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| James Taylor | Primary Artist, Acoustic Guitar, Piano, Background Vocals |
| John Hartford | Banjo |
| Carole King | Piano, Background Vocals |
| Joni Mitchell | Background Vocals |
| Richard Greene | Fiddle |
| The Memphis Horns | Horn |
| Kate Taylor | Background Vocals |
| Peter Asher | Tambourine, Background Vocals |
| Gail Haness | Background Vocals |
| Wayne Jackson | Horn |
| Kevin Kelly | Piano, Accordion |
| Russ Kunkel | Conga, Cymbals, Drums, Tambourine, cowbell, Cabasa |
| Andrew Love | Horn |
| Leland Sklar | Bass |
| Danny Kootch | Acoustic Guitar, Guitar, Conga, Electric Guitar |
| Carole King | Composer |
| James Taylor | Composer, Lyricist |
| The Memphis Horns | Horn Arrangements |
| Peter Asher | Producer |
| Lee Herschberg | Remastering |
| Wayne Jackson | Horn Arrangements |
| Danny Kortchmar | Composer |
| Andrew Love | Horn Arrangements |
| Laurie Miller | Artwork |
| Richard Sanford Orshoff | Engineer |
| Ed Thrasher | Art Direction |
| Ethan Russell | Cover Photo |
Editorial Reviews
All Music Guide - William Ruhlmann
James Taylor's commercial breakthrough in 1970 was predicated on the relationship between the private concerns expressed in his songs and the larger philosophical mood of his audience. He was going through depression, heartbreak, and addiction; they were recovering from the political and cultural storms of the '60s. On his follow-up to the landmark Sweet Baby James, Taylor brought his listeners up to date, wisely trying to step beyond the cultural, if not the personal, markers he had established. Despite affirming romance in songs like "Love Has Brought Me Around" and the moving "You Can Close Your Eyes" as well as companionship in "You've Got a Friend," the record ...