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Still Bill
View on Wikipediafrom Wikipedia
| Still Bill | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | May 1972 | |||
| Studio | The Record Plant (Los Angeles) | |||
| Genre | ||||
| Length | 36:14 | |||
| Label | Sussex | |||
| Producer |
| |||
| Bill Withers chronology | ||||
| ||||
| Singles from Still Bill | ||||
| ||||
Still Bill is the second studio album by American soul singer-songwriter and producer Bill Withers, released in 1972 by Sussex Records. The album was recorded and produced by Withers with musicians from the Watts 103rd Street Rhythm Band. The rhythmic music produced for the record features soul, funk, and blues sounds, backing lyrics that explore themes of human nature, emotion, and sex from a middle-class male perspective. It also features some of Withers' most popular songs, including the hit singles "Lean on Me" and "Use Me". A commercial and critical success at the time of its release, Still Bill has since been regarded by music journalists as a highlight of the singer's recording career and a classic of 1970s R&B.
Reception
[edit]Still Bill was met with positive reviews. Writing for Rolling Stone in 1972, Vince Aletti regarded it as an improvement over Withers' debut album Just as I Am, particularly because of the singer's production, which sustains even the less exceptional songs here. "On the whole", Aletti claimed, "it's a tougher, more relaxed, more assured album ... Nothing is thrown away, everything works with an unexpected clarity and strength."[1] Billboard hailed Still Bill as justification for the critical hype surrounding his debut and live performances, while observing "plenty of sunshine" in the music, highlighting "Lean on Me", "Who is He (And What Is He to You)", "Kissing My Love", and "Lonely Town, Lonely Street".[2] Reviewing in Creem, Robert Christgau gave the record a B-plus and said, "Withers has created the most credible persona of any of the new middle-class male soul singers, avoiding Marvin Gaye's occasional vapidity, Donny Hathaway's overkill, and Curtis Mayfield's blackness-mongering. He sounds straight, strong, compassionate. This album moves out rhythmically, too". However, the critic concluded with reservations about its "missing some essential excitement".[3]
Commercially, Still Bill produced two hit singles: "Lean on Me" (number one on both the Billboard pop and R&B charts in mid 1972) and "Use Me" (number two on the same charts later that year).[4] On September 7, 1972, the album was certified gold by the Recording Industry Association of America (RIAA), having recorded at least 500,000 copies sold.[5]
Reappraisal and legacy
[edit]| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |  [6] |
| Christgau's Record Guide | A[7] |
| The Encyclopedia of Popular Music |  [8] |
| The Great Rock Discography | 7/10[9] |
| Mojo | [10] |
| Music Story | [11] |
| MusicHound R&B |  [12] |
| Rolling Stone | [13] |
| The Rolling Stone Album Guide | [14] |
| Uncut | [15] |
Retrospective appraisals have also been positive. Reviewing years later in Christgau's Record Guide: Rock Albums of the Seventies (1981), Christgau expressed more enthusiasm about Still Bill, saying that Withers is "also plenty raunchy and he can rock dead out". He went on to write that the "self-production here is adamantly spare, with Ray Jackson furnishing the hook of the year on 'Use Me,' one of the few knowledgeable songs about sex our supposedly sexy music has ever produced".[7] PopMatters critic Andy Hermann wrote a review in anticipation of the album's CD reissue by Columbia Records in 2003, calling it "essential listening for any fan of early '70s funk and R&B". Hermann also highlighted the contributions of session musicians from the Watts 103rd Street Rhythm Band, crediting them for having helped Withers develop "a unique style of bluesy funk that was the perfect soundtrack to the emotional drama [that] leaked out from around the corners of Withers' laid-back West Virginia drawl".[16] Writing in 2005, David Wild of Rolling Stone found the album "finer and funkier" than Just as I Am and "still a stone-soul masterpiece",[13] while Stylus Magazine's Derek Miller called it "a stone-cold, gold-plated soul classic ... far and away Withers' best", and more than comparable to enduring LPs from the same period, such as Isaac Hayes' Hot Buttered Soul (1969), Mayfield's Roots (1971), Stevie Wonder's Talking Book (1972), and Al Green's Call Me (1973). Miller added that Still Bill exemplified Withers' musical daring, having fused soul, blues, and "muscular funk" into a sound that finds "form between the lines … bound by the heated muscle of its rhythms and the satin berth of its softer moments".[17]
In 2007, Still Bill was included in The Guardian's list of "1,000 albums to hear before you die", with an accompanying essay that said the album "contains two of [Withers'] most epochal and best-loved compositions 'Lean on Me' and 'Who Is He (And What Is He to You)?' but [that] the blend of patient, understated, insistently funky acoustic playing is just as vital".[18] Tom Moon included it in a similar publication, 1,000 Recordings to Hear Before You Die (2008), citing the album as "one of the most eloquent records" in rhythm and blues. "These are shades-of-gray stories, full of a mature understanding of human nature", Moon observed, before concluding that, "even when reflecting on weighty matters, Withers cultivates a mood of unflappable calm, making everything sound like a lazy summer evening on the front porch."[19] In 2020, Still Bill ranked number 333 on Rolling Stone's revised edition of the "500 Greatest Albums of All Time" list.[20]
Track listing
[edit]|
All tracks are written by Bill Withers, except where noted.
|
Personnel
[edit]- Bill Withers – vocals, guitar, acoustic piano (5), acoustic guitar (11, 12)
- Ray Jackson – acoustic piano, clavinet, Wurlitzer electric piano, horn and string arrangements
- Benorce Blackmon – guitar
- Melvin Dunlap – bass guitar
- James Gadson – drums, percussion
- Bobbye Hall – percussion (11, 12)
Production
[edit]- Bill Withers – producer (1–12)
- Ray Jackson – producer (1–12)
- Benorce Blackmon – producer (1–10)
- Melvin Dunlap – producer (1–10)
- James Gadson – producer (1–10)
- Bob Hughes – engineer
- Phil Schier – engineer, remixing
- Michael Mendel – art direction
- Maurer Productions – art direction
- Milton Sincoff – package design
- Hal Wilson – photography
2003 Reissue Credits
- Leo Sacks – producer
- Steve Berkowitz – A&R
- Darren Salmieri – A&R coordinator
- Joseph M. Palmaccio – mastering
- Lisa Buckler – product manager
- Maurice Joshua – product manager
- Triana D'Orazio – packaging manager
- Howard Fritzon – art direction
- Tim Morse – design
- Harry Goodwin – photography
- Bob Gruen – photography
- Michael Ochs Archive – photography
- SMP/Globe Photos – photography
- Bill Withers – liner notes
- Studios
- Recorded at The Record Plant (Los Angeles, California).
- Bonus Tracks recorded live at Carnegie Hall (New York City, New York).
- 2003 reissue mastered at Sony Music Studios (New York City, New York).
Charts
[edit]| Chart (1972) | Peak position |
|---|---|
| U.S. Billboard Soul Albums[21] | 1 |
| U.S. Billboard Pop Albums[21] | 4 |
| Canadian RPM 100 Albums[22] | 71 |
See also
[edit]References
[edit]- ^ Aletti, Vince (June 8, 1972). "Bill Withers: Still Bill". Rolling Stone. Archived from the original on October 1, 2007. Retrieved October 1, 2007.
- ^ "Album Reviews". Billboard. May 13, 1972. p. 51. Retrieved September 10, 2019 – via Google Books.
- ^ Christgau, Robert (August 1972). "The Christgau Consumer Guide". Creem. Retrieved January 19, 2018.
- ^ "Still Bill > Charts & Awards > Billboard Singles" at AllMusic. Retrieved 2011.
- ^ "American certifications – Bill Withers – Still Bill". Recording Industry Association of America.
- ^ Erlewine, Stephen Thomas. "Bill Withers: Still Bill > Review at AllMusic. Retrieved 23 October 2011.
- ^ a b Christgau, Robert (1981). "Consumer Guide '70s: W". Christgau's Record Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN 089919026X. Retrieved March 22, 2019 – via robertchristgau.com.
- ^ Larkin, Colin, ed. (2007). The Encyclopedia of Popular Music (5th concise ed.). Omnibus. p. 1519. OL 11913831M.
- ^ Strong, Martin C. (2004). The Great Rock Discography (7th ed.). New York: Canongate. p. 1683. OL 18807297M.
- ^ "Review". Mojo. August 2003. p. 114.
- ^ "Bill Withers". Music Story (in French). Archived from the original on January 7, 2010. Retrieved July 24, 2024.
- ^ Graff, Gary; Freedom du Lac, Josh; McFarlin, Jim, eds. (1998). MusicHound R&B: The Essential Album Guide. Detroit: Visible Ink. p. 624. OL 690592M.
- ^ a b Wild, David (May 5, 2005). "Bill Withers: Still Bill". Rolling Stone. Straight Arrow. ISSN 0035-791X. Archived from the original on November 6, 2007.
- ^ Brackett, Nathan; Hoard, Christian, eds. (2004). The New Rolling Stone Album Guide (4th rev. ed.). New York: Simon & Schuster. p. 884. OL 21112308M.
- ^ "Review". Uncut. February 2003. p. 92.
- ^ Hermann, Andy (January 23, 2003). "Bill Withers: Still Bill". PopMatters. Retrieved September 10, 2019.
- ^ Miller, Derek (July 26, 2005). "Bill Withers - Still Bill - On Second Thought". Stylus Magazine. Retrieved September 10, 2019.
- ^ "Artists beginning with W". The Guardian. November 22, 2007. Retrieved September 10, 2019.
- ^ Moon, Tom (2008). 1,000 Recordings to Hear Before You Die: A Listener's Life List. Workman. p. 871. ISBN 978-0761139638.
- ^ "500 Greatest Albums of All Time: Still Bill". Rolling Stone. Retrieved May 19, 2022.
- ^ a b "Still Bill > Charts & Awards > Billboard Albums" at AllMusic. Retrieved October 23, 2011.
- ^ "RPM 100 Albums". RPM. 18 (14). archived at Library and Archives Canada. November 18, 1972. Retrieved October 23, 2011.
External links
[edit]- Still Bill at Discogs (list of releases)
Still Bill
View on Grokipediafrom Grokipedia
Still Bill is the second studio album by American soul singer-songwriter Bill Withers, released in May 1972 by Sussex Records.[1] Recorded primarily at The Record Plant in Los Angeles, it features a blend of soul, funk, and blues, with Withers exploring themes of human emotion, relationships, and everyday life.[2] The album includes his signature hits "Lean on Me" and "Use Me", which became staples of 1970s R&B.[1]
The record propelled Withers to greater fame following his debut Just as I Am (1971), peaking at number one on the Billboard Top Soul Albums chart and number four on the Billboard 200, while earning gold certification from the RIAA for sales of 500,000 copies.[3] Critically acclaimed for its raw authenticity and Withers' smooth vocals backed by the Watts 103rd Street Rhythm Band, Still Bill is regarded as a cornerstone of soul music, later ranked number 333 on Rolling Stone's list of the 500 Greatest Albums of All Time in 2020.[4]
Background
Film development
In the late 1990s, filmmakers Damani Baker and Alex Vlack, longtime fans of Bill Withers' music, conceived the idea for a documentary exploring the singer's life and philosophy.[5] They spent eight years on the project, logging over 300 hours of footage, including interviews with Withers, his family, friends, and collaborators like Sting and Angelique Kidjo, as well as visits to his West Virginia birthplace.[6] [7] The film emphasizes Withers' post-retirement life, his decision to leave the music industry in 1985 for family, and his reflections on fame and creativity.[8] Baker and Vlack titled it Still Bill, drawing from Withers' 1972 album of the same name, to highlight his enduring presence. The project received support from producers and premiered as an official selection at the 2009 South by Southwest Film Festival.Withers' career context
Bill Withers was born on July 4, 1938, in the small coal-mining community of Slab Fork, West Virginia, where he grew up as the youngest of six children during the tail end of the Great Depression.[9] He stuttered as a child, which contributed to his shy demeanor, but he developed an early interest in music through gospel influences in his rural Southern upbringing.[10] At age 17, Withers enlisted in the U.S. Navy in 1955, serving for nine years as an aircraft mechanic until his discharge in 1965; during this time, he was stationed in various locations, including Guam, where he began exploring music more seriously.[11] After leaving the Navy, Withers relocated to Los Angeles in 1967 with limited savings, taking a job at Weber Aircraft in Burbank as a milkman and later as an assembler on the production line, manufacturing parts for commercial airplanes, including toilet seats for Boeing 747s.[12] Largely self-taught on guitar—a skill he honed during his Navy years using a pawnshop instrument—he began writing songs in his spare time while balancing factory shifts.[13] In 1970, at age 32, Withers recorded a rough demo of his composition "Ain't No Sunshine" on a two-track recorder, which caught the attention of Clarence Avant, head of the independent label Sussex Records, leading to a recording contract.[14] With producer Booker T. Jones, Withers released his debut album, Just as I Am, in May 1971, which peaked at No. 39 on the Billboard 200 chart. [15] The album's lead single, "Ain't No Sunshine," became a breakthrough hit, reaching No. 3 on the Billboard Hot 100 and earning Withers his first Grammy Award for Best R&B Song in 1972. At 33 years old upon his debut, Withers represented a non-traditional entry into soul music, having bypassed the typical teenage or early-20s launch of contemporaries like Marvin Gaye and Curtis Mayfield, whose careers had already established them as industry fixtures by the late 1960s; this older, blue-collar background lent his music an authentic, everyman perspective but initially posed challenges in gaining immediate acceptance within the youth-oriented soul scene.[16][17]Production
Recording process
The production of Still Bill was directed by Damani Baker and Alex Vlack, who began developing the project as fans of Bill Withers' music, spending approximately eight to eleven years on the film before its premiere in 2009.[6][18] Principal photography lasted over two years, resulting in 300 hours of footage that captured Withers' daily life, philosophical reflections, and musical legacy.[19] Filming emphasized an intimate approach, including visits to Withers' birthplace in Slab Fork, West Virginia, archival performance footage from the 1970s and 1980s, and contemporary interviews conducted in relaxed settings to highlight his post-retirement life in Los Angeles. The process involved collaboration with Withers, who granted extensive access, allowing the directors to explore themes of fame, family, and authenticity without scripted elements. Rare live performances and a tribute concert were also incorporated to blend past and present.[8][20][19] The documentary's style prioritized Withers' voice and interactions, with minimal intervention from the filmmakers to maintain a grounded, observational tone reflective of his personality. Production was handled by Late Night and Weekends, facing challenges of persistence over the extended timeline but benefiting from Withers' willingness to participate.[18][19]Personnel
Still Bill features Bill Withers as the central subject, with interviews and appearances by family members, friends, and musical collaborators to provide a multifaceted portrait. The film includes contributions from notable figures in music and culture, emphasizing Withers' influence and personal relationships. Key participants were selected for their direct connections to Withers, adding depth through anecdotes and performances.[8][19]Musicians
- Bill Withers: Subject, interviews, performances[19]
- Sting: Interviewee, collaborator reflections[8]
- Angelique Kidjo: Interviewee[19]
- Raul Midon: Interviewee[19]
- Jim James: Interviewee[19]
- Ralph MacDonald: Interviewee[19]
- Benorce Blackmon: Interviewee, former band member[8]
- Cornell Dupree: Interviewee, former collaborator[8]
Production and Technical Staff
- Directors: Damani Baker, Alex Vlack[19]
- Producers: Damani Baker, Alex Vlack, Jon Fine[19]
- Executive Producers: Alex Vlack, Andrew Zuckerman[19]
- Cinematographers: Jon Fine, Damani Baker, Edward Marritz[19]
- Editors: Jon Fine, Sakae Ishikawa[19]
Composition
Musical style
Still Bill exemplifies a fusion of soul and funk, infused with blues undertones, creating a laid-back yet groove-oriented sound that distinguishes it within early 1970s R&B.[21] The album's tracks generally feature mid-tempo grooves ranging from 80 to 100 BPM, with a strong emphasis on the interplay between electric bass lines and drum patterns that drive the rhythmic foundation.[22] This approach draws from funk pioneers, resulting in syncopated rhythms that propel songs like "Use Me," where the tight bass drum-snare interplay creates an infectious, understated momentum.[23] Instrumentation centers on Bill Withers' signature acoustic guitar, which provides intimate, fingerpicked textures, complemented by electric bass that echoes the muscular, walking lines of Stax Records' house band, Booker T. & the M.G.'s.[24] Subtle horn sections add layered depth without overpowering the core rhythm section, as heard in tracks featuring clarinet and brass arrangements by Ray Jackson.[25] Drummer James Gadson's supple syncopation contributes to the album's West Coast funk leanings, contrasting the more orchestral, string-heavy soul of Motown by prioritizing raw, organic grooves.[25] The production, handled by Withers and his collaborators including Ray Jackson, employs a warm analog recording aesthetic captured at The Record Plant in Los Angeles, with reverb applied to vocals for a spacious yet intimate feel.[26][2] This sonic palette allows bluesy elements to shine in slower cuts like "Lonely Town, Lonely Street," where gently jazzy guitar and restrained percussion evoke a smoky, introspective mood at around 86 BPM.[22] Overall, Still Bill blends these influences into a cohesive style that prioritizes emotional directness through rhythmic subtlety and instrumental economy.[27]Lyrics and themes
The lyrics of Still Bill center on interpersonal relationships, vulnerability, and self-reliance, drawing from everyday emotional struggles. In "Lean on Me," Withers crafts an anthem of mutual support, inspired by his rural West Virginia upbringing where community aid was essential during hardships like a tire blowout fixed by a stranger, underscoring the theme of reciprocal reliance without sentimentality.[28] Similarly, "Use Me" delves into exploitative love, portraying a man's wry acceptance of being taken advantage of in a romance, blending humor with resignation to highlight relational power imbalances.[27] Withers writes from a middle-class Black male viewpoint, addressing sex, jealousy, and loneliness through straightforward, conversational language that avoids abstraction and favors autobiographical honesty. His songwriting reflects personal experiences, such as Navy service and factory work at Boeing, infusing tracks with relatable insights into Black life and familial bonds.[29] For instance, "Who Is He (And What Is He to You?)"—with lyrics provided by collaborator Stan McKenney—examines suspicion and betrayal in partnerships, as the narrator confronts his partner's possible infidelity with raw intensity.[30] The album's narrative arc traces emotional growth, progressing from isolation to connection across its tracks. It opens with "Lonely Town, Lonely Street," evoking urban alienation amid crowds, where physical proximity fails to alleviate inner solitude.[27] By the closer, "Let Us Love," Withers shifts to joyful intimacy, celebrating the euphoric bond of romance that thumps like a heartbeat and illuminates personal darkness.[31] This progression reflects broader motifs of vulnerability yielding to relational fulfillment, enhanced briefly by understated musical elements that amplify the conversational delivery.[32]Release
Singles and promotion
Still Bill was released in May 1972 by Sussex Records, with initial promotion centered on radio airplay and live performances to build momentum for the album.[21] The lead single, "Lean on Me," was issued in April 1972 as a 7-inch vinyl release, backed with "Better Off Dead," and quickly gained traction through soul and pop radio stations. It topped the Billboard Hot 100 chart on July 8, 1972, while also reaching number one on the Hot Soul Singles chart, marking Withers' first chart-topping hit.[33][34] The song's uplifting message and gospel-inflected arrangement resonated widely, helping propel the album's visibility. Following its success, "Use Me" served as the second single, released in August 1972 on 7-inch vinyl with "Let Me In Your Life" as the B-side. It peaked at number two on both the Billboard Hot 100 and Hot Soul Singles charts, showcasing Withers' ability to blend introspective lyrics with funky grooves.[33] Promotional efforts included Withers touring extensively with his backing band, performing tracks from Still Bill at venues across the United States and internationally, such as a live set in Chicago in 1972 and an appearance on the BBC's Old Grey Whistle Test in the UK that year. He made key television appearances to reach broader audiences, including a performance of "Lean on Me" on American Bandstand in June 1972 and "Use Me" on Soul Train in October 1972, though opportunities were limited by Sussex Records' modest budget as an independent label.[35][36] The marketing strategy highlighted Withers' relatable, working-class persona, positioning him as an authentic everyman voice in soul music. The album's cover artwork captured this by depicting Withers in casual work attire, leaning against an urban brick wall with a straightforward gaze, evoking his pre-fame factory job and everyday roots rather than glamour. This approach, combined with radio pushes and live shows, fostered a grassroots connection with listeners. The strong chart performance of the singles directly supported the album's climb on the Billboard 200.[37][21]Commercial performance
Still Bill achieved strong commercial performance in the United States upon its release, peaking at number 4 on the Billboard 200 chart and remaining on the listing for 45 weeks. It also reached number 1 on the Top Soul Albums chart, where it held the top position for six weeks in 1972.[38] The album's success was significantly boosted by the crossover appeal of its lead single "Lean on Me," which topped both the Billboard Hot 100 and Hot Soul Singles charts, drawing listeners from diverse audiences during the burgeoning 1970s soul music era. On September 7, 1972, Still Bill was certified gold by the RIAA for 500,000 units shipped.[3] Internationally, the album saw more modest results, peaking at number 71 on Canada's RPM 100 Albums chart and experiencing limited traction in Europe.Critical reception
Initial reviews
Still Bill premiered at the 2009 South by Southwest Film Festival and received positive reviews upon its theatrical release in 2010. Critics praised the documentary for its intimate portrait of Bill Withers' life, emphasizing his humility, family priorities, and philosophical outlook. On Rotten Tomatoes, the film holds a 100% Tomatometer score based on six reviews, with the consensus highlighting its "moving and entertaining exploration" of Withers' artistic integrity.[39] Roger Ebert of the Chicago Sun-Times awarded it 3.5 out of 4 stars, describing it as "the life story of a happy man" and commending its authentic depiction of Withers' contentment after retiring from music in 1985, though he noted a conversation with Cornel West and Tavis Smiley felt somewhat forced.[40] In Time Out New York, Hank Shteamer appreciated how the film allowed Withers to share his "tough yet warmhearted worldview."[41] Mike Hale of The New York Times found it "pleasant and even moving," while Cliff Doerksen of the Chicago Reader called it "handsome and agreeable."[41] On Metacritic, Still Bill scores 76 out of 100 based on five critics, indicating "generally favorable reviews." Nicolas Rapold of The Village Voice noted it provided a "sleepily even-keel portrait" but suggested more focus on Withers' musical technique would have strengthened it.[41] Overall, initial reception positioned the film as a heartfelt, non-sensationalized look at a music icon's post-fame life.Reappraisal and legacy
In the years following its release, Still Bill earned recognition for its introspective approach to documenting a musician's life, winning the Audience Award at the 2009 Urbanworld Film Festival and receiving a nomination for Best Independent Documentary at the 2010 Black Reel Awards.[42] The film's emphasis on Withers' decision to prioritize family over fame resonated with audiences, contributing to its enduring appeal as a counterpoint to more triumphant music biographies. Following Bill Withers' death on March 3, 2020, from heart complications, Still Bill saw renewed interest as a key resource for understanding his legacy, with obituaries and tributes often referencing the documentary's insights into his personality and career choices.[43] As of 2025, it remains available on streaming platforms like Netflix and Amazon Prime Video, maintaining strong audience engagement evidenced by a 93% audience score on Rotten Tomatoes from over 250 ratings.[39] Critics and viewers continue to praise its blend of archival footage, interviews, and philosophical reflections, influencing later documentaries on artists by prioritizing personal fulfillment over commercial success.Track listing and editions
Original track listing
The original 1972 vinyl edition of Still Bill by Bill Withers, released on Sussex Records, features ten tracks divided across two sides with a total runtime of 36:24. All songs are written by Withers except for co-writes on "Who Is He (And What Is He to You?)" (with Stan McKenny) and "Another Day to Run" (with Benorce Blackmon). The LP sides were balanced to optimize radio play, concentrating the album's hit singles on side one.[44]| Side | Track | Title | Duration | Notes |
|---|---|---|---|---|
| One | 1 | "Lonely Town, Lonely Street" | 3:43 | Blues-soul opener |
| One | 2 | "Let Me In Your Life" | 2:39 | Mid-tempo ballad |
| One | 3 | "Who Is He (And What Is He to You?)" | 3:12 | Funky suspicion narrative |
| One | 4 | "Use Me" | 3:46 | Bass-driven hit |
| One | 5 | "Lean on Me" | 4:17 | Gospel-inspired anthem |
| Two | 6 | "Kissing My Love" | 3:49 | Upbeat groove |
| Two | 7 | "I Don't Know" | 3:05 | — |
| Two | 8 | "Another Day to Run" | 4:38 | — |
| Two | 9 | "I Don't Want You on My Mind" | 4:35 | — |
| Two | 10 | "Take It All In and Check It All Out" | 2:40 | Closing reflective track |
Reissues and variants
The 2003 reissue by Legacy/Columbia was released on CD in a remastered edition, featuring improved audio clarity through digital remastering from the original tapes and including two previously unreleased live bonus tracks recorded in 1973 at Carnegie Hall: "Lonely Town, Lonely Street" and "Let Me In Your Life."[45] This edition, cataloged as CK 62184, marked an early effort to enhance the album's sonic quality for modern listeners while preserving its soulful essence.[45] Vinyl repressions gained prominence in the 2010s, with notable audiophile editions emphasizing analog mastering. The 2012 Music On Vinyl reissue on 180-gram vinyl utilized gatefold packaging and aimed to replicate the warmth of the original Sussex pressing through high-fidelity production.[46] In 2023, Mobile Fidelity Sound Lab released a numbered limited-edition 180-gram vinyl LP with AAA (all-analog) mastering from the original master tapes, pressed at RTI for superior dynamic range and quiet surfaces, celebrating the album's 50th anniversary in collaboration with Legacy Recordings.[47] This edition highlighted Withers' vocal nuances and the album's instrumental depth, appealing to collectors seeking enhanced playback fidelity.[48] Digital and high-resolution formats expanded accessibility in the 2020s. Still Bill became widely available on streaming platforms like Spotify and Apple Music starting in the early 2000s, with consistent cataloging under Columbia/Legacy.[49] A 2023 Mobile Fidelity hybrid SACD edition offered hi-res audio layers, including a surround mix, further elevating the remastered sound for compatible systems.[50] The album was included in the 2020 Music on CD box set, The Complete Sussex and Columbia Album Masters, a 9-CD collection remastered from original analog tapes that encompassed Withers' full catalog from 1970 to 1985, providing context for Still Bill within his oeuvre.[51] This reissue, drawn directly from source materials, ensured archival fidelity without additional bonus content specific to Still Bill.[52] Variants include a 2003 Japanese import CD by Sony Music (MHCP-2001), which featured the remastered tracks with an obi strip for domestic market packaging, often sought by international collectors for its cultural detailing.[53] No major standalone releases occurred between 2023 and 2025, though the Mobile Fidelity editions sustained interest in variant formats. Original 1972 Sussex pressings remain collectible due to their scarcity, with well-preserved copies valued at over $50 in the 2025 market, driven by demand for the debut label's gatefold design and unremastered analog sound.[54]| Year | Label/Format | Key Features |
|---|---|---|
| 2003 | Legacy/Columbia (CD) | Remastered; bonus live tracks from 1973 Carnegie Hall |
| 2012 | Music On Vinyl (180g Vinyl LP) | Gatefold sleeve; high-fidelity analog reissue |
| 2020 | Music on CD (9-CD Box Set) | Remastered from original tapes; part of full catalog collection |
| 2023 | Mobile Fidelity Sound Lab (180g Vinyl LP & Hybrid SACD) | AAA mastering; numbered limited edition; 50th anniversary |
| 2003 | Sony Music Japan (CD) | Obi strip variant; remastered tracks |