Sweet Baby James
@1971 US Pressing
Sweet Baby James is singer-songwriter James Taylor's second album, and his first release on Warner Bros. Records. Released in February 1970, it showcased Taylor’s talents and showed the direction he would take in the early 1970s with the expansion of his career. The album featured one of Taylor’s earliest single successes: “Fire and Rain”, which reached #3 on the Billboard Hot 100. The album itself also managed to reach #3 on the Billboard Album Charts. Sweet Baby James made Taylor one of the main forces of the ascendent folk movement. The album was nominated to a Grammy Award for Album of the Year, in 1971. The album was listed at #103 on Rolling Stone’s 500 Greatest Albums of All Time.
The album, produced by Peter Asher, was recorded between 8 and 17 December 1969 at a cost of only $7,600 out of a budget of $20,000. Taylor was “essentially homeless” at the time the album was recorded, either staying in Asher’s home or crashing on a couch at the house of guitarist Danny Kortchmar or anyone else who would have him.
The song “Suite for 20 G” was so named because Taylor was promised $20,000 once the album was delivered. With one more song needed, he strung together three unfinished songs into a “suite,” and completed the album.
@1966 (1970s Red Vinyl Japan Pressing)
This is a nice copy in terms of sound, as it resembles a lot of the CD sound that they invented couple of years later.
How Dare You
@ 1974 Holland Pressing
I was refrained to listen to this album cos I am afraid its too “I’m not in love” but it turned out to be a nice rock album with interesting sound arrangement.
@1970 UK Pressing
Galliard went on to record two albums produced by the now legendery Phil Wainman, and also sampler album. The first album, Strange Pleasure, (Deram) was much admired by the musical press and by the bands many admirers, however, failed to generate significant sales. The second album, New Dawn (Deram) also failed to impress the record buying public. Much was written in praise of their levels of musicianship, and influential people like John Peel said “I spent a couple of fine evenings with them, remembering some of the great records of the early fifties. Galliard have an LP for mid January release on the Deram-Nova label and it should be pretty good”.
Galliard were formed in Birmingham, in the summer of 1968. They were in essence a much-augmented later manifestation of Craig (NOT ‘The Craig’ as some people persist in calling them), the four-piece who cut the fearsome ‘I Must Be Mad’.
Galliard cut two albums, both of which were produced by Phil Wainman, drummer and future Bay City Rollers manager. In my humble opinion these are two of the best, most powerful, most vibrant albums of the era.
Quote from Dave Thubron @ Sweet Floral Albion
A Simple Rock Classic to Start the Day
@1973 US Pressing
The Singles: 1969–1973 is an album by the brother/sister pop duo The Carpenters. A greatest hits collection, it topped the charts in the U.S. and the United Kingdom and became one of the best-selling albums of the 1970s. Features of this compilation include a newly recorded version of “Top of the World”, “Ticket to Ride” and a number of musical introductions and segues between the songs “Superstar”, “Rainy Days and Mondays” and “Goodbye to Love”. It has been certified 7× platinum in the U.S. alone. In the UK, the album reached #1 for 17 (non-consecutive) weeks.
Richard gave the album this title because he doesn’t like the term “greatest hits" because he felt it was "an overused thing".
Individuals and groups with two or three hits all of a sudden put them on an album, use filler for the rest and title it “greatest hits”. This album contains eleven true hits and it just wasn’t slapped together. We’ve remixed a few, re-cut one and joined a couple of others. It’s simply something I believe we owe our audience and ourselves.
@1971 UK Pressing
Maybe Tomorrow was the fifth regular album released by The Jackson 5 in 1971. Released after the success of the hit ballad “I’ll Be There”, most of the tracks on the album are ballads, with few dance numbers. Maybe Tomorrow includes the hit singles “Never Can Say Goodbye” and “Maybe Tomorrow”. While not as financially successful as the Jackson 5’s first three outings, selling over 3.5 million copies worldwide,Maybe Tomorrow contains some of the most often-sampled and covered material in the group’s catalogue. It spent six weeks at #1 on the Soul albums chart.
Seals and Crofts
@1974 US Pressing
After a string of hits,was a mistake coming from the camp when it did. Blatantly anti-abortion, it did little to help their careers and nothing in the way of chart success. But one must consider that it does hold good music in its grooves, and with today’s attitudes changing, perhaps this isn’t as harsh as it first appeared to be.
Art Lande, Rubisa Patrol
@1977 Germany Pressing
Desert Marauders represents the final iteration of pianist Art Lande’s Rubisa Patrol quartet, which over its flash-in-the-pan tenure produced a solid, if modest, body of imaginative work. For this recording Kurt Wortman replaces Glenn Cronkhite on drums and provides plenty of adhesive for otherwise free-floating themes and ideas. His stop-and-start playing engages Lande in exciting conversation throughout the groovy opener. At 16 minutes, it is more main course than appetizer, but whets our expectations all the same with its vivid prime directive while offering food for thought via Mark Isham’s serpentine melodies. Bassist Bill Douglass works us back into the swing of things with consummate fortitude. After this epic journey, “Livre (Near The Sky)” feels like a piece of heaven. Driven by the fluid trumpet of its composer in the only non-Lande composition on tap, it’s a piece of and about imagination. Each piano chord is a branch to which Isham glues his own improvised leaves. We feel the entire tree swaying in the winds of an oncoming storm, the first drops of which hit our forehead in the piano of “El Pueblo De Las Vacas Tristes.” As it comes down in placid sheets, it flows at the feet of camels and worn sandals. Lande lays out the loveliness over his rhythm section in a blend of oil and chalk pastels. Douglass doubles Isham on flute in “Perelandra” for some airier moments. “Sansara” is a throwback of sorts. Its solid, infectious pianism, lively trumpeting, and tender bass solo combine for a smooth and rousing finish to a fine effort all around.
Led Zeppelin IV
@1971 US Pressing
After the lukewarm, if not confused and sometimes dismissive, critical reaction Led Zeppelin III had received in late 1970, Page decided that the next Led Zeppelin album would not have a title, but would instead feature four hand-drawn symbols on the inner sleeve and record label, each one chosen by the band member it represents. “We decided that on the fourth album, we would deliberately play down the group name, and there wouldn’t be any information whatsoever on the outer jacket”, Page explained. “Names, titles and things like that do not mean a thing.”
Page has also stated that the decision to release the album without any written information on the album sleeve was contrary to strong advice given to him by a press agent, who said that after a year’s absence from both records and touring, the move would be akin to “professional suicide”. In Page’s words: “We just happened to have a lot of faith in what we were doing." .In an interview he gave to The Times in 2010, he elaborated:
It wasn’t easy. The record company were sort of insisting that the name go on it. There were eyes looking towards heaven if you like. It was hinted it was professional suicide to go out with an album with no title. The reality of it was that we’d had so many dour reviews to our albums along the way. At the time each came out it was difficult sometimes for the reviewers to come to terms with what was on there, without an immediate point of reference to the previous album. But the ethic of the band was very much summing up where we were collectively at that point in time. An untitled album struck me as the best answer to all the critics — because we knew the way that the music was being received both by sales and attendance at concerts.
Releasing the album without an official title has made it difficult to consistently identify. While most commonly called Led Zeppelin IV, Atlantic Records catalogues have used the names Four Symbols and The Fourth Album. It has also been referred to as ZoSo (which Page’s symbol appears to spell), Untitled and Runes. Page frequently refers to the album in interviews as “the fourth album” and “Led Zeppelin IV”, and Plant thinks of it as “the fourth album, that’s it”. Not only does the album have no title, but there is no printing anywhere on the front or back cover, or even a catalogue number on the spine (at least, on the original vinyl LP release).
The song needs no introduction
Michael Jackson / One Day In Your Life
An oldie to start the day.