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The album’s title derives from Kuòān Shīyuǎn’s Ten Bulls, a narrative representing the ten stages of Zen enlightenment. This clearly speaks to Cat’s sense of the progress he was making upon his own inner journey, which in many ways was at odds with the album’s tremendous commercial success.

The tone of side one is tentatively happy. It begins with "Sitting," which has Cat on piano and electric mandolin, and Davies on guitar. The song's circular melodic patterns aptly express a resigned but not hopeless personal philosophy: "Just keep on pushing hard, boy, try as you may/You're going to wind up where you started from.""The Boy with the Moon and Star on His Head" is a silly narrative "legend," styled after a typical "olde" English country ballad, about a luminescent illegitimate "love child.""Angelsea,""Silent Sunlight," and "Can't Keep It In" are celebratory meditations, the first two carrying Cat's elusive, sometimes shimmering visual imagery. Sound effects—muted synthesizer on "Angelsea" and penny whistle on "Silent Sunlight"—are used with delicacy and taste. "Can't Keep It In," the most openly joyous cut, fittingly closes the side. The propulsive energy generated by Stevens' and Davies' dual acoustic guitars is considerable, as Cat sings his outbursting message with infectious gusto. Catch Bull is impeccably produced. Its musical contents are like those of Teaser and the Firecat—simple, short-phrased melodies and spare and vibrant arrangements. There are, however, notable differences between Catch Bull and its predecessor. The instrumental repertoire has been widened somewhat: three cuts make minimal use of a synthesizer, and on four cuts Cat plays piano. The result is a definite relaxation from the rigorous simplicity of Teaser—a simplicity that, for me, was just one step away from monotony, especially since it underscored the shallowness of Cat's appealing but essentially frivolous, unfocused lyrics. Happily, the greatest difference between Teaser and Catch Bull lies in the lyric themes of the songs. Though some of the lyrics retain Cat's fanciful imagery—word poems so dreamily obscure as to defy interpretation—he shows a new emotional directness, especially on side two, the album's "down" side. This is reflected in Cat's singing, which becomes more assured and more emotive with each album. Alas, what is missing throughout Catch Bull is any single tune with the distinction and sweeping grace of "Morning Has Broken," the most memorable cut on Teaser.Catch Bull at Four, the title of which was inspired by Kuòān Shīyuǎn's series of short poems "Ten Bulls of Zen," matched or bettered the success of its predecessor Teaser and The Firecat. Whereas Teaser had reached No. 2 in both the U.K. and U.S., Catch Bull peaked at No. 2 in the U.K. and No. 1 in the U.S. (where it occupied pole position for three weeks and earned a Platinum sales certification). It also topped the album charts in Canada and Australia. The single "Sitting" didn't fare as well in the U.S. as "Wild World," "Peace Train," or "Morning Has Broken," but enjoyed a more-than-respectable top twenty berth on the Hot 100 as well as the AC chart. Jeremy Taylor – Spanish guitar, (assisted in translating "O' Caritas" into the Latin language used in the song). [5] allmusic ((( Catch Bull at Four > Charts & Awards > Billboard Albums )))". allmusic.com . Retrieved 24 February 2012.

The album was recorded in May, 1972 at The Manor Studio, Oxfordshire; Château d'Hérouville, Hérouville, France, and Morgan Studios, London In the United States the album spent three weeks at number one on the Billboard 200. It also reached number one in Australia and Canada and became Stevens's second consecutive album to reach number two on the UK Albums Chart. The song "Sitting" was released as a single in July 1972, reaching 16 on the Billboard Hot 100. Album Search: Cat Stevens – Catch Bull at Four" (ASP) (in German). Media Control . Retrieved 24 February 2012. [ dead link] Les Albums (CD) de 1972 par InfoDisc" (in French). infodisc.fr. Archived from the original (PHP) on 9 February 2012 . Retrieved 11 February 2012.In the press release for the upcoming reissue, Stevens recollects on the period: "Contrary to the spiritual nature and theme of the album, Catch Bull At Four went straight to number one and became one of my biggest commercial accomplishments. It was scary! I feared it would divert me from my spiritual goal. That's precisely why I followed it up with an album called Foreigner, which would sacrifice my newly acquired crown for a welcome return to obscurity." Cat Stevens, today known as Yusuf, marked the 50th anniversary of his first three Island/A&M albums (1970's Mona Bone Jakon and Tea for the Tillerman, and 1971's Teaser and the Firecat) with a variety of releases including expansive super deluxe box sets. For 1972's Catch Bull at Four, the troubadour is taking a distinctly slimmed-down approach. On December 2, Island and A&M will reissue Stevens' classic album on CD, LP, and digitally, newly remastered from the original tapes but with no additional material. Side two contains the meat of the album. The mood here is of pessimism, terror, apocalyptic foreboding, a region of Cat's personality that we have not been shown so directly before, and his success in revealing it describes a very promising avenue for future artistic exploration. "18th Avenue (Kansas City Nightmare)," the opener, is the album's most ambitious cut and in every way its best. A vision of insanity and physical and mental deterioration, it accumulates the specific but disjunctive images of a nightmare that makes no literal sense other than forcefully embodying a premonition of metaphysical collapse. The music is also disjunctive, but brilliantly so. In the cut's extended instrumental break, Bel Newman contributes one of his best string arrangements ever, and there is stunning percussion work by Cat and Gerry Conway.

The Official Charts Company – Cat Stevens – Catch Bull at Four" (PHP). Official Charts Company . Retrieved 24 February 2012. Joining him again, as on the previous three LPs, were producer, and former member of the Yardbirds, Paul Samwell-Smith and guitarist Alun Davies. The studio band also featured drummer Gerry Conway, who played on Teaser and the Firecat, bassist Alan James, and keyboardist Jean Roussel.Pennanen, Timo (2021). "Cat STEVENS". Sisältää hitin - 2. laitos Levyt ja esittäjät Suomen musiikkilistoilla 1.1.1960–30.6.2021 (PDF). Helsinki: Kustannusosakeyhtiö Otava. p.246 . Retrieved 15 June 2022. 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Matrix / Runout (Variant 8): [Universal logo]x4 07314 546 886-2 02 ✷ 51045664 MADE IN GERMANY BY EDC C

Catch Bull at Four is the sixth studio album by Cat Stevens. The title is taken from one of the Ten Bulls of Zen (a series of short poems and accompanying drawings used in the Zen tradition to describe the stages of a practitioner's progress toward enlightenment, and their return to society to enact wisdom and compassion.) Matrix / Runout (Variant 7): [Universal logo]x4 07314 546 886-2 02 ✷ 51045664 Made in Germany by EDC B Dutchcharts.nl – Cat Stevens – Catch Bull at Four" (in Dutch). Hung Medien. Retrieved 17 June 2022.amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br /&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br /&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br 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