Cat Stevens (1948~) 本名是 Steven Demetre Georgiou,来自於英国,母亲是瑞典人,父亲是希腊人,他们在伦敦开设一家餐馆. 1965 年 Cat Stevens 受到民谣与摇滚乐影响,开始用化名 Steve Adams 玩团,后来他的音乐被流行民谣乐团 The Springfields 的成员 Mike Hurst 听到,大为赏赐之后,便带他到录音室录制了第一首歌曲 I Love My Dog.这首歌为他赢得 Decca Records 的一纸合约,他也正式将艺名更改为 Cat Stevens.
I Love My Dog 於 1966 年 10 月登上英国排行榜前 40 名,创下佳绩,第二首歌 Matthew & Son 於 1967 年 1 月再次登上英国榜,并且差一点夺冠 (在美国只登上榜尾).此刻 Cat Stevens 的音乐写作能力已被获得肯定了, Here Comes My Baby 这首歌的发行,更将他的名声推上高峰,不但登上英国榜前 5 名,在美国榜也有 10 几名的成绩.
接下来 Cat Stevens 的运气每况愈下,第一张专辑 Matthew & Son 成绩平平,第二张专辑 New Masters 更糟,唯一值得一提的是里面其中一首歌 the first cut is the deepest 登上排行榜前 20 名, 10 年后被 Rod Stewart 翻唱,也登上前 20 名,到了 2003 年 Sheryl Crow 再将这首歌拿出来重唱,获得美国榜前 20 名.
1968 年 Cat Stevens 得到肺结核,住院 3 个月,还花了一个月疗养.总算在 1969 年 7 月重整旗鼓发行单曲 Where Are You,屋漏偏逢连夜雨,这首歌发行后获得的失败,促使 Cat Stevens 思考自己未来的音乐之路,他决定将梦想与现实分开.
经过一连串的失败后,他开始写一些更发人深省的歌曲,与 Island Records 签约后, Cat Stevens 於 1970 年 7 月发行第三张专辑 Mona Bone Jakon,那年春天对 Cat Stevens 来说是意义非凡的 22 岁,对 1967 年之前认识 Stevens 的乐迷而言,会感到惊喜,透过 The Yardbirds 前团员 Paul Samwell-Smith 的制作,他使用空心吉他,键盘等简单乐器,在专辑中演奏出撩人心弦的蓝调民谣.
Stevens 的新曲拥有实验性质,曲目片段里隐约提到他所遭受的困难,包括成为一位 Pop Star,内容描述一位流行明星遭逢絶境,想返乡寻求自救的怀愁, Mona Bone Jakon 的意思是死亡的肖像,不过专辑却也谈到生还与希望, Stevens 崎嶇沙哑的嗓音为写生方式的歌曲增添深度,保守的乐器加强了严肃性.
单曲 Lady D'Arbanville 成为他的第三支英国榜前十名劲曲,同时也证明他的才华并没被世人遗忘.
如果说 Stevens 透过 Mona Bone Jakon 产生心魔,他也为流行文化注入厌世思想,或许 Stevens 的乐迷没有与他相似的遭遇,不过 60 年代以降,他们可明显感受到 Stevens 受伤的感觉,精神渴望,与踌躇的乐观, Mona Bone Jakon 只是初步成功,它唤醒大眾对 Stevens 的注意,準备迎接随之而来的经典大作 Tea for the Tillerman.
1970 年 8 月, Jimmy Cliff 也以一支单曲 Wild World 登入英国榜前 10 名,同年 11 月 Cat Stevens 又发行了 Island 旗下的第二张专辑 Tea for the Tillerman (右图),获得英国榜前 20 名的佳绩.在美国, Island唱片是由 A&M 唱片代理,虽然 Mona Bone Jakon 没有进入美国榜,不过 Tea for the Tillerman 终於在 1971 年 2 月首度登陆美国 LP 排行榜,他在这张专辑中重新詮释了 Wild World 这首歌,并发行单曲.
Wild World 这首歌太红了,不但获得排行榜前 20 名,并且使 Tea for the Tillerman 进入美国专辑榜前 10 名,还拿下黄金销售的成绩,突然间, Cat Stevens 成为美国家喻户晓的明星.受到 Tea for the Tillerman 成功的影响, Mona Bone Jakon 也打开市场进入排行榜,并於 1976 年拿下黄金销售的成绩, Cat Stevens 终於躋身与 James Taylor, Carole King 等艺人同为主流民谣摇滚与 singer / songwriter 的重要创作者.
1971 年 6 月, Cat Stevens 发行新单曲 Moon Shadow,在美国与英国榜同时进入前 40 名,进而让他得以在同年 9 月发行另一首单曲 Peace Train,这首歌进入排行榜前 5 名,并攻下美国榜冠军.
随之而来的延伸,当然就是 Cat Stevens 的个人第五张专辑 Teaser and the Firecat (左图),发行后立刻创下黄金销售,也差点在美国榜夺下冠座.专辑里除了收录上述的 Moon Shadow 与 Peace Train 外,还有 Morning Has Broken,这首合宜的讚美诗歌随后也登上冠军,为 Cat Stevens 的音乐生涯创下高峰.
Audio CD (December 13, 2011)
Original Release Date: 2011
Number of Discs: 1
Format: Hybrid SACD - DSD
Label: Apo ( Analogue Prod
Cat Stevens Tea for the Tillerman on Hybrid SACD from Analogue Productions
1970 Classic Mastered from the Absolute Original Analog Master Tapes: Sound Quality on This Definitive Digital Version is AMAZING
Mastered by Legendary George Marino at Sterling Sound on Ampex ATR-102 Tape Machine: Previously Unheard Information and Details Jump to the Forefront
A Folk-Pop Singer-Songwriter Landmark Listed on Rolling Stone's 500 Greatest Albums of All Time: Includes the Standard "Wild World"
Also Available on 200g LP from Analogue Productions: 1st Title Pressed at Label's Quality Record Pressings
A folk-pop landmark immediately recognized the world over by its title alone, Tea for the Tillerman has forever been an audiophile reference record, but never before has anyone experienced it on digital format with such detail, enhanced signal-to-noise ratio, transparency, frequency extension, and just plain life-like richness that's afforded here. Everything from Cat Stevens' prized vocals to the cymbal crashes is rendered with jaw-dropping realism. As you might expect, no expense was spared in getting everything right.
Mastered from the absolute original analog master tapes at Sterling Sound by iconic engineer George Marino, who consulted the original mastering notes at Sterling Sound, where the initial release was also mastered and cut, the music on this version was cut utilizing an Ampex ATR-102 tape machine, Neumann VMS 80 lathe, and Neumann SX 74 cutterhead, all impeccable devices. No wonder Marino feels like he's struck gold.
"I think we've gotten something quite a bit better than what was originally issued," Marino says, talking about the mastering process. "I think this version is much more representative of what was on the tape. And that's not a criticism of what was originally done." He also notes that, in the time that's elapsed since the original record was released, advancements in cutting lathe technology made myriad improvements possible.
"You didn't have the same number of options that you have in the new Neumann electronics. With the new one, they give you more variations to work with. Let's say there's a nice kind of present sounding acoustic guitar on the left channel and then all of the sudden there's a drum peak with cymbal crashes and stuff and that stuff happens to be on the left channel. Being the vocal is down the center, you can drive the high frequency limiter from the right channel. So you can set a threshold on the right channel and grab the vocal without wiping out some of the musical peaks on the left channel."
Marino also employed a wide-track stereo head for better signal-to-noise ratio and couldn't be more pleased with the finished product. "A great record. A classic. And those tapes were in excellent, excellent condition. Musically, I think we've got something that sounds richer and more natural. It sounds more correct. I had to do very, very little to the tape regarding EQ processing or anything."
For those that don't know, Stevens' highly regarded Tea for the Tillerman came only seven months after the start of his comeback with Mona Bone Jakon. Its arrangements, performances, and songs are all enveloped in a confident grace and beauty. Stevens pulled off a rare feat with Tea for the Tillerman in that he achieved pop accessibility without having to sacrifice artistic relevance.
"With its chamber-pop arrangements, Tea for the Tillerman is one of the British folkie's most ambitious albums. Both the hit single "Wild World" and the bleak ballad "Hard-Headed Woman" find him condemning his ex, Patti D'Arbanville—who later shacked up with Mick Jagger."
--Rolling Stone, 500 Greatest Albums of All Time, November 18, 2003
"Chad, I just spent the afternoon listening to several versions of Cat Stevens' Tea For The Tillerman. My Tea For The Tillerman collection includes: Mobile Fidelity UHQR, standard MFSL, original Island, Island re-issue, A&M audiophile half-speed, standard A&M issues and a French pressing. After listening there is no question the new Analogue Productions re-issue is by far the finest. Great job!" - Jack Lind, Acoustic Sounds customer
"These (two new LPs from Reference Recordings) and Analog Production's remastering of Tea for the Tillerman were both pressed at Quality Record Pressings, the superb Salina, Kansas, facility, and they are the best and the quietest LPs I've heard of recordings made during the LP era. In a sense, the silences of QRP's pressings, their lack of those hard-to-define anomalies of stylus-in-groove sonics, are comparable to the kind of quietness inherent in a magnetic-drive turntable...QRP has put its best feet forward. 'Spectacular' in this case means a freedom from defects (snaps, crackles, and pops) and an absence of groove noise and what I would call vinyl 'rumble,' hard to define except by contrast with normal pressings." - Harry Pearson, The Absolute Sound, January 2012 (or Issue 219)
"...All you really need to know is that in every way this first effort from 'QRP' is of the highest quality...gatefold packaging which looks just like the original, only better. As far as the sound goes it is equally brilliant...And wow listening to this impeccably pressed on 200g vinyl reissue. The attack of the pick on the guitar strings is astonishingly clean and detailed. Depth is pronounced and because of both the blackness of the backdrop and the precision of both the state-of-the-art plating and the technological breakthroughs achieved in the retro-fitted presses, the resolution of low-level detail reveals a host of details that are either buried or glossed over on the other versions I've heard and own." - Jack Roberts, Dagogo, October 2011
"...Like the glossy gatefold covers used in their deluxe Impulse 45 RPM series, the cover reproduction here is absolutely top-notch...The vinyl itself arrived perfectly clean and flat, and played with nary a pop or tic throughout...The pressing is of extremely high quality." - My Vinyl Review, August 29, 2011
"...so many arrangement nooks and crannies to be discovered on this superbly dynamic, spacious and detailed re-mastering and pressing...And wow again listening to this impeccably pressed on 200g vinyl reissue. The attack of the pick on the guitar strings is astonishingly clean and detailed. Depth is pronounced and because of both the blackness of the backdrop and the precision of both the state of the art plating and the technological breakthroughs achieved in the retro-fitted presses, the resolution of low level detail reveals a host of details that are either buried or glossed over on the other versions I've heard and own...Tea For The Tillerman is a great choice for an inaugural album to launch a new pressing plant in my opinion, and if this release is any indication of what we can expect from Chad Kassem's new venture, we're in for some great vinyl!!!!!" Music = 10/11; Sound = 10/11 - Michael Fremer, musicangle.com, July 2011
这张专辑里最被后人传唱得无疑是《Wild World》和《Sad Lisa》两首作品，它们的意义也丝毫不会逊色于纽约民谣歌手Don McLean的《American Pie》、《Vincent》两首大作。《Wild World》最初听到的是Mr.Big的翻唱版本，已经被唱成了一首气势逼人的作品，在当时并没有觉得什么，但是到听斯特文斯的原唱时才发现Mr.Big原来是在对《Wild World》（狂野世界）这首歌进行毁灭性的破坏，狂野倒是狂野十足了，但是当狂野只流於形式时，它只会让人觉得野蛮，听我们的斯特文斯的演唱你就会觉得狂野未必就是吹鬍子瞪眼，狂野也可以有一种温良的表达，说穿了，其实狂野也是一门独特的艺术。与这首歌相同经历的是，我听《Sad Lisa》（悲伤的莉莎）同样是先听齐豫的翻唱，齐豫的演唱更接近仙音，一种纯艺术的嗓音，被无限地拨到空中，当然也是一种听觉上的享受，不过我还是喜欢斯特文斯"脚踏实地"式的演唱，像是一个一百岁的老人在历经沧海桑田之后倾心的演唱，那呜咽的大提琴和不经意间於右侧声道敲出的琴弦声虽然都来自人间，可又仿佛是一种隔世的通灵物，差一步到天堂就是这样的感觉。
最后提一下 ~~~ 有点可惜的是斯特文斯现在竟然变成满脸大腮鬍的穆斯林了！！！偶买尬！！！真不敢相信呀 ~~~~~~~（飘走中）
01. Where Do the Children Play? - 3:52
02. Hard Headed Woman - 3:47
03. Wild World - 3:20
04. Sad Lisa - 3:46
05. Miles from Nowhere - 3:35
06. But I Might Die Tonight - 1:52
07. Longer Boats - 3:13
08. Into White - 3:25
09. On the Road to Find Out - 5:08