“Knocking ‘Round the Zoo,” for instance, sounds a bit more like Blood, Sweat & Tears than James Taylor, while the harpsichord-driven “Taking It In” vaguely recalls The Partridge Family and “Night Owl” is pure Memphis soul. ![]() What most separates this album from the rest of Taylor’s catalog, however, is its design, most of the cuts being separated by brief – and unlisted – orchestral or harpsichord interludes, such as the brief rendition of “Greensleeves” that follows the soulful opener “Don’t Talk Now.” There are also several songs that are very out of character from the James Taylor sound that would become his trademark. It definitely has an aura of mystique about it, not in the least since it’s the first and only album he ever made for one of the most intriguing of all vanity imprints, the Beatles-owned Apple Records. ![]() ![]() It’s not his best album, but James Taylor may have never made a more inherently fascinating album than this one.
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