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Post by crobarbie on Oct 28, 2014 4:15:38 GMT -5
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Post by crobarbie on Oct 28, 2014 4:17:56 GMT -5
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Post by Deleted on Oct 28, 2014 4:39:10 GMT -5
I wasn't too keen on first listening. I preferred the original songs but it's now a slow burner for me.
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Post by Deleted on Oct 28, 2014 4:41:31 GMT -5
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Post by crobarbie on Oct 28, 2014 7:22:58 GMT -5
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Post by crobarbie on Oct 28, 2014 7:27:37 GMT -5
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Post by crobarbie on Oct 28, 2014 10:29:24 GMT -5
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Post by crobarbie on Oct 28, 2014 20:15:12 GMT -5
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Post by crobarbie on Oct 30, 2014 10:27:38 GMT -5
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Post by richina on Oct 30, 2014 12:47:29 GMT -5
Thanks for all the hard work finding these reviews Barney!!  I am so happy the critics seem to be loving this new direction Yusuf is taking!  I'm always a little concerned since my "listening ears" are a tad biased when it comes to this particular singer/songwriter!  In fact, everything he does...I love! Looks like I'm not alone!  Bravo on the great reviews Yusie!!  |
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Post by crobarbie on Oct 31, 2014 10:19:04 GMT -5
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Post by peritura on Nov 2, 2014 3:40:05 GMT -5
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Post by crobarbie on Nov 2, 2014 18:31:47 GMT -5
"Yusuf (aka Cat Stevens) premiers at 22 with Tell 'Em I'm Gone. It's the lowest charting of his three studio albums since reemerging on the international scene. 2006's An Other Cup peaked at 20 while 2009's Roadsinger went to 10." www.vintagevinylnews.com/2014/11/led-zeppelin-neil-diamond-status-quo.htmlHm, a little bit unexpected because I think that neither "An Other Cup" neither "Roadsinger" got so much promotion as "Tell 'Em I'm Gone"? |
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Post by crobarbie on Nov 2, 2014 18:39:32 GMT -5
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Post by M. on Nov 3, 2014 10:54:28 GMT -5
By whom are you paid, crobarbie?  |
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Post by crobarbie on Nov 3, 2014 12:49:38 GMT -5
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Post by crobarbie on Nov 3, 2014 12:57:07 GMT -5
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Post by crobarbie on Nov 6, 2014 18:20:14 GMT -5
So far... "with this one coming in at 24 (US Billboard 200), it's the highest charting album for the artist since Izitso went to number 7 in 1977. This is the artist's ninth album to make the Billboard top 25." (VVN Music)
US Billboard 200 - position 24
US Folk Albums (Billboard) - position 2
US Top Rock Albums (Billboard) - position 6
UK Albums - position 22
Canada Albums - position 6
Does anyone knows complete setlist of Yusuf / Cat Stevens 2nd Hammersmih Odeon concert?
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Post by crobarbie on Nov 7, 2014 4:25:26 GMT -5
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Post by crobarbie on Nov 7, 2014 21:21:51 GMT -5
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Post by Novim on Nov 8, 2014 18:06:01 GMT -5
A very interesting article indeed. However, it's erroneous in mentioning that Yusuf first met Richard Thompson in the studio. I took a video of Yusuf and Richard playing on stage together at Cropredy in 2009. Here it is. Enjoy! www.youtube.com/watch?v=LNSWApgS01s&sns=emChris |
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Post by Deleted on Nov 8, 2014 20:21:01 GMT -5
Novim, thanks for posting the Cropedy '09 video. I took a look at your other videos taken there and really enjoyed "Ruins" and "All Kinds of Roses" as well.
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Post by crobarbie on Nov 9, 2014 14:07:59 GMT -5
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Post by peritura on Nov 20, 2014 16:23:04 GMT -5
In the 1970s you knew him as a gentle hit manufacturers of Cat Stevens, then he pleaded to Islam and called himself Yusuf. Now he celebrates the freedom and the Blues.
04.11.2014 ¦ 19:12 ¦ by Samir H. Kalam (The press)
His conversion to Islam was spectacular: Cat Stevens was one of the great romantic troubadours of the 1970s pop. Mostly female fans adored him because of his good looks and his gentle songs. He launched his hit series at the age of 21. With quiet songs such as "Lady D ' Arbanville", "Morning Has Broken" and "Wild World", he had worldwide success. It could have gone on forever, would he not 1975 have increased in Malibu in the sea. Cat Stevens became a dangerous trend, in danger of death. A wave of emerging unexpectedly saved him. He interpreted them as divinely ordained and became Yusuf Islam decades devoted himself exclusively to the Muslim faith.
After initial blunders, such as the blessing of the fatwa against Salman Rushdie, he moved soon also in the religious field in calmer waters. For many years he runs the Islamia primary school in North West London, that is, to give the kids a British-Muslim identity. She sees herself as an antidote to the religious radicalization in parts of the Islamic world. The teaching of the Koran and European traditions of thought such as Cartesianism and Scholasticism are connected here deliberately. Reason derivative exchanges and intellectual showdown dominate the classroom.
"Salvation from the constraints"
Old musical aspirations came up with the success of his school project. in 2006 he invited to the presentation of his comeback album "Another Cup" in a replica of his youth room, the red-painted red room. Today, Yusuf no longer needs this kind of creative crutch. For the rough but noble-sounding songs of his latest work "tell ' EM I'm gone" he ventured out into the world. The sessions took place in New York, Los Angeles, London and Dubai. The focus, he had the Blues, that style which he had committed at the beginning of the career. A genre that was suspected early by devout. African American Christians called the blues at the end of the 19th century "Devil's music". So amazing that now a self-professed Muslim of this music takes itself.
The surprisingly strong album "tell ' EM I'm gone", a successful tribute to Yusuf's youth heroes from Jimmy Reed is a Howlin' Wolf. It is also catapult for powerful, own Blues fantasies. "The Blues promised a way in my young years redemption from the constraints. Only for minutes, but at least", says who otherwise do not tend to the self-admiration. Both in life as in art is him about altruism. The man but is achieving with the resources of the Blues. And so - how often is the idea of human freedom in the Centre of the new album in the admittedly very heterogeneous Yusuf / Cat Stevens - complete. Musically the noughties-producer Rick helped him Rubin, who has reconciled so many artist - Johnny Cash-Black Sabbath - with its own history.
The range of existential sceneries, about the rapid interpretation of Edgar Winters "Dying To Live", to concrete rebellion in the workplace as in the title song, a variation of "take this hammer", is treated. Also the delicately grooving "Gold Digger" celebrates the winning of freedom through social struggle on the example of the South African anti-apartheid movement, which began as a social survey by miners. The original composition "Editing Floor Blues", however, is a strictly subjective reminiscent of the own awakening in the swinging London of the late sixties. At that time, collected the young Cat Stevens albums of the Blues pioneers and visited legendary clubs such as the 100 Club and the marquee in Soho to see the British adepts of the American sounds. He was thrilled by the male animals and Yardbirds, but also by the Rolling Stones and the Beatles. In "Editing Floor Blues" he remembers his touching beginnings. The Blues heroes in the head, but bar their own life experience, was once nothing more than Teeniesongs on the lips. (Curiously enough he had success immediately. His first minor hit was called "I love my dog.")
"Raised in Babylon"
In other songs, he boldly overlooks the history of civilizations. In "I was raised in Babylon" he lists collapsed civilizations, who each believed they were the Crown of civilization. He sings "we thought our white skins would save US – then we got burned," at the end. These lines are the British Empire here, but act as a portent. The burns and blisters, about the barbarism of IS pain today stronger than ever. What can, however, help? "Only education. Without them the people of radical thinking are threatened."
("Die Presse", print edition, 05.11.2014)
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Post by Deleted on Nov 21, 2014 1:31:48 GMT -5
Some of the internet translations have funny moments.
But I do disagree that Cat had mostly female fans. From what I see of the audiences attending Yusuf's current tour, there is an even distribution of men and women. I think his music appeals to people regardless of gender.
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Post by Deleted on Feb 4, 2015 22:58:13 GMT -5
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