Harvest a hit album, singing backup on the follow-up.) Young name-drops Hank Williams, Jimi Hendrix, and his old dog, King, in rich reminiscences about the musical ride he and his fans have shared since the late '60s. The album, as Young sings in "One of These Days," is "a long letter to all the good friends I've known." --Steve Knopper  (less)

sell up to expectations and, for that, the band found themselves on thin ice at Warner Brothers. Turning to another red-hot WB staff producer in Ted Templeman (Doobie Brothers, Van Halen, Van Morrison), they were able to further hone Lowell George's bent and surreal writing and elevate Bill Payne and Richie Hayward's contributions into more hook-laden tunes, while maintaining the unique rock, blues and country blend that defined the quartet. Showing authority, confidence and indeed, major cojones (including a re-arranged Willin', a song from their first album, on their follow-up!), 1972's Sailin' Shoes firmly established Feat as a major force in pop music. The Flying Burrito Brothers' #1 Sneaky Pete, perfectly seasons b...  (less)

who had little to no hype preceding her. An astonishing 750,000 copies of the single flew from record store shelves nationally. In 1972, Gentry issued her fifth and final album, with a smattering of individual songs surfacing over the next few years. She spent the remainder of the ‘70s performing in Las Vegas and Reno before turning her back on the music business and disappearing from sight. Although Bobbie Gentry no longer records or performs, her legacy continues to inspire contemporary musicians. Lucinda Williams, Shelby Lynne and Beth Orton are but a few artists who cite Gentry as a major influence on their work. "‘Ode To Billie Joe’ fit right into this Southern Gothic tradition. It had that mystery, that darkness. It was a different voice, a blend o...  (less)

Beck. In a 1971 interview, Buchanan confided, "This star business scares the hell out of me." That remark says much about both the guitar phenom's humble mindset and promising yet oft-troubled career. Buchanan apprenticed with '50s rockabilly star Dale Hawkins (and later, Hawkins's cousin Ronnie in the Hawks, soon to become the Band), but was in his 30s before he got the attention he so richly deserved. Buchanan's solos here often seem to bypass his conscious mind and connect directly with his complex, conflicted soul (he committed suicide in 1988). Contrasted with his plaintive, near-spoken vocals on spiritually disparate tracks like "The Messiah Will Come Again," "Hey Joe," and a live take on "I'm E...  (less)

Door," Sherrill has the strings there from note one, softly providing the singer emotional support, and as Jones anguishes through a litany of all he's ever lost, it sure sounds like he needs it. In fact, on each of these 22 classics of honky-tonk heartache, Jones chokes down tears and swallows notes--his voice twisting, soaring, crying--as he weaves drunkenly down the thin line between despair and one more last chance. Country music has never sounded this devastated. Maybe it never will again. --David Cantwell  (less)

Door," "He Stopped Loving Her Today," to name just three--elevated Jones from great country singer to living legend. This 16-track set skips far too many Jones-Sherrill highlights (and it oddly includes "Radio Lover," one "biggest hit" that was never a hit at all), but it's the only one-disc set to provide an overview of the team's entire 17-year partnership. From 1972's poignantly countrypolitan "A Picture of Me" to the grim humor of 1989's "The King Is Gone," no country music is as painfully beautiful as this. --David Cantwell  (less)

a staple of Oldies radio. After more hits, Johnny went solo in 1962 with moderate success, until the late '60s, when he formed a large vocal touring group. When an associate commented, "It's gonna be easier to sell the Brooklyn Bridge than sell a group of this size," Johnny's new outfit had a name. In 1968, their version of Jimmy Webb's "The Worst That Could Happen" went to #3 on the charts and led to countless concert and television appearances. By 1972 the Brooklyn Bridge had sold over ten million records and they have soldiered on ever since, mainly as a highly successful live attraction that sells out such venues as Madison Square Garden, Radio City Music Hall, and Carnegie Hall, not to mention countless casinos across the country even today. Cove...  (less)

knack for succinct lyrics, Anderson shows he's comfortable with all musical styles--obviously a prerequisite for anyone in NRBQ. He offers gritty country twang, deep soul ballads, heavy blues romps, and funky grooves. His gift for direct emotional expression helps transcend genre designation, but whether overt or implied, his originals (and his Hank Williams cover) seem to belie a country sensibility in his heart. The fact that's he's become a Nashville songwriting star makes sense in this context. --Marc Greilsamer  (less)

Young has come up with a gem--not all flash and bling-bling, but as understated as a single pearl, musically restrained yet emotionally open. Of course, neither Demme (an Oscar winner for The Silence of the Lambs ; he also helmed Talking Heads' Stop Making Sense ) nor Young would call it "a concert film"; the director describes it as "a dream concert, something that's literally being dreamt by Neil," while the singer-songwriter himself calls it "a multi-level story." Whatever, the project came together in 2005, as Young was finishing his Prairie Wind album (the latest in a string of lovely, country-flavored acoustic recordings dating back to 1972's Harvest ) and preparing to debut the music at Nashville's fabled Ryman Auditorium, home of the Grand Ole Opry. The fact tha...  (less)