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Izitso
Studio album by
Cat Stevens
ReleasedApril 1977[1]
Recorded18 September 1976 – March 1977
StudioMuscle Shoals Sound Studio, Sheffield, Alabama;
Sound 80 Studios, Minneapolis, Minnesota;
Ardent Studios, Memphis, Tennessee;
Le Studio, Morin Heights, Quebec, Canada
Sweet Silence Studios, Copenhagen, Denmark
GenreSoft rock, folk rock, electronic rock, synthpop
Length35:55
LabelIsland (UK/Europe)
A&M (US/Canada)
ProducerCat Stevens
David Kershenbaum
Cat Stevens chronology
Numbers
(1975) 		Izitso
(1977) 		Back to Earth
(1978)

Izitso is the tenth studio album by the British singer-songwriter Cat Stevens, released in April 1977. After the lacklustre Numbers, the album proved to be his comeback. The album updated the rhythmic folk rock and pop rock style of his earlier albums with the extensive use of synthesizers[2] and other electronic music instruments, giving the album a more electronic rock and synthpop style, and anticipating elements of electro.[3]

Overview

[edit]
"(Remember the Days of the) Old Schoolyard"
A sample of "(Remember the Days of the) Old Schoolyard" from Izitso. It was an early example of synthpop and Cat Stevens' last top 40 hit single of the 1970s.
"Was Dog a Doughnut?"
A sample of "Was Dog a Doughnut?" from Izitso. It was one of the first examples of electro, or techno-pop.
Problems playing these files? See media help.

The album reached No. 7 on the American Pop Albums charts.[2]

It also included his last US and UK top 40 chart hit for almost three decades, "(Remember the Days of the) Old Schoolyard", an early synthpop song that used the Polymoog, an early polyphonic synthesizer; it was a duet with fellow UK singer Elkie Brooks. Linda Lewis appears in the song's video, with Cat Stevens singing to her, as they portray former schoolmates, singing to each other on a schoolyard merry-go-round. (This is one of the few music videos that Stevens made, other than simple videos of concert performances.)

The song "Child for a Day" was featured in the 1977 film First Love, starring Susan Dey and William Katt.

The song "Was Dog a Doughnut?" upon release was criticised for sounding "a bit too robotlike"[4] with elements later associated with hip hop music. The track made early use of a music sequencer along with synthesizers. In an interview for Uncut in 2014, Yusuf (Stevens) explains his inspiration for the song:

In the '70s, there was an article that made me furious, but also made me laugh, called "Was God An Astronaut?" The whole premise of putting God into a space rocket was so outrageous I just decided to have a go and wrote that song.[5][better source needed]

The song "(I Never Wanted) To Be a Star" references the transition phase happening in his life, as he was growing more and more resentful of the more commercial aspects of the music industry. The lyrics make references to four of his early songs: "Matthew and Son", "I'm Gonna Get Me a Gun", "A Bad Night", and "I Think I See the Light".

Additional information

[edit]

Some of the album's unreleased tracks featured Ringo Starr on the drums, during a recording session on 30 September 1976. According to The Beatles biographer Kristofer Engelhardt in 1998, "Yusuf said that he met Ringo at a hotel in Copenhagen, Denmark, and invited him down to a recording session for his album Izitso at Sweet Silence Studios in Copenhagen. He recalled that the party atmosphere of the sessions led to a jam of him singing 'Blue Monday' and 'I Just Want to Make Love to You,' with Ringo joining in on drums."[6] Bootleg copies of the sessions exist.[citation needed]

Stevens, who had a strong interest in Islam prior to recording the album, formally converted to Islam later in the year and adopted the name Yusuf Islam in 1978, by which time the album Back to Earth would be released and Islam had essentially retired from the music business.[7] It would be nearly 30 years before he would again perform Cat Stevens songs.

A piano/vocal sheet music book with every song from the album was published in 1977, approved by Stevens, with arrangements by Los Angeles musician Laddie Chapman.

Critical reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStar[8]
The Rolling Stone Album GuideStar[9]

Upon its release, Rolling Stone praised the album for blending together elements of folk rock and electronic music, "often in apparent opposition to each other", with "the diversity and the maturity to match this seeming incongruity."[4]

Track listing

[edit]

All tracks composed by Cat Stevens, except where indicated.

Side one

  1. "(Remember the Days of the) Old Schoolyard" – 2:44
  2. "Life" – 4:56
  3. "Killin' Time" – 3:30
  4. "Kypros" (instrumental) – 3:10
  5. "Bonfire" – 4:10

Side two

  1. "(I Never Wanted) To Be a Star" – 3:03
  2. "Crazy" – 3:33
  3. "Sweet Jamaica" – 3:31
  4. "Was Dog a Doughnut?" (instrumental) (Stevens, Bruce Lynch, Jean Roussel) – 4:15
  5. "Child for a Day" (Paul Travis, David Gordon) – 4:23

Personnel

[edit]

Production

[edit]
  • Producers – Cat Stevens, Dave Kershenbaum
  • Engineers – Harvey Goldberg, Mike Stavros, Ian Boughey, Nigel Walker, Flemming Rasmussen, Tom Jung, Paul Martinson, Nick Blagona, Mike Ross, Freddy Hansson, Steve Brandon, Jerry Masters, Gene Eichelberger, Dee Robb, John Kelly, Ken Frieson
  • Mastering – Ted Jensen, Bernie Grundman
  • Mixing – Claude Dupras
  • Design – Mathieu Bitton
  • Programming – Cat Stevens, Claude Dupras
  • Supervisor – Bill Levenson
  • Illustrations – Cat Stevens
  • Cover Designs – Cat Stevens, Eckford Stimpson
  • Photography – Moshe Brakha
  • Coordinator – Beth Stempel

Charts

[edit]

Singles

[edit]

Cat Stevens duet with Elkie Brooks, "Remember the Days of the Old Schoolyard",[24] though Linda Lewis appears in the song's video. In Canada, the additional singles "Sweet Jamaica" and "Was Dog A Doughnut" reached numbers 98 and 79 respectively.[25][26]

Chart 1977 Peak ref.
Australia Kent Music Report 18 [27]
Canadian Singles Chart RPM Top 100 27 [28]
Canada Adult Contemporary RPM AC 14 [29]
US Billboard Hot 100 33 [30]
US Adult Contemporary US AC 28 [30]
US Top 100 Singles Cashbox (magazine) 38 [31]
UK Singles Charts 44 [32]
France Syndicat National de l'Édition Phonographique 35 [33]

Certifications and sales

[edit]
Certifications and sales for Izitso
Region Certification Certified units/sales
Canada (Music Canada)[34] Gold 50,000^
United Kingdom (BPI)[35] Silver 60,000^

^ Shipments figures based on certification alone.

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Izitso

View on Grokipedia
from Grokipedia
Izitso is the tenth studio album by British singer-songwriter Cat Stevens (now known as Yusuf), released in April 1977 by Island Records. Produced by Stevens and co-producer David Kershenbaum, it blends his signature folk-rock style with innovative electronic elements, such as synthesizers, drum machines, and vocoders, marking a creative rebound from the previous year's underwhelming Numbers. The album features ten tracks, including the nostalgic lead single "(Remember the Days of the) Old Schoolyard" featuring , which peaked at number 33 on the US and number 44 in the UK. Other notable songs include the "Was Dog a Doughnut?", an early electro-influenced track that foreshadowed hip-hop production techniques, and the reflective "". Recorded in various locations including , , and studios in the United States, Izitso incorporates diverse influences like Greek bouzouki on "Kypros" and reggae rhythms on "Sweet Jamaica", showcasing Stevens' evolving musical experimentation. Commercially, Izitso revitalized Stevens' career, reaching number 7 on the US Billboard 200 chart—where it spent 23 weeks—and number 18 on the . It was certified gold in the United States by the RIAA on June 13, 1977. Critically, it received praise for its ambitious production and depth beyond Stevens' typical sentimental persona, with highlighting the album's far-reaching musicality and innovative soundscapes. The record's electronic forays, particularly on tracks like "Was Dog a ?", have been retrospectively noted for influencing later genres such as and electronic . Izitso remains a pivotal work in Stevens' discography, bridging his folk roots with modern production trends of the late 1970s.

Background and recording

Album conception

Following the relative commercial underperformance of his 1975 album Numbers, which peaked at No. 13 on the US Billboard 200 but did not chart on the UK Albums Chart despite previous multi-platinum successes like Tea for the Tillerman, Cat Stevens aimed to reassert his artistic direction with Izitso as a deliberate effort to recapture his earlier introspective appeal. The album marked a pivot back toward the acoustic singer-songwriter roots of his breakthrough era, while signaling a conscious evolution to blend traditional folk elements with contemporary innovation, positioning Izitso as a bridge between his past triumphs and future explorations. In 1976, Stevens' creative process was deeply shaped by personal spiritual inquiries, including his immersion in reading the Koran, which infused the album with a contemplative and searching tone reflective of his inner journey at the time. This period of self-examination motivated him to craft songs that balanced nostalgic warmth with philosophical depth, drawing from his desire to address themes of , , and transformation in a more personal manner. Additionally, Stevens sought to push musical boundaries by incorporating electronic instrumentation, such as synthesizers and machines, to modernize his sound without abandoning his melodic core—a move that highlighted his ambition to remain relevant amid evolving pop landscapes of the late . The songwriting phase emphasized standalone tracks with catchy, infectious hooks, setting the foundation for an album that ultimately revitalized his commercial standing upon release.

Recording process

The recording sessions for Izitso began on September 18, 1976, and continued intermittently until March 31, 1977, reflecting ' desire to incorporate a range of sonic influences through multi-location work. This extended timeline enabled experimentation with different ensembles and environments, marking a shift from his previous s' more centralized productions. A significant portion of the was tracked at in , starting in late 1976, where Stevens teamed up with the —including on keyboards, on bass, and Roger Hawkins on drums—for foundational grooves on tracks like "Killin' Time." These sessions infused the material with a raw, edge, leveraging the studio's reputation for capturing organic performances. Further recording occurred at Cherokee Studios in , during early 1977, allowing for overdubs and refinements with West Coast session players. In Memphis, sessions at contributed additional layers, particularly in integrating orchestral elements. Additional sessions took place at Sound 80 Studios in , , and in , . Throughout these phases, guest musicians such as on and added experimental textures, notably on the instrumental "Was Dog a Doughnut?," while engineers like Gene Eichelberger at Muscle Shoals and Nick Blagona at in handled mixing to unify the disparate recordings.

Production

Production team

The production of Izitso was led by Cat Stevens as the primary producer, who shaped the album's overall direction drawing from his evolving musical interests in folk, pop, and experimental sounds. Co-producer David Kershenbaum played a key role in refining Stevens' vision, applying his expertise to smooth out rough edges and enhance the album's commercial appeal through meticulous oversight of mixing and arrangement decisions. Kershenbaum's contributions helped balance Stevens' ambitious ideas, resulting in a polished final product that retained artistic depth while broadening its accessibility. The engineering efforts were handled by a team that included Harvey Goldberg and Mike Stavros, who managed technical aspects of recording across multiple studios in , , and Muscle Shoals during sessions that occurred from September 1976 to March 1977. Their combined input was crucial in integrating diverse recording environments into a cohesive whole. Guest producer-like inputs came from musicians such as , who provided specialized keyboard arrangements and performances on select tracks, including the montuno riff on "Was Dog a Doughnut?" and electric piano on "Bonfire." Corea's jazz-fusion sensibilities added textural complexity to these pieces, elevating Stevens' experimental forays without overshadowing the core songwriting.

Technical aspects

Izitso marked a significant shift in ' production approach, incorporating an extensive array of synthesizers such as the , , Polymoog, and to explore early elements within his folk-rock framework. These instruments provided layered electronic textures, with the Polymoog appearing on tracks like "(I Never Wanted) To Be a Star," "Crazy," and "Hasan," while the contributed to the atmospheric swells in "Sweet Jamaica" and "Child for a Day." The album blended analog instrumentation with emerging technologies, exemplified by sessions at Sound 80 Studios in , the world's first commercial multi-track facility using 3M's 32-track digital system introduced in 1975. This integration allowed for cleaner signal fidelity and reduced tape noise, contrasting with the predominant analog tape methods elsewhere on the project. A notable innovation occurred on "Was Dog a Doughnut?," where sequencers were programmed by and bassist Bruce Lynch to drive repetitive electronic patterns alongside and synthesizers, creating a pioneering fusion of rhythms and pop structures. This track's use of sequencing predated widespread adoption in mainstream music, highlighting Stevens' experimentation with automated electronic elements. Recording spanned multiple international studios from September 1976 to March 1977, including in , in , Sound 80 in , in Memphis, and facilities in and Nashville, to capture diverse sonic palettes. Mixing was overseen by a large team of engineers, including Harvey Goldberg, Mike Stavros, Gene Eichelberger, and , who refined the multi-location sessions for cohesion. Post-production polishing, including final equalization and mastering by at A&M Mastering Studios, ensured a polished, radio-friendly sound that balanced the album's eclectic electronic and acoustic components.

Musical style and composition

Genre influences

Izitso marked a significant evolution in ' musical style, blending his established foundations with elements of and innovative electronic production. This fusion is evident in the album's rhythmic base, updated through the incorporation of synthesizers and electronic instruments, creating a contemporary sound that departed from his predominantly acoustic earlier works. The pioneering use of synthpop and electronic layers, including drum machines and sequencers, positioned Izitso as an early precursor to electro and synth-pop genres, particularly in tracks featuring motorik rhythms and layered electronic textures. Stevens' transition from a pure singer-songwriter approach to one enriched with orchestral arrangements and synth overlays reflected broader 1970s trends toward experimentation in popular music. Sessions at Muscle Shoals Sound Studio introduced influences from 1970s soul and R&B, courtesy of the renowned rhythm section, infusing the album with a harder rock edge and soulful grooves that contrasted Stevens' typical folk sensibilities. The album also incorporated world music elements, such as reggae rhythms on "Sweet Jamaica" and Greek bouzouki on "Kypros." These elements, combined with subtle progressive rock structures in instrumental passages, underscored the album's genre-blending ambition.

Song structures and themes

The songs on Izitso predominantly employ verse-chorus structures, augmented by instrumental bridges and experimental electronic elements that reflect Cat Stevens' evolving production style. These constructions allow for concise, melodic storytelling while incorporating synthesizers and drum machines to create dynamic transitions and atmospheric depth. "(Remember the Days of the) Old Schoolyard" exemplifies a classic verse-chorus form with a nostalgic bridge, serving as a duet featuring Elkie Brooks' harmonies alongside Stevens' lead vocals. The track opens with ambient recordings of children playing, evoking the innocence of schoolyard memories, and builds to a climactic chorus supported by polyphonic synthesizers and percussion from Andy Newmark. Lyrically, it reflects on childhood simplicity and lost joys, with lines like "We used to look at the stars and the world of our own / We used to make promises for the world of our own" capturing a tender reminiscence of youth. In contrast, "Was Dog a Doughnut?" abandons traditional vocal structures entirely, functioning as a pioneering synth experiment driven by a looped two-beat drum pattern generated via . Co-composed with and Bruce Lynch, it layers sequencer-based electronic pulses, synth bass, funk guitar riffs by Ray Gomez, and keyboards from , culminating in an accidental dog-barking effect from the ARP Sequencer that adds whimsical texture. Clocking in at over four minutes, the track's repetitive, rhythm and improvisational feel mark it as an early electro-funk fusion, influencing later hip-hop and genres without lyrical content. Across its ten tracks, Izitso weaves recurring themes of personal reflection and childhood , as Stevens takes stock of fame, life's transience, and inner searching amid his impending spiritual awakening. Songs like "" and "(I Never Wanted) To Be a " delve into assessments of existence and , while nostalgic elements in tracks such as "Old Schoolyard" and " for a Day" highlight innocence and growth. These motifs are conveyed through warm, melodic verses and bridges that blend folk with modern sonic experimentation, underscoring the album's role as a transitional work in Stevens' oeuvre.

Release and promotion

Album rollout

Izitso was released in April 1977 by in the UK and and by in the US and . The album's packaging featured a sleeve design, which included an inner spread with printed lyrics and illustrations, emphasizing nostalgic and playful visual elements that complemented the record's thematic focus on reflection and . Promotional efforts included the distribution of special advance copies to radio stations and media outlets for early previews, helping to build anticipation ahead of the official launch. Launch activities centered on print advertisements in major publications, positioning the as a bold sonic experiment blending Stevens' folk roots with emerging electronic sounds. The rollout also incorporated tie-ins with lead singles to amplify initial market exposure.

Singles and marketing

The from Izitso, "(Remember the Days of the) Old Schoolyard", was released on May 27, 1977, shortly after the album's debut, serving as the primary vehicle for promoting the record's blend of acoustic introspection and emerging elements. The track, originally written for and recorded by in 1975, was re-recorded by Stevens featuring guest vocals by . In the United States, it was backed by "Land o' Freelove & Goodbye" on , while international variants featured different couplings such as "The Doves" in the UK. Marketing efforts centered on strategies to capitalize on Stevens' established fanbase, including a promotional video for the single that featured as Stevens' schoolyard companion, depicting them as former schoolmates on a schoolyard merry-go-round in a whimsical, sepia-toned . The video aired on programs like The Midnight Special on July 29, 1977, where it was presented as a standalone clip, enhancing the song's visual appeal amid the era's growing music television landscape. Additional TV exposure included a live performance on on July 16, 1977, which helped target younger audiences through dance-friendly formats. Radio promotion was aggressive, with distributing advance copies and posters to stations to underscore the single's innovative production, including early synthesizer use by Stevens himself. These pushes aimed to secure on both pop and adult contemporary outlets, positioning "(Remember the Days of the Old Schoolyard)" as a bridge between Stevens' folk roots and experimental sounds on Izitso. Subsequent singles received more limited attention; "Child for a Day", co-written by Stevens' brother David Gordon and Paul Travis, was issued in 1978 on with B-side "Kypros", but promotion was minimal, focusing primarily on European markets without major TV or video campaigns. An instrumental track, "Was Dog a ?", saw a promotional 12" single release to radio as a novelty highlighting the album's fusion influences, though it lacked the full backing of a commercial push. Overall, the singles strategy emphasized "(Remember the Days of the Old Schoolyard)" to drive album sales, reflecting A&M's targeted approach to sustaining Stevens' commercial momentum in 1977.

Commercial performance

Chart achievements

Izitso reached number 7 on the US chart in 1977, marking its peak position there during a chart run that lasted 23 weeks. The ranked number 81 on the Top 200 Albums chart for 1977. In , the peaked at number 2 on the RPM Top 100 Albums chart and finished the year at number 21 in the RPM year-end rankings. On the Albums Chart, Izitso debuted and peaked at number 18, spending a total of 15 weeks on the listing from May 14 to August 20, 1977. The lead single "(Remember the Days of the Old Schoolyard)" peaked at number 33 on the US in 1977, with a 10-week trajectory.

Sales certifications

Izitso achieved certification in from for sales of 50,000 units in 1977. In the , the album received a silver certification from the (BPI) for 60,000 units, awarded on November 14, 1977. Additionally, it earned a certification in the United States from the (RIAA) for exceeding 500,000 units shipped, certified on June 13, 1977.
RegionCertificationCertified units/salesDate
CanadaGold50,0001977
United KingdomSilver60,0001977-11-14
United StatesGold500,0001977-06-13
Izitso sold over 610,000 units in , the , and the combined.

Reception and legacy

Initial critical response

Upon its release in April 1977, Izitso garnered a positive reception from Rolling Stone, whose July 1977 review by Ken Tucker lauded the album's innovative fusion of folk and electronic elements, describing it as proof of Stevens' evolution beyond his sentimental persona into a more ambitious composer and musician. The review specifically praised the folk-electronic blend on tracks like "Sweet Potato." However, even this favorable assessment acknowledged some experimental missteps, such as the overly "robotlike" electronics on "Was Dog a Doughnut," which it identified as one of the album's few weaknesses.

Long-term assessment and influence

In retrospective assessments, Izitso has been viewed as a transitional work in Cat Stevens' discography, earning a 3-out-of-5-star rating from AllMusic critic William Ruhlmann, who praised its innovative integration of synthesizers into pop/rock arrangements, creating a rhythmic and accessible sound that revitalized Stevens' style after the underwhelming Numbers. The album's extensive use of electronic instrumentation, including Polymoogs and sequencers on tracks like "(I Never Wanted) to Be a Star," marked a significant pivot in Stevens' career from acoustic folk-rock toward more experimental electronic textures, foreshadowing trends in 1980s synthpop. This shift influenced subsequent electronic music explorations, with the instrumental "Was Dog a Doughnut?" cited as an early precursor to electro and synth-driven genres through its motorik rhythms and layered synth effects. Despite such critiques, the album's legacy endures through its role in broadening Stevens' sonic palette, contributing to his evolution into Yusuf Islam and inspiring later artists in electronic pop. Reissues have sustained Izitso's availability, with CD remasters released in the 1990s by , featuring improved audio quality and expanded packaging for new audiences. In 2019 retrospectives tied to Yusuf/Cat Stevens' ongoing career revival, the album received renewed attention for its nostalgic and innovative elements, as highlighted in promotional features marking its enduring cultural footprint. A limited-edition vinyl was released on April 20, 2024, for , featuring special lenticular artwork.

Album content

Track listing

Izitso is a double-sided vinyl album featuring ten tracks, with five on each side. The total runtime is 37:15.

Side one

No.TitleWriter(s)Length
1."(Remember the Days of the) Old Schoolyard"2:44
2."Life"4:54
3."Killin' Time"3:30
4."Kypros" ()3:07
5."Bonfire"4:07

Side two

No.TitleWriter(s)Length
6."(I Never Wanted) to Be a Star"3:01
7."Crazy"3:31
8."Sweet Jamaica"3:27
9."Was Dog a Doughnut?", , Bruce Lynch4:14
10."Child for a Day"David Gordon, Paul Travis4:25

Personnel

served as the primary performer on Izitso, contributing vocals, guitars (including classical, Ovation, and electric), keyboards (such as , , celeste, Baldwin electric harpsichord, , ARP synthesizer, and ), synthesizers, organ, percussion, , and arrangements for strings and brass. He also co-produced the alongside David Kershenbaum, who handled overall production duties. The album featured a diverse ensemble of session musicians, including bassists Bruce Lynch (also on synthesizer programming), , and others; drummers , Roger Hawkins, Bill Berg, and Barry Morgan (on additional drums); keyboardists (organ, ARP flutes, Yamaha E5AR organ, , , , , , and grand piano), (organ and ), and Tim Henson (acoustic piano and organ); guitarists , Ray Gomez (electric guitar on "Sweet Jamaica"), (electric guitar on "Child for a Day"), Jim Johnson (), and Weldon Myrick ( on "Child for a Day"); and percussionists including Chico Batera. Notable guests included on for "" and "Was Dog a ?", and harpist Marjorie Lagerwall on "Sweet ." Vocal contributions came from , who provided duet vocals on "(Remember the Days of the) Old Schoolyard," alongside background vocalists such as Carla Benson, Evette Benton, Barbara Ingram, and Suzanne Lynch (also on vocal chorus). Additional arrangements were handled by David Campbell (brass) and (brass and strings). Engineering was overseen by a team including Nick Blagona, Gene Eichelberger, Ken Friesen, Freddy Hansson, , John Kelly, Paul Martinson, Jerry Masters, Dee Robb, Mike Ross, and Mike Stavros, with handling mastering. During the Copenhagen recording sessions for Izitso, Ringo Starr contributed drums to several unreleased outtakes, including "Blue Monday" and "If I Have to Work for You," though these tracks did not appear on the final album.

References

  1. https://www.discogs.com/master/37362-Cat-Stevens-Izitso
  2. https://catstevens.com/media/albums/izitso-1977/
  3. https://catstevens.com/media/singles/remember-the-days-of-the-old-school-yard-2/
  4. https://www.officialcharts.com/songs/cat-stevens-remember-the-days-of-the-old-schoolyard/
  5. https://jaysmusicreviews.wordpress.com/2019/07/02/album-review-cat-stevens-izitso/
  6. https://www.billboard.com/charts/billboard-200/1977-08-13/
  7. https://www.officialcharts.com/artist/37679/cat-stevens/
  8. https://www.connollyco.com/discography/cat_stevens/izitso.html
  9. https://www.rollingstone.com/music/music-album-reviews/izitso-182769/
  10. https://www.allmusic.com/album/numbers-mw0000624998
  11. https://www.loudersound.com/features/cat-stevens-yusuf-interview-2004
  12. https://forum.amcorner.com/threads/aotw-cat-stevens-izitso-sp-4702.10523/
  13. https://www.cbs42.com/alabama-news/13-artists-who-came-to-alabama-to-record-at-the-muscle-shoals-sound-studio/
  14. https://www.alamhof.org/discography-4
  15. https://rockandrollroadmap.com/places/studios-and-labels/los-angeles-area-studios-and-labels/cherokee-recording-studios/
  16. https://www.onamrecords.com/artists/cat-stevens/discography/britain/a-m-records/31454-6891/izitso
  17. https://www.discogs.com/release/1957445-Cat-Stevens-Izitso
  18. https://www.billboard.com/music/latin/chick-corea-my-spanish-heart-antidote-8519626/
  19. https://jivetimerecords.com/2016/04/cat-stevens-izitso-am-1977/
  20. https://www.discogs.com/release/493125-Cat-Stevens-Izitso
  21. https://www.orfieldlabs.com/about/sound-80-studios
  22. https://www.nps.gov/places/sound-80.htm
  23. https://daily.redbullmusicacademy.com/2015/09/cat-stevens-was-dog-a-doughnut-key-tracks/
  24. https://www.allmusic.com/album/izitso-mw0000652664
  25. https://www.udiscovermusic.com/stories/izitso-cat-stevens-nostalgic-for-old-schoolyard/
  26. https://faroutmagazine.co.uk/was-dog-a-doughnut-how-cat-stevens-accidentally-had-a-huge-influence-on-hip-hop-with-his-bizarre-electro-venture/
  27. https://www.discogs.com/release/2816816-Cat-Stevens-Izitso
  28. https://www.discogs.com/release/14641366-Cat-Stevens-Izitso
  29. https://www.discogs.com/release/2355355-Cat-Stevens-Remember-The-Days-Of-The-Old-Schoolyard
  30. https://www.youtube.com/watch?v=ea5maRezu7Q
  31. https://www.onamrecords.com/artists/cat-stevens/tv-shows
  32. https://majicat.com/photo.htm
  33. https://www.onamrecords.com/artists/cat-stevens
  34. https://catstevens.com/media/singles/
  35. https://www.discogs.com/release/183548-Cat-Stevens-Was-Dog-A-Doughnut
  36. https://www.billboard.com/charts/billboard-200/1977-08-20/
  37. https://tsort.info/music/qzpm8w.htm
  38. https://bestsellingalbums.org/album/7794
  39. https://www.officialcharts.com/albums/cat-stevens-izitso/
  40. https://www.billboard.com/charts/hot-100/1977-08-27/
  41. https://daily.redbullmusicacademy.com/2015/09/cat-stevens-was-dog-a-doughnut-key-tracks
  42. https://www.discogs.com/release/23383322-Cat-Stevens-Izitso
  43. https://www.discogs.com/release/31000000-Cat-Stevens-Izitso
  44. https://www.discogs.com/release/24808877-Ringo-Starr-With-Cat-Stevens-Go-Cat-Go
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