Warner Brothers combined two of {$James Taylor's} best albums, {^Sweet Baby James} and {^Mud Slide Slim and the Blue Horizon}, on one cassette in the early '80s. The heart of {$James Taylor's} appeal is that you can take him two ways. On the one hand, his music, including that warm voice, is soothing; its minor key melodies and restrained playing draw in the listener. On the other hand, his world view, especially on such songs as {&"Fire and Rain,"} and reflects the pessimism and desperation of the 1960s hangover that was the early '70s. That may not be intentional: "Fire and Rain" was about the suicide of a fellow inmate of {$Taylor's} at a mental institution, not the national malaise. But {$Taylor's} sense of wounded hopelessness -- "I'm all in pieces, you can have your own choice," he sings in "Country Road" -- struck a chord with music fans, especially because of its attractive mixture of folk, country, gospel, and blues elements, all of them carefully understated and distanced. {$Taylor} didn't break your heart, he understood that it was already broken, as was his own, and he offered comfort. As a result, {^Sweet Baby James} sold millions of copies, spawned a Top Ten hit in "Fire and Rain" and a Top 40 hit in "Country Road," and launched not only {$Taylor's} career as a pop superstar but also the entire singer/songwriter movement of the early '70s that included {$Joni Mitchell}, {$Carole King}, {$Jackson Browne}, {$Cat Stevens}, and others. A second legacy became clear two decades later, when country stars like {$Garth Brooks} began to cite {$Taylor}, with his use of steel guitar, references to Jesus, and rural and Western imagery on {^Sweet Baby James}, as a major influence. On {^Mud Slide Slim and the Blue Horizon}, his follow-up to the landmark {^Sweet Baby James}, {$Taylor} brought his listeners up to date, wisely trying to step beyond the cultural, if not the personal, markers he had established. Despite affirming romance in songs like "Love Has Brought Me Around" and the moving "You Can Close Your Eyes," as well as companionship in "You've Got a Friend," the record still came as a defense against the world, not an embrace of it; {$Taylor} was unable to forget the past or trust the present. The songs were full of references to the road and the highway, and he was uncomfortable with his new role as spokesman. The confessional songwriter was now, necessarily, writing about what it was like to be a confessional songwriter: {^Mud Slide Slim and the Blue Horizon} served the valuable function of beginning to move {$James Taylor} away from the genre he had defined, which ultimately would give him a more long-lasting appeal. ~ William Ruhlmann, All Music Guide