Cats And Cats And Cats

I was so excited when my CD arrived. I used to listen to this album with my mother,(she is no longer with us now) boy how it brought back special memories. I smile every time I listen to it.
Thank you,

The music is Cat Stevens. It's as always great.
The RFID tag that is stuck to the album art will ruin it when removed.
Bad Move whomever had the idea of putting RFID tags on album artwork.

I have been searching for this particular Cat Stevens album for years. The CD is vibrant and memory filled. I love the relaxing music. Takes me back to my youth.

For lots of people listening to popular music several decades ago, one of the most enchanting albums of all was Cat Stevens' "Tea for the Tillerman." The eponymous song closed out a musical treasure of reflective, thoughtful, and insightful songs. Song after song lures the listener in, trying to make out the lyrics as the stories spin out.

The CD starts off with the wonderful "Where Do All the Children Play." Key lines that typify this song:

"I know we've come a long way,
We're changing day by day.
But tell me, where do the children play?"

These innocent lines are juxtaposed with signs of progress, such as jumbo jets, "roads over fresh green grass," skyscrapers filling the air. Simple instrumentation that supports the words and singing.

Then, the marvelous "Hard Headed Woman." The opening lines:

"I'm looking for a hard headed woman,
One who will take me for myself.
And if I find my hard headed woman
I will need nobody else."

This kind of partner Stevens longs for, as opposed to "I know many fine feathered friends, but their friendliness depends on how you do."
Again, rather spare instrumentation, with Stevens himself on guitar and keyboard. A marvel of a song.

Perhaps my favorite cut on the CD--"Longer Boats." There is the hypnotic recurring line:

"Longer boats are coming to win us,
Coming to win us, they're coming to win us."

This is a song that stays in your mind, reverberating, long after you have heard it.

And so many other fine songs, such as "Wild World," "Sad Lisa," "Miles from Nowhere," "But I Might Die Tonight," "Father and son," and so on.

One of the finest albums of its time--and it still wears well, sounding fresh after all these years.

Cat Stevens' Tea For The Tillerman (1970) is Cat's best album, and it's also an album that I like quite a bit. I didn't care much for Cat's music when this, and his other most popular albums, came out. I was into other types of rock music at the time. But since then, I've checked out some Cat Stevens music here and there, and I can relate now and then. I like to listen to Tea For The Tillerman when I'm the mood for his mature, spiritual and somewhat somber sound. Most of the songs are built around Cat's mellow acoustic guitar, but some are piano-based and orchestrated.

The album opens with Where Do The Children Play, and this is one of the album's most popular songs. It's a great one, too, and very thought provoking, but as I listen to it today it's hard to believe that back in 1970, we actually thought that the world's movers and shakers would actually stop to consider Cat's question.

I know we've come a long way
We're changing day to day
But tell me, where do the children play?

Wild World is probably Cat's most enduring and popular song. It's the only one I've heard on the radio in the last decade, anyway. It's a lonely and resigned song, sung by someone who's being left by a lover and even though he is heartbroken, he does his best to give friendly advice to the one who's leaving him behind. I like the somber and sacred Sad Lisa, too. It's a minor-key piano and chamber orchestra dirge about a friend who is trapped in her own sadness. Longer Boats is a hopeful chant-like song that has a catchy melody, and Hard Headed Woman is Stevens' search for a woman who will "make me do my best". I Might Die Tonight is reflective and spiritually themed.

Tea For The Tillerman is an album that's best listened to when you're in a solemn mood or you just feel like hearing something thoughtful and mellow. It's a top-notch production by a talented and spiritually minded artist. It'll brighten your spirits if you're feeling down, but it might also make you wonder what ever happened to all the optimistic spiritual enthusiasm that used to be in America.

This is an awsome EP! I love Chan Marshall and was really disappointed with The Greatest, both the album and the tour. How could they have removed these covers from Jukebox? LOVE LOVE LOVE this EP! So happy to hear her again at her best. :-) Play it again sam!

If you enjoy Cat Power, don't miss out on this EP. It doesn't disappoint...Cat Power rocks. This will be a collector's album.Tops my music list along withArrica Rose and Iron and Wine.

I really dig Cat Power. I also really enjoy her cover albums: The Covers Album and Jukebox. They offer some nice soul takes on some classic songs. My favorite are the ones that weren't soul songs to begin with like "Fortunate Son" which is on this EP. If you like Cat Power and her work, than don't hesitate to pick this up. With all this being said, I really haven't added anything new to the discussion. So let me get to the point: I was pretty bummed when I saw this was a vinyl only relase. I do have a record player but frequently use my iPod. I want to have a portable version of this album. Luckily, it is avalible. If you look on the interenet at various (legal) download sites, this album is avalible for digital purchase. If you look around you'll find it out there.

"Dark End Of The Street" (2008, Matador Records) is a double-10" vinyl offering from Cat Power. The release contains 6 cover versions, which were the excess fat trimmed from Cat Power's early '08 release "Jukebox."

The album kicks off w/the title track, an old soul tune which Cat Power (aka Chan Marshall) has given her trademark moody rendition. In addition, "Dark End..." gives makeovers to "Fortunate Son" (slower, moodier than CCR's original version) and "Ye Auld Triangle" (more toned down than the Pogues original).

One of the album's highlights is a cover of "It Ain't Fair" (Aretha Franklin); Marshall's take is (once again) moodier than the previous version, but it remains one of the albums best cuts, a spellbinding album-ender.

Apparently, this album is a limited-edition release, so don't hesitate if you're a fan of Cat Power's recent releases: "The Greatest" (2006) & "Jukebox" (2008). It is unknown if "Dark End" will surface on CD format.

That's it. A quickie review for a quickie album.

About a month ago, I saw this on sale on a shelf, promptly bought it, and listened to it regularly ever since. Cat Stevens (now Yusaf Islam) has remarkable talent. "Morning Has Broken" reawakens fond memories of Sunday mornings at Church in the 70s, breakfast afterwards, and play time the rest of the day. "Wide World", possibly my first bike ride. The list goes on. I remember the songs when they were new, always meant to buy them, and finally got around to it. Hands down, my favorite song is "Father and Son". WOW!!! The lyrics are powerful.

Whether you have a sense of nostalgia for the music or you just want to hear something old that still sounds fresh today, this collection is for you.

Yusef, we loved you then, we love you now... These are great songs--still love them, still sing them....

This is a good collection of his music, if your a Cat Stevens fan, His earlier music is the best.His voice has lots of depth, If you like folk music you'll like this.

Look, many people aren't aware of it, but Cat Stevens had a very good career from 1975-1978. It's a VERY underrated three years in the legendary career of such a magnificent musician. True, Cat Stevens isn't perfect, but who is? That's right, NO one is perfect. Pick up the final three albums he made in the late 70's and get ready for some of the most splendid, melodic, and emotionally honest songwriting skills that will leave you totally satisfied.

This collection only gives you what radio stations have been playing for years in addition to a few more songs. Big deal. It's really not that much of a drastic leap forward in terms of capturing Cat Steven's best moments compared to his old Greatest Hits album from the mid 70's anyway. So just pick up the final three albums he created in the mid to late 70's and prepare yourself for one beautiful and honest ride of musical ideas.

if you like Cat Stevens most of these songs have stood the test of time.

Cat / Yusuf has sung for Al Qaida fundraisers.
Cat / Yusuf supported the "fatwa" killing of S. Rushdie , on film, TWICE.

Yusuf has lately been trying to re-write history, denying his past statements.

But the proof is all over the internet.

Don't give this guy any of your money.

I love Cat Stevens - a wonderful poet, singer, and wordsmith. Unfortunately, he has turned his talent - and his money - into implements of radical Islamic groups. I could understand his religious conversion, but his support of the 9/11 bombings and terrorist activities is beyond the acceptance of anyone but his "Islamic brothers" in Hamas, Hezbollah, and the Taliban. His money is going to charities, all right - Unicef is one, but other ones are under investigation by those trying to prevent funding for terrorist attacks.

Buying ANY "Cat Stevens" music feeds terrorism and strengthens the grip of its most fundamental fringe groups.

Over the years I have encountered this compilation through relationships. I alway found myself looking through their collection to find it. I decided it was time to get my own. The music is timeless and always a croud favorite. If you don't have this for your collection, you're missing out.

Cat Stevens is a folk rock icon. His songwriting skills, his music, and his voice are all truly definitive. This classic CD, 'Greatest Hits,' features all of hits.

So how does his arguably best collection measure up?

Positives
-All of the major hits appear here. 'Wild World,' 'Peace Train,' 'Sitting' and 'Hard Headed Woman' all appear here for your listening pleasure.
-Hats off to A&M. The sound quality is excellent!

Negatives
-I would like to see a song like 'The First Cut Is The Deepest' on here.

All and all, this collection is the best starting place for Cat Stevens. Highly recommended for any Cat Stevens fan or newcomer! ENJOY!!!

The CD was so late in arriving, I cancelled the order.
Then I got the CD anyway.

I love this album -- and it, along with "Tea for the Tillerman", makes up the 'Quintessential Cat'. My older friends and my very young neighbors all comment on how beautiful the music is, even if they are not familiar with Cat Stevens -- and the use of Greek instruments blends beautifully.

I recently heard an events promotor interviewed. When asked why we keep bringing song artists from the 60's & 70"s back he said - "because these people can still fill the big venues - yes, there are younger artists producing good songs but not enough producing a whole lot of good songs".
Some how Cat Stevens was not part of my adolescence [yes that is true] so when I saw a documentary on Josuf islam in which some of his music was featured the tunes were appealing and the lyrics interested me. I bought two albums - one of which is Teaser and the Firecat.
Marcia Hines [Australian music icon and Australian Idol judge] says - "the purpose of music is to inspire and uplift people" - well this album is inspirational - the lyrics are even more valid today than they were then. I have no doubt should Cat/Josuf ever choose to tour again - he would fill those big venues - three times over - all over the world. In the meantime we have the recording.

I was a Cat Stevens fan 30 years ago( or more) This was a gift to my daughter who has recently discovered Cat Stevens and Dylan and others. She loved it.

Its a great CD. I love it. To Bad GWB and the axis of evil will not let him back into the states.

In general, I think Greatest Hits albums are to be avoided, and nowhere is that more true than with Cat Stevens. "Teaser and the Firecat" and "Tea for the Tillerman" beg to be listened to in their original form. Otherwise, you'd miss "Rubylove" and "If I Laugh".

Other than that, what can I add to what's already been said? Truly a landmark album, and one of the most sonically important albums of the era. Want a real treat? Pick up a copy on 180g vinyl; pure magic.

God this woman can sing...she has one of the most beautiful voices in music today and unlike some other singers (Feist, Jenny Lewis) she actually has the ability to project real pain, sorrow, hope, emotion through her voice.
Chan Marshall is not a blues singer but boy can she sing the blues.

Even though this is an album primarily of covers it feels like a Cat Power album though and through.

Rambling Woman, Silver Stallion and Blue are all stone cold classic covers. They all sound completely different in style and mood but are all memorable.

I listen to this album every couple of days because it puts me in a good space.

I have to say a word about the band that she uses on this album. They do a great job and create some spooky , tripped out sounding southern rock/country/soul music that never overpowers her singing but enhances it.

Count me in the camp of people who prefer Cat Power's new sound.

I love her old stripped down stuff but its gets old. With her new sound, she has proven that she is too talented to be restricted to one style.

Great album. Buy it.

Jukebox (2008, Matador) Cat Power's eighth studio album. ****

Chan Marshall has always been an enigma in the music community. Her raspy, deep voice, her strange performance at concerts, etc. Either way, she's had her fair share of brilliant moments and miserable misses, but thankfully Jukebox is a hit.

This is not the first time Marshall has done a covers album. In fact, she was brave enough to tackle "Satisfaction" by the Rolling Stones, a song successfully covered by only one band before her (Devo, in case you're wondering). On Jukebox, Marshall again displays her eclectic taste in music, tearing each song down and giving it a new structure, a new sound, and most importantly, a new view. She opens by covering Frank Sinatra's "New York," with a slow drum easing the song off. It's a brooding affair, certainly Chan's style and a complete opposite of the uplifting version we know from Frank too well. It isn't a bad cover, rather, it's just strange, almost unrecognizeable. It begs the question of why she even bothered to cover it when she could have written her own lyrics. Only a few tracks make you ask that question, as many of these are excellently done, most notably George Jackson's "Aretha, Sing One For Me." The soft keyboards and Hammond organ accompany Marshall's voice, with a soft bouncy and soulful yet eloquent keyboard line.

The same style is applied to James Brown's "Lost Someone," a very risky choice. This cut is more mellow than "Aretha," but Marshall's strutting vocals make it a sincere moment. She also manages to work in a cleverly executed Dylan cut, "I Believe in You." The tempo is slowed and adds an echoing guitar riff. These and all the songs are fairly minimalist, and all are turned into flok, blues, or jazz-leaning renderings. It isn't a perfect way to do things, in fact, cuts like "Metal Heart" could have been left in the studio. I'd be interested to see if Marshall took any clues from Vanilla Fudge's self-titled debut, an album that consisted solely of covers, all brilliantly done. If she hasn't, she might want to brush up on them to see masters in action (Aretha, Sing One For Me, Lost Someone, I Believe in You, Song For Bobby).

-Stephen
www.politicianrock.blogspot.com

A mixed bag of reminiscent vocals of the early 70's brings you back to folk music, back rooms and college pubs at a time of social unrest. I really enjoyed the beats and music.

The cover version has unfortunately become much maligned over the years. Whereas bands were once judged by how well they could perform certain blues, R&B, Lennon/McCartney or Dylan songs and could gain kudos from picking up early on an up and coming songwriting talent, the rise of the singer/songwriter (and the extra profits from the publishing royalties) has meant the proliferation of home-grown material to the near total exclusion of pre-existing songs.

Thankfully, Cat Power, though with a proven pedigree as an accomplished songwriter, notably on her previous album of original songs The Greatest, has always peppered her live appearances and recording sessions with songs that she has felt a connection with, regardless of who wrote them, and began a whole album of them a decade ago, The Covers Record, released in 2000.

This album was conceived as a sequel, and was originally going to be called Covers 2 (and still is, on the CD Text of my copy at least). Its final title Jukebox still modestly places the emphasis on the song rather than the singer, but its major difference from The Covers Record, which was mostly Cat Power on her own, is the presence of a band, the Dirty Delta Blues Band, featuring major players including Judah Bauer from the Jon Spencer Blues Explosion and Jim White from the Dirty Three. The sound of the band, fleshed out on some tracks by guests of the calibre of Mabon Hodges (an integral part of The Greatest) and Spooner Oldham, session veterans from Memphis and Muscle Shoals respectively, is not a million miles from that on The Greatest, though there is a deliberate ragged informality in the proceedings here that sets it apart.

It would be quite a jukebox, too, if it featured the versions that inspired Chan, with artists ranging from Frank Sinatra to Jessie Mae hemphill. Not all the songs were known to me, but favourites such as James Brown's Lost Someone and Joni Mitchell's Blue, a brave choice, become revitalized through her translucent performances. A Woman Left Lonely, too, is wonderful, and as it was written by Spooner Oldham and Dan Penn, that is presumably Spooner that we can hear on it. The shortlist for this album included the Dan Penn-Chips Moman song Dark End Of The Street, and I cannot be alone in thinking how wonderful that must have sounded, and as Spooner Oldham was the pianist on James Carr's original version, it is likely he would have played on that one, also. I'm not familiar with George Jackson's original of Aretha, Sing One For Me, but as it was recorded for Hi Records back in 1972 it is quite likely that Mabon Hodges was the guitarist on it, and it is good to see Chan recognizing and acknowledging the heritage these guys bring to her record.

I don't see Cat Power as a keen follower of rules and regulations, so on this album it is no surprise to find, on this album of covers, two of her own songs. I suppose one of these, Metal Heart, is technically a cover, since she had previously recorded it on Moon Pix. The other, Song To Bobby, an album highlight, neatly follows Dylan's I Believe In You.

This limited edition version contains a bonus disc with five additional tracks, though these do not include Dark End Of The Street or the other dropped title, Fortunate Son. I would suggest grabbing this edition while it is still available.

Not speaking Spanish, some of the charms of Roberta Flack's Angelitos Negros were lost on me, but her versions of Nick Cave's Breathless and Patsy Cline's She's Got You easily match the best cuts of the first disc. The Hot Boys' I Feel is completely reinvented and is the only track to recall The Covers Record, as its only accompaniment is (her own?) piano. Her Moby Grape cover first appeared on The Covers Record, and although the bonus disc is generally less orchestrated than its parent, the restrained arrangement of Naked, If I Want To (the title has gained a comma since its earlier incarnation) demonstrates the distance traveled since the first cover. Where before the only accompaniment was Chan's guitar, now an ensemble of electric guitar, piano, bass and drums rocks along behind her.

A reviewer in (I think) Mojo, wrote of The Covers Record that Cat Power doesn't cover songs, she uncovers them, and despite the less sparse settings of this album this happily remains the case.

Here's the deal: I just really like her voice. It's one of those voices which I would enjoy even if she were singing the contents of the Boise telephone book. So yeah, I like this CD as I've liked everything she's done. So why 4 stars instead of 5? Just the covers aspect. Cat Power has done, in my view, some wonderful renditions of other people's songs, but covers CDs rarely stand the test of time like a recording of great originals. So one star removed for the "Okay, Cat...enough covers already"
factor. Otherwise, hey....it's Cat Power and it's not the Boise telephone book, so four solid, honest stars.

2 1/2

Another year, another ho-hum-drum offering from the nominally talented songwriter. As with most releases, the vast bulk bores away with monotonous instrumentation masquerading as minimalism, except this time we witness her interpretations of certain cover songs. When she holds back enough out of respect it often works best, but her choices are bland- Sea of Love almost works before it becomes tediously repetitious like most of 'em. One upside: the closest thing to Cat's puurfect song- an atypically self-less and fleshed out "I Found A Reason".

This is my first purchase of a Catpower CD. I choose this one given its good reviews. In general, I like the CD. It is extremely mellow and, overall, the songs sound nothing like the origials. I recommend listening to the song samples if you are unsure about purchasing the CD.

There are one or two really good cuts, notably, Satisaction. The rest of the CD seems dreary and repetitive. She does have an amazing voice, however. I'd say, just buy the cuts you like.

I arrived at Cat Power from her two tracks on the WKW soundtrack for 'My Blueberry Nights'. Inspired by what I heard I ordered her catalogue from Amazon. It is arriving in instalments and so this is my first 'full' experience of what Cat Power is all about. Having played the CD ten times since it arrived yesterday I can say with absolute clarity that this is a CD of great worth and utmost originality; a rare CD that actually contributes and shapes the greater musical consciousness - that is the antithesis to the majority of 'music' that either stalls progress or reverses it. And all this from an album of covers; singing the words of others. Amazing. The strength of this CD lies in three areas, firstly in the choice of her song selection, secondly obviously in her voice and thirdly in the desire the singer has to say something, to make a statement, to add her wash of colour over some pretty well-painted tunes. To follow up on the last point, what she succeeds in doing is essentially erasing that which went before and starting anew. Take for example track #1, the Rolling Stones' 'Satisfaction'. The idea of covering that is a pretty daunting one, how does one make it original, yet pay homage to one of the worlds' most listened to songs? an enigma of immense difficulties. Yet, what she has done is to take that song, and to make it her own, and dare I say it (as with other tracks), she has actually BETTERED the original. Bettered the original of 'Satisfaction'? - I would argue so. She has achieved the impossible. And she has achieved all this with a very sultry, down-tempo offering which would be easy to mistake for elevator music or filler if you weren't properly paying attention.

I would suggest that if you have arrived at this page, they you should not hesitate to buy this CD, I can't see how anyone with a genuine interest in either music - real music, or self-expressive musical artists, could not find this CD anything other than enthralling and enigmatically wondrous.

Personal favourites:
Track #1 (I can't get no) Satisfaction
Track #2 Kingsport Town

N.B. People often draw the mis-conclusions between Cat Power and Natalie Merchant or Feist. Whilst I love all three I think there are no real similarities, save the quirky female and the penchant for good ballads. Each one has their own style and should not be 'boxed' or compared.

The goal of this CD is to distill the beauty from others' songs, and expose it, unhidden and unobscured to the world. From these songs, you can tell that this woman has identified and captured the heart of the songs, the little nuggets of truth nestled within layers of confusion, and it is beautiful. The album is trying to be transparent where everyone else is trying to hide the musical ball. If you have ever listened to songs looking for these nuggets, for the real purpose and source of a song, you will hold this album deep in your heart and can ease the loneliness of feeling like you are the only one who can see.

I went to the show recently. I really liked it. So I searched its soundtrack. This was very good buy, and I really enjoy listening in the car.

I have always loved the show "Cats" even though I never saw it on the live stage. This CD is high quality with the original Broadway cast. It's the next best thing to being there.

This soundtrack reminds me of the time I saw "CATS" on Broadway. The show was super! The music was fabulous! I got the soundtrack as a reminder of that special day.

In many ways Cats was a turning point for Andrew Lloyd Webber. At the beginning of the 80-is he was already a hugely successful musical theatre composer, thanks to his work with the lyricist Tim Rice on "Jesus Christ Superstar" and "Evita". In the early 1980-is he decided to part ways with Rice and many people predicted him a quick downfall, even more so when he decided to use T. S. Eliot's book of children's poetry called "Old Possum's Book of Practical Cats" as a basis for his next musical. He used then a relatively unknown musical director Trevor Nunn and Gillian Lynne as a choreographer. Cats was imagined as a mixture of pop songs and ballet; by that time an unseen combination for a musical, so it is no wonder that Webber and his producer Cameron Mackintosh had trouble finding financial backup. The show opened in London and became a phenomenon in its own right. It closed in London after exactly 21 years of running in May 2001. The same thing happened when the show came to Broadway in 1982; it closed after 18 years of running, in 2000.

So you may wonder what it's all about. It's quite simple really. Many people say that Cats hasn't got a story. It's certainly true that the plot is very simple and that's part of the appeal for the audiences. We are presented with a group of special cats, known as Jellicle cats. They meet once a year to decide who among them is worthy to get a chance to be reborn and start a new life. Since we meet them at that precise night, each of them tells us about their lives and habits through the musical numbers. There is one character among them, Grizabella the Glamour Cat, once of great beauty, but now an ugly and dilapidated thing, because at some point in her life, she decided to leave the others in her tribe and get to know the outside world; a move which eventually led her to prostitution. Because of that she is repeatedly rejected by other cats when she tries to make an entrance and compete as a candidate for a new life, determined to change her life style and pursue a happy life style she once knew. So besides the fact that we meet all kinds of different characters that often have characteristics very similar to human ones, Cats at the same time is a wonderful story of redemption and forgiveness. Besides the story the audiences loved the excellent choreography and dancing together with beautiful and distinctive feline makeup each character of Cats had. It is a show that is suited for the young and the old.

This cast recording captures the somewhat changed show that transferred from London to Broadway. Some lyrics have been cut in the process and overall the score has more of a pop touch rather than the classical one on the London recording. Some numbers have been re-orchestrated completely, like `Mungojerrie and Rumpelteazer'. Despite the fact the new orchestration suits the song better, the whole number works better when sung by its two protagonists and not Mr. Mistoffelees. Some other changes worth noting is the fact that `Growtiger's Last Stand' has much slower tempo and the wonderful `Ballad of Billy McCaw' has been omitted completely (an utter shame) and replaced with an opera pastiche.

There are many great songs a listener will enjoy. Some of them are: "Old Gumbie Cat", about a nice and warm house cat; "Rum Tum Tugger", a naughty and never satisfied cat, "Bustopher Jones", an aristocrat among cats, "Skimbleshanks: The railway cat" and many more. Of course, by far the best known of all the songs and melodies from Cats is "Memory", which, I dare to say, is among the top five songs Andrew Lloyd Webber has ever written and one of the best known and most beautiful songs ever to be found in musical theatre. It is preformed by Grizabella character here played by Betty Buckley who won a Tony Award for this performance. Buckley plays the character tough and strong and so is her rendition of this song. It makes a nice contrast to Elaine Paige on the London recording, though Paige's take on the song remains my personal favourite, due to dreamy and almost desperate sound of her wonderful vocals. One of the drawbacks a careful listener will notice on this recording is a rather unnecessary trumpet addition during `Memory' solo melody in the song.

The cast performance here is mixed. There are some really good improvements over the London recording. Ken Page's warm voice shines like sunshine as he plays his benevolent Old Duetoronomy. Harry Groener as Munkustrap and Terrence Mann as Rum Tum Tugger are also much better than their London counterparts. On the other hand, there are some disappointments. In particular, Donna King as Bombalurina and Wendy Edmead as Demeter fail to deliver the charming `MaCavity: The Mystery Cat'.

This recording here is almost complete, with only a short narrative song missing. It is remastered, so the sound quality is excellent. It comes with a libretto, a booklet with the basic info and few pictures, plus it is neatly packed in a slip case.

Overall, I would still recommend the London recording over this one, due to the extra lyrics, overall better orchestrations, `The Ballad of Billy McCaw' and Elaine Paige's Grizabella. This Broadway recording makes a nice addition to see how the show evolved during the transfer.

It should also be mentioned that in 1997 `Cats' has been filmed for a DVD in London's Adelphi Theatre. This unique edition features the score played by the 80-piece orchestra and has Elaine Paige and Ken Page reprising their original roles. With time, Ms. Paige's vocal abilities have matured and her best rendition of "Memory" can be heard in that DVD. So to enjoy CATS in all its glory, that DVD, also available here at Amazon, is a must-have.

I'm not terribly excited about CATS, but I do enjoy it. I think I would rather watch the DVD or the show than listen to the soundtrack. The opening song is a favorite of mine. This soundtrack is mostly only good if you've seen the show and want to relive the memories.

This Is a Fantastic album (why No SACD?) as for the Extras on this
set ,theres no extra tracks on the first cd ,even though theres room
Any Cat Stevens fan would eat up any bonus tracks they give us,But
compared with other Universal Deluxe Edition this set seems only good
in terms of Extras,Why in earth do we need cuts from the three dvds?
The Teaser Set is a lot better in terms of Demo's,even if they can't even
include the B-side of the single

Along with "Teaser and the Firecat" this album represents the first half of the greatest one/two punch a singer songwriter has ever released. Recorded in around 1970 ...the spare instrumentation and wonderfully timeless songs still hold up today!

The remastering was excellent on the previous edition so that isn't the big deal here...its the bonus CD. While not as exciting as the Bonus disc for Teaser which featured many solo demo recordings by Cat Stevens...the bonus tracks on this....mostly "live" versions of the album tracks are still a welcome addition to the collection of any Cat Stevens fan...and I'm not ashamed to say I am and have always been. The singular Demo...the classic "wild world" by Cat on acoustic guitar is worth the price alone for me....the booklet that comes with it features some nice pix and an intro written sept '08 by Cat and notes from his producer and guitarist..
a very nice presentation of one of the greatest albums of all time!

Enjoy....

Intense and powerful music. If you enjoy Cat Power check out Arrica Rose's music; particularly her newest album: La La Lost.

Chan Marshalls raspy, mysterious voice has brought us to a new level of her music in a modern sense. With Songs like "Lived in Bars" and "the Greatest" Marshall gives us a modern day song with her personal touch that no other can seem to reach. This CD is a must own if you are a Cat Power fan.

I agree with most reviews here, it's a great album. The only thing I want to make clear this is the same CD but comes inside a card sleeve that's why the cover in the picture looks different. Otherwise has a great price that's worth's paying.

Cat Power 's vid for 1998's " Naked As The News " was an intense music experience , equally disturbing and powerful with , let's say P.J.Harvey's " Down By The Water " or Bjork's " Army Of Me " . Then , her hypnotic vid for " Cross Bone Style " was the equivalent of an indie wet dream - strange and beautiful - . Up until recently the singer had been known for being a mess on stage and heartbreakingly beautiful and melancholic on record . 2003's " You 're Free " , her best work so far , featured few fully rounded songs . She mostly delivered fractured ideas of a song , small odes to pain and isolation .

Fast forward to 2007 and Chan Marshall returns sober and happy yet arguably a less exciting songwritter . " The Greatest " is an album that doesn't do justice to her virtues as an artist . On tracks like " Could We " she wins points in structure but lacks the feeling of her past work . Her voice still has that haunting quality it always had and the tittle track is just pure magic but while there's something undeniably special about the girl ( just notice the warmth of personal redemption she brings to the vid of "Lived In Bars ") her breakthrough album just doesn't live to it's hype .

I loved this CD. It moved me, amazed me, and made me want to grind all over my sig other (now fiance). I think this CD might be one of the reasons that we are getting married.

That said, I was heartbroken when I heard her cover of "How Can I Tell You" by Cat Stevens used in a diamond commercial. Now, I can never listen to another CD by Cat Power without wondering if she wrote that song because she *had* to, or because she wanted to sell X?

This is why I hate it when singers allow their songs or performances to be used in commercials. It puts the stench of impure motives on everything they do from that moment forward. As Bill Hicks said "You do a commercial, you're off the artistic roll call forever. End of story."