(The album's greatest concession to modern tastes is a rap-influenced section in "Longer Boats," which is only slightly less embarrassing than it sounds.) With a few exceptions, the songs hold up rather well in their pastoral optimism and cautious tone about the state of the busy world. If the idea was to put these songs into a more modern context, that's not how it plays out for the most part, Tea for the Tillerman 2 trades the early '70s folk-rock of the original for a sound reminiscent of mid- to late-'70s soft rock, going to a great deal of trouble to travel a very short distance. This time around, Yusuf and producer Paul Samwell-Smith (who also produced the original) have maintained the original sequence but given the tunes brand new arrangements, in effect giving fans a new and different version of one of their favorite albums. One can only imagine Yusuf, the artist known as in his salad days as Cat Stevens, was thinking along these lines when he decided to make Tea for the Tillerman 2, a song-by-song remake of the 1970 album that became his international breakthrough hit. So why does Hollywood make them, and why do people pay to see them? Most of it can be chalked up to the notion of the pre-sold commodity - people have a good idea of what to expect, even if the quality isn't up to snuff, and there's always the hope the filmmakers will beat the odds and they'll have the same fun they had a few years previous.
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Most moviegoers will tell you that remakes and sequels are almost never as good as the originals, and for every The Godfather Part II you get four or five things like Exorcist II: The Heretic or Book of Shadows: Blair Witch 2.