Al Stewart Albums (21)
'Sparks of Ancient Light'
Release Date 1/1/2008
Tracks 12
Label EMI UK
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What The Critics Say
Though it was released in 2008, Sparks of Ancient Light sounds very much like a '70s Al Stewart record that happens to be lacking the more elaborate features of '70s rock music production. And that's a good thing, allowing what have always been Stewart's principal strengths -- pleasant haunting melodies, mellifluous vocals, accomplished folk guitar work, and literate, historical-minded lyrics -- to stand at the forefront, undiminished by extraneous arrangements. With the passing of years, Stewart's songwriting became increasingly history-focused, and that's quite evident from the songs on this record, which address topics and eras rarely dealt with in pop music. As just a partial sampling, there are looks at the innocence of the Eisenhower years, the fall of the Shah of Iran, and Elvis Presley's vision of Stalin in the clouds (a real-life incident, not a songwriter's fantasy). There's even an ode to early 20th-century U.S. president William McKinley. Several of the songs not sparked by specific historical incidents are imbued with images of wandering, seafaring, and nostalgia (though from a third-person character sketch perspective), though the opening line of "Silver Kettle" ("and in the last days of the world of plastic records") indicates it's actually set in recent times. The production and arrangements by Laurence Juber (who also plays guitar on the album) are straightforward, clear, and tasteful on this quite respectable recording by a veteran singer/songwriter. ~ Richie Unterberger, All Music Guide
What The Critics Say
Al Stewart has always had a distinctive vocal style -- making his radio hits like "Year of the Cat" immediately recognizable -- while also possessing a knack for writing tuneful pop songs. A Beach Full of Shells qualifies as his first U.S. release since 1995, and while it's been some time since the singer conquered the pop charts, both his vocal style and craftsmanship remains intact. It would be a mistake, however, to view Stewart as no more than the maker of pop confections specially designed for a mass radio audience. The cover of A Beach Full of Shells offers the first clue of a playful mind that enjoys the weight of words: there are two types of shells on the beach, one from the sea, the other for use in a gun. The complexity of his approach is best experienced on "Somewhere in England 1915," a lengthy song (nearly seven minutes) with shifting dream imagery. Weaving fantasy with brief references to World War I, the narrator eventually wakes up 90 years later to find himself on the edge -- the song seems to suggest -- of yet another war. Stewart accomplishes all of this without ever being obvious, giving the song a subtle quality as it reveals its surprises to the listener. This, however, is only one of many moods on A Beach Full of Shells. "Katherine of Oregon" is as light as air, a pleasant, flowing ballad with nice acoustic guitar and light percussion, while "Mona Lisa Talking" shifts through a number of intriguing chord changes to offer a little common sense advice. A Beach Full of Shells probably doesn't spell Stewart's return to the Top 40, but it is a solid effort that will certainly please fans. ~ Ronnie D. Lankford, Jr., All Music Guide
'Time Passages Live (BMG)'
Release Date 7/23/2002
Tracks 9
Label BMG Special Products
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What The Critics Say
Time Passages Live is the earliest extant live recording of Al Stewart, licensed from Stewart himself and derived from a 1978 concert, along the tour promoting the then new LP Time Passages -- that album's title track, as well as "Valentina Way," "Life in Dark Water," and "Song on the Radio" (the latter offering a great Phil Kenzie sax solo), are all represented. Issued by BMG through its budget-priced Special Products Division, it's a genuine bargain, offering state-of-the-art sound (for its time) and a very solid song list, including highlights from the preceding pair of LPs -- there's no "Nostradamus" but there's a superb "Roads to Moscow," in addition to the ubiquitous "Year of the Cat" and "On the Border." And only in 1978, at a concert by Al Stewart, would a big portion of a rock concert audience applaud enthusiastically at the mention of Kurt Vonnegut's name (in the introduction to "Sirens of Titan"). The band also breaks up the seriousness of Stewart's originals with an enjoyable rendition of Henry Mancini's "Pink Panther Theme," spotlighting Phil Kenzie's sax. ~ Bruce Eder, All Music Guide
What The Critics Say
Surely the title is a bit of an allusion to the Past, Present and Future of its predecessor, but Modern Times also brought Al Stewart into the present, establishing his classic sound of folky narratives and Lennonesque melodies, all wrapped up in a lush, layered production from Alan Parsons. Hearing this production makes it clear that this is what was missing from Past, since it gives epics like the title track a real sense of grandeur that makes their sentiments resonate strongly. But it's not just the improvement in production that makes Modern Times the beginning of Stewart's classic period -- his songwriting has leapt up and met his ambitions, as it retains the historical sweep of his earlier material but melds it to a melodic sensibility that's alternately comforting and haunting. This skill is apparent throughout Modern Times, and is married to a sound that is its equivalent, making this an exquisite pop-prog gem. ~ Stephen Thomas Erlewine, All Music Guide
'Acoustic Evening with Al Stewart'
Release Date 12/4/1997
Tracks 8
Label EMI Music Distribution
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'Seemed Like a Good Idea at the Time'
Release Date 1/1/1996
Tracks 16
Label Acoustic Music
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'Rhymes in Rooms'
Release Date 1/1/1992
Tracks 11
Label Mesa/Bluemoon
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What The Critics Say
Sometimes the most unexpected jewels can be crystallized in adversity -- this album was a case in point, the indirect result of the financial collapse of Enigma Records, to which Al Stewart had been signed, in 1990. In tandem with Peter White, Stewart went out on the road, and the resulting 11-song album was duly issued on EMI (which was still Stewart's label, outside of the United States). There actually wasn't any shortage of live Al Stewart material in the can, but Rhymes in Rooms allowed him to deliver fresh reinterpretations of his best-known songs, this time out all-acoustic and in a more intimate setting than his earlier live recordings -- with a full band -- had permitted. The results are pleasing and never repetitive, even for those who are extremely familiar with the original versions. Stewart's and White's extended intros and vamps on the most familiar fare here are delightful, and the intimacy and immediacy of the setting and recording allow Stewart to add some new inflections and directions to the vintage material, which goes back more than 20 years in his career. ~ Bruce Eder, All Music Guide
