The Jerusalem Talmud, talmud meaning "instruction", "learning", (Hebrew: תַּלְמוּד יְרוּשָׁלְמִי‎‎, Talmud Yerushalmi, often Yerushalmi for short), is a collection of Rabbinic notes on the 2nd-century Mishnah (Jewish oral tradition) which was compiled in the Land of Israel during the 4th-5th century. The voluminous text is also known as the Palestinian Talmud or Talmud de-Eretz Yisrael (Talmud of the Land of Israel). These latter names are considered more accurate by some because, while the work was certainly composed in "the West" (i.e. the Holy Land), it originates from the Galilee area rather than from Jerusalem.

The Jerusalem Talmud predates its counterpart, the Babylonian Talmud (also known as the Talmud Bavli), by about 200 years and is written in both Hebrew and Jewish Palestinian Aramaic. It includes the core component, the Mishna, finalized by Rabbi Judah the Prince (c. 200 CE) along with the written discussions of generations of rabbis in the Land of Israel (primarily in the academies of Tiberias and Caesarea) which was compiled c. 350-400 CE into a series of books that became the Gemara (גמרא – from gamar: Hebrew "[to] complete"; Aramaic "[to] study"). The Gemara, when combined with the Mishnah, constitutes the Talmud.

There are two recensions of the Gemara, one compiled by the scholars of the Land of Israel and the other by those of Babylonia (primarily in the academies of Sura and Pumbedita, completed c. 500 CE). The Babylonian Talmud is often seen as more authoritative and is studied much more than the Jerusalem Talmud. In general, the terms "Gemara" or "Talmud," without further qualification, refer to the Babylonian recension.

Historical context[link]

Following the redaction of the Mishnah, many Jewish scholars living in Roman-controlled Syria Palæstina moved to Persia to escape the harsh decrees against Jews enacted by the emperor Hadrian after Bar Kokhba's revolt. The remaining scholars who lived in the Galilee area decided to continue their teaching activity in the learning centers that had existed since Mishnaic times.

Text editions[link]

According to the Jewish Encyclopedia,

"Yerushalmi has not been preserved in its entirety; large portions of it were entirely lost at an early date, while other parts exist only in fragments. The editio princeps (ed. Bomberg, Venice, 1523 et seq.), on which all later editions are based, terminates with the following remark: "Thus far we have found what is contained in this Talmud; and we have endeavored in vain to obtain the missing portions." Of the four manuscripts used for this first edition (comp. the note at the conclusion of Shab. xx. 17d and the passage just cited), only one is now in existence; it is preserved in the library of the University of Leyden (see below). Of the six orders of the Mishnah, the fifth, Ḳodashim, is missing entirely from the Palestinian Talmud, while the sixth, Ṭohorot, contains only the first three chapters of the treatise Niddah (iv. 48d-51b)."

Place and date of composition[link]

The Jerusalem Talmud probably originated in Tiberias in the School of Johanan ben Nappaha. It is a compilation of teachings of the schools of Tiberias, Sepphoris and Caesarea. It is written largely in Jewish Palestinian Aramaic, a Western Aramaic dialect that differs from its Babylonian counterpart.

This Talmud is a synopsis of the analysis of the Mishnah that was developed over the course of nearly 200 years by the Talmudic Academies in the Land of Israel (principally those of Tiberias and Caesarea). Because of their location, the sages of these Academies devoted considerable attention to analysis of the agricultural laws of the Land of Israel. Traditionally, the redaction of this Talmud was thought to have been brought to an abrupt end around 425 C.E., when Theodosius II suppressed the Patriarchate and put an end to the practice of formal scholarly ordination. It was thought that the compilers of the Jerusalem Talmud lacked the time to produce a work of the quality they had intended, and that this is the reason why the Gemara do not comment upon the whole Mishnah.^[1]

In recent years scholars have come to doubt the causal link between the abolition of the Patriarchate and the seeming incompletion of the final redaction. However, as no evidence exists of Amoraim activity in Palestine after the 370s, it is still considered very likely that the final redaction of the Palestinian Talmud took place in the late fourth or early fifth Century.^[2]

Comparison to Babylonian Talmud[link]

A page of a medieval Jerusalem Talmud manuscript, from the Cairo Genizah.

There are significant differences between the two Talmud compilations. The language of the Jerusalem Talmud is Jewish Palestinian Aramaic, a Western Aramaic dialect which differs from that of the Babylonian. The Talmud Yerushalmi is often fragmentary and difficult to read, even for experienced Talmudists. The redaction of the Talmud Bavli, on the other hand, is more careful and precise. The traditional explanation for this difference was the idea that the redactors of the Jerusalem Talmud had to finish their work abruptly (see above). A more probable explanation is the fact that the Babylonian Talmud was redacted for at least another 200 years, in which a broad discursive framework was created. The law as laid down in the two compilations is basically similar, except in emphasis and in minor details. Some scholars, for example David Weiss Halivni, describe the longer discursive passages in the Babylonian Talmud as the "Stammaitic" layer of redaction, and believe that it was added later than the rest: if one were to remove the "Stammaitic" passages, the remaining text would be quite similar in character to the Jerusalem Talmud.

Neither the Jerusalem nor the Babylonian Talmud covers the entire Mishnah: for example, a Babylonian Gemara exists only for 37 out of the 63 tractates of the Mishnah. In particular:

• The Jerusalem Talmud covers all the tractates of Zeraim, while the Babylonian Talmud covers only tractate Berachot. The reason might be that most laws from the Orders Zeraim (agricultural laws limited to the land of Israel) had little practical relevance in Babylonia and were therefore not included.^[3] The Jerusalem Talmud has a greater focus on the Land of Israel and the Torah's agricultural laws pertaining to the land because it was written in the Land of Israel where the laws applied.
• The Jerusalem Talmud does not cover the Mishnaic order of Kodashim, which deals with sacrificial rites and laws pertaining to the Temple, while the Babylonian Talmud does cover it. It is not clear why this is, as the laws were not directly applicable in either country following the Temple's 70 CE destruction.
• In both Talmuds, only one tractate of Tohorot (ritual purity laws related to the Temple and sacrificial system) is examined, since the other tractates deal exclusively with Temple-related laws of ritual purity.

The Babylonian Talmud records the opinions of the rabbis of Israel as well as of those of Babylonia, while the Jerusalem Talmud only seldom cites the Babylonian rabbis. The Babylonian version contains the opinions of more generations because of its later date of completion. For both these reasons it is regarded as a more comprehensive collection of the opinions available. On the other hand, because of the centuries of redaction between the composition of the Jerusalem and the Babylonian Talmud, the opinions of early amoraim might be closer to their original form in the Jerusalem Talmud.

Influence of the Jerusalem Talmud[link]

The influence of the Babylonian Talmud has been far greater than that of the Yerushalmi. In the main, this is because the influence and prestige of the Jewish community of Israel steadily declined in contrast with the Babylonian community in the years after the redaction of the Talmud and continuing until the Gaonic era. Furthermore, the editing of the Babylonian Talmud was superior to that of the Jerusalem version, making it more accessible and readily usable.

Despite this, the Jerusalem Talmud remains an indispensable source of knowledge of the development of the Jewish Law in the Holy Land. It was also an important resource in the study of the Babylonian Talmud by the Kairouan school of Hananel ben Hushiel and Nissim Gaon, with the result that opinions ultimately based on the Jerusalem Talmud found their way into both the Tosafot and the Mishneh Torah of Maimonides.

The Babylonian Talmud has traditionally been studied more widely and has had greater influence on the halakhic tradition than the Jerusalem Talmud. A notable exception are the Jewish Romaniotes, who traditionally follow and learn the Jerusalem Talmud.^{[citation needed]}

With the modern Jewish return to the land of Israel, the Jerusalem Talmud has taken on greater relevance and popularity with talmudic and rabbinical scholars. Modern scholars of the 19th and 20th centuries turned to the Yerushalmi as an invaluable source for the history of Judaism and the development of rabbinical law in late antiquity.

There are traditions that hold that in the Messianic Age the Jerusalem Talmud will have priority over the Babylonian. This may be interpreted as meaning that, following the restoration of the Sanhedrin and the line of ordained scholars, the work will be completed and "out of Zion shall go the Law, and the word of the Lord from Jerusalem".

Translations into English[link]

• Talmud of the Land of Israel: A Preliminary Translation and Explanation Jacob Neusner, Tzvee Zahavy, others. University of Chicago Press. This translation uses a form-analytical presentation which makes the logical units of discourse easier to identify and follow.
• Schottenstein Edition of the Yerushalmi Talmud Mesorah/Artscroll. This translation is the counterpart to Mesorah/Artscroll's Schottenstein Edition of the Talmud (i.e. Babylonian Talmud). (n.b. currently incomplete – only some volumes available)
• The Jerusalem Talmud ed. Heinrich W. Guggenheimer, Walter de Gruyter (Publisher's Website). This edition is only available on Order Zeraim and part of Order Nashim. Contains a bare translation with simple footnotes clarifying only the most problematic points.

Commentators on the Jerusalem Talmud[link]

The first page of the Yerushalmi with the commentary of Moshe Margolies, the pnei moshe

Compared to the Babylonian Talmud, the Jerusalem Talmud has not received as much attention from commentators, and such traditional commentaries as exist are mostly concerned with proving that its teachings are identical to Bavli. A modern edition and commentary, known as Or Simchah, is currently being prepared in Beersheba; another edition in preparation, including paraphrases and explanatory notes in modern Hebrew, is Yedid Nefesh. The Jerusalem Talmud has also received some attention from Adin Steinsaltz, who plans a translation into modern Hebrew and accompanying explanation similar to his work on the Babylonian Talmud.^[4] So far only Tractate Peah has appeared.^[5]

See also[link]

• Babylonian Talmud
• Halakha
• Mishnah
• Talmudic Academies in the Land of Israel

External links[link]

• Full Text of the Talmud Yerushalmi Mechon-Mamre
• Full Text of the Talmud Yerushalmi Snunit
• Yedid Nefesh; Critical edition of the Talmud Yerushalmi
• Aggadic Material from the Talmud Yerushalmi Daat
• Daf Yomi for the Talmud Yerushalmi
• The entire Yerushalmi in 750 MP3s - from YerushalmiOnline.org - by Rabbi Yosef Gavriel Bechhofer
• The Palestinian Talmud, Jewish Encyclopedia
• What is Talmud Yerushalmi? FAQs.org
• Jewish History: Talmud Aish.com
• Talmud/Mishna/Gemara Jewish Virtual Library
• Lost segment of Jerusalem Talmud unearthed in Geneva

Notes[link]

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2008)

The Association
The group in 1968. Top row, from left: Jim Yester, Brian Cole, Ted Bluechel; bottom row, from left: Russ Giguere, Larry Ramos, Terry Kirkman
Background information
Origin	California, United States
Genres	Sunshine pop, baroque pop, folk rock, psychedelic folk
Years active	1965–1978; 1979-present
Labels	Jubilee, Valiant, Warner Bros., Columbia, Mums, RCA, Elektra
Website	The Association Official website
Members
Russ Giguere Larry Ramos Jim Yester Bruce Pictor Del Ramos Jordan Cole
Past members
Jules Gary Alexander Terry Kirkman Brian Cole Ted Bluechel Jr

The Association is a pop music band from California in the folk rock or soft rock genre. During the 1960s, they had numerous hits at or near the top of the Billboard charts and were the lead-off band at 1967's Monterey Pop Festival. As of 2011^[update], they are still performing.

History[link]

Beginnings[link]

Jules Alexander (born September 25, 1943, Chattanooga, Tennessee) was in Hawaii in 1962 serving a stint in the Navy when he met Terry Kirkman (born December 12, 1939, Salina, Kansas), a visiting salesman. The two young musicians jammed together and promised to get together once Alexander was discharged. That happened a year later; the two eventually moved to Los Angeles and began exploring the city's music scene in the mid-1960s. (Kirkman played in groups with Frank Zappa for a time before Zappa went on to form The Mothers of Invention). Eventually, at a Monday night hootenanny at the LA nightclub The Troubadour, in 1964, an ad hoc group called The Inner Tubes was formed by Terry, Jules and Doug Dillard, whose rotating membership contained, at one time or another, Cass Elliot, David Crosby and many others who drifted in and out. This led, in 1965, to the forming of The Men, a 13 piece folk-rock band. This group had a brief spell as the house band at The Troubadour.

After a short time, however, The Men disbanded, with six of the members electing to go out on their own (some of the remaining players continued on as Tony Mafia's Men, one of the others, Mike Whalen, joined The New Christy Minstrels). At the suggestion of Kirkman's then-fiancée, Judy, they took the name The Association. The original lineup consisted of Alexander (using his middle name, Gary, on the first 2 albums) on vocals and lead guitar; Kirkman on vocals and a variety of wind, brass and percussion instruments; Brian Cole (born September 8, 1942, Tacoma, Washington) on vocals, bass and woodwinds; Russ Giguere (born October 18, 1943, Portsmouth, New Hampshire) on vocals, percussion and guitar; Ted Bluechel, Jr. (born December 2, 1942, San Pedro, California) on drums, guitar, bass and vocals; and Bob Page (born May 13, 1943) on guitar, banjo and vocals. However, Page was replaced by Jim Yester (born November 24, 1939, Birmingham, Alabama) on vocals, guitar, and keyboards before any of the group's public performances.

The new band spent about five months rehearsing before they began performing around the Los Angeles area, most notably a regular stint at The Ice House in Pasadena and its sister club in Glendale.^[1] They also auditioned for record labels but faced resistance due to their unique sound. Eventually, the small Jubilee label issued a single of "Babe I'm Gonna Leave You" (a song originally recorded by Joan Baez, later popularized by Led Zeppelin) but nothing happened. Finally, Valiant Records gave them a contract, with the first result being a version of Bob Dylan's "One Too Many Mornings".

The Men were first managed by Doug Weston, owner of the Troubador, before switching to actor Dean Fredericks, who remained onboard when the Association was formed and helped get them the Valiant deal. In 1966 Fredericks turned the reins over to Pat Colecchio, who managed the group for the next eight years.

First success[link]

Their national break would come with the song "Along Comes Mary", written by Tandyn Almer.^[1] Alexander first heard the song when he was hired to play on a demo version and persuaded Almer to give The Association first crack at it. The recording went to #7 on the Billboard charts, and led to the group's first album, And Then... Along Comes the Association, produced by Curt Boettcher. A song from the album, "Cherish", written by Kirkman,^[1] would become The Association's first #1 in September 1966.

The group followed with their second album, Renaissance, released in early 1967. Somewhat surprisingly, the band changed producers, dumping Boettcher in favor of Jerry Yester (brother of Jim and formerly of The Modern Folk Quartet). The album did not spawn any major hits (the highest charting single, "Pandora's Golden Heebie Jeebies" stalled at #35) and the album only reached #34, compared with a #5 showing for its predecessor.

Changes[link]

In late 1966 Warner Bros. Records, which had been distributing Valiant, bought the smaller label (and with it, The Association's contract). In 1967, Jules Alexander left the band to study meditation in India and was replaced by Larry Ramos (born Hilario Ramos on April 19, 1942, Waimea, Kauai, Hawaii) on vocals and guitar. Ramos had previously performed with The New Christy Minstrels and recorded solo singles for Columbia Records. He would later sing co-lead (along with Russ Giguere and Terry Kirkman) on two of The Association's biggest hit singles, "Windy" and "Never My Love".

With the lineup settled, the group returned to the studio, this time with Bones Howe in the producer's chair. The first fruits of this pairing would be the single "Windy" ( sample (help·info)) written by Ruthann Friedman, topping the Hot 100 in July 1967 and preceded by the album Insight Out, which reached #8 in June. On June 16, 1967, The Association had the unique honor of being the first act to perform at the Monterey Pop Festival. (The Criterion Collection DVD of the festival includes their performance of "Along Comes Mary" on disc 3.)

The group's winning streak continued with their next single, "Never My Love", written by Don and Dick Addrisi; it went to #2 in Billboard and #1 in Cash Box in October 1967. It became the group's only double-sided charted record as its B-side, "Requiem For The Masses", made a brief showing on the Billboard chart. Like "Cherish" and "One Too Many Mornings", "Never My Love" had a vocal arrangement that was provided by Clark Burroughs, a former member of the Hi-Los.

"Never My Love" has been accredited by BMI as the song with the second most US airplay in the 20th century.^[2]

After rejecting the recording of an entire cantata written by Jimmy Webb, which included the song "MacArthur Park", the group, in early 1968, produced its fourth album, Birthday, with Bones Howe again at the controls. This album spawned "Everything That Touches You", the group's last Hot 100 top 10 hit, and the more experimental "Time for Livin'", the group's last Hot 100 top 40 hit. Later that year, the group released a self-produced single, the harder-edged "Six Man Band". This song would also appear on Greatest Hits, released in November.

Comings and goings[link]

In early 1969, Jules Alexander returned to the group, which now made The Association a seven-man band (they acknowledged by changing the title and lyric of "Six-Man Band" to match.) The first project with the seven-piece band was music for the soundtrack of Goodbye, Columbus, the film version of Philip Roth's best-selling novel. The title track, written by Yester, rose to #80. John Boylan, one third of the unknown Hamilton Streetcar, and who would become one of the most important record producers of the '70s and '80s, worked with the group on the soundtrack and stayed on board for the next album, The Association. Not surprisingly, many of the tracks have a decidedly country-rock feel. None of the singles made any impact, so the group re-teamed with Curt Boettcher for a one-off single, "Just About the Same", a reworking of a song Boettcher had recorded with his group, The Millennium. This failed to hit as well.

Despite all this, the band remained a popular concert draw and on April 3, 1970, a Salt Lake City performance was recorded for The Association Live. In 1971 Russ Giguere left the band; he would release a solo album, Hexagram 16, that same year. The Association replaced him with keyboardist/singer Richard Thompson (no relation to the English singer-songwriter/guitarist), who had contributed to previous albums and would go on to be known primarily in jazz circles. 1971 also saw the release of Stop Your Motor. Despite some good tracks (notably a cover of Jimmy Webb's "P.F. Sloan" with Brian Cole imitating Roy Rogers in the bargain), the album was their worst selling to date, reaching only #158 on the Billboard chart.

Stop Your Motor also marked the end of The Association's tenure at Warner Bros. In early 1972, they resurfaced on Columbia with Waterbeds in Trinidad!, produced by Lewis Merenstein (best known for producing Van Morrison's Astral Weeks). The album fared even worse than Stop Your Motor, reaching #194, while a single of The Lovin' Spoonful's "Darlin' Be Home Soon" failed to break the Hot 100.

Breakup and re-formation[link]

For their 1972 tour, the group expanded to nine members, bringing in session players Wolfgang Meltz and Mike Berkowitz on bass and drums respectively to add more musical versatility on stage and free up Brian Cole and Ted Bluechel to concentrate on singing only. But on August 2, 1972, 29-year-old Cole was found dead in his Los Angeles home of an overdose of heroin. For the rest of the 1970s, The Association was in a state of flux, releasing singles now and then along with sporadic touring.

At the end of 1972, Kirkman departed, as did Meltz and Berkowitz. The group was then moved over to the CBS distributed Mums label (which had been formed by Bobby Roberts^{[disambiguation needed ]}, formerly of Dunhill Records) and put out a new single "Names, Tags, Numbers & Labels". It failed to make much of an impression, though, and Mums folded by the end of 1974.

Thompson left at the beginning of 1973 and the remaining foursome of Alexander, Bluechel, Yester & Ramos brought in new members Maurice Miller (vocals, drums, percussion), Art Johnson (vocals, guitar) and David Vaught (vocals, bass, and later a member of the Lopez Beatles) and continued touring. Jim Yester was briefly replaced by his brother Jerry later this same year, only to return in 1974. When Jules Alexander left soon after to join Russ Giguere in a new vocal outfit, Bijou, Jerry again came in to play with the group until the end of that year.

1975 saw the band now on RCA and they put out another single, "One Sunday Morning". An album called The Association Bites Back was to follow but never got released. Membership was a bit fluid in 1975-1976. Dwayne Smith (vocals, keyboards) joined and appeared on the above single but was replaced by Andy Chapin by the end of 1975. Ramos departed as well in mid-1975 and was replaced by Larry Brown (vocals, guitar), who came in for three years. Art Johnson stayed onboard for a short while longer but was likewise gone by the end of 1975. The increased tour schedule led to Chapin's departure in 1976. (He later played for artist Rick Nelson and perished along with Nelson and his band when his plane crashed on December 31, 1985.) Chapin was replaced, first by Jay Gruska, who had just finished a stint with Three Dog Night, and then by David Morgan in mid-1976.

During this period the band was offered a production deal with Mike Curb who wanted them to record a disco version of the prior hits, "Cherish", "No Fair At All" and an original song which Larry Brown wrote and sang entitled "It's High Time To Get High". Reportedly, Curb was dissatisfied with the drum tracks and wanted to bring in session drummer Jim Gordon to play and the band refused, sinking the deal.

In 1978 Brown left to concentrate on session work and was replaced by Cliff Woolley. However, the prime gigs were fewer and far between by this time and Yester left, leaving Bluechel as the only original member. Keyboardist Ric Ulsky stepped in at this point and the group had two keyboardists for a short time. Russ Levine (who had played with Bobby Womack, Donna Summer and Ultimate Spinach) also arrived to replace Miller on drums but the band then dissolved shortly afterwards, leaving Bluechel with a huge debt. To help clear away some of it, on November 1, 1978, he leased the group's name to another company who put a fake Association out on the road.

In 1979 the surviving key members: Terry Kirkman, Jules Alexander, Russ Giguere, Ted Bluechel, Jim Yester & Larry Ramos, along with Richard Thompson and new bassist Joe Lamanno, reunited at the Ambassador Hotel in Los Angeles for an HBO special called Then and Now (Kirkman was working for HBO at the time) and a charity show hosted by Ed McMahon in Dallas called Ed McMahon and Company. This led, in the early '80s, to a few singles on Elektra Records (one of which, "Dreamer", made the Hot 100 with virtually no promotion) and more touring.

In 1980 the originals (with Ric Ulsky returning in place of Thompson and Alexander taking over the bass) went back on the road for a concert tour. With the genuine article back out touring, the bogus band was eventually put out of business.

Jim Yester left again in 1983 and the group added Keith Moret (bass, backing vocals) as Alexander went back to playing guitar. Moret stayed only briefly until Joe Lamanno returned in 1984. That same year the group was invited to appear on the Happy Together Again tour, a multi-bill of 60s acts produced by David Fishof, headlined by the Turtles, and also including Gary Puckett and Spanky McFarlane of Spanky & Our Gang. Gary's brother, Brian Puckett, played drums in the show for Gary and Spanky and likewise joined the Association for their set as well. But by the end of the year, there was a mass exodus as Kirkman, Bluechel, Ulsky, Lamanno, and Brian Puckett all departed.

In 1985 the band carried on as Alexander, Giguere, and Ramos recruited new members: Paul Beach (vocals, bass, who'd also played in the Happy Together Again show band), Bruce Pictor (vocals, drums, percussion) and Donni Gougeon (vocals, keyboards). Gougeon was briefly replaced in 1986 by Chris Urmston, but was back by the following year. Paul Holland took Gougeon's place in 1988 before moving over to bass in 1989 when Beach quit. Gougeon then rejoined for a ten-year stint from 1989–1999, succeeded by Bob Werner, who had been the band's light man and road manager in 1974-75 and fill-in member, as needed, from 1994 on. Jules Alexander turned in his notice in early 1989. Larry Ramos's brother Del, who was doing sound for the group, then began adding his voice to the mix from that point on. Eventually, he was promoted to full onstage membership as bassist for the group.

During the 1980s & 1990s the group's recorded output was minimal. They recorded a few new tracks and some covers of popular 60s songs for a few compilation albums on the Hitbound label made through Radio Shack's Tandy Corporation in the mid-80s, re-recorded some of their older material for another album, Vintage, for CBS in 1983 and put out another album full of cover tunes, The Association '95: A Little Bit More, in 1995. But most of what has been released from the 80s on have been various collections of their hits.

In September 2003, they were inducted into the Vocal Group Hall of Fame, joined by former members Yester, Alexander, Kirkman and Bluechel at the induction ceremony at Cafaro Field, a Cleveland Indians Minor League Baseball Stadium in Niles, Ohio. Yester, Alexander, Kirkman, and Bluechel again rejoined the others for the taping of a PBS 60s rock music special 60s Experience on December 9, 2004 at Dover Downs Showroom in Dover, DE.

By 2010, the band included Russ Giguere, Larry Ramos, Jim Yester (who rejoined again in 2007 as Bob Werner departed after an eight year stint), Del Ramos, Bruce Pictor, and Jordan Cole (son of Brian) on keyboards, who joined in 1999. The Association continued to tour, mostly on bills with similar styled acts of the late 1960s, like The Grass Roots, The Buckinghams, Tommy James of Tommy James and the Shondells, and Gary Puckett. During the summer of 2011, The Association appeared in a heavy touring schedule throughout the U.S. as part of the "Happy Together: 2011" tour, along with The Grass Roots, Mark Lindsay, The Buckinghams, and The Turtles featuring Flo & Eddie.^[3]

The Happy Together appearances featured only Yester, Giguere and Ramos, who were backed up by the Happy Together show band.^{[citation needed]}

Million sellers[link]

The following songs were certified as having sold over one million copies, and were each awarded a gold disc: "Cherish", "Windy", and "Never My Love".^[4]

Discography[link]

Studio albums[link]

• And Then... Along Comes The Association - Valiant VLM-5002/VLS-25002 (#5, 1966)

Reissued in 1967 on Warner Bros. W-1702/WS-1702

• Renaissance - Valiant VLM-5004/VLS-25004 (#34 1967)

Reissued in 1967 on Warner Bros. W-1704/WS-1704

• Insight Out - Warner Bros. W-1696/WS-1696 (#8, 1967)
• Birthday - Warner Bros. W-1733/WS-1733 (#23, 1968)
• The Association - Warner Bros. WS-1800 (#32, 1969)
• Stop Your Motor - Warner Bros. WS-1927 (1971)
• Waterbeds in Trinidad! - Columbia KC-31348 (1972)
• New Memories - Hitbound Records 51-3022 (1983)
• Vintage - CBS Special Products BT-19223 (1983)
• The Association 95: A Little Bit More - Track Records (1995)

Other releases[link]

• Greatest Hits - Warner Bros. WS-1767 (#4, 1968)
• Goodbye, Columbus (Soundtrack) - Warner Bros. WS-1786 (#99, 1969)
• The Association Live - Warner Bros. 2WS-1868 (#79, 1970)
• Just the Right Sound - The Anthology 1966-1981 (Double CD, released in 2002 as Warner Bros. / Rhino R2 78303, including two previously unreleased outtakes ('The Machine', 'Better Times') from 1966. An import variation also includes the outtake 'Caney Creek')

Singles[link]

References[link]

External links[link]

• Official Website of The Association
• 'The Association' Vocal Group Hall of Fame Page
• Cite from Fred Bronson, The Billboard Book of Number One Hits, Billboard, 1988
• Liner notes for Birthday by Richie Unterberger
• Official Website of Jim Yester
• Special Radio Show tribute to Curt Boettcher
• The Association interviewed on the Pop Chronicles (1969).