James Taylor

was the first artist to be signed to record on ' short-lived vanity label. In late 1968, 's sophisticated self-titled disc foreshadowed the introspective genre that dominated music in the early and mid-'70s. Although often touted as his debut, this release is chronologically 's second studio outing. -- an EP recorded a year earlier -- contains rudimentary versions of much of the same original material found here. The album is presented with two distinct sides. The first, in essence, presents a unified multi-song suite incorporating several distinctly -flavored links connecting the larger compositions. The second is a more traditional collection of individual tunes. This unique juxtaposition highlights 's highly personal and worldly lyrics within a multidimensional layer of surreal and otherwise ethereal instrumentation. According to , much of the album's subject matter draws upon personal experience. This is a doubled-edged blessing because the emphasis placed on the pseudo- and the numerous other references made to 's brief sojourn in a mental institution actually do a disservice to the absolutely breathtaking beauty inherent in every composition. Several pieces debuted on this release would eventually be reworked by several years later. Among the notable inclusions are and Musically, 's decidedly acoustic-based tunes are augmented by several familiar names. Among them are former member (drums) -- who had joined in the -- as well as (bass), who lends support to the seminal version of The album's complex production efforts fell to -- formerly of and concurrent head of A&R department. The absolute conviction that runs throughout this music takes the listener into its confidence and with equal measures of wit, candor, and sophistication, created a minor masterpiece that is sadly eclipsed by his later more popular works. ~ Lindsay Planer