The Youngbloods is an album by the American rock band The Youngbloods, released in 1967. It was also reissued in 1971 under the title Get Together after the popular single from the album. The album peaked at number 131 on the Billboard 200 although two years later the single "Get Together" reached number five and sold more than a million copies.
History
"Get Together" was written by Chet Powers and had already appeared in 1963 on the album 12 String Guitar! Vol. 2 by The Folkswingers and in 1966 as a track on the first album by The Jefferson Airplane. Upon first release as a single by The Youngbloods in 1967, it only went to No. 62 in the pop charts. Two years later, after being featured in radio and television commercials, the track was re-released and climbed to number 5 in charts, selling more than a million records. The first song on the album, "Grizzly Bear", was also released as a single reaching No. 52 in the pop charts in December 1966. Jerry Corbitt took credit for writing this song, but it had appeared on a 1928 recording by singer-songwriter Jim Jackson. The song featured the "jug band" style popularized by The Lovin' Spoonful, Jim Kweskin Jug Band and other similar groups of the middle 1960s. The title refers to a popular dance style of the 1910s. Corbitt also wrote the second song on the LP, the ballad "All Over the World ". Side one also featured Blind Willie McTell's "Statesboro Blues" and another ballad, "One Note Man" written by fellow Cambridge folk musician Paul Arnoldi. Side Two featured two more songs written by fellow folk singer-songwriters, Fred Neil's "The Other Side of This Life" and "Four in the Morning" by George "Robin" Remailly. Jesse Colin Young wrote two ballads on side two, "Tears Are Falling" and "Foolin' Around " which alternates between 4/4 and 3/4 time signatures. Classical cello was added to "Foolin' Around" by George Ricci. Side two ends with two blues standards, Jimmy Reed's "Ain't That Lovin' You" and Mississippi John Hurt's "C.C. Rider". The last song featured a hard-rocking guitar jam that was common in the late 1960s, especially for San Francisco, which would soon become the Youngbloods' destination both geographically and musically.
Legacy
, in a retrospective review for Allmusic, feels "they would have been better off leaving the blues alone"; though he regards the rest of the material as "good" and calls the album an "engaging debut".
