"Lady of the Well." But he can up the volume a little, turning out a version of his own "Take It Easy" that outdoes the Eagles and cranking up the bar-band boogie on "Redneck Friend." For the most part, though, it's late nights in the dark and candlelight, and Jackson Browne did it well. --Chris Nickson  (less)

year, which was followed by 1968's Last Time Around . While their entire recorded career encompasses a mere two years, the Stephen Stills-Neil Young-Richie Furay-led quintet produced a number of '60s rock classics. Stills chipped in "For What It's Worth" and "Bluebird"; Furay's "Kind Woman" is one of the touchstones of country-rock; and Young fired off the likes of the raucous "Mr. Soul," the gentle "I Am a Child," the ambitious "Broken Arrow," and the breathtakingly pretty "Expecting to Fly." They're all on this 12-song overview, a suitable option for anyone who isn't up to stocking up on the entire catalog. --Steven Stolder  (less)

only been featured on Ally McBeal: A Very Ally Christmas . Nevertheless, it's on the traditional songs--including never-can-go-wrong usual suspects like "White Christmas," "Have Yourself a Merry Little Christmas," and "The Christmas Song"--that Womack's evocative vocals come across most memorably. A "big band" album in the vein of holiday offerings from some of the greatest crooners of the '60s, this moves the 2002 Country Music Association's Female Vocalist of the Year even further away from her country roots than her more recent pop-oriented discs did. Accordingly, Harry Connick Jr. shows up to duet with the singer on a version of "Baby, It's Cold Outside" that seems destined to become a holiday staple, even if it's a bit corny. --Bill Holdship  (less)

she co-wrote with David Andrew Sitek (TV on the Radio), who produced the album and lent his instrumental skills throughout. The title track comes from Waits’ 1985 opus Rain Dogs, and Johansson’s set also pulls cuts from Alice, Swordfishtrombones, Big Time, Orphans: Brawlers, Bawlers & Bastards, Real Gone, Small Change and Bone Machine. David Bowie adds backing vocals on two tracks, "Falling Down" and "Fannin Street," and the disc also features the talents of Yeah Yeah Yeahs guitarist Nick Zinner and multi-instrumentalist Sean Antanaitis from Celebration, among others.  (less)

on songs like the richly detailed "Brand New Country Star," the nostalgic "Pencil Thin Mustache," and a recitation of the Lord Buckley tall tale "God's Own Drunk." Buffett approaches country & western-style topics on "Livingston's Gone to Texas" and "Brahma Fear" without succumbing to the blandness of de rigueur Music City product. "West Nashville Grand Ballroom Gown," meanwhile, has to be considered the definitive song of debutante rebellion. It's a thin field, admittedly, but a song worthy of the title nonetheless. --Daniel Durchholz  (less)

it all with a rare irreverence and wit. His self-effacing persona gives Wilder's music a sense of fun and imagination often lacking among his peers. And while many other proponents of American roots music simply stopped at Elvis and Chuck Berry, Wilder's music incorporates influences as diverse as British Invasion, surf, country and roadhouse blues. As Billboard magazine noted, "The band is Georgia Satellites, part Dave Edmunds, part Elvis Costello and altogether wonderful." "More Like Me" finds Webb in great form, and combines some of his new songs like the honky-tonking title cut with obscure cover gems -- including a great version of Roky Erikson's brooding "Don't Slander Me."  (less)

changes with real harmonic invention, as on her witty version of "Ding-dong! The Witch Is Dead," while her wistful way with a ballad recalls June Christy on the title song. Her warmth shows on Willie Nelson's "Crazy," with pianist Christian Jacob's jazz harmonies helping to develop Sutton's personal take on the country standard. She's joined here by her working trio of Jacob, Trey Henry on bass, and Ray Brinker on drums, and the group sounds both inspired and inspiring, alert to the nuances in Sutton's vocals and quick to supply any needed stimulus. The trio's welling power on the modally inflected "Out of this World" prods Sutton to some stunning high notes, while several special moments arise between Sutton and Henry, as on "Alone Together," with her...  (less)