Top Artists – Cat Stevens

Cat Stevens Asks: Light, Medium or Heavy on the Congas?

Teaser and the Firecat

 

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During the shootout for this record a while back we made a very important discovery, a seemingly obvious one but one that nevertheless had eluded us for the past twenty plus years (so how obvious could it have been?). It became clear, for the first time, what accounts for the wide disparity in ENERGY and DRIVE from one copy to the next. We can sum it up for you in one five letter word, and that word is conga.

The congas are what drive the high-energy songs, songs like Tuesday’s Dead and Changes IV. Here is how we stumbled upon their critically important contribution.

We were listening to one of the better copies during a recent shootout. The first track on side one, The Wind, was especially gorgeous; Cat and his acoustic guitar were right there in the room with us. The transparency, tonal neutrality, presence and all the rest were just superb. Then came time to move to the other test track on side one, which is Changes IV, one of the higher energy songs we like to play.

But the energy we expected to hear was nowhere to be found. The powerful rhythmic drive of the best copies of the album just wasn’t happening. The more we listened the more it became clear that the congas were not doing what they normally do. The midbass to lower midrange area of the LP lacked energy, weight and power, and this prevented the song from coming to LIFE the way the truly Hot Stampers can and do.

Big Speakers

For twenty years Tuesday’s Dead has been one of my favorite tracks for demonstrating what The Big Speaker Sound is all about. Now I think I better understand why. Big speakers are the only way to reproduce the physical size and tremendous energy of the congas (and other drums of course) that play such a big part in driving the rhythmic energy of the song.
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The Mobile Fidelity Hall of Shame

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The MoFi Hall of Shame

40+ strong but the real number would be at least double that and probably more like triple that figure.

But who has time to make listings for all the bad records this label has released?

In case you don’t already know, one of the worst sounding, if not THE WORST SOUNDING VERSION OF ALL TIME, is the Mobile Fidelity Anadisq pressing that came out in the ’90s. If you own that record, you really owe it to yourself to pull it out and play it. It’s just a mess and it should sound like a mess, whether you have anything else to compare it to or not. (more…)

Listening in Depth to Cat Stevens – Catch Bull at Four

More Cat Stevens

More Catch Bull at Four

Listening in Depth

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If you’re familiar with what the best Hot Stamper pressings of Tea for the Tillerman, Teaser and the Firecat or Mona Bone Jakon can sound like — amazing is the word that comes to mind — then you should easily be able to imagine how good this killer copy of Catch Bull at Four sounds.

All the ingredients for a Classic Cat Stevens album were in place for this release which came out in 1972, about a year after Teaser and the Firecat. His amazing guitar player Alun Davies is still in the band, and Paul Samwell-Smith is still producing as brilliantly as ever.

In-Depth Track Commentary

Side One

Sitting

This track often sounds a bit flat and midrangy, and it sounds that way on most domestic pressings and the “wrong” imports.

The best imports and domestic pressings are the only ones with the sweeter, tubier Midrange Magic that we’ve come to associate with the best Cat Stevens recordings. (more…)

This Is Your Idea of Analog?

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Cat Stevens – 200 Grams of Tea for the Tillerman

Dear Record Loving Audiophiles of Earth,

I’m afraid we have some bad news. Regrettably we must inform you that the 2011 edition of Tea for the Tillerman pressed by Analogue Productions on Heavy Vinyl doesn’t sound very good. We know you were all hoping for the best. We also know that you must be very disappointed to hear this unwelcome news.

But the record is what it is, and what it is is not very good. Its specific shortcomings are many and will be considered in at length in our review below.
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Traveling Back in Time with Cat Stevens on MoFi


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to Hear It on Vintage Equipment

Our good customer Roger wrote us a letter years ago about his MoFi TEA FOR THE TILLERMAN, in which he remarked, “Sometimes I wish I kept my old crappy stereo to see if I could now tell what it was that made these audiophile pressings so attractive then.”

It got me to thinking. Yes, that would be fun, and better yet, it could be done. There are actually plenty of those Old School systems still around. Just look at what many of the forum posters — god bless ’em — are running. They’ve got some awesome ’70s Japanese turntables, some Monster Cable and some vintage tube gear and speakers going all the way back to the ’50s.

With this stuff you could in effect travel back in time, virtually erasing all the audio progress of the last 30 years. Then you could hear your MoFi Tea for the Tillerman sound the way it used to when you could actually stand to be in the same room with it.
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Just Up Today: a White Hot Teaser & The Firecat

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  • STUNNING Demo Quality sound on both sides, and relatively quiet to boot — copies like this are TOUGH to come by
  • This British pressing knocked us out with a Triple Plus (A+++) side two and a Double to Triple Plus (A++ to A+++) side one
  • One of the absolute dynamos of the whole Hot Stamper world — a record that will BLOW YOU AWAY
  • Allmusic 5 Stars: “Musically more interesting than ever…”

See all of our Cat Stevens albums in stock

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Cat Stevens Teaser Testimonial

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… So Much More Alive and Dynamic …

Our good customer Roger here likes doing his own shootouts, having acquired many of the so-called audiophile recommended pressings over the years. Like us, he knows firsthand that those recommended records have little hope of standing up to the real thing, the real thing of course being an old record we charged him a lot of money for, or, to put it another way, a Super Hot Stamper. Can it possibly be worth the three hundred clams it cost him? Let’s hear from Roger on that subject.

Hi Tom:
Just the usual note to let you know of my latest LP shootout: Cat Stevens Teaser and the Firecat. Since you recommend this recording so highly, I was looking forward to comparing your Super Hot Stamper (SHS) to a British Sunray pressing I had and my Mobile Fidelity Anadisq. Since I had previously found, as you have, that the MFSLversion was thin and bright, I bought a UK pressing, finding it much more full, warm, and dynamic, and my recent comparison confirmed that. The MoFi is hideously bright and edgy, making guitars sound like zithers and Cat’s voice thin and reedy, like he had a head cold. Yep, that about sums it up, Cat Stevens and His Zither Band. It makes me wonder whether the ear-damaged MFSL engineers ever heard a good pressing of this record–even the UK was leagues better.
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