rather tedious, over-long lyric, and 'Angelsea' which is perhaps too dominated by synthesizer sounds), these can be appreciated as valid musical experiments, and are more than compensated for by other very appealing up-tempo tracks (such as 'Sitting', 'Can't keep it in' and 'O Caritas'). The album contains several lovely ballads, such as 'Sweet scarlet' and the madrigal-like 'Silent sunlight', whilst the more complex song structure of '18th avenue', with its orchestral interlude and changing rhythms, hints at the direction Cat would take with his next album 'Foreigner'. The whole package is enhanced by the crystal clear remastering, and restoration of the stylish original album artwork. Altogether, 'Catch bull at four' can be regarded as a very satisfying album which, along with 'Tillerman' and 'Teaser' ranks among Cat Stevens' best work.

One of Cat Stevens' finest albums
Originally released in 1972, this was Cat Stevens' sixth album and it was his most commercially successful. It's a very good CD and it certainly deserved its success. That success came in part from the merits of this album but also because it followed on from Tea For the Tiller Man and Teaser and the Firecat which had both been very well received.

Fans can argue long and hard over the merits of the three albums but the truth is that, whichever is the best, they are all very fine indeed and together they represent the peak of the artist's output. Catch Bull at Four has a harder edge than the other two. It is most noticable in the vocals and lyrics but the music too is a little heavier.

The best known song on the album is "Can't Keep It In" but that is mostly because it is the easiest one to play on the radio as it is catchy and sticks in the mind. For me, the highlight of the CD is "The Boy With The Moon And Star On His Head" a lyrical and romantic fantasy that is as good as anything else that Cat Stevens has ever recorded. It deserves a place alongside the finest English folk ballads from the days of "Greensleeves" and John Dowland.

Highlighting any of the songs on this CD means not mentioning others and that is sure to do an injustice to many songs. Everything here is memorable and distinctive and the only answer is to buy the CD, concentrate on the songs and appreciate one of the true highlights of seventies music.