On his last couple of Warner Brothers albums, Gorilla and In the Pocket, James Taylor seemed to be converting himself from the shrinking violet, too-sensitive-to-live "rainy day man" of his early records into a mainstream, easy-listening crooner with a sunny outlook. JT, his debut album for Columbia Records, was something of a defense of this conversion. Returning to the autobiographical, Taylor declared his love for Carly Simon ("There We Are"), but expressed some surprise at his domestic bliss…
Our Man in Jazz is an album by jazz saxophonist Sonny Rollins, recorded for the RCA Victor label, featuring July 1962 performances by Rollins with Don Cherry, Bob Cranshaw, and Billy Higgins. These performances have been described as contrasting from Rollins' previous style by moving to "very long free-form fancies, swaggering and impetuous".
Cosmo's Factory is the fifth studio album by American rock band Creedence Clearwater Revival, released by Fantasy Records in 1970. The name of the album comes from the warehouse in Berkeley where the band rehearsed early in their career. It was dubbed "The Factory" by drummer Doug "Cosmo" Clifford, because bandleader John Fogerty made them practice there almost every day. The album was certified Gold by the Recording Industry Association of America on December 16, 1970. Almost twenty years later, on December 13, 1990, it received a certification of four times platinum with sales of over four million copies.
"…Throughout the record, the music matches the inventiveness of the songs, filled with cutting guitar riffs, liquid organ riffs, crisp pianos, and even woozy brass bands ("Rainy Day Women #12 & 35"). It's the culmination of Dylan's electric rock & roll period – he would never release a studio record that rocked this hard, or had such bizarre imagery, ever again." ~allmusicguide
For the follow up to his classic Sweet Baby James, which rivals Tapestry's place in the boomer canon, archetypal sensitive singer-songwriter Taylor wisely elected not to stray too far from the approach that had worked so well on his previous album. He covers another Carole King tune ("You' ve Got A Friend,") perfects the L.A. folk-rock sound he inaugurated on his earlier work, courtesy of studio hotshots like Russ Kunkel, Danny Kootch and Leland Sklar. One of the most memorable tunes here, "Hey Mister That's Me Up On the Jukebox" is one of the more effective songs to bemoan the plight of the lonely balladeer.