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Green, Al - Let's Stay Together CD Cover Art CD music music CDs songs album

Al Green Let's Stay Together CD

 Al Green Discography of CDs
4.5 stars (2 Customer Reviews)


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2 LPs on 1 CD. Both are available separately on CD and cassette.
Personnel: Al Green (vocals); James Mitchell (bass saxophone); Leroy Hodges (bass instrument); Al Jackson (drums); Charles Chalmers (background vocals); Mabon "Teenie" Hodges (guitar); Ed Logan (tenor saxophone); Wayne Jackson (trumpet); Jack Hale (trombone); Charles Hodges (piano, organ); Howard Grimes (drums).
Audio Remasterer: Bob Norberg.
Liner Note Author: Colin Escott.
Unknown Contributor Role: Al Green.
In the early days of the CD age, Motown released an astonishing number of CDs, including a whole line of single-disc sets that contained two original records on one CD. Motown's initial CD two-fers were criticized in many quarters for shoddy, unattractive packaging and indifferent remastering, but less discriminating consumers found them perfectly acceptable, since they offered a lot of music at a reasonable price. By the mid-'90s, Motown eventually phased these discs out of print, replacing them with remastered individual discs, but some of the records never were re-released on CD, which made this series valuable for Motown collectors. By the early '80s, Motown had acquired the rights to Hi Records, which meant they were able to release Al Green's Let's Stay Together and I'm Still in Love with You on one CD. Since both albums share a similar mood, they make for an excellent two-fer. The Right Stuff later issued these albums individually with better packaging and sound, yet this remains a good bargain. ~ Stephen Thomas Erlewine
Prior to this album, Al Green never had a number one song. The title track, "Let's Stay Together," achieved that status and held it for nine consecutive weeks. Green's ingenuity produced one of the all-time classics, which has the bounce of a dance cut and the passion of a ballad. The dynamic soul singer's whispers, animated cries, and riffing enhance his already stirring delivery. This album was sold on the strength of the title track as there were no other selections to grace the Billboard charts. However, this album includes the timeless gem "How Can You Mend a Broken Heart" and lesser-known beauties like the exulting "Judy," the cookin' testimonial "I Never Found a Girl," and the soothing blues effort "It Ain't No Fun to Me." The Arkansas native and his creative partner Willie Mitchell season these selections with lucid rhythm arrangements complemented by the faint strums of a guitar and brawn, unchiding horns. ~ Craig Lytle
After two albums loaded with cover songs and draped in the deep influence of Otis Redding and Sam Cooke, Al Green used LET'S STAY TOGETHER to introduce his own style to the world. Green wrote or co-wrote seven of the nine songs on LET'S STAY TOGETHER, including the title track, his only No. 1 pop single. Love and relationships provided a universal theme for this sweet soul music. The lightly surging groove of "Let's Stay Together" carries a plea for reconciliation; the delicate ballad "How Can You Mend A Broken Heart" (a Bee Gees cover) addresses the aftermath of a breakup.
Throughout LET'S STAY TOGETHER, the Hi Records house band fits exquisitely with Green's heavenly tenor, whether it be Charles Hodges's inspirational organ fills on "La-La For You" or brother Teenie Hodges' understated guitar riffs on "It Ain't No Fun To Me." Throw in a brassy horn section and lush string arrangements, and you have a perfectly balanced slice of soul. Some consider Al Green to be the greatest soul singer who ever lived. LET'S STAY TOGETHER, a purely joyful listen from beginning to end, makes a very good case.
Prior to this album, Al Green never had a number one song. The title track, "Let's Stay Together," achieved that status and held it for nine consecutive weeks. Green's ingenuity produced one of the all-time classics, which has the bounce of a dance cut and the passion of a ballad. The dynamic soul singer's whispers, animated cries, and riffing enhance his already stirring delivery. This albumRolling Stone (3/30/72, p.50) - "...Green's voice is something to marvel at. He can croon, shout, scat, rise to the smoothest falsetto, and throw in the funkiest growls....LET'S STAY TOGETHER is, like its predecessor, an indispensable treat..."
Q (p.121) - "[H]is cover of the Bee Gees' 'How Can You Mend A Broken Heart?' took the soul ballad to new levels of artistry and refinement."
Q (5/00, p.135) - Included in Q Magazine's "Best Soul Albums Of All Time"
Q (10/99, p.150) - 4 stars out of 5 - "...shows him as the authentic voice of love's pain and purity on such wonders as 'How Can You Mend A Broken Heart?'..."
Pitchfork (Website) - "[N]obody else had Green's virtuosity or interpretive gifts. He could articulate unbelievably delicate shades of feeling with his voice alone..."
Let's Stay Together Music


Detailed Let's Stay Together Music Information



Category Rock/Pop Albums, R&B CDs, Blues, Soul/R&B, Enhanced CD
Label The Right Stuff
Orig Year 1972
All Time Sales Rank   7410  
CD Universe Part number 5587095
Discs 1
Release Date Feb 18, 2003
Studio/Live Studio
Mono/Stereo Stereo
Producer Willie Mitchell
Al Green Let's Stay Together Songs


Al Green Let's Stay Together Album Track Listing



1.Let's Stay Together
2.La-la For You
3.So You're Leaving
4.What Is This Feeling
5.Old Time Lovin
6.I've Never Found a Girl
7.How Can You Mend a Broken Heart
8.Judy
9.It Ain't No Fun to Me
10.Eli's Game - (bonus track)
11.Listen - (bonus track)
Let's Stay Together Music Review


Customer Let's Stay Together Reviews 




Average Rating: (4.5 out of 5 stars) 4.5 stars

5 stars Al Gren Cd
I love al green music and his cd is great this was one of my mother favorite and my father and its also mine and yes I would recommend his music to those who love the old school jams like myself
Submitted by kimberly8282 (Oak Park Michigan) Verified Buyer
Was This Review Helpful? Yes No

4 stars Al Green
Just good ole Al Green......
Submitted by marcus36 (Altadena,CA, USA) Verified Buyer
Was This Review Helpful? Yes No

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Gary Taylor – Biography by Steven IvoryGary Taylor routinely does something I'd say most recording artists don't even have the luxury of dreaming about: He creates music entirely on his terms.When he sits down at the keyboard, he's not thinking of writing a radio smash, because few radio stations play "real" music anymore. He's not thinking of a chart record, because most music charts are driven by something strange and sinister beyond mere listener appeal. No, when Gary writes, the only voice he feels obligated to listen to, is his heart. This is how he makes music.If you're holding anyone of his albums, then you probably dig a certain kind of music. You probably embrace Stevie Wonder of the "Music Of My Mind" era. Donny Hathaway. You understand the cream Burt Bacharach and Hal David stirred when they whipped up all that divine, sassy space music with Dionne Warwick.You love the delicious crescendo on Earth, Wind & Fire's "Love's Holiday", you turn up the volume for the last intense seconds of Stevie's "That Girl", savouringevery run of his ad-lib at the end…You love what Thom Bell did with The Stylistics, The Spinners and you're hip to his legendary Johnny Mathis production. You dig Jazz. Miles. Gospel. Steely Dan. Early Gino Vannelli. Great vocalists. Aretha Franklin, Peabo Bryson, Sade… Definitely the Bossa Nova of Antonio Carlos Jobim. Basically, you dig anything that is melodic and uniquely so.When photographer Bobby Holland introduced me to Gary Taylor in Los Angeles in the '70s, it was our love of the aforementioned music that immediately bonded us. At the time, I was only starting to write about R&B and Gary had just made his first music, really, by composing the songs for a local musical written by buddy Kenny Davis. I don't think he'd even taught himself piano by then; wrote it all on acoustic guitar.Gary and I used to write together. What that really means is I'd sit late into the night and listen while he searched tirelessly, trying to squeeze just one more spooky, sexy chord out of his Fender Rhodes. Needless to say, the collaboration was brief. But it afforded me a front row seat to witness Gary's will and growth as a songwriter.Back then, I used to call Gary "Vamp King" for his propensity for three minute songs with trance-like vamps that would go on about two days. We'd study his latest creation where we always listened ...
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cdu4asppid music 5587095 cdu4pidall cdu4pls0 ver231cdu cdu4all 11/22/2009 9:54:07 PM