Cat Stevens - Foreigner (1973) Original US Santa Maria Pressing - LP/FLAC In 24bit/96kHz
Cat Stevens - Foreigner
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz & 16bit/44kHz | 900mb & 200mb
Mastered at Sterling Sound by Lee Hulko
Label: A&M Records/SP-4391 | Released: 1973 | Genre: Folk-Rock
A Foreigner Suite 18:16
B1 The Hurt 4:16
B2 How Many Times 4:32
B3 Later 4:47
B4 100 I Dream 4:10
Recorded At – Dynamic Sounds Studios
Recorded At – Atlantic Studios
Engineered At – AIR Studios
Mastered At – Sterling Sound
Pressed By – Columbia Records Pressing Plant, Santa Maria
Produced At – Paularie Limited
Licensed From – Island Records Ltd.
Published By – Ackee Music, Inc.
Phonographic Copyright (p) – A&M Records, Inc.
Credits
Arranged By [Strings, Brass, Woodwinds] – Jean Roussel
Artwork [Polar Ink Sketch Insert] – Cat Stevens
Bass – Herbie Flowers (tracks: B2), Jean Roussel, Paul Martinez
Cover – Roland Young (3)
Drums – Bernard Purdie
Drums, Percussion – Gerry Conway (tracks: A)
Electric Piano – Jean Roussel (tracks: A)
Engineer [Air-London] – John Middleton
Guitar, Electric Guitar – Phil Upchurch
Mastered By [Runout Etch] – Lee Hulko
Mixed By [Additional] – Mike Bobak
Photography By [Back Cover] – Robert Freson
Photography By [Cover] – Mick Rock
Piano, Electric Piano, Organ, Acoustic Guitar, Guitar Synthesizer – Cat Stevens
Producer – Cat Stevens
Written-By, Composed By – Cat Stevens
Notes
℗ 1973 A&M Records, Inc.
Original Santa Maria Pressing
Misprint, label matrix (and runout) was entered on wrong sides.
Recorded at Dynamic Studios, Kingston, Jamaica;
Engineered at Air-London;
All string, brass and wood arrangements recorded at Atlantic Studios, New York City
Includes thick, 12″ X 12″, cardboard insert with “Polar ink sketch”; flipside lyrics/credits.
Embossed, over-sized sleeve
1st Cat# sleeve; 2nd label
Barcode and Other Identifiers
Matrix / Runout (A Side Label): SP-4682
Matrix / Runout (B Side Label): SP-4681
Matrix / Runout (A Side Etch, except Sterling Stamp): SP 4682 RE-1 S-3 STERLING LH 2 S 2
Matrix / Runout (B Side Etch, except Sterling Stamp): SP 4681 RE-1 S1 STERLING 1A S 1
Rights Society: ASCAP
Vinyl | LP Cover (1:1) | FLAC + cue | 24bit/96kHz & 16bit/44kHz | 900mb & 200mb
Mastered at Sterling Sound by Lee Hulko
Label: A&M Records/SP-4391 | Released: 1973 | Genre: Folk-Rock
A Foreigner Suite 18:16
B1 The Hurt 4:16
B2 How Many Times 4:32
B3 Later 4:47
B4 100 I Dream 4:10
Recorded At – Dynamic Sounds Studios
Recorded At – Atlantic Studios
Engineered At – AIR Studios
Mastered At – Sterling Sound
Pressed By – Columbia Records Pressing Plant, Santa Maria
Produced At – Paularie Limited
Licensed From – Island Records Ltd.
Published By – Ackee Music, Inc.
Phonographic Copyright (p) – A&M Records, Inc.
Credits
Arranged By [Strings, Brass, Woodwinds] – Jean Roussel
Artwork [Polar Ink Sketch Insert] – Cat Stevens
Bass – Herbie Flowers (tracks: B2), Jean Roussel, Paul Martinez
Cover – Roland Young (3)
Drums – Bernard Purdie
Drums, Percussion – Gerry Conway (tracks: A)
Electric Piano – Jean Roussel (tracks: A)
Engineer [Air-London] – John Middleton
Guitar, Electric Guitar – Phil Upchurch
Mastered By [Runout Etch] – Lee Hulko
Mixed By [Additional] – Mike Bobak
Photography By [Back Cover] – Robert Freson
Photography By [Cover] – Mick Rock
Piano, Electric Piano, Organ, Acoustic Guitar, Guitar Synthesizer – Cat Stevens
Producer – Cat Stevens
Written-By, Composed By – Cat Stevens
Notes
℗ 1973 A&M Records, Inc.
Original Santa Maria Pressing
Misprint, label matrix (and runout) was entered on wrong sides.
Recorded at Dynamic Studios, Kingston, Jamaica;
Engineered at Air-London;
All string, brass and wood arrangements recorded at Atlantic Studios, New York City
Includes thick, 12″ X 12″, cardboard insert with “Polar ink sketch”; flipside lyrics/credits.
Embossed, over-sized sleeve
1st Cat# sleeve; 2nd label
Barcode and Other Identifiers
Matrix / Runout (A Side Label): SP-4682
Matrix / Runout (B Side Label): SP-4681
Matrix / Runout (A Side Etch, except Sterling Stamp): SP 4682 RE-1 S-3 STERLING LH 2 S 2
Matrix / Runout (B Side Etch, except Sterling Stamp): SP 4681 RE-1 S1 STERLING 1A S 1
Rights Society: ASCAP
Cat Stevens - Foreigner (1973) Original US Santa Maria Pressing - LP/FLAC In 24bit/96kHz
Cat Stevens - Foreigner (1973) Original US Santa Maria Pressing - LP/FLAC In 24bit/96kHz
Cat Stevens - Foreigner (1973) Original US Santa Maria Pressing - LP/FLAC In 24bit/96kHz
This Rip: 2017
Cleaning: RCM Moth MkII Pro Vinyl
Direct Drive Turntable: Technics SL-1200MK2 Quartz
Cartridge: SHURE M97xE With JICO SAS Stylus
Amplifier: Marantz 2252
ADC: E-MU 0404
DeClick with iZotope RX5: Only Manual (Click per click)
Vinyl Condition: NM-
This LP: From personal collection
LP Rip & Full Scan LP Cover: Fran Solo
Password: WITHOUT PASSWORD
Between 1970 and 1972, Cat Stevens recorded four albums in the same manner, using the same producer and many of the same musicians, painting the album covers, and assigning the records ponderous titles. Things changed with his next album, Foreigner. The recording itself had been produced by Stevens, and while a couple of Stevens’ usual backup musicians had been retained, New York session musicians appeared, and second guitarist Alun Davies was gone. With him went the acoustic guitar interplay that had been the core of Stevens’ sound, replaced by more elaborate keyboard-based arrangements complete with strings, brass, and a female vocal trio featuring Patti Austin. It’s easy to look at the 18-plus minute “Foreigner Suite” that took up the first side and accuse Stevens of excess and indulgence. What should be kept in mind, however, is that his peers in 1973 were acts like Jethro Tull and Yes, who in turn were taking their cue from the Beatles’ Abbey Road and the Who’s Tommy. Call Foreigner ambitious, then, rather than indulgent. Actually, the suite is full of compelling melodic sections and typically emotive singing that could have made for an album side’s worth of terrific four-minute Cat Stevens songs, if only he had composed them that way. As it is, the suite is a collection of tantalizing fragments. But the album’s second side, featuring the Top 40 hit “The Hurt,” demonstrates that, even in the four-minute range, his songwriting and arranging were becoming overly busy. On the whole, Foreigner marked a slight fall-off in quality from Catch Bull at Four, which itself had marked a slight fall-off from Teaser and the Firecat. The decline seemed more extreme, though, because Foreigner clearly was intended to be better than its predecessors. That’s the risk of ambition.Review by William Ruhlmann, AllMusic.com
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