This Australian import chronologically gathers over two dozen tracks from '60s folk-rockers the Youngbloods. Euphoria 1965-1969 opens up with four Jesse Colin Young compositions that feature the original quartet of Young (guitar/bass/vocals), Jerry Corbitt (bass), Lowell Levinger (keyboards), and Joe Bauer (drums). The tracks "Another Strange Town," "Hey Babe," "Sometimes," and "Rider" were cut and released under a deal that Young had with Mercury Records, eventually surfacing on Two Trips With Jesse Colin Young (1968). The ...
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This Australian import chronologically gathers over two dozen tracks from '60s folk-rockers the Youngbloods. Euphoria 1965-1969 opens up with four Jesse Colin Young compositions that feature the original quartet of Young (guitar/bass/vocals), Jerry Corbitt (bass), Lowell Levinger (keyboards), and Joe Bauer (drums). The tracks "Another Strange Town," "Hey Babe," "Sometimes," and "Rider" were cut and released under a deal that Young had with Mercury Records, eventually surfacing on Two Trips With Jesse Colin Young (1968). The remainder of this disc is amply divided among highlights from the Youngbloods' self-titled debut LP (1967) -- including the rare 45 rpm-only track "Merry Go Round" -- as well as Earth Music (1967) and Elephant Mountain (1969). There is a notable evolution in the band's sound, which was greatly informed by Young and Corbitt's East Coast folky roots. This turned up on early tracks such as "Grizzly Bear" and their straight-ahead, driving, up-tempo cover of "Statesboro Blues." Both contain a carefree jug band sensibility akin to what the Lovin' Spoonful and Blues Project had also been doing. The heavily distorted electric guitars and funky syncopated rhythm found on the cover of Fred Neil's "Other Side of This Life" foreshadows their relocation to the San Francisco Bay Area in late 1967. Other highlights include the laid-back charm of "Foolin' Around (The Waltz)," as well as a down-home reading of Tim Hardin's "Reason to Believe" -- both precursors to the pastoral country/rock movement of the early '70s. Corbitt left midway through the making of their third album, the critically acclaimed Elephant Mountain. This disc -- the last represented here -- keeps much of the organic sounds, brilliant songwriting, and rural charisma of their previous long-player, Earth Music. Standout cuts include "Darkness Darkness," "Ride the Wind," and the haunting "Sunlight." The notable exception is "Rain Song (Don't Let It...)," which sits oddly out of step, recalling the band's former campy good-time sound. ~ Lindsay Planer, Rovi
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