Customer Reviews

Mona Bone Jakon

5 star:		(27)
4 star:		(9)
3 star:		(2)
2 star:		(0)
1 star:		(1)

 

 

Cat Stevens had two absolutely great albums -- _Tea for the Tillerman_ and _Teaser and the Firecat_. This one came first, and it's almost as great.

At this point in his career, he had already released two albums' worth of good but largely unremarkable pop music (_Matthew and Son_ and _New Masters_). It's here, on _Mona Bone Jakon_, that he introduces the delicate-textured acoustic sound with which he is most identitifed.

It's hard to explain why I don't think the result, despite its tremendously high quality, is _quite_ as marvelous as the two albums that followed it. There's wonderful stuff on here, my personal favorites being "I Wish, I Wish," "Katmandu," and "Fill My Eyes." And I don't think there's a single really weak track. There's probably a matter of taste lurking in here somewhere; I just think his writing and playing got even crisper and cleaner on _Tea_ and _Teaser_.

At any rate, if you have this one and the next two, you have most of the "very best of" Cat Stevens already, never mind those other "best of" collections. Borrow _Buddha and the Chocolate Box_ from somebody and tape "Sun/C79" and "Oh, Very Young," and you'll have the rest of it.

(Not that his other stuff isn't _good_, but it's mostly not of the same quality -- though portions of _Catch Bull At Four_ come within inches of it. I don't have much patience with "fans" who tell us that the rest of us aren't "true" fans if we find "Foreigner Suite" to be much ado about nothing and don't especially care for _Izitso_. If we have to suspend our powers of discrimination and uncritically adore everything an artist emits, who wants to be a "true" fan of _anybody_? And what genuine artist would want such "fans"?)

Trivia time: this album was originally going to be entitled _The Dustbin Cried the Day the Dustman Died_; the album cover still reflects the earlier title. And "Mona Bone Jakon" was a little private nickname Cat had given to -- let's put it delicately -- a certain portion of his anatomy to which one does not ordinarily call public attention and about which he will undoubtedly not write any more songs now that he's a Muslim.

Speaking of which, here's a little more history for the uninitiated:

"Cat Stevens" was the stage name of Steven Georgiou, who was born in the U.K. in 1949 of a Cypriot father and a Swedish mother. Something of a musical prodigy, he released his first two albums well before he was twenty years old as was on his way to becoming a "pop star." He then fell victim to a terrible case of tuberculosis. When he returned to singing and songwriting, he had taken a decidedly more reflective turn and found himself delivering absolutely beautiful stuff with no apparent commercial potential. That was fine with him; he was no longer particularly interested in commercial success. But, perhaps ironically, his delicate confessional songs and his deliberate avoidance of "commercial-ness" turned him into a huge international star.

Well, he eventually (1977) became a Muslim and adopted the name "Yusuf Islam" (after the biblical dream-interpreter Joseph). At about that time he also left the music industry. He has since recorded a couple of albums about Islam, but his last collection of commercial music was _Footsteps In The Dark_ (ostensibly a second volume of his "greatest hits," but in fact a set of lesser-known favorites and a handful of tunes not available elsewhere).

You can feel safe in ignoring the comments from people who think he has become "rigid" and/or "intolerant." The simple fact is that nearly every Cat Stevens album (the exceptions being his first two) is filled with "spiritual seeking," and he eventually found what he was looking for in Islam. His "recent" (actually, 1989-90) remarks on Salman Rushdie were not what you probably think they were (and in particular he didn't call for Rushdie's death). He's no more "rigid" or "intolerant" than the rest of us; he's simply a religiously observant Muslim, that's all. There's a problem here only for people who think seekers should never get around to finding, or that traditional religion is more "dogmatic" than irreligion.

His songs don't need to "transcend" their creator in order to be great; there's no need to run down Yusuf in order to elevate Cat. And since they _were_ written during his "seeker" stage, they're suitable for everybody -- future Muslims or not.

I don't know if anyone else feels this way, but I find this album to be Cat Stevens' best. Let me give you some reasons why...

(1) I'd never heard any of the songs before I bought the album, which made it very fresh.

(2) MBJ is much more melodic and entrancing than his other albums. I think that's due in part to this excellent remastered edition, which makes the sound crystal clear.

(3) The lyrics, like the music, are much more sprawled than his other albums. It seems like he's much more relentless with his lyrics in this album.

(4) It seems like this album just flows better than his others. That could be because he has so many classic songs that tend to overshadow the entire album. That's something that doesn't happen on MBJ.

These songs are so fresh that one must wonder if they'd be hits today. Sure, I recommend Cat's other albums to new fans, but if you're tired of his hits (which are excellent, don't get me wrong) and are ready for a change, pick up Mona Bone Jakon.

I have always loved this man's music,and I wish he was still creating it. Mona Bone Jakon has some songs of such haunting beauty that they remain with you forever. The genius of Cat Steven's orchestration,arrangements and playing make him a special favorite of many listeners. If you like this album and are not familiar with his other albums,try Catch Bull at Four and Tea for the Tillerman as well. There is no other musician like him.

This was Cats First Album since his illness in the early Seventies...it was his third album if you include his first two with Decca.

It really is an amazing album... his lyrics are superb... no one can beat him...even to this day..The songs have a catchy beat to them...and it was a perfect come back...

A Must Get

This album is probably the best Cat Stevens put out. The variety is one strong point; Mona Bone Jakon has slower more contemplative songs like Katmandu and Trouble, but also has uplifting ones like I Think I See the Light. The album also has many songs from the movie "Harold and Maude". Another good Stevens album is Tea for the Tillerman.

I would like people that have never heard much of this man to get this cd. I have to be honest the best song, ( in my opinon is "Trouble.") One of the most intense, haunting songs you will ever hear!!!. None of his new greatest hits albums contian this song. Why, I really do not know. The whole cd is fantasic!! I just want more people to hear this particular song, because many of my friends never have. Like Dylan, (but with a better voice) Cat wrote from very deep in his mind and soul.

Cat Stevens is one of the most original songer/songwritter just listen too the delicate sounds of the song titled: 'Fill My Eyes' or the spirtual sound of the song titled: 'Lady D'Arbanville' if you want to feel good than listen to these songs then listen to Lilywhite, this will make you feel sleepy, and that is how you need to feel if you are to continue listening to the other songs because they are like medicine for the mind.

Regards Suzsanne

I first discovered Cat Stevens true talent from watching Harold And Maude. His music fits the movie quite well. I bought the cd because I liked the songs from the movie. This is a great album. The songs are so pure and simple. They are great feel-good songs. It sounds like Peter Gabriel sings in the background on 'Lady D'Arbanville', although it doesn't say on the album. It does say however that he plays the flute in 'Katmandu'. This album was made back when music wasn't so complicated. It kind of reminds me of the way Nick Drake makes his music, simple yet perfect. Too bad I am barely discovering Cat Stevens now after all this time. Because of this album, though, I am planning on buying more from this amazing artist.

When Cat Stevens got out of hospital (as the Brits say) in 1970, he had a catalog of songs that would stretch over 2 years and 3 albums. So why, I wondered, didn't he put all the best stuff on the first record? After all, most people would say Tea For the Tillerman and Teaser and the Firecat contained most of the Stevens classics. Then it occurred to me that a lot of this music had already appeared in the movie Harold and Maude, so there may have been an attempt to tie it in with the movie release. THEN it occurred to me that this isn't really inferior stuff, even though sometimes you don't notice its brilliance the way you should. The great songs here are Trouble, I Think I See The Light, Katmandu and maybe Pop Star. The others are very good. All the songs have a weightlessness to them that might cause you to overlook the worthiness of the album on the whole. So in a way, the whole is not as good as the sum of its parts. But it's definitely worth checking out.

Whoops! Yeah, I know. How can anyone still favor the music from someone whose own recent public pronouncements belie the dreamy humanism and tolerance of the lyrics in these songs? Still, after thirty years of listening to this particular album as well as the other classic efforts by this timeless artist, it still puzzles me that anyone capable of creating such beautiful lyrics, enchanting melodies, and memorable arrangements could now be so rigid and intolerant of others. Go figure. Yet, I have to admit that the music remains, folks, a monument to late sixties-early seventies consciousness, a pillar to the edifice of the whole notion that we could change the world and make it a better, more tolerant, and more humane place to live in. All the music here is wonderful, and I can listen to the album without missing a lovely beat, from "Lady D'arbanville" to the magical "Maybe You're Right".

What's more, even the cover art by Cat himself is an enchanting reminder of the kind of soft pop sentimentalism that one expects from a gentle soul such as is portrayed here. My own personal favorites are "Pop Star" with its early indication all was not well in the world of super stardom that Cat suddenly found himself in (Stevens is an English-born son of Greek ethnic parents), the soft yet soaring "Trouble", a song I have never heard a harsh word against, and of course, "Mona Bone Jakon", another in a series of similar unforgettable Cat Steven's catchy musical confections. There is simply no getting around how uniquely talented he was. Like "Tea For The Tillerman" after it, this terrific album is a reminder that sometimes art rises above the level of its all too human creator. Enjoy!