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The group split in spring 1971 before they finished recording their second album. In addition to his drumming, Gordon was credited with contributing the elegiac piano coda for the title track, "Layla". In later years, Whitlock claimed that the coda was not actually written by Gordon: "Jim took that piano melody from his ex-girlfriend Rita Coolidge.
The first Lightfoot compilation to feature music from his 1970s Reprise Records albums, Gord's Gold also includes re-recorded versions of several songs from his 1960s United Artists output (Sides 1 and 2). Lightfoot's reasons for re-recording the United Artists tracks were explained in the liner notes as being because "he doesn't like listening ...
The original record jacket is a tri-fold with a half-pocket on the inside to hold the record (originally issued without a paper inner sleeve). The top of the tri-fold has a die-cut image of Mason in a top hat and morning dress , collaged behind a rocky outcrop, and there is a small die-cut hole at the top to permit the jacket to be hung on the ...
Jim Seals – vocals, guitar; Dash Crofts – vocals, mandolin; Louie Shelton – bass; Jim Gordon – drums; Victor Feldman – percussion; Bill Holman – orchestral arrangements; Bill Holan and His Orchestra – orchestra
The musicians on the basic track were Nilsson (piano), Chris Spedding (guitar), Herbie Flowers (bass) and Jim Gordon (drums). [7] Flowers recalls that Nilsson gave only vague instructions: "lots of tom-toms, a bass riff in D major." [7] The bass part includes a section where, following Gordon's drum solo, Flowers detunes as he plays.
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Recorded in 1971, [15] the album was engineered by Andy Johns, Wright's co-producer on Extraction, [16] and Chris Kimsey, [17] and again featured McCracken. [18] Although only Wright received a production credit on the album, [17] he has since stated that Harrison produced part of Footprint, [5] [19] and has variously named "Two Faced Man" [20] and "Stand for Your Rights" [13] as having been ...
The New Rolling Stone Record Guide wrote: "Above all, Gates displays a concern for lyrics and melody (indeed, for song structure) that is nothing if not admirable and praiseworthy. But he can also be totally insipid: side two of First is an emotional wasteland."