40 years ago, David Crosby, Stephen Stills, Graham Nash, and Neil Young embarked on an outdoor stadium tour which included 31 concerts in 24 different cities and, by all accounts, resulted in some of the foursome’s greatest live performances, but while the existence of pristine recordings from these shows have long been rumored, no official recordings have ever emerged...until now.
Say hello to CSNY 1974, a collection of 40 previously-unreleased live performances from 40 years ago which – as produced by Nash and Joel Bernstein, mirrors the electric/acoustic/electric format that the band followed each night on stage and is designed to represent an idealized version of a show from the summer of ’74.
This week’s Mono Monday release comes from a ‘70s R&B legend who’s often remembered as much for the work he did with his recurring duet partner, Roberta Flack, as for the work he did on his own, but this particular album was all his.
Originally released on Atco on July 1, 1970, Everything is Everything was Donny Hathaway’s debut solo album, but it was hardly his first foray into music, having started his career as a gospel singer (under the name “Donny Pitts”) before moving to Chicago and eventually pulling a job for Curtis Mayfield’s Curtom Records, serving variously as an arranger, composer, conductor, producer, session player, and songwriter.
There’s a lot of Bad Company to be had here at Rhino this week, as we’ve just reissued Bad Company’s Bad Company album – which, as you probably know, also features the song “Bad Company” – on 180-gram vinyl. We’ve also reissued the band’s sophomore effort, Straight Shooter, which includes “Feel Like Making Love” and “Shooting Star” and is a pretty great slab of ‘70s rock in its own right…but, darn it, it’s just not as much fun to announce as that whole Bad Company trifecta.
If you’re a Deep Purple fan, then you’ll definitely want to check out In Concert ’72, which arrived on record store shelves earlier this week, but we’ll forgive you if you do a momentary double-take and ask yourself, “Wait, do I already have this?”
The truthful answer to that question is that you might already have a fair amount of it, but even at that, you definitely don’t have all of it. And, yes, we realize that’s an answer which requires a bit of further clarification, so here goes.
In the early 1970s, the Billboard Top 200 was Jethro Tull’s oyster: they started the decade with Benefit going to #11 in 1970, took Aqualung to #7 the following year, and by ’72, they’d made it all the way to the top spot with Thick as a Brick. Today, though, we’re here to talk about their second chart-topping album, which followed immediately on the heels of their first: 1973’s A Passion Play, released on July 6 in the UK and July 23 here in the States.
The process of recording A Passion Play was a bit unique for Tull, starting with the fact that it was the first time they’d recorded a new album with the same lineup as they’d had on the previous album. (To say that the band’s membership had a tendency to fluctuate a bit is rather like saying, “Spinal Tap had a few drummers.”) There was also a problem in the studio in which they’d begun recording the album – the Château d'Hérouville near Paris, home to such classic albums as Elton John’s Honky Château and Pink Floyd’s Obscured by Clouds – which led the band to give up the ghost and shift locations, setting aside the hour or so of music they’d recorded and start anew elsewhere.