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The adhān (Arabic: أَذَان‎ Azan/Ezan [ʔæˈðæːn]) is the Islamic call to prayer, recited by the muezzin at prescribed times of the day. The root of the word is ʼḏn أَذَن meaning "to permit"; another derivative of this word is uḏun, meaning "ear".

Adhan is called out by the muezzin in the mosque five times a day, traditionally from a minaret, summoning Muslims for mandatory (fard) prayers (salah). A second call known as iqama (set up) then summons Muslims to line up for the beginning of the prayers. The main purpose behind the multiple loud pronouncements of adhan in every mosque is to make available to everyone an easily intelligible summary of Islamic belief. It is intended to bring to the mind of every believer and non-believer the substance of Islamic beliefs, or its spiritual ideology. In modern times, loudspeakers have been installed on minarets for this purpose.

The adhan sums up the Shahada, the statement of faith: There is no deity but God, and Muhammad is the Messenger of God. This statement of faith called the Kalimah, is the first of the Five Pillars of Islam.

	Adhan noicon 11 second sample from Hafiz Zeeshan Kasimuddin's recitation of the Adhan.
Problems listening to this file? See media help.

Text[link]

Sunni[link]

• ^1 Followers of the Maliki madh'hab say this line twice and repeat the following two lines before line four, as noted in Sahih Muslim, Book 4, Ch. 2, No. 0740.
• ^2 The line "Prayer is better than sleep" is used only for the first prayers of the day at dawn (fajr prayer; Salat al-fajr).
• ^3 Allah is a compound word of the definite article al and the Arabic word for "deity", ilah, meaning "The God".

Shi'a[link]

*^1 According to Usuli Twelver Shi'a scholars, Ashhadu ana Alian waliullah ("I testify that Ali is the vicegerent of God") is not a part of adhan and iqamah but some say it is recommended (Mustahabb) to say that twice after third part of the adhan which is Ash-hadu anna Muhammadan-rasūl ullāh. Whereas Akhbari Shia Twelver consider Ashhadu ana Alian waliullah ("I testify that Ali is the vicegerent of God") as an integral part of adhan and iqamah without same both are incomplete.^[2]

Fatimid/Ismaili/Dawoodi Bohra believe and include and recite this at same place, twice in main adhan, but not in Iqama.

Fatimid/Ismaili/Dawoodi Bohra also recite mohammadun -va- ali-un khayr-ul- basar va itarat-o- homa khayr-ul-itar (Muhammad and Ali are the best gentleman and their progeny is the best of progeny) twice after 6th part Hayya 'ala-khayril-amal. At the end of Azaan, they recite Lā ilāha illallāh twice (but once in Iqama). This tradition is continued from their first Da'i al-Mutlaq, Zoeb bin Moosa (1132 CE), after their 21st Imam, At-Tayyib Abi l-Qasim, and claim this is true Fatimid tradition.^[3][4][5]

Views[link]

This unreferenced section requires citations to ensure verifiability.

Sunni view[link]

Sunnis state that the adhan was not written or said by the Islamic prophet, Muhammad, but by one of his Sahabah (his companions). Umar, a prominent sahabah of Muhammad, had a vision in his dream, in which the call for prayers was revealed to him by God. He later related this to his companions. Meanwhile, this news reached Muhammad, and he liked it and confirmed it. Because of his stunning voice Muhammad choose a freed Habeshan slave by the name of Bilal ibn Rabah al-Habashi to give the call for prayers. Muhammad preferred the call better than the use of bells (as by the Christians) and horns (as by the Jews).

During the Friday prayer (Salat Al Jumu'ah), there are two adhans; the first is to call the people to the mosque, the second is said before the Imam begins the khutbah (sermon). Just before the prayers start, someone amongst the praying people recites the iqama as in all prayers. The basis for this is that at the time of the Caliph Uthmaan he ordered two adhans to be made, the first of which was to be made in the marketplace to inform the people that the Friday prayer was soon to begin, and the second adhan would be the regular one held in the mosque. Not all Sunnis prefer two adhans as the need for warning the people of the impending time for prayer is no longer essential now that the times for prayers are well known.

Shi'a view[link]

Shi'a sources state that it is Muhammad who, according to God's command, ordered the adhan as a means of calling Muslims to prayer. Shi'a Islam teaches that no one else contributed, or had any authority to contribute, towards the composition of the adhan.

Other Shi'a sources state that Bilal ibn Rabah al-Habashi was, in fact, the first person to recite the adhan publicly out loud in front of the Muslim congregation.

The fundamental phrase La- ilaha-ill-al-lah is the foundation stone of Islam along with the belief that "there is no god but the God". This is confession of Tawhid or the "doctrine of Oneness [of God]".

The phrase Mohammad-un –rasul-al-lah fulfils the requirement that there should be someone to guide in the name of God, which states Muhammad is God's rasul (messenger) nabi (prophet). This is acceptance of Nabuvat of Muhammad.

photo of kalema at Bab al-Nasr of Shia Fatimid dynasty of Cairo with phrase Ali-un-Wali-u(A)l-lah

The qiblah of Mustansir of Shia Fatimid dynasty of, in Mosque of Ibn Tulun of Cairo showing Kalema-tut-shahadat with the phrase Ali-un- vali-ul-lah

Muhammad declared Ali (Ali bin Abu Talib) as his successor, at Ghadir Khumm, which was required for the continuation of his guidance. According to the hadith of the pond of Khumm, Muhammad stated that "Of whomsoever I am the mawla, Ali is his mawla". Hence, the Adhan requires further confession, the phrase Ali-un- vali-ul-lah means "Ali is His (God's) Wali "the friend" ", stressing the need that, for the continuation of the faith, there is a requirement of Wali, which is the one and only Imam after Imam which are really taking care of Islam, hence this is also confession of Imamah.

In one of the Qiblah of Ma'ad al-Mustansir Billah (1035–1094) of Fatemi era masjid of Qahira (Mosque of Ibn Tulun) engraved his name and Kalema-tut-shahadat as La ‐ilah‐ ilal‐lah, Mohamad‐un‐ rasul‐al‐lah Ali –un‐wali‐ul–lah.

Adhan reminds everyone, these three Islamic teaching Tawhid, Nabuwat and Imamate before each prayer. These three emphasise devotion to God, Muhammad and Imam, which are so linked together that these can not be viewed separately. One leads to other and finally to God.

The phrase is optional to some Shia as justified above. They feel that Ali's Valayat is self-evident, a testification and need not be declared. However, the greatness of God is also taken to be self-evident, but Muslims still declare Allaho Akabar to publicize and confirm/boost their faith. This is the reason that the most shia give for the recitation of the phrase regarding Ali.

Dua[link]

During adhan[link]

While listening to the adhan, Muslims repeat the same words silently, except when the muezzin says ḥayya 'alas-salāh or ḥayya 'alal-falāḥ they silently say lā hawla wa lā quwata illā billāh (there is no strength or power except from God).

Post-adhan[link]

The following dua (supplication) is optionally read by Muslims after the adhan is recited:

Form[link]

Each phrase is followed by a longer pause and is repeated one or more times according to fixed rules. During the first statement each phrase is limited in tonal range, less melismatic, and shorter. Upon repetition the phrase is longer, ornamented with melismas, and may possess a tonal range of over an octave. The adhan's form is characterised by contrast and contains twelve melodic passages which move from one to another tonal center of one maqam a fourth or fifth apart. The tempo is mostly slow; it may be faster and with fewer melismas for the sunset prayer. During festivals, it may be performed antiphonally as a duet.^[7]

Turkey[link]

As an extension of the reforms brought about by the establishment of the Republic of Turkey in 1923, the Turkish government at the time, encouraged by Atatürk, introduced secularism to Turkey. The program involved implementing a Turkish adhan program as part of its goals, as opposed to the conventional Arabic call to prayer.^[8]

The adhan was replaced with the following:

Tanrı uludur
Şüphesiz bilirim, bildiririm
Tanrı'dan başka yoktur tapacak.
Şüphesiz bilirim, bildiririm;
Tanrı'nın elçisidir Muhammed.
Haydin namaza, haydin felaha,
Namaz uykudan hayırlıdır.

Following the conclusion of said debates, the Presidency of Religious Affairs (Diyanet İşleri Başkanlığı) released an official mandate on July 18, 1932, announcing the decision to all the mosques across Turkey, and the practice was continued for a period of 18 years.

On July 16, 1950, a new government was sworn in, led by Adnan Menderes, which restored Arabic as the liturgical language.

Turkish National Anthem[link]

Adhan in the eighth verse of İstiklâl Marşı, the Turkish national anthem

Oh glorious God, the sole wish of my pain-stricken heart is that,
No heathen's hand should ever touch the bosom of my sacred Temples.
These adhans, whose shahadahs are the foundations of my religion,
May their noble sound last loud and wide over my eternal homeland.

See also[link]

• Salat

References[link]

External links[link]

Wikisource has the text of the 1911 Encyclopædia Britannica article Aẓān.

• Azan / Adhan MP3 Downloads
• Azan / Adhan MP3 Downloads
• Meaning of the Adhan
• Online Adhan Web Page : http://www.adhanonline.com (Eng)

Michael Manring (born June 1960 in Annapolis^[1]) is an American bass guitarist from the San Francisco Bay Area, (Northern California).

Biography[link]

Michael Manring was born as youngest of four children. His family lived in Norfolk, Virginia and moved to the suburbs of Washington, D.C in 1969. The Manrings were a very active family musically, providing a very fertile background for Michael's musical development. He and his brother Doug - a guitarist and drummer, later living a long time in Japan - formed a very active rhythm group still being at high school, venturing through jazz rock and fusion, playing rock classics at beer parties or pop standards in restaurants and at weddings.^[2]

Manring was a pupil of bassist Peter Princiotto from Spring Hill area, Virginia. He began to study at Berklee College of Music in Boston, Massachusetts in the late 1970s, but canceled his studies in 1979 because of the heavy workload he already had, touring with several different bands like the Prog Rock band However.^[3] During his time at Berklee College he used every opportunity to play with very different musicians and bands. In the 1980s he studied and toured with Jaco Pastorius and began to develop his own style.^[4]

In addition to a long tenure in the 1980s as house bassist for Windham Hill Records, Manring has recorded with Spastic Ink, Alex Skolnick (in the bands Skol-Patrol and Attention Deficit, also featuring Tim Alexander from Primus), Larry Kassin, Tom Darter, Steve Morse, David Cullen, Alex de Grassi, Will Ackerman and many other noted musicians. He headlined his own band, Montreux, throughout the 1980s. He has been a member of Yo Miles!, Henry Kaiser and Wadada Leo Smith's Miles Davis tribute band, since its inception. 1994 Manring was polled Bassist Of The Year by the readers of Bass Player magazine.^[5] Manring's name is also tied with that of fingerstyle guitarist Michael Hedges, who was a dear friend and fellow musician. Manring toured extensively with Hedges and played on all Hedges albums except one.^[5] Manring is known as a humble and gracious live performer with a gift for improvisation with guest musicians.

Since 2005 Manring is member of the band DeMania with guitarist Alex de Grassi and percussionist Christopher Garcia.

Michael Manring remains active, touring the world for performances and clinics. He lives in Oakland, California.^[6]

Music and musical influences[link]

Because of his association with the Windham Hill label Manring often was seen as a New Age musician. He doesn't see himself as belonging to a certain style or genre and often jokes about categorising his music. His album Thonk he termed for example "... the first New Age–Death metal–Fusion–album“.^[3]

Manring has a solid musical knowledge and uses the bass as a solo instrument usually in alternate tunings, with additional possibilities and patterns invoked on the fly with lever-activated de-tuners and bridges, somewhat like a pedal steel guitar. He wants to show that the electric bass can be used in a musically rich and expressive way.^[3] Manring occasionally plays on two (or even three or four) basses at the same time during live performances. Manring is also a composer of experimental music, mixing technology and fretless bass with the sounds of kitchen implements and cardboard boxes, evidenced on his "Book of Flame" solo album.

He is a technical virtuoso, generally using his bass in very different ways. Mostly he plays a fretless bass, which gives him ample possibilities to change tone and pitch just like on acoustic bass. Manring is rhythmically very versatile and often uses polyrhythms.^[3] He's said to do "... things on the electric bass that haven’t been done before, are nearly impossible, and (are) illegal in most states.".^[7] A very special technique used by Manring is the tuning change of single or several strings in the course of playing a piece.

Equipment[link]

Manring plays a custom bass by Zon Guitars, the so-called Zon Hyperbass, a very flexible instrument, which was developed by Joseph Zon and Manring.^[8] Special tuning pegs and a special bridge allow instantaneous tuning change of single strings as well as of all strings simultaneously by the action of several tiny levers, a system like that of the TransTrem guitar. The development of this special model was caused by Manring's use of open tunings. When Manring began changing tunings during pieces by turning the pegs while playing,^[3] he soon realised the limitations of this approach. First he tried to overcome these limitations by changing a normal Music Man Sting Ray Bass, but then began to develop the Hyperbass with Zon. The Hyperbass has Bartolini pickups for every string and four Fishman Transducer for the body signals of the instruments.

Apart from the Hyperbass, Manring uses a whole fleet of instruments. A listing at his website gives the following models:^[9]

• Zon Legacy Elite Special fretless, aka "Bub"
• Homemade Jazz Bass-style fretless
• Zon Michael Manring Hyperbass
• Zon Custom Fretless, aka "Junior" or "Son of Bub"
• Larrivee 5-string fretless acoustic bass guitar
• MusicMan Stingray fretless
• Paroutaud Music Laboratories 5-string fretless Infinite Sustain prototype
• PRS fretless
• Riverhead Unicorn fretless
• Riverhead Unicorn fretted bass
• Zon prototype headless fretted bass, aka "Vinny"
• Zon Legacy Elite 6-string fretless
• Zon prototype Legacy 10-string bass (5 x 2).

Manring uses several bass amplifiers, among others the SWR Mo' Bass amp, a multi effect bass amp.

Discography[link]

collected from^{[10][11][12][13]} and^[14]

Original work[link]

• 1986 Unusual Weather (Windham Hill)
• 1989 Toward the Center of the Night (Windham Hill)
• 1991 Drastic Measures (Windham Hill)
• 1994 Thonk (Highstreet)
• 1995 Up Close 21 (Windham Hill / High Street Records / Boston Acoustic)
• 1998 The Book of Flame (Alchemy Records)
• 2005 Soliloquy (Manthing Music)

Collaborations[link]

with Michael Hedges

• 1981 Breakfast in the Field (Windham Hill)
• 1984 Aerial Boundaries (Windham Hill)
• 1986 Watching My Life Go By (Open Air)
• 1987 Live on the Double Planet (Windham Hill)
• 1990 Taproot (Windham Hill)
• 1996 Oracle (Windham Hill)
• 1999 Torched (Windham Hill)
• 2000 Michael Hedges – The Best of Michael Hedges (Windham Hill)
• 2001 Beyond Boundaries – Guitar Solos (Windham Hill)
• 2003 Platinum & Gold Collection (RCA Victor)
• 2006 Pure Michael Hedges (RCA)

with Danny Heines

• 2001 What Worlds They Bring (Vadadisc)

with Alex Skolnick

• 1997 The Skol-Patrol (Pluto-Bound)

with Montreux

• 1985 Chiaroscuro (Windham Hill)
• 1987 Sign Language (Windham Hill)
• 1989 Let Them Say (Windham Hill)

with John Gorka

• 1991 Jack’s Crows (High Street)
• 1992 Temporary Road (High Street)
• 1994 Out of the Valley (High Street)
• 1996 Between Five and Seven (High Street)
• 1998 After Yesterday (Red House)
• 2001 Company You Keep (Red House)
• 2006 Writing in the Margins (Red House)

with Paolo Giordano

• 1994 Paolo Giordano (Step Musique/New Sounds)
• 2000 Kid in a Toy Shop (Step Musique/New Sounds)

with Turtle String Island Quartet

• 1995 By the Fireside (Windham Hill)

with Attention Deficit

• 1998 Attention Deficit (Magna Carta)
• 2001 The Idiot King (Magna Carta)

with Jeff Loomis

• 2008 Zero Order Phase (Century Media)

with Yo Miles

• 1998 Yo Miles! (Shanachie)
• 2004 Sky Garden (Cuneiform)
• 2005 Upriver (Cuneiform)

with Sadhappy

• 1998 Good Day Bad Dream (Periscope Recordings)
• 2005 Outerspaces (Periscope Recordings)

with Norm Stockton

• 2009 Tea In The Typhoon (Stocktones Music) [Fretless Bass on "Rockefeller Forest"]

with Scott McGill und Vic Stevens

• 2001 Addition by Subtraction (Free Electric Sound)
• 2003 Controlled by Radar (Free Electric Sound)
• 2006 What We Do (Free Electric Sound)

with Larry Kassin und Tom Darter

• 2001 Scatter (MKD Music)

with David Cullen

• 2001 Equilibré (Solid Air Records)

with Human Factor

• 2002 Human Factor (Human Factor)

with At War With Self

• 2005 Torn Between Dimensions (Free Electric Sound)

with DeMania

• 2006 DeMania (Tropo Records)

with Jeff Dodd

• 2007 Falling Awake (Aesthetic Records)

with Jeff Titus

• 2007 Wood Dragon (Musician101 Music)
• 2011 What We Don't Know (Jeff Titus Music)

with Jim Matheos

• 1999 Away with Words

with Yves Carbonne and Dominique Di Piazza

• 2005 Carbonne - Di Piazza - Manring^[15]

with Justin King (as King West Manring Vamos)

• 2008 I-XII

with Sándor Szabó

• 2010 Inner Smile (Indie Europe/Zoom) (ASIN: B0035W8QIS)

with Lukas Ligeti

• 2011 Pattern Time (Innova Records)

Compilations[link]

Windham Hill compilations

• 1982 An Evening with Windham Hill Live (Windham Hill)
• 1985 Windham Hill – Winter (Windham Hill)
• 1985 Windham Hill Sampler '86 (Windham Hill)
• 1985 Windham Hill Sampler '85 (Windham Hill)
• 1986 A Winter’s Solstice II (Windham Hill)
• 1989 Windham Hill Radio Sampler I (Windham Hill)
• 1990 Windham Hill – The First Ten Years (Windham Hill)
• 1990 A Winter’s Solstice III (Windham Hill)
• 1990 Restore the Shore (Windham Hill)
• 1991 Windham Hill Sampler '92 (Windham Hill)
• 1991 Windham Hill Guitar Sampler II (Windham Hill)
• 1993 A Winter’s Solstice IV (Windham Hill)
• 1995 Heal the Bay (Windham Hill)
• 1996 Sanctuary – 20 Years of Windham Hill (Windham Hill)
• 1996 Redbook Relaxers – Daybreak (Windham Hill)
• 1996 Redbook Relaxers – Dreamscape (Windham Hill)
• 1996 Carols of Christmas (Windham Hill)
• 1997 Summer Solstice – A Windham Hill Collection (Windham Hill)
• 1997 Redbook Relaxers – Lullabies (Windham Hill)
• 1997 Redbook Relaxers – Dinner Party (Windham Hill)
• 1997 Redbook Relaxers – Between Friends (Windham Hill)
• 1997 Redbook Relaxers – After Hours (Windham Hill)
• 1997 Redbook Relaxers – Piano Reflections (Windham Hill)
• 1998 Thanksgiving – A Windham Hill Collection (Windham Hill)
• 1998 Yoga Zone – Music for Yoga Practice (Windham Hill)
• 1998 Conversations with God II (Windham Hill)
• 1999 Sun Dance – Summer Solstice III (Windham Hill)
• 2000 Windham Hill Classics – Morning (Windham Hill)
• 2000 Windham Hill Classics – Journeys (Windham Hill)
• 2000 Windham Hill Classics – Harvest (Windham Hill)
• 2000 Windham Hill Classics – Angels (Windham Hill)
• 2000 The Mozart Variations (Windham Hill)
• 2002 Spirit of Life (Windham Hill)
• 2003 Windham Hill Chill II (Windham Hill)
• 2003 Prayer – A Windham Hill Collection (Windham Hill)
• 2003 Adagio – A Windham Hill Collection (Windham Hill)
• 2003 A Winter’s Solstice V (Windham Hill)
• 2003 A Windham Hill Wedding Album (Windham Hill)
• 2004 Winter Wonderland – A Windham Hill Collection (Windham Hill)
• 2004 Lullaby – A Windham Hill Collection (Windham Hill)
• 2005 A Quiet Revolution – 30 Years of Windham Hill (Windham Hill)
• 2005 Essential Winter’s Solstice (Windham Hill)

BMG compilations

• 1997 Twilight Jazz (BMG)
• 1997 Meditation – Revive (BMG)
• 1997 Candlelight Moments – Romantic Moments (BMG)
• 1997 Candlelight Moments – Meditative Moments (BMG)
• 1998 Moonlight Reflections (BMG)
• 1998 Quiet Moods – Romantic Reflections (BMG)
• 1998 Quiet Moods – Meditative Moments (BMG)
• 2000 New Age Christmas (BMG)
• 2000 Awake (BMG)
• 2000 Yoga – Energy (BMG)
• 2000 Yoga – Balance Energy and Strength (BMG)
• 2001 Meditation – Relax Restore and Revive (BMG)
• 2002 Meditation – Renew (BMG)
• 2002 Meditation – Relax (BMG)

other label's compilations

• 1994 We Sing to Open Ears (High Street Records)
• 1996 Different Mozart (Philips)
• 1997 Heritage (Polygram )
• 1997 A Very Green Christmas (Seventh Wave)
• 1999 Moonlight Moments (Columbia River)
• 1999 Soundscape – New Age Reflections (Delta/BMG)
• 1999 Bass Talk, Vol. 6 (Hot Wire)
• 1999 Bass Day '98 (Hudson Music)
• 2000 Dreamscape (Delta)
• 2003 Guitar Harvest I (Solid Air)
• 2004 Healing Garden – The Art of Relaxation (Madacy)
• 2005 Brazil Duets (Adventure Music)
• 2006 "Woodsongs: An Acoustic Guitar Collection" (New Land Music)
• 2010 "The Quantum Activist Soundtrack" (Bluedot Productions)

DVD, video[link]

• 1996 Bass Essentials (Hot Licks)
• 1998 The Artist’s Profile: Michael Manring (ecliptic productions)
• 1998 Bass Day '98 DVD (Hudson Music)
• 2000 Michael Manring: Instructional Bass (Video, Hal Leonard)
• 2009 The Quantum Activist Documentary Soundtrack (Bluedot Productions)

References[link]

1. ^ Tom Mulhern, Bass Heroes: Styles, Stories & Secrets of 30 Great Bass Players : from the Pages of Guitar Player Magazine, Backbeat Books, 1993, ISBN 0-87930-274-7, p.26
2. ^ Doug Manring Bio at Doug Manrings website. Accessed on November 22, 2007.
3. ^ ^{a b c d e} MICHAEL MANRING . Beyond genres and niches by Anil Prasad. Accessed on November 22, 2007.
4. ^ Alum Profile – Michael Manring '79 at Berklee College. Accessed on November 24, 2007.
5. ^ ^{a b} Michael Manring Interview by Matt Guthrie, April 15, 1994. Accessed on November 21, 2007.
6. ^ Michael Manring Contact Info at his website. Accessed on November 22, 2007.
7. ^ CD-Baby review of CD Soliloquy. Accessed on November 22, 2007.
8. ^ Hyperbass, website of Zon Guitars. Accessed on November 24, 2007.
9. ^ Michael Manring's tunings. Accessed on November 22, 2007.
10. ^ Michael Manring at Amazon. Search on November 24, 2007.
11. ^ Michael Manring's biography by Jorge Pescara (br.). Accessed on November 24, 2007.
12. ^ John Gorka, Musicmatch Guide. Accessed on November 24, 2007.
13. ^ Michael Manring, Musicmatch Guide. Accessed on November 25, 2007.
14. ^ Windham Hill album discography. Accessed on November 24, 2007.
15. ^ Carbonne - Di Piazza - Manring. Album recorded in February 2005. Accessed on May 25, 2009.

External links[link]

• Official website
• Ask Steve Lawson and Michael Manring forum at TalkBass.com
• Solo Bass Night A recurring Bay Area, California solo bass show featuring Michael Manring
• Official Peter Princiotto website
• - the official DEMANIA site
• Bassist Michael Manring, an Interview With Editor Jake Kot
• Michael Manring: A Review of the May 2009 Portland OR Concert, 8/01/2009
• Michael Manring Interview with Blogger Tommy Landry, 2011

Yusuf Islam / Cat Stevens
Cat Stevens in Böblingen, Germany in 1976
Background information
Birth name	Steven Demetre Georgiou
Also known as	Steve Adams, Yusuf
Born	(1948-07-21) 21 July 1948 (age 63) Marylebone, London, England, United Kingdom
Genres	Folk rock, psychedelic rock,[1] soft rock,[1] pop rock,[1] synthpop,[2] electro,[3] nasheed, spoken word, hamd
Occupations	Singer-songwriter, musician
Instruments	Vocals, guitar, bass, mandolin, organ, piano, mellotron, double bass, percussion
Years active	1966–1980 (as Cat Stevens) 1995–present (as Yusuf Islam)
Labels	Deram, Island, A&M, Jamal, Ya
Associated acts	Alun Davies
Website	www.yusufislam.com
Notable instruments
Baldwin piano Epiphone Casino Fender Rhodes Fender Telecaster Gibson Everly Brothers Flattop Gibson ES-335 Gibson J-200

Yusuf Islam (born Steven Demetre Georgiou, 21 July 1948), commonly known by his former stage name Cat Stevens, is an English singer-songwriter, multi-instrumentalist, educator, philanthropist, and prominent convert to Islam.^[4]

His early 1970s record albums Tea for the Tillerman and Teaser and the Firecat were both certified triple platinum in the United States by the RIAA.^[5] His 1972 album Catch Bull at Four sold half a million copies in the first two weeks of release alone and was Billboard's number-one LP for three consecutive weeks.^[6] He has also earned two ASCAP songwriting awards in consecutive years for "The First Cut Is the Deepest", which has been a hit single for four different artists.^[7]

Stevens converted to Islam in December 1977^[8] and adopted the name Yusuf Islam the following year. In 1979, he auctioned all his guitars for charity^[9] and left his music career to devote himself to educational and philanthropic causes in the Muslim community. He has been given several awards for his work in promoting peace in the world, including the 2003 World Award, the 2004 Man for Peace Award, and the 2007 Mediterranean Prize for Peace. In 2006, he returned to pop music with his first album of new pop songs in 28 years, entitled An Other Cup. He now goes professionally by the single name Yusuf.^[10][11] His most recent album, Roadsinger, was released on 5 May 2009.

Early life (1948–1965)[link]

Steven Georgiou, born in Marylebone, London, England,^[12] was the third child of a Greek-Cypriot father, Stavros Georgiou (b. 1900),^[13] and a Swedish mother, Ingrid Wickman (b. 1915).^[14] He has an older sister, Anita, and brother, David.^[12] The family lived above the Moulin Rouge, a restaurant that his parents operated on the north end of Shaftesbury Avenue which was a short walk from Piccadilly Circus in the Soho theatre district of London. All family members worked in the restaurant.^[12] His parents divorced when he was about 8 years old, but they continued to maintain the family restaurant and live above it.

Although his father was Greek Orthodox and his mother a Swedish Baptist, Georgiou was sent to a Catholic school, St. Joseph Roman Catholic Primary School in Macklin Street, which was closer to his father's business on Drury Lane.^[15] Georgiou developed an interest in piano at a fairly young age, eventually using the family baby grand piano to work out the chords, since no one else there played well enough to teach him.^[16] Inspired by the popularity of The Beatles, at age 15 he extended his interest to the guitar,^[8] convinced his father to pay £8 for his first instrument, and began playing it and writing songs.^[16] He would escape at times from his family responsibilities to the rooftop above their home, and listen to the tunes of the musicals drifting from just around the corner^[12] from Denmark Street, which was then the centre of the British music industry.^[8] Later, Stevens has emphasised that the advent of West Side Story in particular affected him, giving him a "different view of life", he said in 2000, on a VH1 Behind the Music programme.^[17] With interests in both art and music, he and his mother moved to Gävle, Sweden, where he attended primary school (Solängsskolan) and started developing his drawing skills after being influenced by his uncle Hugo Wickman, a painter. They subsequently returned to England.^[18]

He attended other local West End schools, where he says he was constantly in trouble, and did poorly in everything but art. He was called "the artist boy" and mentions that "I was beat up, but I was noticed".^[19] He went on to take a one-year course of study at Hammersmith School of Art,^[20] as he considered a career as a cartoonist. Though he enjoyed art (his later record albums would feature his original artwork on his album covers),^[19] he wanted to establish a musical career and began to perform originally under the stage name "Steve Adams" in 1965 while at Hammersmith.^[20][21] At that point, his goal was to become a songwriter. Among the musicians who influenced him were Bob Dylan, Nina Simone, blues artists Lead Belly and Muddy Waters,^[22] John Lennon, Biff Rose (who played on his first album), Leo Kottke,^[19] and Paul Simon.^[23] He also wanted to emulate composers who wrote musicals, like Ira Gershwin and Leonard Bernstein. In 1965 he signed a publishing deal with Ardmore & Beechwood and cut several demos, including "The First Cut Is the Deepest".^[24]

Musical career (1966–1970)[link]

Early musical career[link]

Georgiou began to perform his songs in coffee houses and pubs. At first he tried forming a band, but soon realised he preferred performing solo.^[16] Thinking that his given name might not be memorable to prospective fans, he chose a stage name Cat Stevens, in part because a girlfriend said he had eyes like a cat, but mainly because he said, "I couldn't imagine anyone going to the record store and asking for 'that Steven Demetre Georgiou album'. And in England, and I was sure in America, they loved animals."^[25] In 1966, at age 18, he impressed manager/producer Mike Hurst, formerly of British vocal group The Springfields, with his songs and Hurst arranged for him to record a demo and then helped him get a record deal. The first singles were hits. "I Love My Dog" charted at number 28, and "Matthew and Son", the title song from his debut album, went to number 2.^[26] "I'm Gonna Get Me a Gun" reached Britain's Top 10, and the album Matthew and Son itself began charting. The original version of the The Tremeloes cover hit, "Here Comes My Baby", was written and recorded by Stevens.

	"The First Cut is the Deepest" (1967) noicon Sample of "The First Cut is the Deepest", performed by Cat Stevens. Appears on New Masters.
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Over the next two years, Stevens recorded and toured with an eclectic group of artists ranging from Jimi Hendrix to Engelbert Humperdinck. Stevens was considered a fresh-faced teen star, placing several single releases in the British pop music charts.^[27] Some of that success was attributed to the pirate radio station Wonderful Radio London, which gained him fans by playing his records. In August 1967, he went on the air with other recording artists who had benefited from the station to mourn its closure.^[28]

His December 1967 album New Masters failed to chart in the United Kingdom. The album is now most notable for his song "The First Cut Is the Deepest", a song he sold for £30 to P.P. Arnold that was to become a massive hit for her,^[29] and an international hit for Keith Hampshire, Rod Stewart, James Morrison, and Sheryl Crow. Forty years after he recorded the first demo of the song, it earned him two back-to-back ASCAP "Songwriter of the Year" awards, in 2005 and 2006.^[30][31]

Tuberculosis[link]

Stevens contracted tuberculosis in 1969^[19][32] and was close to death at the time of his admittance to the King Edward VII Hospital, Midhurst;^[32] he spent months recuperating in the hospital and a year of convalescence. During this time Stevens began to question aspects of his life, and spirituality. He later said, "to go from the show business environment and find you are in hospital, getting injections day in and day out, and people around you are dying, it certainly changes your perspective. I got down to thinking about myself. It seemed almost as if I had my eyes shut."^[26]

He took up meditation, yoga, and metaphysics;^[33] read about other religions; and became a vegetarian.^[25] As a result of his serious illness and long convalescence,^[33] and as a part of his spiritual awakening and questioning, he wrote as many as forty songs, many of which would appear on his albums in years to come.^[9]

Changes in musical sound after illness[link]

The lack of success of Stevens' second album mirrored a difference of personal tastes in musical direction, and a growing resentment at producer Mike Hurst's attempts to re-create another album like that of his debut, with heavy-handed orchestration, and over-production,^[23] rather than the folk rock sound Stevens was attempting to produce. He admits having purposefully sabotaged his own contract with Hurst, making outlandishly expensive orchestral demands and threatening legal action, which resulted in his goal: release from his contract with Deram Records, a sub-label of major Decca Records.^[26] Upon regaining his health at home after his release from the hospital, Stevens recorded some of his newly written songs on his tape recorder, and played his changing sound for a few new record executives. After hiring agent Barry Krost, who had arranged for an audition with Chris Blackwell of Island Records, Blackwell offered him a "chance to record [his songs] whenever and with whomever he liked, and more importantly to Cat, however he liked".^[33] With Krost's recommendation, Stevens signed with Paul Samwell-Smith, previously the bassist of the Yardbirds, to be his new producer.^[34]

Musical career (1970–1978)[link]

Height of popularity[link]

Healthy and sporting a new beard, Stevens was armed with a catalogue of new songs that reflected his new perspective on what he wanted to bring to the world with his music. His previous work had sold in the United Kingdom, but Stevens was still relatively unknown by the public across the Atlantic. To rectify this, after signing with Island Records in 1970, an American distribution deal was arranged with A&M Records' Jerry Moss in North America. Stevens began work on Mona Bone Jakon, a folk rock based album.

Producer Paul Samwell-Smith paired Stevens with guitarist Alun Davies, who was currently working as a session musician. Alun was the more experienced veteran of two albums which already had begun to explore the emerging genres of skiffle and folk rock music. Davies was also thought a perfect fit with Stevens in particular for his "fingerwork" on the guitar, harmonising and his backing vocals. They originally met just to record Mona Bone Jakon,^[35] but developed a fast friendship. Davies, like Stevens, was a perfectionist,^[36] appearing after all the sound checks had been completed, just to be sure that all the equipment and sound were prepared for each concert.^[37] He collaborated with Stevens on all but two of the succeeding albums Stevens released, and performed and recorded with him until Stevens' retirement. Their friendship continued, however, and when Stevens re-emerged as Yusuf Islam after 27 years, Davies appeared again performing at his side, and has remained there.

	"Wild World" (1971) noicon Sample of "Wild World", performed by Cat Stevens. Appears on Tea for the Tillerman.
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The first single released from Mona Bone Jakon was "Lady D'Arbanville", which Stevens wrote about his young American girlfriend Patti D'Arbanville. The record, with a madrigal sound unlike most music played on pop radio, with sounds of djembes and bass in addition to Stevens' and Davies' guitars, reached number 8 in the UK. It was the first of his hits to get real airplay in the United States.^[26] It sold over one million copies, and was awarded a gold record in 1971.^[38] Other songs written for D'Arbanville included "Maybe You're Right", and "Just Another Night".^[39] In addition, the song "Pop Star", about his experience as a teen star, and "Katmandu", featuring Genesis frontman Peter Gabriel playing flute, were featured. Mona Bone Jakon was an early example of the solo singer-songwriter album format that was becoming popular for other artists as well. Rolling Stone magazine compared its popularity with that of Elton John's Tumbleweed Connection, saying it was played "across the board, across radio formats".^[40]

Mona Bone Jakon was the precursor for Stevens' international breakthrough album, Tea for the Tillerman, which became a Top 10 Billboard hit. Within six months of its release, it had sold over 500,000 copies, attaining gold record status in the United States and in Britain. The combination of Stevens' new folk rock style and accessible lyrics which spoke of everyday situations and problems, mixed with the beginning of spiritual questions about life, would remain in his music from then on. The album features the Top 20 single "Wild World"; a parting song after D'Arbanville moved on. "Wild World" has been credited as the song that gave Tea for the Tillerman 'enough kick' to get it played on FM radio; and the head of Island Records, Chris Blackwell, was quoted as calling it "the best album we’ve ever released".^[23] Other album cuts include "Hard-Headed Woman", and "Father and Son", a song sung both in baritone and tenor, about the struggle between fathers and their sons who are faced with their own personal choices in life. In 2001, this album was certified by the RIAA as a Multi-Platinum record, having sold 3 million copies in the United States at that time.^[41] It is ranked at No. 206 in Rolling Stone Magazine's 2003 list of the "500 Greatest Albums of All Time".^[42]

	"Father and Son" (1970) noicon Sample of "Father and Son", performed by Cat Stevens. Appears on Tea for the Tillerman.
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After the end of his relationship with D'Arbanville, Stevens noted the effect it had on writing his music, saying,

"Everything I wrote while I was away was in a transitional period and reflects that. Like Patti. A year ago we split; I had been with her for two years. What I write about Patti and my family... when I sing the songs now, I learn strange things. I learn the meanings of my songs late..."^[42]

Having established a signature sound, Stevens enjoyed a string of successes over the following years. 1971's Teaser and the Firecat album reached number two and achieved gold record status within three weeks of its release in the United States. It yielded several hits, including "Peace Train", "Morning Has Broken" (a Christian hymn with lyrics by Eleanor Farjeon), and "Moon Shadow". This album was also certified by the RIAA as a Multi-Platinum record in 2001, with over three million US sales through that time. When interviewed on a Boston radio station, Stevens said about Teaser and the Firecat:

"I get the tune and then I just keep on singing the tune until the words come out from the tune. It's kind of a hypnotic state that you reach after a while when you keep on playing it where words just evolve from it. So you take those words and just let them go whichever way they want... 'Moonshadow'? Funny, that was in Spain, I went there alone, completely alone, to get away from a few things. And I was dancin' on the rocks there... right on the rocks where the waves were, like, blowin' and splashin'. Really, it was so fantastic. And the moon was bright, ya know, and I started dancin' and singin' and I sang that song and it stayed. It's just the kind of moment that you want to find when you're writin' songs."^[43]

For seven months from 1971 to 1972 Stevens was romantically linked to popular singer Carly Simon while both were produced by Samwell-Smith. During that time both wrote songs for and about one another. Simon wrote and recorded at least two Top 50 songs, "Legend in Your Own Time" and "Anticipation" about Stevens. He reciprocated in his song to her, after their romance, entitled, "Sweet Scarlet".^[44][45][46]

His next album, Catch Bull at Four, released in 1972, was his most rapidly successful album in the United States, reaching gold record status in 15 days, and holding the number-one position on the Billboard charts for three weeks. This album continued the introspective and spiritual lyrics that he was known for, combined with a rougher-edged voice and a less acoustic sound than his previous records, utilising synthesisers and other instruments. Although the sales of the album indicated Stevens' popularity, the album did not produce any real hits, with the exception of the single "Sitting", which charted at number 16. Catch Bull at Four was Platinum certified in 2001.

Exploration with movie soundtracks[link]

In July 1970, Stevens recorded one of his songs, "But I Might Die Tonight", for the Jerzy Skolimowski film Deep End.^[47] In 1971, Stevens provided nine songs to the soundtrack of the black comedy Harold and Maude which became a popular cult movie celebrating the free spirit, and brought Stevens' music to a wider audience, continuing to do so long after he stopped recording in the late 1970s. Among the songs were "Where Do the Children Play?", "Trouble", and "I Think I See the Light". Two of the songs, "Don't Be Shy" and "If You Want to Sing Out, Sing Out", were not released on any album until their inclusion in 1984 on a second "greatest hits" collection: Footsteps in the Dark: Greatest Hits, Vol. 2.

After his religious conversion in the late 1970s, Stevens stopped granting permission for his songs to be used in films. However, almost twenty years later, in 1997, the movie Rushmore was allowed to use his songs "Here Comes My Baby" and "The Wind", showing a new willingness on his part to release his music from his Western "pop star" days.^[17] This was followed in 2000 by the inclusion of "Peace Train" in the movie Remember the Titans,^[48] in 2000 by the use in Almost Famous of the song "The Wind",^[49] and in 2006 the inclusion of "Peace Train" on the soundtrack to We Are Marshall.^[50] In 2007, an excerpt of "If You Want To Sing Out, Sing Out" is sung by characters in Charlie Bartlett whose title character resembles the character of Harold in Harold and Maude, where the song first appeared.^[51] In 2009, the song "Father and Son" was in the soundtrack of the movie The Boat That Rocked (known as Pirate Radio in the U.S.). In 2010, the song "Wild World" was sung out by characters in the TV series Skins.

Later recordings[link]

Subsequent releases in the 1970s also did well on the charts and in ongoing sales, although they did not touch the success he had from 1970 to 1973. In 1973, Stevens moved to Rio de Janeiro, Brazil, as a tax exile from the United Kingdom, however, he later donated the money to UNESCO.^[52] During that time he created the album Foreigner, which was a departure from the music that had brought him to the height of his fame. It differed in several respects: entirely written by Stevens, he dropped his band and produced the record without the assistance of Samwell-Smith, who had played a large role in catapulting him to fame, and instead of guitar, he played keyboard instruments throughout the album. It was intended to show a funk/soul element rising in popularity that Stevens had come to appreciate. One side of Foreigner was continuous, much different from the radio-friendly pop tunes fans had come to expect. In November 1973 he performed side two of the album at the Aquarius Theater in Hollywood, with a pre-arranged uninterrupted quadraphonic simulcast on the ABC network titled the "Moon and Star" concert; this performance included his band, but they were all but overshadowed by an orchestra. The album produced a couple of singles including "The Hurt", but did not reach the heights he had once enjoyed.

	"Later" (1973) noicon Sample of "Later", performed by Cat Stevens. Appears on Foreigner.
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The follow-up to Foreigner was Buddha and the Chocolate Box, largely a return to the instrumentation and styles employed in Teaser and the Firecat and Tea for the Tillerman. Featuring the return of Alun Davies and best known for "Oh Very Young", Buddha and the Chocolate Box reached platinum status in 2001. Stevens' next album was the concept album Numbers, a less successful departure for him.

In April 1977, his Izitso album updated his pop rock and folk rock style with the extensive use of synthesisers,^[53] giving it a more synthpop style.^[2] "Was Dog a Doughnut" in particular was an early techno-pop fusion track and a precursor to the 1980s electro music genre,^[3] making early use of a music sequencer.^[54] Izitso included his last chart hit, "(Remember the Days of the) Old Schoolyard", an early synthpop song^[2] that utilised a polyphonic synthesiser; it was a duet with fellow UK singer Elkie Brooks.^[54] 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.

His final original album under the name Cat Stevens was Back to Earth, released in late 1978, which was also the first album produced by Samwell-Smith since his peak in single album sales in the early 1970s.

Several compilation albums were released before and after he stopped recording. After Stevens left Decca Records they bundled his first two albums together as a set, hoping to ride the commercial tide of his early success; later his newer labels did the same, and he himself released compilations. The most successful of the compilation albums was the 1975 Greatest Hits which has sold over 4 million copies in the United States. In May 2003 he received his first Platinum Europe Award^[55] from the IFPI for Remember Cat Stevens, The Ultimate Collection, indicating over one million European sales.

Religious conversion[link]

Yusuf in 2008

While on holiday in Marrakech, Morocco, shortly after visiting Ibiza, Stevens was intrigued by the sound of the Aḏhān, the Islamic ritual call to prayer, which was explained to him as "music for God". Stevens said, "I thought, music for God? I’d never heard that before – I’d heard of music for money, music for fame, music for personal power, but music for God!"^[56]

In 1976 Stevens nearly drowned off the coast of Malibu, California, USA and said he shouted: “Oh God! If you save me I will work for you.” He related that right afterward a wave appeared and carried him back to shore. This brush with death intensified his long-held quest for spiritual truth. He had looked into "Buddhism, Zen, I Ching, Numerology, tarot cards and Astrology".^[25] Stevens' brother David Gordon brought him a copy of the Qur'an as a birthday gift from a trip to Jerusalem.^[17] Stevens took to it right away, and began his transition to Islam.

During the time he was studying the Qur'an, he began to identify more and more with the name of Joseph, a man bought and sold in the market place, which is how he says he had increasingly felt within the music business.^[34] Regarding his conversion, in his 2006 interview with Alan Yentob,^[57] he stated, "to some people, it may have seemed like an enormous jump, but for me, it was a gradual move to this." And, in a Rolling Stone magazine interview, he reaffirmed this, saying, "I had found the spiritual home I'd been seeking for most of my life. And if you listen to my music and lyrics, like "Peace Train" and "On The Road To Find Out", it clearly shows my yearning for direction and the spiritual path I was travelling."^[58]

Stevens formally converted to the Islamic religion on 23 December 1977, taking the name Yusuf Islam in 1978. Yusuf is the Arabic rendition of the name Joseph. He stated that he "always loved the name Joseph" and was particularly drawn to the story of Joseph in the Qur'an.^[34] Although he discontinued his pop career, he was persuaded to perform one last time before what would become his twenty-five year musical hiatus. Appearing with his hair freshly shorn and an untrimmed beard, he headlined a charity concert on 22 November 1979 in Wembley Stadium to benefit UNICEF's International Year of the Child.^[59] The concert closed with a performance by Stevens, David Essex, Alun Davies, and Stevens' brother, David, who wrote the song that was the finale, "Child for a Day".^[59]

Yusuf married Fauzia Mubarak Ali on 7 September 1979,^[59] at Regent's Park Mosque in London. They have five children and three grandchildren and currently live in London, spending part of each year in Dubai.^[10]

Life as Yusuf Islam (1978–present)[link]

Muslim faith and musical career[link]

Following his conversion, Yusuf abandoned his music career. When he became a Muslim in 1977, he said, the Imam at the mosque was told that he was a pop star, and he told Yusuf that it was fine to continue as a musician, so long as the songs were morally acceptable. But Yusuf says he knew there were aspects of the music business, such as vanity and temptations, that did go against the teachings of the Qur'an,^[60] and this was the primary reason he gave for retreating from the spotlight. But in his first performance on the television show Later... with Jools Holland, 27 years after leaving the music business, and in other interviews, he gave different reasons for leaving: "A lot of people would have loved me to keep singing," he said. "You come to a point where you have sung, more or less ... your whole repertoire and you want to get down to the job of living. You know, up until that point, I hadn't had a life. I'd been searching, been on the road."^[15]

Estimating in January 2007 that he continues to earn approximately $1.5 million USD a year from his Cat Stevens music,^[61] he decided to use his accumulated wealth and ongoing earnings from his music career on philanthropic and educational causes in the Muslim community of London and elsewhere. In 1981, he founded the Islamia Primary School in Salusbury Road in the north London area of Kilburn and, soon after, founded several Muslim secondary schools; in 1992, Yusuf set up The Association of Muslim Schools (AMS-UK), a charity that brought together all the Muslim schools in the UK. He is also the founder and chairman of the Small Kindness charity, which initially assisted famine victims in Africa and now supports thousands of orphans and families in the Balkans, Indonesia, and Iraq.^[62] He served as chairman of the charity Muslim Aid from 1985 to 1993.^[63]

In 1985, Yusuf decided to return to the public spotlight for the first time since his religious conversion, at the historic Live Aid concert, concerned with the famine threatening Ethiopia. Though he had written a song especially for the occasion, his appearance was skipped when Elton John's set ran too long.^[64]

Salman Rushdie controversy[link]

The singer attracted controversy in 1989, during an address to students at London's Kingston University, where he was asked about the fatwa calling for the death of author Salman Rushdie. The media interpreted his response as support for the fatwa. Yusuf released a statement the following day denying that he supported vigilantism, and claiming that he had merely recounted the legal Islamic punishment for blasphemy. In a BBC interview, he displayed a newspaper clipping from that period, with quotes from his statement. Subsequent comments made by him in 1989 on a British television programme were also seen as being in support of the fatwa. In a statement in the FAQ section of one of his Web sites, Yusuf asserted that while he regretted the comments, he was joking and that the show was improperly edited.^[65] In the years since these comments, he has repeatedly denied ever calling for the death of Rushdie or supporting the fatwa.^[9][58]

11 September 2001 attacks[link]

Immediately following the 11 September 2001, attacks on the United States, he said:

I wish to express my heartfelt horror at the indiscriminate terrorist attacks committed against innocent people of the United States yesterday. While it is still not clear who carried out the attack, it must be stated that no right-thinking follower of Islam could possibly condone such an action. The Qur'an equates the murder of one innocent person with the murder of the whole of humanity. We pray for the families of all those who lost their lives in this unthinkable act of violence as well as all those injured; I hope to reflect the feelings of all Muslims and people around the world whose sympathies go out to the victims of this sorrowful moment.^[66][67]

He appeared on videotape on a VH1 pre-show for the October 2001 Concert for New York City, condemning the attacks and singing his song "Peace Train" for the first time in public in more than 20 years, as an a cappella version. He also donated a portion of his box-set royalties to the Fund for victims' families, and the rest to orphans in underdeveloped countries.^[68] During the same year, Yusuf Islam dedicated time and effort in joining the Forum Against Islamophobia and Racism, an organisation that worked towards battling misperceptions and acts against others because of their religious beliefs or their racial identity (or both), after many Muslims reported a backlash against them due in part to the grief caused by the events in the United States on 9-11.^[52]

Denial of entry into the United States[link]

On 21 September 2004, Yusuf was on a United Airlines flight from London to Washington, travelling to a meeting with U.S. entertainer Dolly Parton, who had recorded "Peace Train" several years earlier and was planning to include another Cat Stevens song on an upcoming album.^[57] While the plane was in flight, his name was flagged as being on a no fly list. Customs and Border Protection (CBP) officers alerted the United States Transportation Security Administration, which then diverted his flight to Bangor, Maine, where he was detained by officers from the Department of Homeland Security.^[69]

The following day, Yusuf was denied entry and flown back to the United Kingdom. A spokesman for Homeland Security claimed there were "concerns of ties he may have to potential terrorist-related activities".^[70] The Israeli government had deported Yusuf in 2000 over allegations that he provided funding to the Palestinian organisation Hamas;^[71] he denied doing so knowingly.^[72] "I have never knowingly supported or given money to Hamas," says Yusuf, who repeatedly has condemned terrorism and Islamic extremism.^[73] "At the time I was reported to have done it, I didn't know such a group existed. Some people give a political interpretation to charity. We were horrified at how people were suffering in the Holy Land."^[72] However, the United States Department of Homeland Security added him to a "watch list".^[20] The US removal provoked a small international controversy, and led British Foreign Secretary Jack Straw to complain personally to US Secretary of State Colin Powell at the United Nations.^[74] Powell responded by stating that the watchlist was under review, adding, "I think we have that obligation to review these matters to see if we are right".^[75]

Yusuf believed his inclusion on a "watch list" may have simply been an error: a mistaken identification of him for a man with the same name, but different spelling. On 1 October 2004 Yusuf requested the removal of his name, "I remain bewildered by the decision of the US authorities to refuse me entry to the United States".^[76] According to a statement by Yusuf, the man on the list was named "Youssef Islam", indicating that Yusuf himself was not the suspected terrorism supporter.^[15] Romanization of Arabic names can easily result in different spellings: the transliteration of the Islamic name for Joseph (Yusuf's chosen name) lists a dozen spellings.

Two years later, in December 2006 Yusuf was admitted without incident into the United States for several radio concert performances and interviews to promote his new record.^[77] Yusuf said of the incident at the time, that, "No reason was ever given, but being asked to repeat the spelling of my name again and again, made me think it was a fairly simple mistake of identity. Rumors which circulated after made me imagine otherwise."^[78]

Yusuf has written a song about the 2004 exclusion from the U.S., entitled "Boots and Sand", recorded in the summer of 2008 and featuring Paul McCartney, Alison Krauss, Dolly Parton, and Terry Sylvester.^[79]

Libel cases[link]

British reports regarding inadmissibility to the U.S.[link]

In October 2004 the British newspapers The Sun and The Sunday Times voiced their support for Yusuf's exclusion from the U.S., claiming that he had supported terrorism. Yusuf successfully sued for libel and received a substantial out-of-court financial settlement and apologies from the newspapers stating that he had never supported terrorism and acknowledging that he had recently been given a Man of Peace award from the private Nobel Peace Prize Laureates Committee. However The Sunday Times managing editor Richard Caseby said that while there was an "agreed settlement", they "always denied liability" and "disagreed with Cat Stevens' lawyers interpretation", but took a "pragmatic view" of the lawsuit.^[80]

Yusuf responded that he was "delighted by the settlement [which] helps vindicate my character and good name. ... It seems to be the easiest thing in the world these days to make scurrilous accusations against Muslims, and in my case it directly impacts on my relief work and damages my reputation as an artist. The harm done is often difficult to repair", and added that he intended to donate the financial award given to him by the court to help orphans of the tsunami in the Indian Ocean.^[80]

Yusuf wrote about the experience in a newspaper article titled "A Cat in a Wild World".^[81]

False rumour regarding unveiled women[link]

On 18 July 2008, Yusuf received substantial undisclosed damages from the World Entertainment News Network following their distribution of the false rumour that the singer did not speak to unveiled women.^[82] The allegations first surfaced in German newspaper B.Z. after Yusuf's trip to Berlin in March 2007 to collect the Echo music award for "life achievements as musician and ambassador between cultures".^[83] Once again he was awarded damages after the World Entertainment News Network allowed an article to be published on Contactmusic.com, a "website said to have 2.2 million page views a month",^[82] alleging that Yusuf would not speak to unveiled women with the exception of his wife. His solicitor was reported as having said that "he was made out to be 'so sexist and bigoted that he refused at an awards ceremony to speak to or even acknowledge any women who were not wearing a veil'".^[82][84] The offending news agency apologised, admitting that Yusuf has never had any problem in working with women and, contrary to the article in question, never has required a third party as an intermediary to function at work.^[83] The money from this lawsuit will go to Yusuf's Small Kindness Charity.^[82]

Yusuf himself discusses this topic on his website, saying, "It’s true that I have asked my manager to respectfully request lady presenters refrain from embracing me when giving awards or during public appearances, but that has nothing to do with my feelings or respect for them. Islam simply requires me to honour the dignity of ladies or young girls who are not closely related to me, and avoid physical intimacy, however innocent it may be." He adds, "My four daughters all follow the basic wearing of clothes which modestly cover their God-given beauty. They’re extremely well educated; they do not cover their faces and interact perfectly well with friends and society."^[85]

Return to music[link]

Yusuf at the 2009 MOJO Awards in London.

Yusuf gradually resumed his musical career in the 1990s. His initial recordings had not included any musical instruments other than percussion, and featured lyrics about Islamic themes. He invested in building his own recording studio which he named Mountain of Light Studios in the late 1990s, and he was featured as a guest singer on "God Is the Light", a song on an album of nasheeds by the group Raihan. In addition, he invited and collaborated with other Muslim singers, including Canadian artist Dawud Wharnsby. After Yusuf's friend, Irfan Ljubijankic, the Foreign Minister of Bosnia and Herzegovina, was killed by a Serbian rocket attack, Yusuf appeared at a 1997 benefit concert in Sarajevo and recorded a benefit album named after a song written by Ljubijankic, I Have No Cannons That Roar.^[86] Realizing there were few educational resources designed to teach children about the Islamic religion, Yusuf wrote and produced a children's album, A Is for Allah, in 2000^[87] with the assistance of South African singer-songwriter Zain Bhikha. The title song was one Yusuf had written years before to introduce his first child to both the religion and the Arabic alphabet. He also established his own record label, "Jamal Records", and Mountain of Light Productions, and he donates a percentage of his projects' proceeds to his Small Kindness charity, whose name is taken from the Qur'an.^[88]

On the occasion of the 2000 re-release of his Cat Stevens albums, he explained that he had stopped performing in English due to his misunderstanding of the Islamic faith. "This issue of music in Islam is not as cut-and-dried as I was led to believe ... I relied on heresy [sic],^[89] that was perhaps my mistake."^[87]

Yusuf has reflected that his decision to leave the Western pop music business was perhaps too quick with too little communication for his fans. For most, it was a surprise, and even his guitarist, Alun Davies said in later interviews that he hadn't believed that Stevens would actually go through with it, after his many forays into other religions throughout their relationship.^[34] Yusuf himself has said the "cut" between his former life and his life as a Muslim might have been too quick, too severe, and that more people might have been better informed about Islam, and given an opportunity to better understand it, and himself, if he had simply removed those items that were considered harām, in his performances, allowing him to express himself musically and educate listeners through his music without violating any religious constraints.^[90]

In 2003, after repeated encouragement from within the Muslim world,^[91] Yusuf once again recorded "Peace Train" for a compilation CD, which also included performances by David Bowie and Paul McCartney. He performed "Wild World" in Nelson Mandela's 46664 concert with his former session player Peter Gabriel, the first time he had publicly performed in English in 25 years. In December 2004, he and Ronan Keating released a new version of "Father and Son": the song entered the charts at number two, behind Band Aid 20's "Do They Know It's Christmas?" They also produced a video of the pair walking between photographs of fathers and sons, while singing the song. The proceeds of "Father and Son" were donated to the Band Aid charity. Keating's former group, Boyzone, had a hit with the song a decade earlier. As he had been persuaded before, Yusuf contributed to the song, because the proceeds were marked for charity. However, this marked a point in his artistic career where he entertained the concept of using more than simply voice and drums.

On 21 April 2005 Yusuf gave a short talk before a scheduled musical performance in Abu Dhabi, United Arab Emirates, on the anniversary of Muhammad's birthday. He said, "There is a great deal of ignorance in the world about Islam today, and we hope to communicate with the help of something more refined than lectures and talks. Our recordings are particularly appealing to the young, having used songs as well as Qur'an verses with pleasing sound effects..."^[92] Yusuf observed that there are no real guidelines about instruments and no references about the business of music in the Qur'an, and that Muslim travellers first brought the guitar to Moorish Spain. He noted that Muhammad was fond of celebrations, as in the case of the birth of a child, or a traveller arriving after a long journey. Thus, Yusuf concluded that healthy entertainment was acceptable within limitations, and that he now felt that it was no sin to perform with the guitar. Music, he now felt, is uplifting to the soul; something sorely needed in troubled times.^[93] At that point, he was joined by several young male singers who sang backing vocals and played a drum, with Yusuf as lead singer and guitarist. They performed two songs, both half in Arabic, and half in English; "Tala'a Al-Badru Alayna", an old song in Arabic which Yusuf recorded with a folk sound to it, and another song, "The Wind East and West", which was newly written by Yusuf and featured a distinct R&B sound.

With this performance, Yusuf began slowly to integrate instruments into both older material from his Cat Stevens era (some with slight lyrical changes) and new songs, both those known to the Muslim communities around the world and some that have the same Western flair from before with a focus on new topics and another generation of listeners.^[90]

In a 2005 press release, he explained his revived recording career:

After I embraced Islam, many people told me to carry on composing and recording, but at the time I was hesitant, for fear that it might be for the wrong reasons. I felt unsure what the right course of action was. I guess it is only now, after all these years, that I've come to fully understand and appreciate what everyone has been asking of me. It's as if I've come full circle; however, I have gathered a lot of knowledge on the subject in the meantime.^[91]

In early 2005, Yusuf released a new song entitled "Indian Ocean" about the 2004 tsunami disaster. The song featured Indian composer/producer A. R. Rahman, a-ha keyboard player Magne Furuholmen and Travis drummer Neil Primrose. Proceeds of the single went to help orphans in Banda Aceh, one of the areas worst affected by the tsunami, through Yusuf's Small Kindness charity. At first, the single was released only through several online music stores but later featured on the compilation album Cat Stevens: Gold. "I had to learn my faith and look after my family, and I had to make priorities. But now I've done it all and there's a little space for me to fill in the universe of music again."^[95]

On 28 May 2005, Yusuf delivered a keynote speech and performed at the Adopt-A-Minefield Gala in Düsseldorf. The Adopt-A-Minefield charity, under the patronage of Paul McCartney, works internationally to raise awareness and funds to clear landmines and rehabilitate landmine survivors. Yusuf attended as part of an honorary committee which also included George Martin, Richard Branson, Boutros Boutros-Ghali, Klaus Voormann, Christopher Lee and others.^[96]

In mid-2005, Yusuf played guitar for the Dolly Parton album, Those Were the Days, on her version of his "Where Do the Children Play?" (Parton had also covered "Peace Train" a few years earlier.)

In May 2006, in anticipation of his forthcoming new pop album, the BBC1 programme "Imagine" aired a 49-minute documentary with Alan Yentob called Yusuf: The Artist formerly Known as Cat Stevens. This documentary film features rare audio and video clips from the late 1960s and 1970s, as well as an extensive interview with Yusuf, his brother David Gordon, several record executives, Bob Geldof, Dolly Parton, and others outlining his career as Cat Stevens, his conversion and emergence as Yusuf Islam, and his return to music in 2006. There are clips of him singing in the studio when he was recording An Other Cup as well as a few 2006 excerpts of him on guitar singing a few verses of Cat Stevens songs including "The Wind" and "On the Road to Find Out".^[57]

Yusuf has credited his then 21-year-old son Muhammad Islam, also a musician and artist, for his return to secular music, when the son brought a guitar back into the house, which Yusuf began playing.^[9] Muhammad's professional name is Yoriyos^[10][97] and his debut album was released in February 2007.^[98] Yoriyos created the art on Yusuf's album An Other Cup, something that Cat Stevens did for his albums in the 1970s.

Starting in 2006, the Cat Stevens song "Tea for The Tillerman" was used as the theme tune for the Ricky Gervais BBC-HBO sitcom Extras. A Christmas-season television commercial for gift-giving by the diamond industry aired in 2006 with Cat Power's cover of "How Can I Tell You". That song is also covered by John Frusciante of the Red Hot Chili Peppers frequently in concert.

In December 2006, Yusuf was one of the artists who performed at the Nobel Peace Prize Concert in Oslo, Norway, in honour of the prize winners, Muhammad Yunus and Grameen Bank. He performed the songs "Midday (Avoid City After Dark)", "Peace Train", and "Heaven/Where True Love Goes". He also gave a concert in New York City that month as a Jazz at Lincoln Center event, recorded and broadcast by KCRW-FM radio, along with an interview by Nic Harcourt. Accompanying him, as in the Cat Stevens days, was Alun Davies, on guitar and vocals.

	"I Think I See the Light" (2007) noicon Sample of "I Think I See the Light", performed by Yusuf Islam at BBC Sessions
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In April 2007, BBC1 broadcast a concert given at the Porchester Hall by Yusuf as part of BBC Sessions, his first live performance in London in 28 years (the previous one being the UNICEF "Year of the Child" concert in 1979). He played several new songs along with some old ones like "Father and Son", "The Wind", "Where Do the Children Play?", "Don't Be Shy", "Wild World", and "Peace Train".