Al Kooper - Act Like Nothing's Wrong (1976)

Al Kooper is an American singer-songwriter, producer and musician.

In 1972 Al Kooper had set up his own record label based in Atlanta, Georgia - Sounds Of The South. For the next few years his solo recording career was set aside as he focused on his big discovery, southern rock band Lynyrd Skynyrd. He produced their first three studio albums, and with the Top 10 hit "Sweet Home Alabama" they were propelled to stardom. He parted ways with them in 1976 after their third album. 

Kooper then released another solo album on United Artists Records. Act Like Nothing's Wrong was recorded in Nashville, Florida and Atlanta, and co-produced by John Simon. Despite the awful choice of cover art, it turned out to be one of his finest albums, with his usual mix of rock, pop and R&B. Three definite standout tracks were the Dan Penn / Spooner Oldham composition "Out Of Left Field" (originally a hit for Percy Sledge), a reworking of his own "This Diamond Ring" (which had been his first songwriting success back in 1965 when it was recorded by Gary Lewis & The Playboys), and the epic closing track "Hollywood Vampire", which featured Joe Walsh on slide guitar.

Naked Songs (1973) <|> Championship Wrestling (1982)
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Al Kooper - Naked Songs (1973)

Al Kooper is an American singer-songwriter, producer and musician.

In 1972 Al Kooper moved south from New York to Atlanta, where he set up his own record label, Sounds Of The South (distributed by MCA). He still owed one solo album to Columbia though, so Naked Songs came about as a quick contract-fulfilling release. Fortunately it turned out very well, a great album, stylistically diverse and with a few really brilliant standout tracks. Alongside some good Kooper originals were covers of Albert King's "As The Years Go Passing By", John Prine's "Sam Stone" and The Soul Stirrers' "Touch The Hem Of His Garment". A few of the songs were recorded in Atlanta, and featured the Atlanta Rhythm Section as his backing group. The rest of the album was recorded in New York.

It turned out to be his last solo album for a few years, as he turned his attention to a band from Jacksonsville, Florida he had discovered and signed to his label - Lynyrd Skynyrd.

A Possible Projection Of The Future / Childhood's End (1972) <|> Act Like Nothing's Wrong (1976)
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Al Kooper - A Possible Projection Of The Future / Childhood's End (1972)

Al Kooper is an American singer-songwriter, producer and musician.

In 1972 Al Kooper returned to London to record for his next solo album. A Possible Projection Of The Future / Childhood's End came out later that same year, showcasing his usual r&b/rock blend. It was notable for featuring his first use of synthesizers, used extensively in place of the usual horns and string arrangements. The result was very effective, giving the album something of a cold, dark feel in places. He played all the keyboards and guitars himself, just backed by bassist Herbie Flowers and drummer Barry Morgan. Alongside some great original songs were covers of Smokey Robinson's "Swept For You Baby", Jimmy Cliff's "Please Tell Me Why", Curtis Mayfield's "The Monkey Time" (which had been a 1963 hit for Major Lance) and Bob Dylan's "The Man In Me" (originally from Dylan's New Morning album, which Kooper had co-produced).

One song ("Swept For You Baby") was not recorded in London, and was an outtake from his previous album.

New York City (You're A Woman) (1971) <|> Naked Songs (1973)
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Al Kooper - New York City (You're A Woman) (1971)

Al Kooper is an American singer-songwriter, producer and musician.

In the early 70s Al Kooper met and befriended Elton John, of whose music he had been a fan of for some time. He was particularly impressed with the bass playing on some of Elton's tracks, and was told the bassist was one Herbie Flowers. Kooper then flew to England to record with Flowers, resulting in three songs (also featuring guitarist Caleb Quaye and drummer Roger Pope). Back in the US, he recorded a further eight in L.A. with some top session musicians (bassist Carole Kaye, guitarist Louie Shelton, drummer Paul Humphries and percussionist Bobbye Hall Porter) and a host of backing singers (including, among others, Rita Coolidge, Vanetta Fields and Clydie King). Kooper himself played keyboards, and a fair bit of guitar too. There was also a guest appearance from pedal steel guitarist Pete Kleinow.
The result of both these sessions came together as his fourth album, a splendid mix of rock, R&B and gospel. New York City (You're A Woman) turned out to be one of his strongest and most consistent records, and included some of his very best songs (two of them co-written with Phyllis Major). It also featured two covers - Bo Diddley's "Dearest Darling" and Elton John's "Come Down In Time" (the original being one of the songs where he had first heard Herbie Flowers' bass playing).

Easy Does It (1970) <|> A Possible Projection Of The Future / Childhood's End (1972)
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Al Kooper - Easy Does It (1970)

Al Kooper is an American singer-songwriter, producer and musician.

Al Kooper began the 1970s with being hired to produce the soundtrack for Hal Ashby's film The Landlord, which came out to mixed reviews. One of the songs he wrote for the film, "Brand New Day", was performed by The Staple Singers. Also in 1970 he re-united with Bob Dylan, acting as co-producer of his New Morning album.
Easy Does It came out the same year. It was a double album, with quite a variety of different styles, including rock, pop, soul, blues and country. Included was some of the Landlord material, including his own rendition of "Brand New Day". It also featured covers of Seatrain's "Let The Duchess No", James Taylor's "Country Road", Ray Charles' "I Got A Woman" (slowed down in a drastic re-interpretation) and an intense twelve-minute jam of Big Joe Williams' "Baby Please Don't Go". Overall it was something of a mixed bag, but the highlights were fantastic.

You Never Know Who Your Friends Are (1969) <|> New York City (You're A Woman) (1971)
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Al Kooper & Mike Bloomfield - The Live Adventures Of Mike Bloomfield & Al Kooper (1968)

Al Kooper is an American singer-songwriter, producer and musician. Mike Bloomfield was an American guitarist, one of the most highly regarded white blues musicians of the 1960s.

After the surprising success of his Super Session project, Al Kooper organised a series of concerts at the Fillmore West with his musical partner Mike Bloomfield (who had fortunately returned after disappearing during the making of Super Session). The band that played the concerts consisted of Kooper (organ/vocals), Bloomfield (guitar/vocals), John Kahn (bass) and Skip Prokop (drums). Their material was mostly R&B based, but also included songs from contemporary pop and rock artists, all performed with a improvisational jam-orientated approach. The concerts were recorded, and a live double album was put together, credited to both Kooper and Bloomfield, and released in 1969.
It was quite a loose, ragged live document, but it made for a fine album, showcasing the talents of Kooper as singer, organist and bandleader, and solidifying Bloomfield's reputation as the best white American blues guitarist. Also it notably featured Bloomfield's vocal deubt, on a cover of Albert King's "Don't Throw Your Love On Me Too Strong". Other cover songs included "Dear Mr Fantasy" by Traffic, "Green Onions" by Booker T & The MGs, "The Weight" by The Band, "The 59th Street Bridge Song" by Simon & Garfunkel, "That's Alright" by Arthur Crudup, "Sonny Boy Williamson" by Manfred Mann, and a couple of Ray Charles numbers. It also featured guest appearances from two other fantastic guitarists - Elvin Bishop (Bloomfield's old bandmate from his days with The Butterfield Blues Band), and Carlos Santana.
By the time of its release Kooper had already begun his career as a solo artist. Bloomfield's own solo debut would also come out that same year.

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Al Kooper w/ Shuggie Otis - Kooper Session (1969)

Al Kooper is an American singer-songwriter, producer and musician.

Following the success of his Super Session collaboration with Mike Bloomfield and Stephen Stills, Al Kooper planned a follow-up. Taking up the role of lead guitarist on Kooper Session was a young Shuggie Otis (only 15 years old at the time!). It followed much the same formula as its predecessor, with a side of arranged R&B-based songs (with Kooper on vocals), and a side of loose bluesy instrumental jams. The songs side included "Double Or Nothing" (originally by Booker T & The MGs), Little Buster's "Looking For A Home", and Kooper's dramatic gospel-styled arrangement of "Bury My Body". The full lineup of musicians featured is Kooper (organ & piano), Otis (guitar), Stu Woods (bass), Mark Klingman (piano) and Wells Kelly (drums).
Though the album was not a commerical success like the original Super Session had been, it did introduce Shuggie Otis' guitar playing to the record-buying public, and effectively began his recording career thanks to Kooper.

I Stand Alone (1968) <|> You Never Know Who Your Friends Are (1969)
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Al Kooper, Mike Bloomfield & Stephen Stills - Super Session (1968)

Al Kooper is an American singer-songwriter, producer and musician. Mike Bloomfield was an American guitarist, one of the most highly regarded white blues musicians of the 1960s. Stephen Stills is an American singer-songwriter and musician.

By 1968 Al Kooper had played with Bob Dylan both on stage and in the studio, been a member of The Blues Project, and formed Blood, Sweat & Tears with Steve Katz (subsequently leaving after their first album). He was then working for Columbia Records as an A&R man.

In May 1968 he called up his old friend guitarist Mike Bloomfield and asked him to come to the studio to jam. Kooper and Bloomfield had worked together in 1965 on Bob Dylan's Highway 61 Revisited album. Bloomfield was curently working with his group The Electric Flag, but he was about to leave them. With Kooper on keyboards and Bloomfield on electric guitar, together with bassist Harvey Brooks (who had also worked with them on Highway 61 Revisited) and drummer Eddie Hoh they recorded a series of blues-based jams. Barry Goldberg also played electric piano on two of the numbers.
However Bloomfield was struggling with imsomnia and a heroin addiction - the next day, with more studio time booked, he failed to turn up. So Kooper called up Stephen Stills (who was then leaving Buffalo Springfield) to replace him on guitar.
The resultant album, Super Session, was credited on the cover to all three of them, the first side with Bloomfield and the second with Stills. Horn arrangements were afterwards added to some of the songs. The first side is firmly rooted in blues and is mostly instrumental, driven by Bloomfield's fantastic guitar playing. It's also notable for the nine-minute modal jazz-fusion number "His Holy Modal Majesty". The second side has more focus on Kooper's vocals, with renditions of Dylan's "It Takes A Lot To Laugh, It Takes A Train To Cry" (where Kooper plays 12-string guitar), Donovan's "Season Of The Witch" (which is drawn out into a fantastic 11 minute jam) and Willie Cobbs' "You Don't Love Me". Stills plays some brilliant lead guitar throughout.
Though it was initially conceived as just Al Kooper jamming with some of his famous musician pals, Super Session actually ended up becoming one of his best-known and most successful releases, and also known as featuring some of Bloomfield's best guitar playing.

|> The Live Adventures Of Mike Bloomfield & Al Kooper (1969)

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Al Kooper - You Never Know Who Your Friends Are (1969)

Al Kooper is an American singer-songwriter, producer and musician.

Al Kooper's second proper solo album (not counting his collaborative albums with Mike Bloomfield, Stephen Stills and Shuggie Otis) was a continuation from his debut I Stand Alone - a mix of rock, pop, soul, blues and jazz, highlighted by some great horn arrangements. It toned down the psychedelic flairs which had adorned the first album, resulting in arguably a more consistent and mature record, which demonstrated his skills as a songwriter, musician and producer. Most of the songs were originals, though it did include a Motown cover ("Too Busy Thinking About My Baby"), a Harry Nillson composition ("Mourning Glory Story") and a Stevie Wonder song ("I Don't Know Why I Love You").

Kooper Session (1968) <|> Easy Does It (1970)
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Al Kooper - I Stand Alone (1968)

Al Kooper is an American singer-songwriter, producer and musician.

Born and raised in New York, Al Kooper entered the music business when still a teenager, his ambition getting him many useful contacts and business associates. He played guitar, and formed a songwriting team with Bob Brass and Irwin Levine, their most successful composition being "This Diamond Ring" (a #1 hit for Gary Lewis & The Playboys in 1965). A turning point in his career was when he managed to get himself into the studio where Bob Dylan was recording "Like A Rolling Stone". Kooper played the organ, an instrument he was previously unfamiliar with, but his playing became one of the defining parts of the song (and subsequently most of Dylan's mid-60s electric sound). Dylan invited him back to further sessions, and used him as part of his band during his earliest electric performances. Kooper soon became much in demand as a session keyboardist, albeit more for his hip credentials than his experience at the instrument. The same year he joined The Blues Project, and performed as their keyboard player until he left in 1967. He then formed Blood, Sweat & Tears, with which he pioneered the use of horn arrangements in rock music, but left after their critically acclaimed but commercially unsuccessful debut. His next project was the surprise hit album Super Session, featuring Mike Bloomfield and Stephen Stills, and the follow-up concert recording The Live Adventures Of Mike Bloomfield And Al Kooper.
After these whirlwind few years, he finally released his debut solo album in 1968 (a busy year for him!). I Stand Alone was a great fusion of genres, featuring rock, blues, soul, psychedelia, gospel and country, with a lot of elaborate orchestration and studio tricks, and a repertoire consisting of a mix of strong originals and diverse covers (including numbers by Traffic, Harry Nilsson and Bill Monroe). In many ways it can be seen as a continuation of the sound he had developed with Blood, Sweat & Tears, and set out the framework for a series of fantastic solo albums which soon followed.

|> Kooper Session (1969)
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