The most successful folk-rock duo of the 1960s, Paul Simon and Art Garfunkel crafted a series of memorable hit albums and singles featuring their choirboy harmonies, ringing acoustic and electric guitars, and Simon's acute, finely wrought songwriting. The pair always inhabited the more polished end of the folk-rock spectrum and was sometimes criticized for a certain collegiate sterility. Many also feel that Simon, as both a singer and songwriter, didn't truly blossom until he began his own hugely successful solo career in the 1970s. But the best of S&G's work can stand among Simon's best material, and the duo did progress musically over the course of their five albums, moving from basic folk-rock productions into Latin rhythms and gospel-influenced arrangements that foreshadowed Simon's eclecticism on his solo albums.

Simon & Garfunkel's recording history actually predated their first mid-'60s hit by almost a decade. Childhood friends while growing up together in Forest Hills, NY, they began making records in 1957, performing (and often writing their own material) in something of a juvenile Everly Brothers style. Calling themselves Tom & Jerry, their first single, "Hey Schoolgirl," actually made the Top 50, but a series of follow-ups went nowhere. The duo split up, and Simon continued to struggle to make it in the music business as a songwriter and occasional performer, sometimes using the names of Jerry Landis or Tico & the Triumphs.

By the early '60s, both Simon and Garfunkel were coming under the influence of folk music. When they reteamed, it was as a folk duo, though Simon's pop roots would serve the act well in their material's synthesis of folk and pop influences. Signing to Columbia, they recorded an initially unsuccessful acoustic debut (as Simon & Garfunkel, not Tom & Jerry) in 1964, Wednesday Morning, 3 AM They again went their separate ways, Simon moving to England, where he played the folk circuit and recorded an obscure solo album.

The Simon & Garfunkel story might have ended there, except for a brainstorm of their producer, Tom Wilson (who also produced several of Bob Dylan's early albums). Folk-rock was taking off in 1965, and Wilson, who had helped Dylan electrify his sound, took the strongest track from S&G's debut, "The Sound of Silence," and embellished it with electric guitars, bass, and drums. It got to number one in early 1966, giving the duo the impetus to reunite and make a serious go at a recording career, Simon returning from the U.K. to the U.S. In 1966 and 1967, they were regular visitors to the pop charts with some of the best folk-rock of the era, including "Homeward Bound," "I Am a Rock," and "A Hazy Shade of Winter."

Simon & Garfunkel's early albums were erratic, but they steadily improved as Simon sharpened his songwriting, and as the duo became more comfortable and adventurous in the studio. Their execution was so clean and tasteful that it cost them some hipness points during the psychedelic era, which was a bit silly. They were far from the raunchiest thing going, but managed to pull off the nifty feat of appealing to varying segments of the pop and rock audience -- and various age groups, not just limited to adolescents -- without compromising their music. Parsley, Sage, Rosemary and Thyme (late 1966) was their first really consistent album; Bookends (1968), which actually blended previously released singles with some new material, reflected their growing maturity. One of its songs, "Mrs. Robinson," became one of the biggest singles of the late '60s after it was prominently featured in one of the best films of the period, The Graduate (which also had other Simon & Garfunkel songs on the soundtrack).

It was unsurprising, in retrospect, that the duo's partnership began to weaken in the late '60s. They had known each other most of their lives, and been performing together for over a decade. Simon began to feel constrained by the limits of working with the same collaborator; Garfunkel, who wrote virtually none of the material, felt overshadowed by the songwriting talents of Simon, though Garfunkel's high tenor was crucial to their appeal. They started to record some of their contributions separately in the studio, and barely played live at all in 1969, as Garfunkel began to pursue an acting career.

Their final studio album, Bridge Over Troubled Water, was an enormous hit, topping the charts for ten weeks, and containing four hit singles (the title track, "The Boxer," "Cecilia," and "El Condor Pasa"). It was certainly their most musically ambitious, with "Bridge Over Troubled Water" and "The Boxer" employing thundering drums and tasteful orchestration, and "Cecilia" marking one of Simon's first forays into South American rhythms. It also caught the confused, reflective tenor of the times better than almost any other popular release of 1970.

That would be their last album of new material. Although they didn't necessarily intend to break up at the time, the break from recording eventually became permanent; as Simon began a solo career that brought him as much success as the S&G outings, and Garfunkel pursued simultaneous acting and recording careers. They did reunite in 1975 for a Top Ten single, "My Little Town," and periodically performed together since without ever coming close to generating albums of new material. A 1981 concert in New York's Central Park attracted half a million fans, and was commemorated with a live album; they also toured in the early '80s, but a planned studio album was canceled due to artistic differences.

Richie Unterberger, Rovi

Cat Stevens, born Steven Demetre Georgiou, was the son of a Swedish mother and a Greek father who ran a restaurant in London. He became interested in folk music and rock & roll in his teens while attending Hammersmith College and in 1965 began performing under the name Steve Adams. Mike Hurst, a former member of the folk-pop group the Springfields, who had become a record producer, heard him and took him into a recording studio to cut his composition "I Love My Dog." This demo caused Decca Records to sign him under the name Cat Stevens and assign him to its newly formed Deram subsidiary. "I Love My Dog" reached the British charts in October 1966, peaking in the Top 40. Stevens' next single, "Matthew & Son," entered the charts in January 1967 and just missed getting to number one (in America, it grazed the bottom of the charts). It was another self-written effort, and Stevens' reputation as a writer was further enhanced by the success of his song "Here Comes My Baby," which was recorded by the Tremeloes and entered the British charts in February, reaching the Top Five. (In America, it peaked just outside the Top Ten.)

Stevens' third single, "I'm Gonna Get Me a Gun," entered the British charts in March and reached the Top Ten, preceded by his debut album, Matthew & Son, also a Top Ten entry. In May, P.P. Arnold got into the British charts with Stevens' composition "The First Cut Is the Deepest," peaking in the Top 20. (Ten years later, Rod Stewart topped the U.K. charts and reached the U.S. Top 20 with his revival of the song. Sheryl Crow revived it for an American Top 20 hit in 2003.) Stevens' fourth single, "A Bad Night," was in the charts in August, peaking in the Top 20. That was a disappointment, considering his recent success, and his next records did even worse: "Kitty," his fifth single, barely made the charts in December, while New Masters, his second album, didn't chart at all. Even worse, in March 1968, Stevens contracted tuberculosis and was hospitalized for three months. He spent a year recuperating. After the failure of an intended comeback single, "Where Are You," released in July 1969, he parted ways with Deram.

Disillusioned by his experience in the music business, Stevens began writing more personal, introspective material. He signed a new contract with Island Records and released his third album, Mona Bone Jakon, in April 1970. Drawn from the album, the single "Lady D'Arbanville" was issued in June 1970 and became his third Top Ten hit in the U.K., causing Mona Bone Jakon to chart modestly in July. Stevens' talent as a songwriter for others had not deserted him; in August, Jimmy Cliff entered the British charts with his composition "Wild World," reaching the Top Ten. With a backlog of material, Stevens had a second Island album, Tea for the Tillerman, out in November; it made the U.K. Top 20. In America, where his Island recordings were licensed to A&M Records, Mona Bone Jakon had not charted, but Tea for the Tillerman marked his American LP chart debut in February 1971, followed shortly by the single release of his own recording of "Wild World," which appeared on the album; it peaked in the Top 20. With that, Stevens suddenly became a major star in the U.S. Tea for the Tillerman reached the Top Ten and went gold; Mona Bone Jakon finally reached the charts (it was belatedly certified gold in 1976); and Deram reissued Matthew & Son and New Masters as a two-LP set, which also charted. Stevens was hailed as one of the most important figures in the currently popular folk-rock singer/songwriter trend, along with James Taylor, Carole King, and others.

In June 1971, Stevens released a new single, "Moon Shadow," which made the Top 40 in the U.S. and the U.K. This was followed in September by "Peace Train," which hit the pop Top Five and reached number one in the easy listening charts in the U.S., just in advance of Stevens' fifth album, Teaser and the Firecat. An immediate gold-record seller, the LP just missed the top of the U.S. charts and hit the Top Five in the U.K. In addition to "Moon Shadow" and "Peace Train," it contained "Morning Has Broken," an adaptation of a hymn, which became Stevens' second consecutive easy listening number one and reached the pop Top Ten on both sides of the Atlantic. Meanwhile, Deram compiled another collection of juvenilia, Very Young and Early Songs, which peaked in the U.S. Top 100 in early 1972, as did a belated American release of the single "Where Are You."

Stevens contributed new and old songs to the film Harold and Maude, a black comedy that became a cult success after its release in 1972, though no soundtrack album was released. (The previously unreleased songs from the film finally turned up on his album Footsteps in the Dark: Greatest Hits, Vol. 2 in 1984.) He also toured and worked on his sixth album, Catch Bull at Four. A slightly harder-rocking effort, the LP, released in October 1972, represented Stevens' commercial peak: it hit number one in the U.S. and just missed duplicating that feat in the U.K., earning gold-record status immediately. Different singles from the album were released in the two countries, in the U.S. "Sitting" and in the U.K. "Can't Keep It In"; both reached the Top 20.

By 1973, Stevens was again beginning to show signs of the strain of being a pop star, even if he didn't become physically ill. For tax reasons, he left the U.K. for a year and moved to Brazil, but he donated the money he would have paid in taxes to charity. He performed less often and stopped granting interviews. In June, he released a new single, "The Hurt," which made the U.S. Top 40. It was followed in August by his seventh album, Foreigner, an ambitious effort that featured an entire LP side given over to a musical suite. The record was another massive commercial success, peaking inside the Top Five in the U.S. and U.K. and going gold instantly. His major appearance for the year was a 90-minute performance on the American TV show In Concert in November.

Stevens issued his eighth album, Buddha and the Chocolate Box, in March 1974, preceded by the single "Oh Very Young," a Top Ten hit. As usual, the album made the U.S. and U.K. Top Five and went gold upon release. In July, Stevens released an independent summer single, a revival of Sam Cooke's "Another Saturday Night," and it made the U.S. Top Ten and the U.K. Top 20. In November, A&M extracted "Ready" from Buddha and the Chocolate Box and released it as a single that made the Top 40. Stevens' Greatest Hits LP was released in June 1975 and predictably was a big success, eventually selling over three million copies in the U.S. alone. "Two Fine People," a new song featured on it, reached the American Top 40. Stevens had his ninth regular album release, Numbers, ready by November. As if in acknowledgment that his greatest hits were now behind him, the album only made the Top 20 in the U.S., though it was certified gold within a couple of months, did not generate a Top 40 single, and missed the charts entirely in the U.K. Stevens took 18 months to deliver his tenth album, Izitso, in May 1977. It restored some of his commercial clout, hitting the U.S. Top Ten and being certified gold in a month, while reaching the U.K. Top 20, and the single "(Remember the Days of The) Old School Yard" made the Top 40 in America and charted in Great Britain.

On December 23, 1977, Stevens formally became a Muslim and adopted the name Yusuf Islam. Notwithstanding this change, there was an 11th and final Cat Stevens album, Back to Earth, released in December 1978; it sold modestly. With that, Yusuf Islam announced his retirement from the pop music business. He entered into an arranged marriage that eventually produced five children, auctioned off his possessions, and founded a Muslim school near London. He was not widely heard from for another ten years, until he made news at the end of the '80s by commenting on the Ayatollah Khomeini's fatwa against novelist Salman Rushdie for writing the book The Satanic Verses. Islam later explained he was not calling for Rushdie's death but that he was defining Islamic law in the same way a Bible student would "quote the legal punishment of a person who commits blasphemy in the Bible." Still, "classic rock" radio stations discontinued playing him as a result, and 10,000 Maniacs, who had covered "Peace Train" on their In My Tribe album in 1987, had it removed from the record. In 1990 the compilation album The Very Best of Cat Stevens reached the U.K. Top Five. A different album with the same title charted in the U.S. in the spring of 2000 as Yusuf Islam undertook a promotional tour in connection with the reissues of remastered versions of his Cat Stevens albums. Then in 2006, nearly 30 years after the final Cat Stevens studio album, Islam released a new studio effort, An Other Cup. In early 2009 he collaborated with "fifth Beatle" Klaus Voormann for a cover version of George Harrison's "The Day the World Gets 'Round." All proceeds from the song were donated to a charity to help the children of war-torn Gaza. Later that same year he released the album Roadsinger.

William Ruhlmann, Rovi

When people use the term "singer/songwriter" (often modified by the word "sensitive") in praise or in criticism, they're thinking of James Taylor. In the early '70s, when he appeared with his introspective songs, acoustic guitar, and calm, understated singing style, he mirrored a generation's emotional exhaustion after tumultuous times. Just as Bing Crosby's reassuring voice brought the country out of the Depression and through World War II, Taylor's eased the transition from '60s activism and its attendant frustrations into the less political, more inward-looking '70s. He was rewarded with a series of hit albums and singles (surprisingly, many of the latter were covers of old songs rather than his own compositions), and he managed to survive his initial fame to achieve lasting popularity. He continued to tour successfully for decades, and, starting with his 1970 breakthrough Sweet Baby James, all but one of his regular album releases for the rest of the century went gold or platinum, while his 1976 Greatest Hits album achieved a diamond certification reflecting sales of more than ten million copies.

Taylor was the son of Dr. Isaac and Gertrude Taylor. His three brothers Alex (1947-1993), Livingston, and Hugh -- and his sister Kate -- all became musicians and recorded albums of their own. In 1951, Dr. Taylor was appointed dean of the medical school at the University of North Carolina at Chapel Hill, and the family moved from New England to the South. Taylor studied cello as a child, but first took up the guitar in 1960. In 1963, he began attending Milton Academy, a prep school in Massachusetts. That summer, he met fellow guitarist Danny "Kootch" Kortchmar while staying on Martha' s Vineyard, and the two formed a folk duo. Taylor dropped out of school at 16 and formed a band with his brother Alex. Having moved to New York, he suffered from depression and checked himself into McLean Psychiatric Hospital in Massachusetts, a stay that would inspire some of his early songs. While there, he earned a high-school diploma. Upon release, he returned to New York in 1966 and formed a new group, the Flying Machine, with Kortchmar and Joel O'Brien. The band played in Greenwich Village and was signed to a fledgling record label, Rainy Day Records (the name taken from Taylor' s song "Rainy Day Man"). It released one single, "Brighten Your Night with My Day" / "Night Owl," both songs written by Taylor. The record was unsuccessful, and the band broke up in the spring of 1967.

By 1968, Taylor had become addicted to heroin. In an attempt to overcome his addiction, he moved to London, where he submitted a demo tape to Peter Asher, former member of Peter & Gordon, then working for the Beatles' Apple Records label. As a result, Taylor was signed to Apple and recorded his debut solo album, James Taylor, released in the U.K. in December 1968 and in the U.S. in February 1969. Initially, it received little attention. A more pressing concern, however, was that Taylor had not been able to kick heroin. As a result, he returned to the U.S. and checked into the Austin Riggs Hospital in Massachusetts. By July 1969, he had recovered sufficiently to make his solo debut at the Troubadour nightclub in Los Angeles, but soon after he was in a motorcycle accident and broke both of his hands, which put him out of commission for several months.

Freed of his Apple Records contract, Taylor signed to Warner Bros. Records, moved to California, and, retaining Asher as his manager and producer, recorded his second album, Sweet Baby James. It was released in February 1970 and became a major success during the course of the year, spurred by the single "Fire and Rain," a song that reflected on his experiences in mental institutions, which peaked in the Top Five in October, the same month that Sweet Baby James achieved the same status on the LP charts. With that, interest in Taylor's first album was re-stimulated, and it belatedly reached the charts along with the single "Carolina on My Mind," as did James Taylor and the Original Flying Machine -- 1967, a short collection of unfinished recordings made by his '60s band. Sweet Baby James then spawned a second hit single, "Country Road," which peaked in the Top 40 in March 1971. The same month, Taylor appeared on the cover of Time magazine, touted as the founder and leading proponent of the "singer/songwriter" trend in popular music.

Meanwhile, Taylor had acted in a feature film, Two-Lane Blacktop, co-starring with the Beach Boys' Dennis Wilson. It was not successful, and Taylor never pursued an acting career, though it has been well reviewed subsequently. Taylor also worked on a new album, returning to record stores in April 1971 with Mud Slide Slim and the Blue Horizon. As he toured the U.S., the LP spent the summer in the Top Ten, eventually peaking just below the top of the charts, paced by its first single, "You've Got a Friend," written by Carole King, which hit number one in July and went gold. A second single, "Long Ago and Far Away," reached the Top 40, and the album eventually sold more than two million copies. On March 14, 1972, Taylor won the 1971 Grammy for Best Pop Vocal Performance, Male, for "You've Got a Friend."

Taylor took what was then considered a long time -- more than a year and a half -- to come up with his next album, One Man Dog, released in November 1972. On November 3, 1972, during an appearance at Radio City Music Hall in New York, he announced to the crowd that he had married singer/songwriter Carly Simon earlier in the day. Simon was already well known for the hits "That's the Way I've Always Heard It Should Be" and "Anticipation," and would soon top the charts with "You're So Vain." One Man Dog marked a fall-off in Taylor's record sales, though it went gold, reached the Top Five, and spawned a Top 20 single in "Don't Let Me Be Lonely Tonight."

Taylor was next heard from in January 1974, when he sang a duet with his wife of "Mockingbird," a cover of the 1963 hit by Inez & Charlie Foxx, on her Hotcakes album. Released as a single, the recording reached the Top Five and went gold. That spring, Taylor launched a major tour in anticipation of his next album, Walking Man, released in June. Though it reached the Top 20, the album was a commercial disappointment, failing to go gold or produce a chart single. But Taylor bounced back the following year with the May release of Gorilla. Again, he succeeded by reviving an old hit, this time Marvin Gaye's 1964 song "How Sweet It Is (To Be Loved by You)," which reached the Top Five, helping the album become a Top Ten, gold-selling hit.

In the Pocket, Taylor's seventh album, was his third annual warm-weather release, appearing in June 1976. Its single was the singer's own "Shower the People," which reached the Top 40, while the album made the Top 20 and went gold. Nearing the end of his Warner Bros. contract, Taylor re-recorded a couple of his Apple songs for his Greatest Hits LP, released in November. It became a perennial seller. With that, in a major coup, he was signed by Columbia Records. His debut for the label, JT, was released in June 1977. Once again, a revival spurred its sales, as Taylor covered Jimmy James' 1959 song "Handy Man" and took it into the Top Five, followed by a Top 20 showing for his own "Your Smiling Face." With such stimulation, JT reached the Top Five and sold over two million copies. On February 23, 1978, Taylor picked up a second Grammy for Best Pop Vocal Performance, Male, for "Handy Man."

Along with Paul Simon, Taylor was a featured singer on Art Garfunkel's cover of "(What A) Wonderful World," previously a hit for Sam Cooke and Herman's Hermits, which peaked in the Top 20 in March 1978. Taylor next became involved with the Broadway musical Working, based on Studs Terkel's bestseller, writing three songs for it. The show ran a scant 25 performances after opening on May 14, 1978, but Taylor reclaimed "Millworker" and "Brother Trucker" for his next album. Meanwhile, his duet with Carly Simon on a revival of the Everly Brothers' "Devoted to You" peaked in the Top 40 in September.

Flag, marking a nearly two-year break between albums, appeared in April 1979, its Top 40 hit single being a revival of the 1963 Drifters hit "Up on the Roof." Despite the lack of a really big hit single, the LP reached the Top Ten and went platinum. That September, Taylor performed at Madison Square Garden in the No Nukes concerts, later being featured in the No Nukes triple LP and in the No Nukes concert film.

Taylor embarked on a national tour in the summer of 1980, despite not having a current album to promote. From here on, recurrent touring became a regular part of his career and contributed to his longevity as an artist. That fall, he appeared on the children's album In Harmony 2, singing "Jelly Man Kelly." The album won the 1981 Grammy for Best Recording for Children. He toured extensively during 1981, releasing Dad Loves His Work in February. The album reached the Top Ten and went gold, spurred by the Top Ten success of the single "Her Town Too," written by Taylor, J.D. Souther, and Waddy Wachtel, Taylor's most successful original composition since "Fire and Rain."

Taylor continued to tour frequently in the early '80s, a period when his marriage to Carly Simon came to an end (they were divorced in 1983). Often, his performances took place overseas. In January 1985, he performed at the Rock in Rio concert in Brazil, a show that resulted in the Brazil-only release Live in Rio. His next studio album, following a gap of more than four years, was That's Why I'm Here, released in October 1985. As usual, his record label issued a cover song as the single; in this case it was Buddy Holly's "Everyday," which didn't get very far up the charts. Nevertheless, Taylor's long career and constant touring had brought him a permanent audience ready to buy his records, and the album eventually went platinum. On December 14, 1985, he married for the second time, to Kathryn Walker; a month later, he was on tour in Australia.

Road work continued to be Taylor's primary occupation in the mid-'80s, but he came off tour long enough to finish another album, Never Die Young, only a little more than two years after That's Why I'm Here, released in January 1988. The title song, issued as a single, barely reached the charts, but Never Die Young was another million-seller. The late '80s and early '90s saw more extensive worldwide touring. New Moon Shine, Taylor's 13th regular album release, came in October 1991, the same month that he sold out six consecutive shows at the Paramount Theater in New York; the disc stayed in the charts nearly a year and sold a million copies.

Despite his consistent draw as a concert attraction, Taylor had never released a live album in the U.S. until the August 1993 appearance of Live, a two-CD set that went platinum within months. Columbia Records, which had never had a Taylor compilation to promote, trimmed the album down to a single disc of hits for the 1994 release (Best Live). Taylor was divorced from his second wife in 1996. His next album, Hourglass, released in May 1997, demonstrated his continuing appeal by entering the charts in the Top Ten. On February 25, 1998, it won the 1997 Grammy for Best Pop Album. In October the same year, Columbia issued the DVD Live at the Beacon Theatre while Billboard magazine was honoring Taylor with their highest accolade, the Century Award.

By 2000, Taylor's first Greatest Hits collection had sold over ten million copies, earning him the RIAA's Diamond Award. Taylor was also inducted into both the Rock & Roll Hall of Fame and the Songwriter's Hall of Fame in 2000, and at the end of the year, Columbia issued Greatest Hits, Vol. 2, covering the years 1977-1997. Fans who had waited five years for new material were awarded with October Road in 2002, an album that earned two Grammy nominations and eventually went platinum. A year later, The Best of James Taylor became the first compilation to cover material from his years with Apple, Warner Bros., and Columbia. In 2004, he appeared on the television show The West Wing, released a Christmas Album, and sang the national anthem before game two of the World Series. Two years later, Taylor released James Taylor at Christmas and made an appearance on the soundtrack for the Pixar film Cars. In 2007, the CD/DVD One Man Band was released on the Hear Music label. An album featuring a dozen cover versions of various songs, simply and appropriately called Covers, followed a year later in 2008, also from Hear Music. A sequel, Other Covers, appeared in 2009. Following a highly successful dual tour with Carole King, Taylor and King released a concert CD/DVD set called Troubadour Reunion in 2010.

William Ruhlmann, Rovi

Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer, Van Morrison is among popular music's true innovators, a restless seeker whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and Celtic folk produced perhaps the most spiritually transcendent body of work in the rock & roll canon. Subject only to the whims of his own muse, his recordings cover extraordinary stylistic ground yet retain a consistency and purity virtually unmatched among his contemporaries, connected by the mythic power of his singular musical vision and his incendiary vocal delivery: spiraling repetitions of wails and whispers that bypass the confines of language to articulate emotional truths far beyond the scope of literal meaning.

George Ivan Morrison was born in Belfast, Northern Ireland, on August 31, 1945; his mother was a singer, while his father ardently collected classic American jazz and blues recordings. At 15, he quit school to join the local R&B band the Monarchs, touring military bases throughout Europe before returning home to form his own group, Them. Boasting a fiery, gritty sound heavily influenced by Morrison heroes like Howlin' Wolf, Brownie McGhee, Sonny Boy Williamson, and Little Walter, Them quickly earned a devout local following and in late 1964 recorded their debut single, "Don't Start Crying Now." The follow-up, an electrifying reading of Big Joe Williams' "Baby Please Don't Go," cracked the U.K. Top Ten in early 1965. Though not a major hit upon its original release, Them's Morrison-penned "Gloria" endures among the true classics of the rock pantheon, covered by everyone from the Doors to Patti Smith. Lineup changes plagued the band throughout its lifespan, however, and at the insistence of producer Bert Berns, over time session musicians increasingly assumed the lion's share of recording duties. A frustrated Morrison finally left Them following a 1966 tour of the U.S., quitting the music business and returning to Belfast.

After Berns relocated to New York City to form Bang Records, he convinced Morrison to travel stateside and record as a solo artist; the sessions produced arguably his most familiar hit, the jubilant "Brown-Eyed Girl" (originally titled "Brown-Skinned Girl"), a Top Ten smash in the summer of 1967. By contrast, however, the resulting album, Blowin' Your Mind, was a bleak, bluesy effort highlighted by the harrowing "T.B. Sheets." The sessions were originally intended to produce only material for singles, so when Berns released the LP against Morrison's wishes, he again retreated home to Ireland while the album tanked on the charts. Berns suffered a fatal heart attack in late 1967, which freed Morrison of his contractual obligations and energized him to start working on new material.

His first album for new label Warner Bros., 1968's Astral Weeks, remains not only Morrison's masterpiece, but one of the greatest records ever made. A haunting, deeply personal collection of impressionistic folk-styled epics recorded by an all-star jazz backing unit including bassist Richard Davis and drummer Connie Kay, its poetic complexity earned critical raves but made only a minimal commercial impact. The follow-up, 1970's Moondance, was every bit as brilliant; buoyant and optimistic where Astral Weeks had been dark and anguished, it cracked the Top 40, generating the perennials "Caravan" and "Into the Mystic."

The first half of the 1970s was the most fertile creative period of Morrison's career. From Moondance onward, his records reflected an increasingly celebratory and profoundly mystical outlook spurred on in large part by his marriage to wife Janet Planet and the couple's relocation to California. After His Band and the Street Choir yielded his biggest chart hit, "Domino," Morrison released 1971's Tupelo Honey, a lovely, pastoral meditation on wedded bliss highlighted by the single "Wild Night." In the wake of the following year's stirring Saint Dominic's Preview, he formed the Caledonia Soul Orchestra, featured both on the studio effort Hard Nose the Highway and on the excellent live set It's Too Late to Stop Now. However, in 1973 he not only dissolved the group but also divorced Planet and moved back to Belfast. The stunning 1974 LP Veedon Fleece chronicled Morrison's emotional turmoil; he then remained silent for three years, reportedly working on a number of aborted projects but releasing nothing until 1977's aptly titled A Period of Transition.

Plagued for some time by chronic stage fright, Morrison mounted his first tour in close to five years in support of 1978's Wavelength; his performances became more and more erratic, however, and during a 1979 date at New York's Palladium, he even stalked off-stage in mid-set and did not return. Into the Music, released later that year, evoked a more conventionally spiritual perspective than before, a pattern continued on successive outings for years to come. Albums like 1983's Inarticulate Speech of the Heart, 1985's A Sense of Wonder, and 1986's No Guru, No Method, No Teacher are all largely cut from the same cloth, employing serenely beautiful musical backdrops to explore themes of faith and healing. For 1988's Irish Heartbeat, however, Morrison teamed with another of his homeland's musical institutions, the famed Chieftains, for a collection of traditional folk songs.

Meanwhile, Avalon Sunset heralded a commercial rebirth of sorts in 1989. While "Whenever God Shines His Light," a duet with Cliff Richard, became Morrison's first U.K. Top 20 hit in over two decades, the gorgeous "Have I Told You Lately That I Love You" emerged as something of a contemporary standard, with a Rod Stewart cover cracking the U.S. Top Five in 1993. Further proof of Morrison's renewed popularity arrived with the 1990 release of Mercury's best-of package; far and away the best-selling album of his career, it introduced the singer to a new generation of fans. A new studio record, Enlightenment, appeared that same year, followed in 1991 by the ambitious double set Hymns to the Silence, widely hailed as his most impressive outing in years.

Following the uniformity of his 1980s work, the remainder of the decade proved impressively eclectic: 1993's Too Long in Exile returned Morrison to his musical roots with covers of blues and R&B classics, while on 1995's Days Like This he teamed with daughter Shana for a duet on "You Don't Know Me." For the Verve label, he cut 1996's How Long Has This Been Going On, a traditional jazz record co-credited to longtime pianist Georgie Fame, while for the follow-up Tell Me Something: The Songs of Mose Allison he worked with guest of honor Allison himself. Morrison continued balancing the past and the future in the years to follow, alternating between new studio albums (1997's The Healing Game, 1999's Back on Top) and collections of rare and live material (1998's The Philosopher's Stone and 2000's The Skiffle Sessions and You Win Again).

It wasn't until 2002 that an album of new material surfaced, but in May his long-anticipated Down the Road was released. Three years later, Morrison issued Magic Time. Pay the Devil, a country-tinged set, appeared in 2006 on Lost Highway Records. That same year, Morrison released his first commercial DVD, Live at Montreux 1980 and 1974, drawn from two separate appearances at the Montreux Jazz Festival. In 2008, Morrison released Keep It Simple, his first album of all-original material since 1999's Back on Top. In November of that same year, Morrison performed the entire Astral Weeks album live at two shows at the Hollywood Bowl in Los Angeles, which resulted in 2009's Astral Weeks: Live at the Hollywood Bowl album and "Astral Weeks Live at the Hollywood Bowl: The Concert Film". His 34th studio album, Born to Sing: No Plan B, recorded in Belfast, appeared in the fall of 2012.

Jason Ankeny & Steve Leggett, Rovi

Although Billy Joel never was a critic's favorite, the pianist emerged as one of the most popular singer/songwriters of the latter half of the '70s. Joel's music consistently demonstrates an affection for Beatlesque hooks and a flair for Tin Pan Alley and Broadway melodies. His fusion of two distinct eras made him a superstar in the late '70s and '80s, as he racked an impressive string of multi-platinum albums and hit singles.

Born in the Bronx, Joel was raised in the Long Island suburb of Hicksville, where he learned to play piano as a child. As he approached his adolescence, Joel started to rebel, joining teenage street gangs and boxing as welterweight. He fought a total of 22 fights as a teenager, and during one of the fights, he broke his nose. For the early years of his adolescence, he divided his time between studying piano and fighting. Upon seeing the Beatles on "The Ed Sullivan Show" in 1964, Joel decided to pursue a full-time musical career and set about finding a local Long Island band to join. Eventually, he found the Echoes, a group that specialized in British Invasion covers. The Echoes became a popular New York attraction, convincing him to quit high school to become a professional musician.

While still a member of the Echoes, Joel began playing recording sessions in 1965, when he was just 16 years old. Joel played piano on several recordings George "Shadow" Morton produced -- including the Shangri-Las' "Leader of the Pack" -- as well as several records released through Kama Sutra Productions. During this time, the Echoes started to play numerous late-night shows.

Later in 1965, the Echoes changed their name twice -- once to the Emeralds and finally to the Lost Souls. For two years, he played sessions and performed with the Lost Souls. In 1967, he left the band to join the Hassles, a local Long Island rock & roll band that had signed a contract with United Artists Records. Over the next year and a half, the Hassles released two albums and four singles, all of which failed commercially. In 1969, the Hassles broke up. Joel and the band's drummer, Jon Small, formed an organ-and-drums duo called Attila. In Attila, Joel played his organ through a variety of effects pedals, creating a heavy psychedelic hard rock album completely without guitars. On the cover of the band's eponymous album, both Joel and Small were dressed as barbarians; in an interview on the back of the album, Joel claimed to forget the name of his previous band and stated that he only "sweated" two things -- perfecting his sound and the war in Southeast Asia. Epic released Attila early in 1970 and it was an immediate bomb and the duo broke up. While the group was still together, Joel began a romance with Small's wife, Elizabeth; she would eventually leave the drummer to marry the pianist.

After Attila's embarrassing failure, Joel wrote rock criticism for a magazine called "Changes" and played on commercial jingles, including a Chubby Checker spot for Bachman Pretzels. However, Joel entered a severe bout of depression, culminating with him drinking a bottle of furniture polish in an attempt to end his life. Following his failed suicide attempt, Joel checked himself into Meadowbrook Hospital, where he received psychiatric treatment for depression.

Joel returned to playing music in 1971, signing a deal with Family Productions. Under the terms of the contract, Joel signed to the label for life; the pianist was unaware of the clause at the time, but it would come back to haunt him -- Family Productions received royalties from every album Joel sold until the late '80s. Joel refashioned himself as a sensitive singer/songwriter for his debut album, Cold Spring Harbor, which was released in November of 1971. Due to an error in the mastering of the album, Cold Spring Harbor was released a couple of tape speeds too fast; the album remained in that bastardized form until 1984. Following the release of the album, Joel went on a small live tour, during which he would frequently delve into standup comedy. The tour received good reviews but Joel remained unhappy with the quality of his performance and, especially, the quality of the album. Furthermore, he lost a manager during this time and Family Productions was experiencing legal and financial difficulties, which prevented him from recording an immediate follow-up.

Early in 1972, he moved out to Los Angeles with his girlfriend Elizabeth. Joel adopted the name Bill Martin and spent half a year playing lounge piano at the Executive Room. Toward the end of the year, he began touring, playing various nightclubs across the country. At the beginning of 1973, Joel married Elizabeth Weber and she enrolled at UCLA's Graduate School of Management. Around the same time, a radio station began playing a live version of "Captain Jack" that was recorded at a Philadelphia radio broadcast. Soon, record companies were eagerly seeking to sign the pianist, and he eventually signed with Columbia Records. In order for Joel to sign with Columbia, the major label had to agree to pay Family Productions 25 cents for each album sold, plus display the Family and Remus logos on each record Joel released.

By the end of 1973, Billy Joel's first album for Columbia Records, Piano Man, had been released. The record slowly worked its way up the charts, peaking at number 27 in the spring of 1974. The title track -- culled from experiences he had while singing at the Executive Room -- became a Top 40 hit single. At the end of the summer, Joel assembled a touring band and undertook a national tour, opening for acts like the J. Geils Band and the Doobie Brothers. By the end of 1974, he had released his second album, Streetlife Serenade, which reached number 35 early in 1975. After its success, Joel signed a contract with James William Guercio and Larry Fitzgerald's management company, Caribou, and moved from California to New York. Through songs like "Say Goodbye to Hollywood" and "New York State of Mind," Joel celebrated the move on his 1976 album, Turnstiles. The sessions for Turnstiles were long and filled with tension, culminating with Joel firing the album's original producer, Guercio, and producing the album himself. Once he fired Guercio, Joel also left Caribou, and hired his wife as his new manager.

Turnstiles stalled on the charts, only reaching number 122. Joel's next album would prove to be the make-or-break point for his career, and the resulting album, The Stranger, catapulted him into superstardom. The Stranger was released in the fall of 1977. By the end of the year, it peaked at number two and had gone platinum, and within the course of a year, it would spawn the Top 40 singles "Just the Way You Are" (which would win the 1978 Grammy for Record of the Year and Song of the Year), "Movin' Out (Anthony's Song)," "She's Always a Woman," and "Only the Good Die Young." Over the next two decades, the album would sell over seven million copies. Joel followed The Stranger with 52nd Street, which was released in the fall of 1978. 52nd Street spent eight weeks at number one in the U.S., selling over two millions copies within the first month of its release. The album spawned the hit singles "My Life," "Big Shot," and "Honesty," and won the 1979 Grammy award for Album of the Year. Although he had become a genuine star, critics had not looked kindly upon Joel's music, and the pianist became a vocal opponent of rock criticism in the late '70s. In one incident, he denounced Los Angeles Herald Examiner critic Ken Tucker on-stage and then, as a form of protest, tore up the critic's reviews.

In the spring of 1980, Joel released Glass Houses, theoretically a harder-edged album that was a response to the punk and new wave movement. Glass Houses reached number one in America, where it stayed for six weeks; the album spawned the Top 40 singles "You May Be Right" (number seven), "It's Still Rock'n'Roll to Me" (number one), "Don't Ask Me Why" (number 19), and "Sometimes a Fantasy" (number 36) and won the 1980 Grammy for Best Rock Vocal Performance, Male. In the fall of 1981, Joel released Songs in the Attic, a live album that concentrated on material written and recorded before he became a star in 1977. The album's "Say Goodbye to Hollywood" and "She's Got a Way" became Top 40 hits.

Songs in the Attic bought Joel some time as he was completing an album he had designed as his bid to be taken seriously as a composer. Before the album was finished, he suffered a serious motorcycle accident in the spring of 1982. He broke his wrist in the accident -- it would take major surgery to repair the wound. In July of 1982, Joel divorced his wife, Elizabeth. His new album, The Nylon Curtain, was finally released in the fall. A concept album about baby boomers and their experiences, the album was a commercial disappointment, only selling a million copies, but it did earn him some of his better reviews, as well as spawning the Top 20 hits "Pressure" and "Allentown." Joel quickly followed the album in 1983 with the oldies pastiche An Innocent Man.

An Innocent Man restored Joel to his multi-platinum status, eventually selling over seven million copies and spawning the hit singles "Uptown Girl" (number three), "Tell Her About It" (number one), "An Innocent Man" (number ten), and "Keeping the Faith" (number 18). Several of the songs on the album were about model Christie Brinkley, who was engaged to Joel by the time the album was released. During 1983 and 1984, Joel became one of the first '70s stars to embrace MTV and music videos, shooting a number of clips for the album that were aired frequently on the network. Brinkley and Joel were married in the spring of 1985.

Joel released a double-album compilation, Greatest Hits, Vols. 1-2 in the summer of 1985. Two new songs -- the Top Ten "You're Only Human (Second Wind)" and the Top 40 "The Night Is Still Young" -- were added to the hits collection; the album itself peaked at number six and would eventually sell over ten million copies. In the summer of 1986, Joel returned with the Top Ten single "Modern Woman," which was taken from the soundtrack of "Ruthless People". "Modern Woman" was also a teaser from his new album, The Bridge, which was released in August. The Bridge was another success for Joel, peaking at number seven, selling over two million copies, and spawning the Top 40 hits "A Matter of Trust" (number ten) and "This Is the Time" (number 18), as well as "Big Man on Mulberry Street," which was used as the basis for an episode of the popular Bruce Willis/Cybill Shepherd television series "Moonlighting".

In the spring of 1987, Joel embarked on a major tour of the U.S.S.R., during which he had an on-stage temper tantrum and shoved a piano off the stage. His Leningrad concert was recorded and released in the fall of 1987 as the live double album Kohuept, which means "concert" in Russian. Joel was quiet for much of 1988, only appearing as the voice of Dodger in the Walt Disney animated feature "Oliver and Company".

Joel fired his longtime manager and former brother-in-law Frank Weber in August of 1989, after an audit revealed that there were major discrepancies in Weber's accounting. Following Weber's dismissal, Joel sued Weber for 90 million dollars, claiming fraud and breach of fiduciary duty. Immediately after filing suit, Joel was hospitalized with kidney stones. All of this turmoil didn't prevent the release of his 12th studio album, Storm Front, in the fall of 1989. It was preceded by the single "We Didn't Start the Fire," whose lyrics were just a string of historical facts. The single became a huge hit, reaching number one and inspiring history students across America. Storm Front marked a significant change for Joel -- he fired his band, keeping only Liberty DeVito, and ceased his relationship with producer Phil Ramone, hiring Mick Jones of Foreigner to produce the album. Storm Front was another hit for Joel, reaching number one in the U.S. and selling over three million albums.

During 1990, Joel undertook a major U.S. tour, which ran well into 1991. In January, the court awarded Joel two million dollars in a partial judgment against Frank Weber, and in April, the court dismissed a 30 million dollar countersuit. At the end of the year, the National Academy of Recording Arts and Sciences honored Joel with a Grammy Living Legend award; that same year, Quincy Jones, Johnny Cash, and Aretha Franklin were also given the honor.

Following the Storm Front world tour, Joel spent the next few years quietly. In 1991, he was awarded an honorary doctorate by Fairfield University in Connecticut. In the summer of 1992, Joel filed a 90 million dollar lawsuit charging his former lawyer Allen Grubman of fraud, breach of contract, and malpractice; in October of 1993, the two parties settled their differences out of court. Joel returned in the summer of 1993 with River of Dreams, which entered the charts at number one and spawned the Top Ten title track. Following the River of Dreams tour, Joel divorced Christie Brinkley. In 1996, he gave a series of lectures at a variety of American colleges. He performed at the 1999 New Year's Eve Party in Times Square, and 2000 Years: The Millennium Concert, a live album of this concert, was released early the following year.

His next studio record, Fantasies & Delusions, arrived in 2001 and was his first album of his own classical compositions. A year later, Twyla Tharp choreographed and directed "Movin' Out", a Broadway musical based on Joel's music. A new venture as a children's author began in 2004 with the release of his first book, "Goodnight, My Angel: A Lullaby". The 54-year-old Joel married the 23-year-old Katie Lee that same year and was making tabloid headlines again in March of 2005 when he checked into the Betty Ford Clinic for treatment of alcohol abuse. He checked out in April, and in November his four-CD/one-DVD career retrospective My Lives was released. Live in Madison Square Garden NYC and the accompanying 12 Gardens Live arrived in 2006.

In 2007, Joel released his first original composition since River of Dreams -- a ballad called "All My Life." He quickly followed it with "Christmas in Fallujah," a tune he wrote but did not sing; it was performed by Cass Dillon. After this brief burst of activity Joel returned to touring regularly, his most notable performance being the closing shows at the legendary Shea Stadium in July 2008. These two concerts were recorded and released as DVDs and CDs in the spring of 2011. On the heels of this live album came word that Joel was penning a memoir, but the book was quickly scrapped after the announcement.

Stephen Thomas Erlewine, Rovi

Reversing the usual process by which groups break up and give way to solo careers, the Traveling Wilburys are a group made up of solo stars. The group was organized by former Beatle George Harrison, former Electric Light Orchestra leader Jeff Lynne, Bob Dylan, Tom Petty, and Roy Orbison, thus representing three generations of rock stars. In 1988, the five (who had known each other for years) came together to record a Harrison B-side single and ended up writing and recording an album on which they shared lead vocals. It turned out to be a way to transcend the high expectations made of any of them as individuals, and a delighted public sent the album to number three, with two singles, "Handle With Care" and "End of the Line" hitting the charts. Unfortunately, Orbison died of a heart attack only a few weeks after the album's release.

Two years later, the remaining quartet released a second album, inexplicably titled Vol. 3. Although it didn't match the success of the first Wilburys album, it was another million-selling hit. Throughout the '90s, there were rumors of another Traveling Wilburys record in the works, but no new albums from the group surfaced. Harrison and Lynne did re-team in 1995, when Lynne produced and reworked two John Lennon demos with the Beatles for their Anthology rarities collection.

William Ruhlmann, Rovi

Bob Dylan's influence on popular music is incalculable. As a songwriter, he pioneered several different schools of pop songwriting, from confessional singer/songwriter to winding, hallucinatory, stream-of-consciousness narratives. As a vocalist, he broke down the notion that a singer must have a conventionally good voice in order to perform, thereby redefining the vocalist's role in popular music. As a musician, he sparked several genres of pop music, including electrified folk-rock and country-rock. And that just touches on the tip of his achievements. Dylan's force was evident during his height of popularity in the '60s -- the Beatles' shift toward introspective songwriting in the mid-'60s never would have happened without him -- but his influence echoed throughout several subsequent generations, as many of his songs became popular standards and his best albums became undisputed classics of the rock & roll canon. Dylan's influence throughout folk music was equally powerful, and he marks a pivotal turning point in its 20th century evolution, signifying when the genre moved away from traditional songs and toward personal songwriting. Even when his sales declined in the '80s and '90s, Dylan's presence rarely lagged, and his commercial revival in the 2000s proved his staying power.

For a figure of such substantial influence, Dylan came from humble beginnings. Born in Duluth, Minnesota, Bob Dylan (b. Robert Allen Zimmerman, May 24, 1941) was raised in Hibbing, Minnesota, from the age of six. As a child he learned how to play guitar and harmonica, forming a rock & roll band called the Golden Chords when he was in high school. Following his graduation in 1959, he began studying art at the University of Minnesota in Minneapolis. While at college, he began performing folk songs at coffeehouses under the name Bob Dylan, taking his last name from the poet Dylan Thomas. Already inspired by Hank Williams and Woody Guthrie, Dylan began listening to blues while at college, and the genre wove its way into his music. He spent the summer of 1960 in Denver, where he met bluesman Jesse Fuller, the inspiration behind the songwriter's signature harmonica rack and guitar. By the time he returned to Minneapolis in the fall, he had grown substantially as a performer and was determined to become a professional musician.

Dylan made his way to New York City in January of 1961, immediately making a substantial impression on the folk community of Greenwich Village. He began visiting his idol Guthrie in the hospital, where he was slowly dying from Huntington's chorea. Dylan also began performing in coffeehouses, and his rough charisma won him a significant following. In April, he opened for John Lee Hooker at Gerde's Folk City. Five months later, Dylan performed another concert at the venue, which was reviewed positively by Robert Shelton in The New York Times. Columbia A&R man John Hammond sought out Dylan on the strength of the review, and signed the songwriter in the fall of 1961. Hammond produced Dylan's eponymous debut album (released in March 1962), a collection of folk and blues standards that boasted only two original songs. Over the course of 1962, Dylan began to write a large batch of original songs, many of which were political protest songs in the vein of his Greenwich contemporaries. These songs were showcased on his second album, The Freewheelin' Bob Dylan. Before its release, Freewheelin' went through several incarnations. Dylan had recorded a rock & roll single, "Mixed Up Confusion," at the end of 1962, but his manager, Albert Grossman, made sure the record was deleted because he wanted to present Dylan as an acoustic folkie. Similarly, several tracks with a full backing band that were recorded for Freewheelin' were scrapped before the album's release. Furthermore, several tracks recorded for the album -- including "Talking John Birch Society Blues" -- were eliminated from the album before its release.

Comprised entirely of original songs, The Freewheelin' Bob Dylan made a huge impact in the U.S. folk community, and many performers began covering songs from the album. Of these, the most significant were Peter, Paul and Mary, who made "Blowin' in the Wind" into a huge pop hit in the summer of 1963 and thereby made Bob Dylan into a recognizable household name. On the strength of Peter, Paul and Mary's cover and his opening gigs for popular folkie Joan Baez, Freewheelin' became a hit in the fall of 1963, climbing to number 23 on the charts. By that point, Baez and Dylan had become romantically involved, and she was beginning to record his songs frequently. Dylan was writing just as fast.

By the time The Times They Are A-Changin' was released in early 1964, Dylan's songwriting had developed far beyond that of his New York peers. Heavily inspired by poets like Arthur Rimbaud and John Keats, his writing took on a more literate and evocative quality. Around the same time, he began to expand his musical boundaries, adding more blues and R&B influences to his songs. Released in the summer of 1964, Another Side of Bob Dylan made these changes evident. However, Dylan was moving faster than his records could indicate. By the end of 1964, he had ended his romantic relationship with Baez and had begun dating a former model named Sara Lowndes, whom he subsequently married. Simultaneously, he gave the Byrds "Mr. Tambourine Man" to record for their debut album. The Byrds gave the song a ringing, electric arrangement, but by the time the single became a hit, Dylan was already exploring his own brand of folk-rock.

Inspired by the British Invasion, particularly the Animals' version of "House of the Rising Sun," Dylan recorded a set of original songs backed by a loud rock & roll band for his next album. While Bringing It All Back Home (March 1965) still had a side of acoustic material, it made clear that Dylan had turned his back on folk music. For the folk audience, the true breaking point arrived a few months after the album's release, when he played the Newport Folk Festival supported by the Paul Butterfield Blues Band. The audience greeted him with vicious derision, but he had already been accepted by the growing rock & roll community. Dylan's spring tour of Britain was the basis for D.A. Pennebaker's documentary "Don't Look Back", a film that captures the songwriter's edgy charisma and charm.

Dylan made his breakthrough to the pop audience in the summer of 1965, when "Like a Rolling Stone" became a number two hit. Driven by a circular organ riff and a steady beat, the six-minute single broke the barrier of the three-minute pop single. Dylan became the subject of innumerable articles, and his lyrics became the subject of literary analyses across the U.S. and U.K. Well over 100 artists covered his songs between 1964 and 1966; the Byrds and the Turtles, in particular, had big hits with his compositions. Highway 61 Revisited, his first full-fledged rock & roll album, became a Top Ten hit shortly after its summer 1965 release. "Positively 4th Street" and "Rainy Day Women #12 & 35" became Top Ten hits in the fall of 1965 and spring of 1966, respectively. Following the May 1966 release of the double album Blonde on Blonde, he had sold over ten million records around the world.

During the fall of 1965, Dylan hired the Hawks, formerly Ronnie Hawkins' backing group, as his touring band. The Hawks, who changed their name to the Band in 1968, would become Dylan's most famous backing band, primarily because of their intuitive chemistry and "wild, thin mercury sound," but also because of their British tour in the spring of 1966. The tour was the first time the British had heard the electric Dylan, and their reaction was disagreeable and violent. At the Manchester concert (long mistakenly identified as the show from London's Royal Albert Hall), an audience member called Dylan "Judas," inspiring a positively vicious version of "Like a Rolling Stone" from Dylan and the band. The performance was immortalized on countless bootleg albums (an official release finally surfaced in 1998), and it indicates the intensity of Dylan in the middle of 1966. He had assumed control of Pennebaker's second Dylan documentary, "Eat the Document", and was under deadline to complete his book "Tarantula", as well as record a new record. Following the British tour, he returned to America.

On July 29, 1966, he was injured in a motorcycle accident outside of his home in Woodstock, New York, suffering injuries to his neck vertebrae and a concussion. Details of the accident remain elusive -- he was reportedly in critical condition for a week and had amnesia -- and some biographers have questioned its severity, but the event was a pivotal turning point in his career. After the accident, Dylan became a recluse, disappearing into his home in Woodstock and raising his family with his wife, Sara. After a few months, he retreated with the Band to a rented house, subsequently dubbed Big Pink, in West Saugerties to record a number of demos. For several months, Dylan and the Band recorded an enormous amount of material, ranging from old folk, country, and blues songs to newly written originals. The songs indicated that Dylan's songwriting had undergone a metamorphosis, becoming streamlined and more direct. Similarly, his music had changed, owing less to traditional rock & roll, and demonstrating heavy country, blues, and traditional folk influences. None of the Big Pink recordings was intended to be released, but tapes from the sessions were circulated by Dylan's music publisher with the intent of generating cover versions. Copies of these tapes, as well as other songs, were available on illegal bootleg albums by the end of the '60s; it was the first time that bootleg copies of unreleased recordings became widely circulated. Portions of the tapes were officially released in 1975 as the double album The Basement Tapes.

While Dylan was in seclusion, rock & roll had become heavier and artier in the wake of the psychedelic revolution. When Dylan returned with John Wesley Harding in December of 1967, its quiet, country ambience was a surprise to the general public, but it was a significant hit, peaking at number two in the U.S. and number one in the U.K. Furthermore, the record arguably became the first significant country-rock record to be released, setting the stage for efforts by the Byrds and the Flying Burrito Brothers later in 1969.

Dylan followed his country inclinations on his next album, 1969's Nashville Skyline, which was recorded in Nashville with several of the country industry's top session men. While the album was a hit, spawning the Top Ten single "Lay Lady Lay," it was criticized in some quarters for uneven material. The mixed reception was the beginning of a full-blown backlash that arrived with the double-album Self Portrait. Released early in June of 1970, the album was a hodgepodge of covers, live tracks, re-interpretations, and new songs greeted with negative reviews from all quarters of the press. Dylan followed the album quickly with New Morning, which was hailed as a comeback.

Following the release of New Morning, Dylan began to wander restlessly. He moved back to Greenwich Village, he finally published "Tarantula" in November of 1970, and he performed at the Concert for Bangladesh in August 1971. During 1972, he began his acting career by playing Alias in Sam Peckinpah's "Pat Garrett and Billy the Kid", which was released in 1973. He also wrote the soundtrack for the film, which featured "Knockin' on Heaven's Door," his biggest hit since "Lay Lady Lay." The "Pat Garrett" soundtrack was the final record released under his Columbia contract before he moved to David Geffen's fledgling Asylum Records. As retaliation, Columbia assembled Dylan, a collection of Self Portrait outtakes, for release at the end of 1973. Dylan only recorded two albums -- including 1974's Planet Waves, coincidentally his first number one album -- before he moved back to Columbia. The Band supported Dylan on Planet Waves and its accompanying tour, which became the most successful tour in rock & roll history; it was captured on 1974's double live album Before the Flood.

Dylan's 1974 tour was the beginning of a comeback culminating with 1975's Blood on the Tracks. Largely inspired by the disintegration of his marriage, Blood on the Tracks was hailed as a return to form by critics and it became his second number one album. After jamming with folkies in Greenwich Village, Dylan decided to launch a gigantic tour, loosely based on traveling medicine shows. Lining up an extensive list of supporting musicians -- including Joan Baez, Joni Mitchell, Ramblin' Jack Elliott, Arlo Guthrie, Mick Ronson, Roger McGuinn, and poet Allen Ginsberg -- Dylan dubbed the tour the Rolling Thunder Revue and set out on the road in the fall of 1975. For the next year, the Rolling Thunder Revue toured on and off, with Dylan filming many of the concerts for a future film. During the tour, Desire was released to considerable acclaim and success, spending five weeks on the top of the charts. Throughout the Rolling Thunder Revue, Dylan showcased "Hurricane," a protest song he had written about boxer Rubin Carter, who had been unjustly imprisoned for murder. The live album Hard Rain was released at the end of the tour. Dylan released "Renaldo and Clara", a four-hour film based on the Rolling Thunder tour, to poor reviews in early 1978.

Early in 1978, Dylan set out on another extensive tour, this time backed by a band that resembled a Las Vegas lounge act. The group was featured on the 1978 album Street Legal and the 1979 live album At Budokan. At the conclusion of the tour in late 1978, Dylan announced that he was a born-again Christian, and he launched a series of Christian albums that following summer with Slow Train Coming. Though the reviews were mixed, the album was a success, peaking at number three and going platinum. His supporting tour for Slow Train Coming featured only his new religious material, much to the bafflement of his long-term fans. Two other religious albums -- Saved (1980) and Shot of Love (1981) -- followed, both to poor reviews. In 1982, Dylan traveled to Israel, sparking rumors that his conversion to Christianity was short-lived. He returned to secular recording with 1983's Infidels, which was greeted with favorable reviews.

Dylan returned to performing in 1984, releasing the live album Real Live at the end of the year. Empire Burlesque followed in 1985, but its odd mix of dance tracks and rock & roll won few fans. However, the five-album/triple-disc retrospective box set Biograph appeared that same year to great acclaim. In 1986, Dylan hit the road with Tom Petty & the Heartbreakers for a successful and acclaimed tour, but his album that year, Knocked Out Loaded, was received poorly. The following year, he toured with the Grateful Dead as his backing band; two years later, the souvenir album Dylan & the Dead appeared.

In 1988, Dylan embarked on what became known as "the Never-Ending Tour" -- a constant stream of shows that ran on and off into the late '90s. That same year, he appeared on The Traveling Wilburys, Vol. 1 -- by the supergroup also featuring George Harrison, Roy Orbison, Tom Petty, and Jeff Lynne -- and released his own Down in the Groove, an album largely comprised of covers. The Never-Ending Tour received far stronger reviews than Down in the Groove (the Traveling Wilburys album fared much better), but 1989's Oh Mercy was his most acclaimed album since 1975's Blood on the Tracks, due in part to Daniel Lanois' strong production. However, Dylan's 1990 follow-up, Under the Red Sky (issued the same year as the second album by the Traveling Wilburys, now a quartet following the death of Roy Orbison shortly after the release of the Wilburys' first long-player in 1988), was received poorly, especially when compared to the enthusiastic reception for the 1991 box set The Bootleg Series, Vols. 1-3 (Rare & Unreleased), a collection of previously unreleased outtakes and rarities.

For the remainder of the '90s, Dylan divided his time between live concerts, painting, and studio projects. He returned to recording in 1992 with Good as I Been to You, an acoustic collection of traditional folk songs. It was followed in 1993 by another folk record, World Gone Wrong, which won the Grammy for Best Traditional Folk Album. After the release of World Gone Wrong, Dylan released a greatest-hits album and a live record.

Dylan released Time Out of Mind, his first album of original material in seven years, in the fall of 1997. Time Out of Mind received his strongest reviews in years and unexpectedly debuted in the Top Ten, eventually climbing to platinum certification. Such success sparked a revival of interest in Dylan, who appeared on the cover of Newsweek and began selling out concerts once again. Early in 1998, Time Out of Mind received three Grammy Awards -- Album of the Year, Best Contemporary Folk Album, and Best Male Rock Vocal.

Another album of original material, Love and Theft, followed in 2001 and went gold. Soon after its release, Dylan announced that he was making his own film, to star Jeff Bridges, Penelope Cruz, John Goodman, Val Kilmer, and many more. The accompanying soundtrack, Masked and Anonymous, was released in July 2003. Dylan opted to self-produce his new studio album, Modern Times, which topped the Billboard charts and went platinum in both America and the U.K. It was Dylan's third consecutive album to receive praise from critics and support from consumers, and it was followed three years later in 2009 by Together Through Life, another self-produced effort (as Jack Frost) that also featured contributions from David Hidalgo of Los Lobos and Mike Campbell of Tom Petty & the Heartbreakers. He capped off the year with an old-fashioned holiday effort, Christmas in the Heart. Proceeds from the album were donated to various charities around the world. Dylan released the self-produced (again as Jack Frost) Tempest on September 11, 2012.

Stephen Thomas Erlewine, Rovi

In many ways, Jackson Browne was the quintessential sensitive Californian singer/songwriter of the early '70s. Only Joni Mitchell and James Taylor ranked alongside him in terms of influence, but neither artist tapped into the post-'60s Zeitgeist like Browne. While the majority of his classic '70s work was unflinchingly personal, it nevertheless provided a touchstone for a generation of maturing baby boomers coming to terms with adulthood. Not only did his introspective, literate lyrics strike a nerve, but his laid-back folk-rock set the template for much of the music to come out of California during the '70s. With his first four albums, Browne built a loyal following that helped him break into the mainstream with 1976's The Pretender. During the late '70s and early '80s, he was at the height of his popularity, as each of his albums charted in the Top Ten. Midway through the '80s, Browne made a series of political protest records that caused his audience to gradually shrink, but when he returned to introspective songwriting with 1993's I'm Alive, he made a modest comeback.

Born in Heidelberg, West Germany, Jackson Browne and his family moved to Los Angeles when he was three years old, and by the time he was a teenager, Browne had developed an interest in folk music. He began playing guitar and writing songs, which he sang at local folk clubs. Early in 1966, he was invited to join the Nitty Gritty Dirt Band, whom he had met through the L.A. folk circuit. While he was only with the band for a few months, the group recorded a handful of his songs on its first two records. By the beginning of 1967, he had signed a publishing deal with Nina Music, a division of Elektra Records; Nina helped Browne secure songs on albums by Tom Rush and Steve Noonan in 1968. During 1967 and 1968, he lived in New York's Greenwich Village, where he played in Tim Buckley's backing band. Browne also began working with Nico, who recorded three of his songs on her Chelsea Girl album. When their relationship disintegrated in 1968, he returned to Los Angeles, where he unsuccessfully tried to record a solo album and form a folk group with Ned Doheney and Jack Wilce. Browne continued to play local clubs and his reputation as a songwriter continued to grow, with Linda Ronstadt and the Byrds recording his songs. By the end of 1971, he had signed with David Geffen's fledgling Asylum Records on the strength of his widely circulated demo tape.

Jackson Browne was released in the spring of 1972, spawning the Top Ten hit single "Doctor My Eyes." Shortly after "Doctor My Eyes" reached its peak position, "Take It Easy," a song Browne co-wrote with Glenn Frey, became the Eagles' breakthrough hit. Many songs from his debut, including "Rock Me on the Water" and "Jamaica Say You Will," became singer/songwriter standards, but the album itself didn't establish Browne as a pop star, despite its hit single. On his second album, 1973's For Everyman, he began a long-term collaboration with instrumentalist David Lindley. For Everyman was a commercial disappointment, yet it consolidated his cult following.

Released in the fall of 1974, Late for the Sky expanded Browne's audience significantly, peaking at number 14 on the charts and going gold by the beginning of the following year. Browne's first wife, Phyllis, committed suicide in the spring of 1976, but in the wake of the tragedy he recorded his commercial breakthrough album, The Pretender. The record climbed into the Top Ten upon its fall 1976 release, going platinum in the spring of 1977. In the summer, Browne launched an extensive tour, recording a new album while he was on the road. The resulting record, Running on Empty (1977), was a bigger success than its predecessor, peaking at number three and launching the hit singles "Running on Empty" and "Stay/The Load-Out." With his career riding high, Browne began to pursue political and social causes, most notably protesting the use of nuclear energy.

The success of Hold Out, the 1980 follow-up to Running on Empty, was evidence of Jackson Browne's popularity. Though the album wasn't as well crafted as its predecessors, it became his only number one album upon its summer release. In the summer of 1982, "Somebody's Baby," from the soundtrack of Fast Times at Ridgemont High, became Browne's biggest hit, climbing to number seven on the U.S. charts. Divided between love songs and political protests, Lawyers in Love was another hit due to success of the hit singles "Lawyers in Love," "Tender Is the Night," and "For a Rocker." Nevertheless, the album also showcased a newly found social consciousness, which dominated 1986's Lives in the Balance. The album lacked any hit singles, yet its fiery condemnation of the Reagan era won an audience -- the album stayed on the charts for over six months and went gold.

Jackson Browne continued to write primarily political songs on 1989's World in Motion, but the record became his first album to not go gold. Browne was quiet for the next four years, working on a variety of social causes and suffering a painful public breakup with his girlfriend, actress Daryl Hannah. He finally returned with a comeback effort in the fall of 1993 entitled I'm Alive. Comprised of personal songs, I'm Alive received his best reviews since the late '70s and the record went gold without producing any major hits. In the spring of 1996, Browne released Looking East, which failed to gain the same attention as I'm Alive. In 2002, he released The Naked Ride Home. Two years later the two-disc The Very Best of Jackson Browne hit the shelves as Browne was being inducted into the Rock and Roll Hall of Fame by fellow Hall of Famer Bruce Springsteen. Around this time Browne took to the road and played intimate acoustic shows around the globe. The 2005 release Solo Acoustic, Vol. 1 was compiled from these concerts and appeared on Inside Recordings, an independent label founded by Browne. Solo Acoustic, Vol. 2 appeared in 2008, while an album of new material, Time the Conqueror, followed later in the year. Spring 2010 saw the release of Love Is Strange.

Stephen Thomas Erlewine, Rovi

In terms of sales and lasting popularity, Elton John was the biggest pop superstar of the early '70s. Initially marketed as a singer/songwriter, John soon revealed he could craft Beatlesque pop and pound out rockers with equal aplomb. He could dip into soul, disco, and country, as well as classic pop balladry and even progressive rock. His versatility, combined with his effortless melodic skills, dynamic charisma, and flamboyant stage shows, made him the most popular recording artist of the '70s. Unlike many pop stars, John was able to sustain his popularity, charting a Top 40 single every single year from 1970 to 1996. During that time, he had temporary slumps in creativity and sales, as he fell out of favor with critics, had fights with his lyricist, Bernie Taupin, and battled various addictions and public scandals. But through it all, John remained a remarkably popular artist, and many of his songs -- including "Your Song," "Rocket Man," "Goodbye Yellow Brick Road," and "Don't Let the Sun Go Down on Me" -- became contemporary pop standards.

The son of a former Royal Air Force trumpeter, John was born Reginald Kenneth Dwight in 1947. Dwight began playing piano at the age of four, and when he was 11, he won a scholarship to the Royal Academy of Music. After studying for six years, he left school with the intention of breaking into the music business. In 1961, he joined his first band, Bluesology, and divided his time between playing with the group, giving solo concerts at a local hotel, and running errands for a London publishing house. By 1965, Bluesology was backing touring American soul and R&B musicians like Major Lance, Doris Troy, and the Bluebells. In 1966, Bluesology became Long John Baldry's supporting band and began touring cabarets throughout England. Dwight became frustrated with Baldry's control of the band and began searching for other groups to join. He failed his lead vocalist auditions for both King Crimson and Gentle Giant before responding to an advertisement by Liberty Records. Though he failed his Liberty audition, he was given a stack of lyrics left with the label courtesy of Bernie Taupin, who had also replied to the ad. Dwight wrote music for Taupin's lyrics and began corresponding with him through mail. By the time the two met six months later, Dwight had changed his name to Elton John, taking his first name from Bluesology saxophonist Elton Dean and his last from John Baldry.

John and Taupin were hired by Dick James to become staff songwriters at his fledgling DJM in 1968. The pair collaborated at a rapid rate, with Taupin submitting batches of lyrics -- he often wrote a song an hour -- every few weeks. John would then write music without changing the words, sometimes completing the songs in under a half-hour. Over the next two years, the duo wrote songs for pop singers like Roger Cook and Lulu. In the meantime, John recorded cover versions of current hits for budget labels to be sold in supermarkets. By the summer of 1968, he had begun recording singles for release under his own name. Usually, these songs were more rock- and radio-oriented than the tunes he and Taupin were giving to other vocalists, yet neither of his early singles for Philips, "I've Been Loving You Too Long" and "Lady Samantha," sold well. In June of 1969, he released his debut album for DJM, Empty Sky, which received fair reviews, but no sales.

For his second album, John and Taupin hired producer Gus Dudgeon and arranger Paul Buckmaster, who contributed grandiose string charts to Elton John. Released in the summer of 1970, Elton John began to make inroads in America, where it appeared on MCA's Uni subsidiary. In August, he gave his first American concert at the Troubadour in Los Angeles, which received enthusiastic reviews, as well as praise from Quincy Jones and Leon Russell. Throughout the fall, Elton John continued to climb the charts on the strength of the Top Ten single "Your Song." John followed it quickly in late 1970 with the concept album Tumbleweed Connection, which received heavy airplay on album-oriented radio in the U.S., helping it climb into the Top Ten. The rapid release of Tumbleweed Connection established a pattern of frequent releases that John maintained throughout his career. In 1971, he released the live 11-17-70 and the Friends soundtrack, before releasing Madman Across the Water late in the year. Madman Across the Water was successful, but John achieved stardom with the follow-up, 1972's Honky Chateau. Recorded with his touring band -- bassist Dee Murray, drummer Nigel Olsson, and guitarist Davey Johnstone -- and featuring the hit singles "Rocket Man" and "Honky Cat," Honky Chateau became his first American number one album, spending five weeks at the top of the charts.

Between 1972 and 1976, John and Taupin's hitmaking machine was virtually unstoppable. "Rocket Man" began a four-year streak of 16 Top 20 hits in a row; out of those 16 -- including "Crocodile Rock," "Daniel," "Bennie and the Jets," "The Bitch Is Back," and "Philadelphia Freedom" -- only one, the FM hit "Saturday Night's Alright for Fighting," failed to reach the Top Ten. Honky Chateau began a streak of seven consecutive number one albums -- Don't Shoot Me I'm Only the Piano Player (1973), Goodbye Yellow Brick Road (1973), Caribou (1974), Greatest Hits (1974), Captain Fantastic and the Brown Dirt Cowboy (1975), Rock of the Westies (1975) -- that all went platinum. John founded Rocket, a record label distributed by MCA, in 1973 in order to sign and produce acts like Neil Sedaka and Kiki Dee. John didn't become a Rocket recording artist himself, choosing to stay with MCA for a record-breaking eight-million-dollar contract in 1974. Later in 1974, he played and sang on John Lennon's number one comeback single "Whatever Gets You Through the Night," and he persuaded Lennon to join him on-stage at Madison Square Garden on Thanksgiving Day 1974; it would prove to be Lennon's last live performance. The following year, Captain Fantastic became his first album to enter the American charts at number one. After its release, he revamped his band, which now featured Johnstone, Quaye, Roger Pope, Ray Cooper, and bassist Kenny Passarelli; Rock of the Westies was the first album to feature this lineup.

Throughout the mid-'70s, John's concerts were enormously popular, as were his singles and albums, and he continued to record and perform at a rapid pace until 1976. That year, he revealed in an interview in Rolling Stone that he was bisexual; he would later admit that the confession was a compromise, since he was afraid to reveal that he was homosexual. Many fans reacted negatively to John's bisexuality, and his audience began to shrink somewhat in the late '70s. The decline in his record sales was also due to his exhaustion. After 1976, John cut his performance schedule drastically, announcing that he was retiring from live performances in 1977 and started recording only one album a year. His relationship with Taupin became strained following the release of 1976's double album Blue Moves, and the lyricist began working with other musicians. John returned in 1978 with A Single Man, which was written with Gary Osborne; the record produced no Top 20 singles. That year, he returned to live performances, first by jamming at the "Live Stiffs" package tour, then by launching a comeback tour in 1979 accompanied only by percussionist Ray Cooper. "Mama Can't Buy You Love," a song he recorded with Philly soul producer Thom Bell in 1977, returned him to the Top Ten in 1979, but that year's Victim of Love was a commercial disappointment.

John reunited with Taupin for 1980's 21 at 33, which featured the Top Ten single "Little Jeannie." Over the next three years, John remained a popular concert artist, but his singles failed to break the Top Ten, even if they reached the Top 40. In 1981, he signed with Geffen Records and his second album, Jump Up!, became a gold album on the strength of "Blue Eyes" and "Empty Garden (Hey Hey Johnny)," his tribute to John Lennon. But it was 1983's Too Low for Zero that began his last great streak of hit singles, with the MTV hit "I'm Still Standing" and the Top Ten single "I Guess That's Why They Call It the Blues." Throughout the rest of the '80s, John's albums would consistently go gold, and they always generated at least one Top 40 single; frequently, they featured Top Ten singles like "Sad Songs (Say So Much)" (1984), "Nikita" (1986), "Candle in the Wind" (1987), and "I Don't Want to Go on with You Like That" (1988). While his career continued to be successful, his personal life was in turmoil. Since the mid-'70s, he had been addicted to cocaine and alcohol, and the situation only worsened during the '80s. In a surprise move, he married engineer Renate Blauel in 1984; the couple stayed married for four years, although John later admitted he realized he was homosexual before his marriage. In 1986, he underwent throat surgery while on tour, but even after he successfully recovered, he continued to abuse cocaine and alcohol.

Following a record-breaking five-date stint at Madison Square Garden in 1988, John auctioned off all of his theatrical costumes, thousands of pieces of memorabilia, and his extensive record collection through Sotheby's. The auction was a symbolic turning point. Over the next two years, John battled both his drug addiction and bulimia, undergoing hair replacement surgery at the same time. By 1991 he was sober, and the following year he established the Elton John AIDS Foundation; he also announced that he would donate all royalties from his single sales to AIDS research.

In 1992, John returned to active recording with The One. Peaking at number eight on the U.S. charts and going double platinum, the album became his most successful record since Blue Moves and sparked a career renaissance for John. He and Taupin signed a record-breaking publishing deal with Warner/Chappell Music in 1992 for an estimated 39 million dollars. In 1994, John collaborated with lyricist Tim Rice on songs for Disney's animated feature "The Lion King". One of their collaborations, "Can You Feel the Love Tonight," won the Academy Award for Best Original Song, as well as the Grammy for Best Male Pop Vocal Performance. John's 1995 album Made in England continued his comeback, peaking at number three on the U.K. charts and number 13 in the U.S.; in America, the album went platinum. The 1997 follow-up, The Big Picture, delivered more of the same well-crafted pop, made the Top Ten, and produced a hit in "Something About the Way You Look Tonight." However, its success was overshadowed by John's response to the tragic death of Princess Diana -- he re-recorded "Candle in the Wind" (originally a eulogy for Marilyn Monroe) as a tribute to his slain friend, with Taupin adapting the lyrics for what was planned as the B-side of "Something About the Way You Look Tonight."

With the profits earmarked for Diana's favorite charities, and with a debut performance at Diana's funeral, "Candle in the Wind 1997" became the fastest-selling hit of all time in both Britain and the U.S. upon the single's release, easily debuting at number one on both sides of the Atlantic; with first-week sales of over three million copies in the U.S. alone and 14 weeks in the top spot, it was John's biggest hit ever. For his next project, John reunited with "Lion King" collaborator Tim Rice to write songs for Disney's Broadway musical adaptation of the story of "Aida"; an album of their efforts featuring a who's who of contemporary pop musicians was released in early 1999, going gold by the end of the year. In late 2000, John landed a TV special with CBS, performing a selection of his greatest hits at Madison Square Garden; a companion album drawn from those performances, One Night Only, was issued shortly before the special aired. Released in 2001, Songs from the West Coast was a return to form for John, who found critical success for the first time since the '80s. However, it wasn't until 2004's popular Peachtree Road album that he managed to match that success commercially. In 2006, John and Taupin released The Captain & the Kid, a sequel to 1975's Captain Fantastic and the Brown Dirt Cowboy. John busied himself with stage work and a Vegas show before he unexpectedly recorded a duet album with Leon Russell, releasing the T-Bone Burnett-produced The Union in the fall of 2010.

The Union revived Russell's career and the duo supported the record with a limited tour. John settled into another Vegas stint in 2011, signing a contract with Caesars Palace to deliver a show called "The Million Dollar Piano" over the next three years. Despite this long-term commitment, Elton pursued other projects: he published an autobiography called "Love Is the Cure" in the summer of 2012 and around the same time the Australian dance duo Pnau reworked a bunch of his classic '70s recordings on the Good Morning to the Night album. He also completed another collection of new songs called The Diving Board; the T-Bone Burnett-produced album was scheduled for a 2013 release.

Stephen Thomas Erlewine, Rovi

The musical partnership of David Crosby (born August 14, 1941), Stephen Stills (born January 3, 1945), and Graham Nash (born February 2, 1942), with and without Neil Young (born November 12, 1945), was not only one of the most successful touring and recording acts of the late '60s, '70s, and early '80s -- with the colorful, contrasting nature of the members' characters and their connection to the political and cultural upheavals of the time -- it was arguably the only American-based band to approach the overall societal impact of the Beatles. The group was a second marriage for all the participants when it came together in 1968: Crosby had been a member of the Byrds, Nash was in the Hollies, and Stills had been part of Buffalo Springfield. The resulting trio, however, sounded like none of its predecessors and was characterized by a unique vocal blend and a musical approach that ranged from acoustic folk to melodic pop to hard rock. CSN's debut album, released in 1969, was perfectly in tune with the times, and the group was an instant hit. By the time of their first tour (which included the Woodstock festival), they had added Young, also a veteran of Buffalo Springfield, who maintained a solo career. The first CSNY album, Déjà Vu, was a chart-topping hit in 1970, but the group split acrimoniously after a summer tour. 4 Way Street, a live double album issued after the breakup, was another number one hit. (When it was finally released on CD in 1992, it was lengthened with more live material.) In 1974, CSNY re-formed for a summer stadium tour without releasing a new record. Nevertheless, the compilation So Far became their third straight number one. Crosby, Stills & Nash re-formed without Young in 1977 for the album CSN, another giant hit. They followed with Daylight Again in 1982, but by then Crosby was in the throes of drug addiction and increasing legal problems. He was in jail in 1985-1986, but cleaned up and returned to action, with the result that CSNY reunited for only their second studio album, American Dream, in 1988. CSN followed with Live It Up in 1990, and though that album was a commercial disappointment, the trio remained a popular live act; it embarked on a 25th anniversary tour in the summer of 1994 and released a new album, After the Storm. The trio again reunited with Young for 1999's Looking Forward, followed in 2000 by their CSNY2K tour.

William Ruhlmann, Rovi

The musical partnership of David Crosby, Stephen Stills, and Graham Nash, with and without Neil Young, was not only one of the most successful touring and recording acts of the late '60s, '70s, and early '80s (with the colorful, contrasting nature of the members' characters and their connection to the political and cultural upheavals of the time), it was the only American-based band to approach the overall societal impact of the Beatles.

The group was a second marriage for all the participants when it came together in 1968: Crosby had been a member of the Byrds, Nash was in the Hollies, and Stills had been part of Buffalo Springfield. The resulting trio, however, sounded like none of its predecessors and was characterized by a unique vocal blend and a musical approach that ranged from acoustic folk to melodic pop to hard rock. Crosby, Stills & Nash, released in 1969, was perfectly in tune with the times, and the group proved an instant hit. By the time of their first tour (which included the Woodstock festival), they had added Young, also a veteran of Buffalo Springfield, who maintained a solo career.

The first CSNY album, Déjà Vu, was a chart-topping hit in 1970, but the group split acrimoniously after a summer tour. Four Way Street, a live double album issued after the breakup, was another number one hit. In 1974, CSNY re-formed for a summer stadium tour without releasing a new record -- nevertheless, the compilation So Far became their third straight number one. Crosby, Stills & Nash re-formed without Young in 1977 for the album CSN, another giant hit. They followed with Daylight Again in 1982, but by then Crosby was in the throes of drug addiction and increasing legal problems. He was in jail in 1985-1986, but cleaned up and returned to action, with the result that CSNY reunited for only their second studio album, American Dream, in 1988.

CSN followed with Live It Up in 1990, and though that album was a commercial disappointment, the trio remained a popular live act; it embarked on a 25th anniversary tour in the summer of 1994 and released a new album, After the Storm. The trio again reunited with Young for 1999's Looking Forward, followed in 2000 by their CSNY2K tour. A DVD/CD set, CSN 2012, was filmed and recorded during a 2012 tour, and released that same year.

William Ruhlmann, Rovi

After Neil Young left the California folk-rock band Buffalo Springfield in 1968, he slowly established himself as one of the most influential and idiosyncratic singer/songwriters of his generation. Young's body of work ranks second only to Bob Dylan in terms of depth, and he was able to sustain his critical reputation, as well as record sales, for a longer period of time than Dylan, partially because of his willfully perverse work ethic. From the beginning of his solo career in the late '60s through to the 21st century, he never stopped writing, recording, and performing; his official catalog only represented a portion of his work, since he kept countless tapes of unreleased songs in his vaults.

Just as importantly, Young continually explored new musical territory, from rockabilly and the blues to electronic music. But these stylistic exercises only gained depth when compared to his two primary styles: gentle folk and country-rock, and crushingly loud electric guitar rock, which he frequently recorded with the Californian garage band Crazy Horse. Throughout his career, Young alternated between these two extremes, and both proved equally influential; there were just as many singer/songwriters as there were grunge and country-rock bands claiming to be influenced by Neil Young. Despite his enormous catalog and influence, Young continued to move forward, writing new songs and exploring new music. That restless spirit ensured that he was one of the few rock veterans as vital in his old age as he was in his youth.

Born in Toronto, Canada, Neil Young moved to Winnipeg with his mother following her divorce from his sports journalist father. Young began playing music in high school. Not only did he play in garage rock outfits like the Squires, but he also played in local folk clubs and coffeehouses, where he eventually met Joni Mitchell and Stephen Stills. During the mid-'60s, he returned to Toronto, where he played as a solo folk act. By 1966, he joined the Mynah Birds, which also featured bassist Bruce Palmer and Rick James. The group recorded an album's worth of material for Motown, none of which was released at the time. Frustrated by his lack of success, Young moved to Los Angeles in his Pontiac hearse, taking Palmer along as support. Shortly after they arrived in L.A., they happened to meet Stills, and they formed Buffalo Springfield, who quickly became one of the leaders of the Californian folk-rock scene.

Despite the success of Buffalo Springfield, the group was plagued with tension, and Young quit the band several times before finally leaving to become a solo artist in May of 1968. Hiring Elliot Roberts as his manager, Young signed with Reprise Records and released his eponymous debut album in early 1969. By the time the album was released, he had begun playing with a local band called the Rockets, which featured guitarist Danny Whitten, bassist Billy Talbot, and drummer Ralph Molina. Young renamed the group Crazy Horse and had them support him on his second album, Everybody Knows This Is Nowhere, which was recorded in just two weeks. Featuring such Young staples as "Cinnamon Girl" and "Down by the River," the album went gold. Following the completion of the record, he began jamming with Crosby, Stills & Nash, eventually joining the group for their spring 1970 album, Déjà Vu. Although he was now part of Crosby, Stills, Nash & Young, Young continued to record as a solo artist, releasing After the Gold Rush in August 1970. After the Gold Rush, with its accompanying single "Only Love Can Break Your Heart," established Young as a solo star, and fame only increased through his association with CSN&Y.

Although Crosby, Stills, Nash & Young were a very successful act, they were also volatile, and they had split by the spring 1971 release of the live Four Way Street. The following year, Young had his first number one album with the mellow country-rock of Harvest, which also featured his first (and only) number one single, "Heart of Gold." Instead of embracing his success, he spurned it, following it with the noisy, bleak live film "Journey Through the Past". Both the movie and its soundtrack received terrible reviews, as did the live Time Fades Away, an album recorded with the Stray Gators that was released in 1973.

Both Journey Through the Past and Time Fades Away signaled that Young was entering a dark period in his life, but they only scratched the surface of his anguish. Inspired by the overdose deaths of Danny Whitten in 1972 and his roadie Bruce Berry the following year, Young wrote and recorded the bleak, druggy Tonight's the Night late in 1973, but declined to release it at the time. Instead, he released On the Beach, which was nearly as harrowing, in 1974; Tonight's the Night finally appeared in the spring of 1975. By the time of its release, Young had recovered, as indicated by the record's hard-rocking follow-up, Zuma, an album recorded with Crazy Horse and released later that year.

Young's focus began to wander in 1976, as he recorded the duet album Long May You Run with Stephen Stills and then abandoned his partner midway through the supporting tour. The following year he recorded the country-rock-oriented American Stars 'n Bars, which featured vocals by Nicolette Larson, who was also prominent on 1978's Comes a Time. Prior to the release of Comes a Time, Young scrapped the country-rock album "Homegrown" and assembled the triple-album retrospective Decade. At the end of 1978, he embarked on an arena tour called "Rust Never Sleeps", which was designed as a showcase for new songs. Half of the concert featured Young solo, the other half featured him with Crazy Horse. That was the pattern that Rust Never Sleeps, released in the summer of 1979, followed. The record was hailed as a comeback, proving that Young was one of the few rock veterans who attacked punk rock head-on. That fall he released the double album Live Rust and the live movie "Rust Never Sleeps".

Rust Never Sleeps restored Young to his past glory, but he perversely decided to trash his goodwill in 1980 with Hawks & Doves, a collection of acoustic songs that bore the influence of conservative, right-wing politics. In 1981, Young released the heavy rock album Re*ac*tor, which received poor reviews. Following its release, he left Reprise for the fledgling Geffen Records, where he was promised lots of money and artistic freedom. Young decided to push his Geffen contract to the limit, releasing the electronic Trans in December 1982, where his voice was recorded through a computerized vocoder. The album and its accompanying technology-dependent tour were received with bewildered, negative reviews. The rockabilly of Everybody's Rockin' (1983) was equally scorned, and Young soon settled into a cult audience for the mid-'80s.

Over the course of the mid-'80s, Young released three albums that were all stylistic exercises. In 1985, he released the straight country Old Ways, which was followed by the new wave-tinged Landing on Water the following year. He returned to Crazy Horse for 1987's Life, but by that time, he and Geffen had grown sick of each other, and he returned to Reprise in 1988. His first album for Reprise was the bluesy, horn-driven This Note's for You, which was supported by an acclaimed video that satirized rock stars endorsing commercial products. At the end of the year, he recorded a reunion album with Crosby, Stills & Nash called American Dream, which was greeted with savagely negative reviews.

American Dream didn't prepare any observer for the critical and commercial success of 1989's Freedom, which found Young following the half-acoustic/half-electric blueprint of Rust Never Sleeps to fine results. Around the time of its release, Young became a hip name to drop in indie rock circles, and he was the subject of a tribute record titled The Bridge in 1989. The following year, Young reunited with Crazy Horse for Ragged Glory, a loud, feedback-drenched album that received his strongest reviews since the '70s. For the supporting tour, Young hired the avant rock band Sonic Youth as his opening group, providing them with needed exposure while earning him hip credibility within alternative rock scenes. On the advice of Sonic Youth, Young added the noise collage EP Arc as a bonus to his 1991 live album, Weld.

Weld and the Sonic Youth tour helped position Neil Young as an alternative and grunge rock forefather, but he decided to abandon loud music for its 1992 follow-up, Harvest Moon. An explicit sequel to his 1972 breakthrough, Harvest Moon became Young's biggest hit in years, and he supported the record with an appearance on "MTV Unplugged", which was released the following year as an album. Also in 1993, Geffen released the rarities collection Lucky Thirteen. The following year, he released Sleeps with Angels, which was hailed as a masterpiece in some quarters. Following its release, Young began jamming with Pearl Jam, eventually recording an album with the Seattle band in early 1995. The resulting record, Mirror Ball, was released to positive reviews in the summer of 1995, but it wasn't the commercial blockbuster it was expected to be; due to legal reasons, Pearl Jam's name was not allowed to be featured on the cover.

In the summer of 1996, he reunited with Crazy Horse for Broken Arrow and supported it with a brief tour. That tour was documented in Jim Jarmusch's 1997 film "The Year of the Horse", which was accompanied by a double-disc live album. In 1999, Young reunited with Crosby, Stills & Nash for the first time in a decade, supporting their Looking Forward LP with the supergroup's first tour in a quarter century. A new solo effort, Silver & Gold, followed in the spring of 2000. In recognition of his 2000 summer tour, Young released the live album Road Rock, Vol. 1 the following fall, showcasing a two-night account of Young's performance at the Red Rocks Amphitheater in Morrison, Colorado, in September 2000. A DVD version titled Red Rocks Live was issued that December, including 12 tracks initially unavailable on Road Rock, Vol. 1. His next studio project was his most ambitious yet, a concept album about small-town life titled Greendale that he also mounted as a live dramatic tour and indie film.

In early 2005, Young was diagnosed with a potentially deadly brain aneurysm. Undergoing treatment didn't slow him down, however, as he continued to write and record his next project. The acoustically based Prairie Wind appeared in the fall, with the concert film "Heart of Gold", based around the album and directed by Jonathan Demme, released in 2006. That year also saw the release of the controversial CD/DVD Living with War, a collection of protest songs against the war in Iraq that featured titles such as "Let's Impeach the President," "Shock and Awe," and "Lookin' for a Leader." Restless, prolific, and increasingly self-referential, Young issued Chrome Dreams II late in 2007 and the car-themed Fork in the Road in 2009. Later in 2009, Young finally released the first installment in his long-rumored Archives series, Archives, Vol. 1, a massive first volume that combined over ten CD and DVD discs in a single box. As he was prepping Archives, Vol. 2, Young entered the studio with producer Daniel Lanois and recorded Le Noise, which appeared in the fall of 2010.

Young, Richie Furay, and Stephen Stills finally reunited as Buffalo Springfield for a pair of shows at Young's annual Bridge School Benefit in the fall of 2010. It wasn't a complete reunion, since bassist Bruce Palmer had died in 2004 and drummer Dewey Martin passed in 2009, but the three singers used drummer Joe Vitale and bassist Rick Rosas to fill in. The same configuration played six concerts in the spring of 2011 but reportedly did no studio work. Young continued going through his archives with the release of A Treasure in 2011, a single-disc set of live tracks recorded during his 1984-1985 tour with the International Harvesters that featured five previously unreleased Young songs mixed in with older songs like "Flying on the Ground Is Wrong" and "Are You Ready for the Country?," all done in the classic Harvest style. In 2012, Young reunited with Crazy Horse for Americana, a set of classic folk tunes like "This Land Is Your Land" and "Wayfarin' Stranger," followed several months later by the double-disc album of originals Psychedelic Pill, which again saw Young turning to the guitar garage stomp of Crazy Horse. A month prior to the October release of Psychedelic Pill, Young published his memoir, "Waging Heavy Peace".

Stephen Thomas Erlewine, Rovi

When the dust settles, Joni Mitchell may stand as the most important and influential female recording artist of the late 20th century. Uncompromising and iconoclastic, Mitchell confounded expectations at every turn; restlessly innovative, her music evolved from deeply personal folk stylings into pop, jazz, avant-garde, and even world music, presaging the multicultural experimentation of the 1980s and 1990s by over a decade. Fiercely independent, her work steadfastly resisted the whims of both mainstream audiences and the male-dominated recording industry. While Mitchell's records never sold in the same numbers enjoyed by contemporaries like Carole King, Janis Joplin, or Aretha Franklin, none experimented so recklessly with their artistic identities or so bravely explored territory outside of the accepted confines of pop music, resulting in a creative legacy which paved the way for performers ranging from Patti Smith and Chrissie Hynde to Madonna and Courtney Love.

Born Roberta Joan Anderson in Fort McLeod, Alberta, Canada, on November 7, 1943, she was stricken with polio at the age of nine; while recovering in a children's hospital, she began her performing career by singing to the other patients. After later teaching herself to play guitar with the aid of a Pete Seeger instruction book, she went off to art college, and became a fixture on the folk music scene around Alberta. After relocating to Toronto, she married folksinger Chuck Mitchell in 1965, and began performing under the name Joni Mitchell.

A year later the couple moved to Detroit, MI, but separated soon after; Joni remained in the Motor City, however, and won significant press acclaim for her burgeoning songwriting skills and smoky, distinctive vocals, leading to a string of high-profile performances in New York City. There she became a cause célèbre among the media and other performers; after she signed to Reprise in 1967, David Crosby offered to produce her debut record, a self-titled acoustic effort that appeared the following year. Her songs also found great success with other singers: in 1968, Judy Collins scored a major hit with the Mitchell-penned "Both Sides Now," while Fairport Convention covered "Eastern Rain" and Tom Rush recorded "The Circle Game."

Thanks to all of the outside exposure, Mitchell began to earn a strong cult following; her 1969 sophomore effort, Clouds, reached the Top 40, while 1970's Ladies of the Canyon sold even better on the strength of the single "Big Yellow Taxi." It also included her anthemic composition "Woodstock," a major hit for Crosby, Stills, Nash & Young. Still, the commercial and critical approval awarded her landmark 1971 record Blue was unprecedented: a luminous, starkly confessional set written primarily during a European vacation, the album firmly established Mitchell as one of pop music's most remarkable and insightful talents.

Predictably, she turned away from Blue's incandescent folk with 1972's For the Roses, the first of the many major stylistic turns she would take over the course of her daring career. Backed by rock-jazz performer Tom Scott, Mitchell's music began moving into more pop-oriented territory, a change typified by the single "You Turn Me On (I'm a Radio)," her first significant hit. The follow-up, 1974's classic Court and Spark, was her most commercially successful outing: a sparkling, jazz-accented set, it reached the number two spot on the U.S. album charts and launched three hit singles -- "Help Me," "Free Man in Paris," and "Raised on Robbery."

After the 1974 live collection Miles of Aisles, Mitchell emerged in 1975 with The Hissing of Summer Lawns, a bold, almost avant-garde record that housed her increasingly complex songs in experimental, jazz-inspired settings; "The Jungle Line" introduced the rhythms of African Burundi drums, placing her far ahead of the pop world's mid-'80s fascination with world music. 1976's Hejira, recorded with Weather Report bassist Jaco Pastorius, smoothed out the music's more difficult edges while employing minimalist techniques; Mitchell later performed the album's first single, "Coyote," at the Band's Last Waltz concert that Thanksgiving.

Her next effort, 1977's two-record set Don Juan's Reckless Daughter, was another ambitious move, a collection of long, largely improvisational pieces recorded with jazz players Larry Carlton and Wayne Shorter, Chaka Khan, and a battery of Latin percussionists. Shortly after the record's release, Mitchell was contacted by the legendary jazz bassist Charles Mingus, who invited her to work with him on a musical interpretation of T.S. Eliot's Four Quartets. Mingus, who was suffering from Lou Gehrig's disease, sketched out a series of melodies to which Mitchell added lyrics; however, Mingus died on January 5, 1979, before the record was completed. After Mitchell finished their collaboration on her own, she recorded the songs under the title Mingus, which was released the summer after the jazz titan's passing.

Following her second live collection, 1980's Shadows and Light, Mitchell returned to pop territory for 1982's Wild Things Run Fast; the first single, a cover of the Elvis Presley hit "(You're So Square) Baby I Don't Care," became her first chart single in eight years. Shortly after the album's release, she married bassist/sound engineer Larry Klein, who became a frequent collaborator on much of her subsequent material, including 1985's synth-driven Dog Eat Dog, co-produced by Thomas Dolby. Mitchell's move into electronics continued with 1988's Chalk Mark in a Rain Storm, featuring guests Peter Gabriel, Willie Nelson, Tom Petty, and Billy Idol.

Mitchell returned to her roots with 1991's Night Ride Home, a spare, stripped-down collection spotlighting little more than her voice and acoustic guitar. Prior to recording 1994's Turbulent Indigo, she and Klein separated, although he still co-produced the record, which was her most acclaimed work in years. In 1996, she compiled a pair of anthologies, Hits and Misses, which collected her chart successes as well as underappreciated favorites. A new studio album, Taming the Tiger, followed in 1998. Both Sides Now, a collection of standards, followed in early 2000.

Two years later, Mitchell resurfaced with the double-disc release Travelogue. She announced in October 2002 that this would be her last album ever, for she'd grown tired of the industry. She told W magazine that she intended to retire. She also claimed she would never sign another corporate label deal and in Rolling Stone blasted the recording industry for being "a cesspool." By the time Travelogue appeared a month later, Mitchell had simmered down and her plans to call it quits had been axed. Numerous compilations and remasters appeared between 2002 and 2006, culminating in the release of the independent Shine in 2007.

Jason Ankeny, Rovi

For roughly half a decade, from 1968 through 1975, the Band was one of the most popular and influential rock groups in the world, their music embraced by critics (and, to a somewhat lesser degree, the public) as seriously as the music of the Beatles and the Rolling Stones. Their albums were analyzed and reviewed as intensely as any records by their one-time employer and sometime mentor Bob Dylan. Although the Band retired from touring after The Last Waltz and disbanded several years later, their legacy thrived for decades, perpetuated by the bandmates' respective solo careers as well as the enduring strength of the Band's catalog.

The group's history dates back to 1958, just about the time that the formative Beatles gave up skiffle for rock & roll. Ronnie Hawkins, an Arkansas-born rock & roller who aspired to a real career, assembled a backing band that included his fellow Arkansan Levon Helm, who played drums (as well as credible guitar) and had led his own band, the Jungle Bush Beaters. The new outfit, Ronnie Hawkins & the Hawks, began recording during the spring of 1958 and gigged throughout the American south; they also played shows in Ontario, Canada, where the money was better than in their native south. When pianist Willard Jones left the lineup one year later, Hawkins began looking at some of the local music talent in Toronto in late 1959. He approached a musician named Scott Cushnie about joining the Hawks on keyboards. Cushnie was already playing in a band with Robbie Robertson, however, and would only join Hawkins if the latter musician could come along.

After some resistance from Hawkins, Robertson entered the lineup on bass, replacing a departing Jimmy Evans. Additional lineup switches took place over the next few years, with Robbie Robertson shifting to rhythm guitar behind Fred Carter's (and, briefly, Roy Buchanan's) lead playing. Rick Danko (born December 9, 1943) came in on bass in 1961, followed by Richard Manuel (born April 3, 1944) on piano and backing vocals. Around that same time, Garth Hudson (born August 2, 1937), a classically trained musician who could read music, became the last piece of the initial puzzle as organ player.

From 1959 through 1963, Ronnie Hawkins & the Hawks were one of the hottest rock & roll bands on the circuit, a special honor during a time in which rock & roll was supposedly dead. Hawkins himself was practically Toronto's answer to Elvis Presley, and he remained true to the music even as Presley himself softened and broadened his sound. The mix of personalities within the group meshed well, better than they did with Hawkins, who, unbeknownst to him, was soon the odd man out in his own group. As new members Danko, Manuel, and Hudson came aboard -- all Canadian, and replacing Hawkins' fellow southerners -- Hawkins lost control of the group, to some extent, as they began working together more closely.

Finally, the Hawks parted company with Ronnie Hawkins during the summer of 1963, the singer's at times overbearing personality and ego getting the better of the relationship. The Hawks decided to stay together with their oldest member, Levon Helm, out in front, variously renaming themselves Levon & the Hawks and the Canadian Squires and cutting records under both names. A hook-up with a young John Hammond, Jr. for a series of recording sessions in New York led to the group's being introduced to Bob Dylan, who was then preparing to pump up his sound in concert. Robertson and Helm played behind Dylan at his Forest Hills concert in New York in 1965 (a bootleg tape of which survives, and can be heard), and he ultimately signed up the entire group.

The hook-up with Dylan changed the Hawks, but it wasn't always an easy collaboration. In their five years backing Ronnie Hawkins, the group had played R&B-based rock & roll, heavily influenced by the sound of Chess Records in Chicago and Sun Records in Memphis. Additionally, they'd learned to play tightly and precisely and were accustomed to performing in front of audiences that were interested primarily in having a good time and dancing. Now Dylan had them playing electric adaptations of folk music, with lots of strumming and lacking the kind of edge they were accustomed to putting on their work. His sound was traceable to the music of Big Bill Broonzy and Josh White, while they'd spent years playing the music of Jerry Lee Lewis, Chuck Berry, and Bo Diddley. As it happens, all of those influences are related, but not directly, and not in ways that were obvious to the players in 1964.

Ironically, in the spring of 1965, the group had just missed their chance at what could have been a legendary meeting on record with a musician they did understand. They'd met Arkansas-based blues legend Sonny Boy Williamson II, and jammed with the singer/blues harpist one day, hoping to cut some records with him. They hadn't realized it at the time, but Williamson was a dying man -- by the time the Hawks were ready to return and try to cut some records with him, he had passed on.

Another problem for the group about working with Dylan concerned his audience. The Hawks had played in front of a lot of different audiences in the previous four years, but almost all of them were people primarily interested in enjoying themselves and having a good time. Dylan, however, was playing for crowds that seemed ready to reject him over principle. The Hawks weren't accustomed to confronting the kinds of passions that drove the folk audience, any more than they were initially prepared for the freewheeling nature of Dylan's performances -- he liked to make changes in the way he did songs on the spot, and the group was often hard put to keep up with him, at least at first, although the experience did make them a more flexible ensemble on-stage.

Eventually the group did get together with Dylan as his backup band on his 1966 tour, although Levon Helm left soon after the tour began at the end of 1965. The group ultimately fell under the management orbit of Dylan's own manager, Albert Grossman, who persuaded the four core members (sans Helm) to join Dylan in Woodstock, NY, working on the sessions that ultimately became the Basement Tapes in their various configurations, none of which would be heard officially for almost a decade. (Indeed, up to this time, only a single song, "Just Like Tom Thumb's Blues," done live from the tour just ended, on a 45 B-side, had surfaced representing the group playing with Dylan).

Finally, a recording contract for the group -- rechristened the Band -- was secured by Grossman from Capitol Records. Levon Helm returned the fold, and the result was Music from Big Pink, an indirect outgrowth of the Basement Tapes. This album, enigmatically named and packaged, sounded like nothing else being done by anybody in music when it was released in July of 1968. It was as though psychedelia, and the so-called British Invasion, had never happened; the group played and sang like five distinct individuals working toward the same goal, not mixing together smoothly. There was a collective sound to "the band," but it made up five distinct individual voices and instruments mixing folk, blues, gospel, R&B, classical, and rock & roll.

The press latched on to the album before the public did, but over the next year, the Band became one of the most talked about phenomenon in rock music and Music from Big Pink acquired a mystique and significance akin to such albums as Beggars Banquet. The group and album ran counter to the so-called counterculture, and took a little getting used to, if only for their lack of a smooth, easily categorizable sound. Their music was steeped in Americana and historical and mythic American imagery, despite the fact that all of the members except Helm came from Canada (which, in fact, may have helped them appreciate the culture they were dealing with, as outsiders). Robertson, Manuel, and Danko all wrote, and everyone but Robertson and Hudson sang; their vocals didn't mesh sweetly but simply flowed together in an informal manner. Classical organ flourishes meshed with a big (yet lean), raw rock & roll sound and the whole was so far removed from the self-indulgent virtuosity and political and cultural posturing going on around them that the Band seemed to be operating in a different reality, to different rules.

During this same period, the group's past association with Bob Dylan -- whose name at the time had an almost mystical resonance with audiences -- was mentioned in the rock press and also put right in the faces of listeners through a new phenomenon. Only a single track from the group's 1966 tour with Dylan had ever surfaced, and that was an out-of-print B-side to an old single. But in 1969, the first widely distributed bootleg LP, The Great White Wonder, featuring the then-unreleased Basement Tapes, started turning up on college campuses and record collectors' outlets. The quality was limited, the labels were blank, and there was no "promotion" as such of this patently illegal release, but it got around to hundreds of thousands of listeners and only heightened the mystique surrounding the Band.

Music from Big Pink, which featured a painting by Bob Dylan on its cover, began selling -- slowly at first and then better -- and the group played a few select shows. A second album, simply titled The Band, was every bit as good as the first. Dominated by Robertson's writing, it was released in September of 1969, and with it, the group's reputation exploded; moreover, they began their climb out of the shadow of Bob Dylan with songwriting of their own that was every bit a match for anything he was releasing at the time. A pair of songs, "Up on Cripple Creek" and "The Night They Drove Ol' Dixie Down," captured the public imagination, the former getting them onto The Ed Sullivan Show in an appearance that's fascinating to watch on the official Ed Sullivan video release; the host comes out to embrace and congratulate them, obviously thrilled after the psychedelic and hard rock acts that he usually booked, to see a group whose words and music he understood. Meanwhile, "The Night They Drove Ol' Dixie Down" became a popular radio track and yielded a hit cover version in the guise of an unaccountably corrupted rendition by Joan Baez (in which, for reasons that only Baez may be able to explain, Robert E. Lee is transformed into a steamboat) that made the Top Five.

Following the release of the second album, things changed somewhat within the group. Partly owing to the pressures of touring and the public's expectations of "genius," and also to the growing press fixation on Robbie Robertson at the expense of the rest of the group, the other group members remained familiar enough that their names and personalities were well-known to the public. The Band was still a great working ensemble, as represented on their brilliant third album, Stage Fright, but gradually exhaustion and personal pressures took their toll. Additionally, the huge amounts of money that the members started collecting, against hundreds of thousands and ultimately millions of record sales, led to instances of irresponsible behavior by individual members and their spouses and raised the pressure on the group to perform. The members had always engaged in a certain amount of casual drug use, mostly involving marijuana, but now they had access to more serious and expensive chemical diversions. Some private resentments also began manifesting themselves about Robertson's dominance of the songwriting (some reality of which was questioned openly in Levon Helm's autobiography years later), and the fact that the group was now constantly in the public eye didn't help.

By the time of the fourth album, Cahoots, some of the glow of experimentation and easygoing camaraderie was gone, though ironically, the album was still one of the best released in 1971. The problem for the group became fulfilling all of the commitments involved in success, including touring and writing new material to record. By the end of 1971, they'd decided to take a break, cutting a live album, Rock of Ages, that was all fans had to content themselves with in 1972. The fact that their next album, issued in 1973, was a collection of studio versions of the oldies that the group used to do on-stage, and numbers that they knew from their days as the Hawks, should have been a warning sign that not everything was well within the group. More troubling still was the fact that the renditions were so plain and flat sounding compared to the music they'd cut on every prior album; it simply wasn't up to the standard that one expected of the group and the fact that they didn't tour behind the record seemed to indicate that they were marking time with Moondog Matinee. The group did play one major show that year, at the race track at Watkins Glen, NY, before the largest audience ever assembled for a rock concert -- it was a demonstration of their place in the rock pantheon that the Band was booked alongside the Grateful Dead and the Allman Brothers Band.

The year 1973 was also where they let the other shoe drop on their association with Bob Dylan, cutting the Planet Waves album with him and preparing for a huge national tour together in 1974. That tour, in retrospect, seemed more a basis for cashing in on their association with Dylan than for any new music-making of any significance. In many critics' eyes, the Band was superior to Dylan in their performances, an idea borne out on much of the live LP Before the Flood that was distilled down from the two February 14, 1974, performances. Everyone made a fortune from it, but the tour with Dylan also thrust the group right into the middle of the most decadent part of the rock world. A lot of the simplicity and directness of their music and lives succumbed to the easy availability of sex, drugs, and other diversions and the expensive lifestyles they were all starting to maintain.

By the end of 1974, the Band had expended much of the good will they'd built up from their first four albums. Another album, Northern Lights -- Southern Cross released in late 1975, was a major comeback and restored some of the group's reputation as a cutting-edge ensemble, even encompassing elements of synthesizer music into its writing and production. Around this same time, Levon Helm and Garth Hudson made a belated contribution to the history of Chess Records (in light of their near-miss with Sonny Boy Williamson a decade earlier) when they worked with Muddy Waters, cutting an entire album with the blues legend at Helm's studio in Woodstock, NY. The Muddy Waters Woodstock Album, although ignored at the time by everyone but the critics, was the last great album cut by the label or by Waters at the label, and his best album in at least five years.

It was too late to save the Band as a working ensemble, however; the members were all involved in their own interests and lives and the group stopped touring. The inevitable best-of album in 1976, ahead of what proved to be their final tour, marked the unofficial end of the original lineup's history. One last new album, Islands, fulfilled the group's contract and had some fine moments, but they never toured behind it and it was clear to one and all that the Band was finished as a going concern. The group marked the end of their days as an active unit with the release of the film (and accompanying soundtrack LP set) The Last Waltz, directed by Martin Scorsese, of their farewell concert, which was an all-star performing affair pulling together the talents of Ronnie Hawkins, Muddy Waters, Eric Clapton, Neil Young, Van Morrison, and a dozen other luminaries drawn from the ranks of old friends, admirers, and idols of theirs. Robertson and Helm pursued musical and film careers, while Danko tried to start a solo career of his own.

Capitol Records kept repackaging their music on vinyl with an Anthology collection and a second best-of LP, as well as a pair of CD recompilations, To Kingdom Come and Across the Great Divide, in the '90s. As it turned out the members, apart from Robertson, weren't quite as ready or willing to close the book on the group, in part because they saw no reason to and also because several of them proved unable to sustain profitable solo careers (Robertson, having written most of the songs, had a steady income from the publishing as well as the record sales). The other members of the group reunited at various times -- in 1983, four members of the Band, with Robertson replaced by Earl Cate of the Cate Brothers on guitar, reunited for a tour that yielded a full-length concert video and a healthy audience response. The death of Richard Manuel in 1986 cast a dark pall on any future reunions, of which there were several -- Robertson issued his first solo album a year later, which included a tribute to Manuel ("Fallen Angel").

This was as close as the guitarist would get to a Band reunion, however, which became a bone of contention among onlookers and the members. Robertson publicly questioned what the meaning of The Last Waltz had been and would never participate. And as the group's major songwriter and principal guitarist, he was their most famous member, but he almost never sang significant vocal parts on their recordings (indeed, it is said that one reason their set from Woodstock was never issued was because his mic was live and his voice too prominent). Other guitarists could build on his work well enough, and the rest of the group had made significant contributions to virtually every song they ever did, so the reunions made sense. In 1993, the Band released Jericho, their first new album in 16 years, which received surprisingly good reviews. High on the Hog followed in 1996 and two years later, they celebrated their 30th anniversary with Jubilation. The death of Rick Danko in his sleep at his home in Woodstock on December 10, 1999, the day after his 56th birthday, called an end to future activities by any version of the Band, even when they received the Grammys' Lifetime Achievement Award in 2008. Levon Helm, whose solo career had accelerated during the 2000s (including the well-received Vanguard album Dirt Farmer), contracted cancer and died in April 2012.

Bruce Eder, Rovi

Is it possible to be a one-hit wonder three times? The question is provoked by the recording career of Arlo Guthrie, which is best remembered for three songs in three different contexts. There is "The City of New Orleans," Guthrie's only Top 40 hit, which earns him an entry in Wayne Jancik's The Billboard Book of One-Hit Wonders. There is also "Coming into Los Angeles," which Guthrie sang at the legendary Woodstock music festival, and which featured prominently in both the Woodstock movie and multi-platinum soundtrack album. And there is "Alice's Restaurant Massacree," the comic-monologue-in-song that gave him his initial fame and took up the first side of his debut LP, the million-selling Alice's Restaurant. Whether these successful tracks make him a one-, two-, or three-hit wonder, they were arguably both flukes in a performing career that was still going strong a full 40 years after Guthrie first gained national recognition and facilitators of that career. With their help, he spent 15 years signed to a major record label, charting 11 LPs, after which he was able to set up his own label and go on issuing albums. More significant, he maintained a steady following as a live performer, touring worldwide year after year to play before audiences delighted by his humorous persona and his musical mixture of folk, rock, country, blues, and gospel styles in songs almost equally divided between his own originals and well-chosen cover tunes.

Arlo Davy Guthrie was born July 10, 1947, in the Coney Island section of the borough of Brooklyn in New York City and grew up there. He was the fifth child of Woody Guthrie, the famous folksinger and songwriter, but the second child born to his father's second wife, Marjorie Greenblatt Mazia Guthrie, a former dancer with the Martha Graham dance troupe who had become a dance teacher; his older sister, Cathy Ann Guthrie, had died in a fire at the age of four five months earlier. After having two more children, Joady and Nora, Guthrie's parents separated when he was four and later divorced; his mother remarried. His father remained an important presence in his life, however, giving him his first guitar for his sixth birthday in 1953. By then, Woody Guthrie had been diagnosed with Huntington's disease, an incurable, hereditary illness; he was hospitalized permanently in 1954, and Guthrie's mother supervised his care.

Guthrie grew up surrounded by his father's friends, including such folksingers as Pete Seeger and Cisco Houston. (Houston brought him up on-stage at the Greenwich Village nightclub Gerde's Folk City for an impromptu performance when he was only ten.) Guthrie later said that he had been unaware of his father's fame until he switched from public school to a progressive private school in the sixth grade and found that students there were singing Woody Guthrie songs like "This Land Is Your Land." Only then did he begin learning his father's music. Nevertheless, he did not expect to become a performer himself, feeling that his introspective personality was not suited to such a career. When he graduated from high school at the Stockbridge School in Massachusetts in 1965, he enrolled at Rocky Mountain College in Billings, MT, to study forestry with the intention of becoming a forest ranger. He dropped out after only six weeks, however. Returning to Massachusetts, he stayed at the home of Alice and Ray Brock, a deconsecrated church. The Brocks were former faculty members of the Stockbridge School who had opened a restaurant called the Back Room. Celebrating Thanksgiving with them, Guthrie and his friend Rick Robbins undertook what he later called the "friendly gesture" of attempting to dispose of a large amount of accumulated garbage for them. Finding the city dump closed, they threw it down a hillside. As a result, they were arrested for littering. Convicted of the offense, they paid fines of $25 each and retrieved the garbage. This proved fortuitous shortly afterward, when Guthrie was summoned for the military draft and judged unfit for service because of his criminal record.

Guthrie took up performing, turning professional in February 1966 with a debut at Club 47 in Cambridge, MA. His repertoire included a 16-bar ditty he had written that constituted a musical commercial for the Brocks' eatery, with a chorus that went, "You can get anything you want/At Alice's restaurant." The song, however, was the least of the performance, as Guthrie told a fanciful and comic version of his adventures in littering and at the draft board, spinning it out to what amounted to a 20-minute comedy routine with a tune wrapped around it. He performed what he called "Alice's Restaurant Massacree" (idiosyncratically pronouncing the last word "mas'e-kree" instead of "mas'e-ker," hence the extra "e") at Carnegie Hall as part of a folk song festival sponsored by New York radio station WNYC, and another local station, WBAI, began airing a tape of the song in the spring of 1967, to popular response. Guthrie attended the Newport Folk Festival and found himself promoted to the closing-night concert on the main stage, performing "Alice's Restaurant Massacree" to 20,000 folk fans on July 16, 1967. That provoked interest from Warner Bros. Records, which signed him and issued Alice's Restaurant on its Reprise subsidiary in September 1967, only weeks before Woody Guthrie's death on October 3. The album entered the Billboard magazine Top LP's chart on November 18 and rose steadily, peaking at number 29 on March 2, 1968, and staying on the chart 65 weeks. (Although the title song dominated attention, the LP also contained a second side of original Guthrie compositions including "Highway in the Wind," which was covered by Hearts and Flowers and Noel Harrison soon after, and by Kate Wolf later.) The success of the album and of "Alice's Restaurant Massacree" went well beyond sales, however. First, it established Guthrie not only as a star, but also as a figure separate from his father, always a tricky thing to accomplish for a child following in the footsteps of a famous parent. Despite Woody Guthrie's renown as a progenitor of the 1960s folk revival, he himself did not perform after the early '50s, and his son presented a distinct, if related persona to a young audience that only vaguely recalled his father, if at all. Second, as a highly entertaining live recording, "Alice's Restaurant Massacree" immediately transformed Guthrie into a concert attraction; he came off as a wry, yet gentle and charming hippie able to puncture the pretensions of "the establishment" with comic hyperbole.

Guthrie appeared at a memorial concert for his father held on January 20, 1968, at Carnegie Hall that was later released on disc as A Tribute to Woody Guthrie, Pt. 1, featuring his performances of "Do Re Mi" and "Oklahoma Hills," and reached the charts. (A second concert at the Hollywood Bowl on August 12, 1970, produced another LP, A Tribute to Woody Guthrie, Pt. 2, on which Guthrie performed "Jesus Christ" and participated in a version of "This Land Is Your Land"; it also charted.) Alice's Restaurant was still selling when Reprise released Guthrie's second LP, Arlo, in October 1968. It was a live album recorded at the Bitter End nightclub in Greenwich Village, and it featured more of Guthrie's zany humor, along with original songs. Overshadowed by Alice's Restaurant, it peaked at number 100 in Billboard, although it got to number 40 in rival Cash Box magazine.

Guthrie agreed to have "Alice's Restaurant Massacree" adapted into a motion picture and to star as himself in the film. Veteran director Arthur Penn (The Miracle Worker, Bonnie and Clyde) was brought in, and he co-wrote the screenplay with Venable Herndon, elaborating on the song's story to create a virtual screen biography of the 21-year-old Guthrie. Alice's Restaurant the movie premiered at the New York Film Festival on August 24, 1969, to favorable reviews, earning Penn an Academy Award nomination for Best Director. Alice's Restaurant the album promptly jumped back into the charts. It was certified gold on September 29 (the same day that Guthrie appeared on the cover of Time magazine) and achieved a new peak in Billboard at number 17 on November 15. Ultimately, it spent a total of 99 weeks in the Billboard chart, and it was certified platinum in 1986. United Artists, the distributor of the film, released a soundtrack album featuring a different, two-part version of "Alice's Restaurant Massacree" along with instrumental music by Guthrie on its record label in September. Simultaneously, Reprise released Guthrie's third album, Running Down the Road. Given this glut of product, it is striking that both albums sold fairly well. The soundtrack album peaked at number 63 (number 58 in Cash Box), and Running Down the Road got to 54 (33 in Cash Box). (Reprise also released as a one-off single "Alice's Rock & Roll Restaurant," a shortened, re-recorded version of the famous song, and it charted briefly.)

Nevertheless, Running Down the Road did not attract as much attention as it deserved. Produced by Lenny Waronker and Van Dyke Parks and featuring such prominent session musicians as James Burton, Ry Cooder, and Clarence White, it was Guthrie's first album without any comic monologues, and it combined some excellent new originals, including the psychedelic rocker "Coming into Los Angeles" (a tale of dope smuggling) and the tender ballad "Oh, in the Morning" (later covered by McKendree Spring), with covers of old folk and blues standards like Woody Guthrie's "Oklahoma Hills" and Mississippi John Hurt's "My Creole Belle." (Whether due to his own inclinations or the demanding one-album-a-year schedule of his record contract, Guthrie from this point on would cut as many covers as original songs for his LPs.) Prior to the release of Running Down the Road, Guthrie had appeared at the Woodstock festival on August 15, 1969, where, as part of his set, he performed the then-unreleased "Coming into Los Angeles." When that performance turned up in the Woodstock movie and soundtrack album in May 1970, the tune became one of his signature songs.

In October 1969, Guthrie, who had bought a 250-acre farm in Stockbridge, MA, married Alice "Jackie" Hyde, with whom he would have four children: Abraham (Abe), Annie, Sarah Lee, and Cathy. Abe Guthrie became a musician and worked with his father. Sarah Lee Guthrie also went into music and became a recording artist.

Guthrie released his fourth album, Washington County, in October 1970. Although it included covers such as Bob Dylan's relatively obscure "Percy's Song," it was dominated by Guthrie originals, notably "Gabriel's Mother's Hiway Ballad #16 Blues" (later covered by Jackie DeShannon) and the single "Valley to Pray," which charted in Cash Box. The album hit number 33 in Billboard, number 29 in Cash Box. An unusually long time (for the early '70s, that is) passed before the release of Guthrie's fifth album, Hobo's Lullaby, 19 months later in May 1972, and when it appeared it was largely devoid of original compositions. One of the covers was Steve Goodman's "The City of New Orleans," a song about a train of that name with the catchy chorus line "Good morning, America, how are you?" Released as a single, it peaked at number 18 in the Billboard Hot 100, number four in the magazine's Easy Listening chart, and Hobo's Lullaby went to number 55 (number 35 in Cash Box), remaining in the chart for 38 weeks. Last of the Brooklyn Cowboys, Guthrie's sixth album, was released in April 1973. It was another effort largely given over to cover material and performed with the cream of Los Angeles session musicians. The single "Gypsy Davy" (another Woody Guthrie song) reached the Easy Listening chart, and the LP peaked at number 87 in Billboard, number 63 in Cash Box.

With the decline of the singer/songwriter movement of the early '70s and the rise of disco, Guthrie's record sales fell off after Last of the Brooklyn Cowboys, which became his final album to hit the upper half of the Top 200 bestsellers. Subsequent releases struggled to spend a few weeks in the bottom half of that list, or did not chart at all. This commercial decline was first apparent with the release of his seventh album, Arlo Guthrie, in May 1974. The sales were especially disappointing given the quality of the LP, which increased the number of Guthrie originals to include the scathing "Presidential Rag," a reflection on the current Watergate scandal about to drive President Nixon from office; "Children of Abraham," an examination of the Arab-Israeli conflict; and "Last to Leave," a personal expression by a man who had spent his entire life wondering whether he carried the disease that killed his father. (Guthrie refused to be tested to determine whether he had the gene that causes Huntington's disease, but as he aged and showed no symptoms, it became apparent that he did not.)

Despite his dropping record sales, Guthrie remained a potent concert attraction. He teamed with Pete Seeger for a series of concerts that resulted in a double-LP live album, Together in Concert, released in May 1975. That fall, he hired a local Massachusetts band, Shenandoah, as his regular backup group for shows. For his next album, Amigo, however, he stuck with L.A. session musicians. The disc contained more originals than usual, among them "Victor Jara," an account of the death of the Chilean singer/songwriter who was slaughtered in his country's CIA-backed military coup in 1973 that was later covered by Christy Moore, and "Patriot's Dream," which later served as a title song for an album by Jennifer Warnes. When Amigo was released in September 1976, it garnered strong reviews from rock critics because it rocked more than Guthrie's albums usually did, notably on a cover of the relatively unknown Rolling Stones song "Connection." But the positive notices did not help sales. That fall, Guthrie joined Bob Dylan's Rolling Thunder Revue for some shows, leading to an appearance in Dylan's film Renaldo and Clara, shot during the tour.

Another of the originals on Amigo was a song called "Darkest Hour," a poetic and personal statement by Guthrie, who was questioning his spiritual ideas at this time. In 1977, he formally converted to Roman Catholicism. (He later explored Hinduism and Buddhism, adopting a more ecumenical view of religion.) His next album, One Night, released in October 1978, was a live recording with only one original song, a return to comic storytelling, called "The Story of Reuben Clamzo and His Strange Daughter in the Key of A." Shenandoah backed Guthrie on the disc, and he also took the band into the studio for his next album, Outlasting the Blues, which followed in June 1979. This LP consisted mostly of originals, some of which reflected his religious beliefs. Again, it attracted strong critical reaction, although it did not sell well enough to reach the charts.

Guthrie's last chart album was Power of Love, released in June 1981. It was another disc consisting largely of cover material. After its release, Guthrie went on another tour with Seeger, resulting in a second double live album, Precious Friend, released in February 1982. Guthrie prepared a new album for submission to Warner Bros., but the label rejected the disc, asking for changes the singer declined to make. Warner was rethinking its roster at the time and cut a number of veteran acts, including Bonnie Raitt, Van Morrison, and Guthrie. Guthrie simply continued to tour as he always had, deriving most of his income from his concert work. In 1984, he teamed again with Seeger as well as the duo of Holly Near and Ronnie Gilbert (like Seeger a former member of the Weavers) in a quartet dubbed HARP after the initials of their first names; concert performances led to a HARP LP issued on Near's Redwoods Records label in 1985. Also in 1984, Guthrie narrated a documentary film about his father, Woody Guthrie: Hard Travelin', and appeared on the soundtrack album. In 1986, Guthrie launched his own label, Rising Son Records, and put out the album he'd submitted to Warner three years earlier, Someday. He also set about licensing or acquiring his out-of-print Warner/Reprise albums for reissue. Notwithstanding the major label's objections, Someday was a strong collection, led by the Guthrie original "All Over the World" (which had debuted on HARP) and the amusing post-hippie lament "Oh Mom," with lyrics by Terry Hall and the tag line, "Mom, your universal love is such a drag."

Guthrie had another chance to sing music of his father's era on Folkways: A Vision Shared, an all-star album of Woody Guthrie and Leadbelly material recorded as a benefit for the new Smithsonian Folkways label that was released in August 1988 and peaked at number 70 in the charts. In 1990, he released his first children's album, Baby's Storytime, along with a home video, on Lightyear. All Over the World, released by Rising Son in 1991, found Guthrie re-recording some of his old songs.

In January 1992, Guthrie bought the deconsecrated church in which the Brocks had lived and converted it into the headquarters of Rising Son Records and a nonprofit community service center. Son of the Wind, which appeared in 1992, was a collection of Western and cowboy music. On August 25 of that year, Guthrie briefly returned to Warner Bros. for the release of Woody's 20 Grow Big Songs, a collection of Woody Guthrie's children's songs on which he, his brother and sister, and their children overdubbed Woody Guthrie's original recordings or recorded new versions of the tunes, as an accompaniment to a songbook of the same name. The project was billed to Woody & Arlo Guthrie & the Guthrie Family. It was nominated for a 1992 Grammy Award for Best Album for Children. The same year, Guthrie had a small part in the film Roadside Prophets.

Rising Son issued a third Guthrie/Seeger double live album, More Together Again: In Concert, in March 1994. At the same time, Guthrie returned to acting, taking a role in the television series Byrds of Paradise. (He later appeared on episodes of the shows Relativity [December 1996] and Renegade [January 1997].) In October 1995, he collaborated with Alice Brock, who illustrated their children's book, Mooses Come Walking.

In January 1996, Guthrie released Mystic Journey, his first studio album of new material since Someday in 1986. It was co-produced by his son Abe Guthrie. He marked the 30th anniversary of Alice's Restaurant, the one album he had not been able to buy back from Warner, by re-recording the entire disc and releasing the new version on June 17, 1997, as Alice's Restaurant: The Massacree Revisited. The same year, Rounder Records released This Land Is Your Land, another album on which Guthrie overdubbed his voice onto recordings by his father. The album earned him another Grammy nomination for Best Musical Album for Children.

Guthrie toured as part of Judy Collins' Wildflower Festival along with Eric Andersen and Tom Rush, resulting in a live album and video released in 2003. He released a double-disc concert album, Live in Sydney, on August 9, 2005. On this album, he was accompanied only by Abe Guthrie and Gordon Titcomb. But since 1998, he also had been performing with orchestras, including the Boston Pops, resulting in an appearance on PBS' Evening at Pops and a 2001 Fourth of July show on A&E with the Pops. On July 10, 2007, his 60th birthday, he released another live album, In Times Like This, recorded with the University of Kentucky Symphony Orchestra, as he embarked on a yearlong solo concert tour. A long rumored bluegrass outing with the Dillards, 32¢/Postage Due, also appeared in 2007, followed by Tales of '69 in 2009.

William Ruhlmann, Rovi