Customer Reviews

Most of All/Billy Joe Thomas

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"Billy Joe Thomas", which was released orginally in 1972 with a gatefold cover had a copy of his birth certificate adorning the back cover! Each of the 12 songs featured the original songwriter as a performer on their respective cut. Look at the talent performing on this album: Stevie Wonder(harmonica on "Happier Than the Morning Sun"), Carole King (piano on the great, "A Fine Way to Go"), Jimmy Webb (piano on "A Song For My Brother"), John Sebastian (guitar on "The Stories We Can Tell"), Paul Williams (Background vocals on "That's What Friends Are For") songwriter Mark James (Background vocals on "I Get Enthused" and the album highlight for me, "Are We Losing Touch") and on and on... Also playing: Background vocalists extraordinare, The Blossoms (shout out to Darlene Love),guitar great Duane Eddy (on the single "Rock And Roll Lullaby" which also featured co-author Barry Mann).
But holding all this talent together, the immensely talented B. J. Thomas, who with his incredible vocals put his very personal stamp on every one of the 12 songs. Quite a feat, indeed!
Recorded in New York, Los Angeles and Nashville this still is a
uniquely cohesive piece of music, which speaks volumes about the gifted vocalist B. J. Thomas. This album always seemed so personal to him, I felt that his personality really was on display on each song. Thank you, Mr. Thomas

B.J. Thomas is often remembered for his biggest pop hits, "I'm So Lonesome I Could Cry," "Hooked on a Feeling," "Raindrops Keep Falling on My Head" and "(Hey Won't You Play) Another Somebody Done Somebody Wrong Song." But like many artists whose careers were longer than their pop chart success, there's a lot more to Thomas' catalog than these four songs. In addition to 1980s success on the country charts, Thomas recorded albums throughout the mid-60s and 70s that turned up lower-charting hit singles and terrific album sides. Collectors' Choice has gathered Thomas' first eight solo albums for Scepter as a series of four two-fers, starting with his 1966 label debut, I'm So Lonesome I Could Cry, and concluding with 1971's Billy Joe Thomas.

After out-of-the-gate success with Huey Meaux in Texas, four albums and a hit singles with Chips Moman in Memphis, and a Los Angeles-based chart-topper with Burt Bacharach and Hal David, by the start of the 1970s B.J. Thomas was once again on the move. His 1970 release Most of All includes a few finished tracks recorded with Moman at American Studios, but also includes a stop in Atlanta and finally settles in at Doraville, Alabama's Studio One. Here Thomas connected with producer Buddy Buie and the studio players who would form the Atlanta Rhythm Section. This new setting produced two hits, "Most of All" and "No Love at All," both Top 40 pop and Top 5 adult contemporary. The former was written by Buie, the latter reunited Thomas with songwriter Wayne Carson, suggesting the track might have been started in Memphis.

Buie's instrumentation wasn't terrifically different than Moman's, featuring guitars, bass and drums augmented by strings and horns. But Buie's productions are smoother and not as deep in the soul-funk pocket as had been laid down in Memphis. Thomas responded by modulating his vocals with longer notes that edge into crooning. The material follows the familiar course of a few originals and cover songs that fit Thomas snugly enough to leave little leaving room for musical reinvention; James Taylor's early "Rainy Day Man," The Carpenters' "Close to You," and Brook Benton's "Rainy Night in Georgia," don't add much to the originals. Neither does a cover of Mann & Weil's controversial song of interracial romance, "Brown Eyed Woman," which had scored on the coasts for Bill Medley.

The following year Thomas made another leap, recording in New York City, Los Angeles and Nashville, with Steve Tyrell and Al Gorgoni producing Billy Joe Thomas. Thomas continued to chart higher on the adult contemporary chart than the pop list, topping the former with the gorgeous "Rock `n' Roll Lullaby." The single's Beach Boys-styled backing vocals lift Thomas as he stretches into falsetto and adds a new style to his catalog. Paul Williams' "That's What Friends Are For" (not to be confused with Burt Bacharach's similarly titled song that was a hit for Dionne Warwick) revisits the Billy Joel inflections Thomas brought to 1968's "Mr. Businessman," and "Happier Than the Morning Sun" is given a sunnier, lighter arrangement than Stevie Wonder's later recording.

For this last album on Scepter, Tyrell engaged the songs' writers to perform, a plan that paralleled the emergence of singer-songwriters as a marketable quantity. Stevie Wonder, Carole King, Jimmy Webb and Paul Williams played and sang on their tunes, and guests included Duane Eddy, Darlene Love and Dave Somerville of `50s vocal group, The Diamonds. Tyrell and Gorgoni created the most consistent album to that point in Thomas' career, seamlessly knitting together pop, blues and soul, while picking up songs from favorite sources Wayne Carson and Mark James alongside the famous singer-songwriters. Thomas shows himself ready for serious lyrics, including the terrific call-to-action "We Have Got to Get Our Ship Together" and John Sebastian's "The Stories We Can Tell." Pete Drake's pedal steel on the latter all but pointed the way to Thomas' future on the country charts.

Collectors' Choice adds three bonus tracks to the original albums: a single and two B-sides of which the gospel "Mighty Clouds of Joy" makes the most lasting impression. All tracks are stereo, and the set's 8-page booklet includes liner notes by Mike Ragogna and full-panel reproductions of the album covers. These albums find Thomas searching for direction after leaving Memphis and finding new confidence in New York City. He'd hook up with Paramount the following year, score an across-the-board success with "(Hey Won't You Play) Another Somebody Done Somebody Wrong Song" with ABC in 1975, and top the country charts in the mid-80s, leaving Billy Joe Thomas to stand as a fitting end to his run with Sceptor. [©2010 hyperbolium dot com]

This particular re-issue contains materials that sound softer overall compared to the other re-issues of the materials preceding it. And production wise, I think this one's the best. Highlights for me include "Table For Two For One", "Rainy Night in Georgia", Brown Eyed Woman", "No Love At All", "I Get Enthused", "Life", just to name a few... For everyone who loves music of that period and listening to singers with quality voice, don't miss this one. I think the Scepter years, and the following couple of years, are really the period when BJT was at his best.

when it comes to phrasing a song B.J.can do no wrong.It is so good to have this cd avalable.BROWN EYED WOMAN,RAINY NIGHT IN GEORGIA,MOST OF ALL are just a few of the great songs on this cd,they are all good.B.J.Thomas is a very talented artist and has his own special style,honed with perfection.

It is downright wonderful to see these albums reissued on CD, and 2-on-1 at that. Good liner notes, which is a step up for Collector's Choice (they previously had poor packaging). The only reason I took 1 star away is the mastering. These recordings lack punch, low end and could have given a slight bit more clarity. Scepter vinyl was low grade, but I find the reel to reels of BJ's albums sound better than these CDs. Not a big deal, these are still an essential and welcome addition to all BJ Thomas fans!

often forgotten and overlooked this man is right up ther with the best of them.he can do rock,soul,blues,country and make it all his own.this cd is awesome just as the artist.

I grew up listening to the "Most Of All" album, and never thought I'd see the day that it would come out on CD. Some of the best MOR music ever recorded, by one of the great MOR voices. BJ's way with these tunes is nothing short of amazing. What a marvelous interpreter, right up with there with the great Glen Campbell.