Lynyrd Skynyrd was the definitive Southern rock band, fusing the overdriven power of blues-rock with a rebellious Southern image and a hard rock swagger. Skynyrd never relied on the jazzy improvisations of the Allman Brothers. Instead, they were a hard-living, hard-driving rock & roll band -- they may have jammed endlessly on-stage, but their... [+] Read More

Lynyrd Skynyrd was the definitive Southern rock band, fusing the overdriven power of blues-rock with a rebellious Southern image and a hard rock swagger. Skynyrd never relied on the jazzy improvisations of the Allman Brothers. Instead, they were a hard-living, hard-driving rock & roll band -- they may have jammed endlessly on-stage, but their music remained firmly entrenched in blues, rock, and country. For many, Lynyrd Skynyrd's redneck image tended to obscure the songwriting skills of their leader, Ronnie Van Zant. Throughout the band's early records, Van Zant demonstrated a knack for lyrical detail and a down-to-earth honesty that had more in common with country than rock & roll. During the height of Skynyrd's popularity in the mid-'70s, however, Van Zant's talents were overshadowed by the group's gritty, greasy blues-rock. Sadly, it wasn't until he was killed in a tragic plane crash in 1977 along with two other bandmembers that many listeners began to realize his talents. Skynyrd split up after the plane crash, but they reunited a decade later, becoming a popular concert act during the early '90s.

While in high school in Jacksonville, FL, Ronnie Van Zant (vocals), Allen Collins (guitar), and Gary Rossington (guitar) formed My Backyard. Within a few months, the group added bassist Leon Wilkeson and keyboardist Billy Powell, and changed their name to Lynyrd Skynyrd, a mocking tribute to their gym teacher Leonard Skinner, who was notorious for punishing students with long hair. With drummer Bob Burns, Lynyrd Skynyrd began playing throughout the South. For the first few years, the group had little success, but producer Al Kooper signed the band to MCA after seeing them play at an Atlanta club called Funocchio's in 1972. Kooper produced the group's 1973 debut, Pronounced Leh-Nerd Skin-Nerd, which was recorded after former Strawberry Alarm Clock guitarist Ed King joined the band. The group became notorious for their triple-guitar attack, which was showcased on "Free Bird," a tribute to the recently deceased Duane Allman. "Free Bird" earned Lynyrd Skynyrd their first national exposure and it became one of the staples of album rock radio, still receiving airplay decades after its release.

"Free Bird" and an opening slot on the Who's 1973 Quadrophenia tour gave Lynyrd Skynyrd a devoted following, which helped their second album, 1974's Second Helping, become its breakthrough hit. Featuring the hit single "Sweet Home Alabama" -- a response to Neil Young's "Southern Man" -- Second Helping reached number 12 and went multi-platinum. At the end of the year, Artimus Pyle replaced drummer Burns and King left the band shortly afterward. The new sextet released Nuthin' Fancy in 1975, and it became the band's first Top Ten hit. The record was followed by the Tom Dowd-produced Gimme Back My Bullets in 1976, which failed to match the success of its two predecessors. However, the band retained their following through constant touring, which was documented on the double live album One More from the Road. Released in late 1976, the album featured the band's new guitarist, Steve Gaines, and a trio of female backup singers, and it became Skynyrd's second Top Ten album.

Lynyrd Skynyrd released their sixth album, Street Survivors, on October 17, 1977. Three days later, a privately chartered plane carrying the band between shows in Greenville, SC, and Baton Rouge, LA, crashed outside of Gillsburg, MS. Ronnie Van Zant, Steve Gaines, and his sister Cassie, one of the group's backing vocalists, died in the crash; the remaining members were injured. (The cause of the crash was either fuel shortage or a fault with the plane's mechanics.) The cover for Street Survivors had pictured the band surrounded in flames; after the crash, the cover was changed. In the wake of the tragedy, the album became one of the band's biggest hits. Lynyrd Skynyrd broke up after the crash, releasing a collection of early demos called Skynyrd's First and...Last in 1978; it had been scheduled for release before the crash. The double-album compilation Gold & Platinum was released in 1980.

Later in 1980, Rossington and Collins formed a new band that featured four surviving members. Two years later, Pyle formed the Artimus Pyle Band. Collins suffered a car crash in 1986 that killed his girlfriend and left him paralyzed; four years later, he died of respiratory failure. In 1987, Rossington, Powell, King, and Wilkeson reunited Lynyrd Skynyrd, adding vocalist Johnny Van Zant and guitarist Randall Hall. The band embarked on a reunion tour, which was captured on the 1988 double live album Southern by the Grace of God/Lynyrd Skynyrd Tribute Tour -- 1987. The re-formed Skynyrd began recording in 1991, and for the remainder of the decade, the band toured frequently, putting out albums occasionally. The reunited Skynyrd frequently switched drummers, but it had little effect on their sound.

During the '90s, Lynyrd Skynyrd were made honorary colonels in the Alabama State Militia, due to their classic rock staple "Sweet Home Alabama." During the mid-'90s, Van Zant, Rossington, Wilkeson, and Powell regrouped by adding two Southern rock veterans to Skynyrd's guitar stable: former Blackfoot frontman Rickey Medlocke and ex-Outlaw Hughie Thomasson. With ex-Damn Yankee Michael Cartellone bringing stability to the drum chair, the reconstituted band signed to CMC International for the 1997 album Twenty. This lineup went on to release Lyve from Steeltown in 1998, followed a year later by Edge of Forever. The seasonal effort Christmas Time Again was released in fall 2000. Although Wilkeson died one year later, Lynyrd Skynyrd regrouped and recorded Vicious Cycle for a 2003 release. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Though they had all the trappings of a Southern-fried blues band, Little Feat were hardly conventional. Led by songwriter/guitarist Lowell George, Little Feat was a wildly eclectic band, bringing together strains of blues, R&B, country, and rock & roll. The bandmembers were exceptionally gifted technically and their polished professionalism sat... [+] Read More

Though they had all the trappings of a Southern-fried blues band, Little Feat were hardly conventional. Led by songwriter/guitarist Lowell George, Little Feat was a wildly eclectic band, bringing together strains of blues, R&B, country, and rock & roll. The bandmembers were exceptionally gifted technically and their polished professionalism sat well with the slick sounds coming out of southern California during the '70s. However, Little Feat were hardly slick -- they had a surreal sensibility, as evidenced by George's idiosyncratic songwriting, which helped the band earn a cult following among critics and musicians. Though the band earned some success on album-oriented radio, the group was derailed after George's death in 1979. Little Feat re-formed in the late '80s, and while they were playing as well as ever, they lacked the skewed sensibility that made them cult favorites. Nevertheless, their albums and tours were successful, especially among American blues-rock fans.

However, Little Feat wasn't conceived as a straight-ahead blues-rock group. Its founding members, Lowell George (vocals, guitar, slide guitar) and Roy Estrada (bass), were veterans of Frank Zappa's Mothers of Invention. George had a long musical career before joining the Mothers. As a child, he and his brother Hampton performed a harmonica duet on television's Ted Mack's Original Amateur Hour. During high school, he learned how to play flute, which led to him appearing as an oboist and baritone saxophonist on several Frank Sinatra recording sessions. He formed the folk-rock group the Factory with drummer Richard Hayward in 1965. Before disbanding, the Factory made some recordings for Uni Records, but the tapes sat unreleased until the 1990s. Following the group's demise, George joined the Mothers of Invention, where he met Estrada. Zappa convinced George to form his own band after hearing "Willin'," but the guitarist was reluctant to begin a band until he participated in a brief Standells reunion.

George and Estrada formed Little Feat in 1969 with Hayward and keyboardist Billy Payne. Neither its eponymous first album in 1971 nor 1972's Sailin' Shoes were commercial successes, despite strong reviews. As a result, the group temporarily disbanded, with Estrada leaving music to become a computer programmer. When the group reconvened later in 1972, he was replaced by New Orleans musician Kenny Gradney. In its second incarnation, Little Feat also featured guitarist Paul Barrére and percussionist Sam Clayton, who gave the music a funkier feeling, as demonstrated by 1973's Dixie Chicken. The band toured heavily behind the record, building a strong following in the South and on the East Coast. Nevertheless, the group remained centered in Los Angeles, since the members did a lot of session work on the side.

Though the band was earning a cult following, several members of the group were growing frustrated by George's erratic behavior and increasing drug use. Following 1974's Feats Don't Fail Me Now, Barrére and Payne became the band's primary songwriters and they were primarily responsible for the jazzy fusions of 1975's The Last Record Album. Little Feat continued in that direction on Time Loves a Hero (1977), the double-live album Waiting for Columbus (1978), and Down on the Farm (1979). Frustrated with the band's increasingly improvisational and jazzy nature, George recorded a solo album, Thanks I'll Eat It Here, which was released in 1979. Following its release, George announced that Little Feat had broken up, and he embarked on a solo tour. Partway through the tour, he died of an apparent heart attack. Down on the Farm was released after his death, as was the rarities collection Hoy-Hoy! (1981).

After spending seven years as sidemen, Payne, Barrére, Hayward, Gradney, and Clayton re-formed Little Feat in 1988, adding vocalist/guitarist Craig Fuller and guitarist Fred Tackett. The heavily anticipated Let It Roll was released in 1988 to mixed reviews, but it went gold. Each of the group's subsequent reunion albums -- Representing the Mambo (1989), Shake Me Up (1991), and Ain't Had Enough Fun (1995) -- sold progressively less, but the band remained a popular concert attraction. On the latter album, the band traded the strongly Lowell George-esque voice of Fuller for female singer Shaun Murphy; this lineup went on to release Under the Radar in 1998 and Chinese Work Songs in 2000. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Southern rock unit the Outlaws was formed in Tampa, FL in 1972 by singers/guitarists Hughie Thomasson and Henry Paul, bassist Frank O'Keefe, and drummer Monte Yoho. With the 1973 addition of guitarist Billy Jones, the lineup was complete, and after a year of intense touring the band became the first act signed to Arista under Clive Davis; the... [+] Read More

Southern rock unit the Outlaws was formed in Tampa, FL in 1972 by singers/guitarists Hughie Thomasson and Henry Paul, bassist Frank O'Keefe, and drummer Monte Yoho. With the 1973 addition of guitarist Billy Jones, the lineup was complete, and after a year of intense touring the band became the first act signed to Arista under Clive Davis; the Outlaws' self-titled 1975 album spotlighted their Eagles-influenced harmonies and Allman Brothers-like guitar attack, yielding the Top 40 hit "There Goes Another Love Song." In the wake of 1977's Bill Szymczyk-produced Hurry Sundown, both Paul and O'Keefe exited, with guitarist Freddie Salem, bassist Harvey Dalton Arnold, and second drummer David Dix signing on for the 1978 concert set Bring It Back Alive and the studio effort Playin' to Win. Salem was the next to go, and the lineup shuffles continued when Arnold announced his departure following 1979's In the Eye of the Storm, with bassist Rick Cua recruited for the next year's Ghost Riders in the Sky, which netted a Top 40 entry with its title track, a rendition of the Vaughn Monroe favorite. Yoho left to rejoin Henry Paul soon after, and with the subsequent exit of Jones, only Thomasson remained from the original Outlaws roster -- not surprisingly, the group disbanded upon completing 1982's Los Hombres Malo. A year later Thomasson and Paul formed a new Outlaws lineup, adding guitarist Chris Hicks, bassist Barry Borden, and drummer Jeff Howell; after issuing 1986's Soldiers of Fortune, Paul again quit the band, with the remaining quartet returning in 1993 with Hittin' the Road. While Paul resurfaced in 1994 in the chart-topping contemporary country band Blackhawk, Thomasson later toured with the reformed Lynyrd Skynyrd while continuing to lead the Outlaws, releasing So-Low in 2000. Sadly, Jones and O'Keefe died within three weeks of one another in early 1985. ~ Jason Ankeny, All Music Guide [-] Hide

One of the major Southern rock bands of the '70s, the Marshall Tucker Band was formed in Spartanburg, SC, in 1971 by singer Doug Gray, guitarist Toy Caldwell (born 1948, died February 25, 1993), his brother bassist Tommy Caldwell (born 1950, died April 4, 1980), guitarist George McCorkle, drummer Paul Riddle, and reed player Jerry Eubanks. The... [+] Read More

One of the major Southern rock bands of the '70s, the Marshall Tucker Band was formed in Spartanburg, SC, in 1971 by singer Doug Gray, guitarist Toy Caldwell (born 1948, died February 25, 1993), his brother bassist Tommy Caldwell (born 1950, died April 4, 1980), guitarist George McCorkle, drummer Paul Riddle, and reed player Jerry Eubanks. The group's style combined rock, country, and jazz and featured extended instrumental passages on which lead guitarist Toy Caldwell shone. The band was signed to Capricorn Records and released their debut album, The Marshall Tucker Band, in March 1973. They gained recognition through a tour with the Allman Brothers Band and found significant success during the course of the '70s, with most of their albums going gold. Their peak came with the million-selling album Carolina Dreams and its Top 15 single "Heard It in a Love Song" in 1977.

The band was slowed down by the death of Tommy Caldwell in a car accident in 1980 and faded from the album charts after 1982. Toy Caldwell left for a solo career soon after, and the original lineup disbanded in 1983. Later that same year, Doug Gray and Jerry Eubanks hired some Nashville studio musicians and took the band back out onto the road; a little over a year later, the second wave of the Marshall Tucker Band began, as Gray and Eubanks returned home to Spartanburg, SC, and hired guitarist Rusty Milner, bassist Tim Lawter, drummer Ace Allen, and guitarist Stuart Swanlund.

During the years since the original band dissolved, the group has had country chart hits, toured constantly, made forays into the blues and adult contemporary, and suffered the loss of founding member Toy Caldwell, who died in 1993. Some bandmembers left, some joined, and some stayed right where they were, but through it all, the Marshall Tucker Band endured. The band continued to record steadily, maintained a loyal fan base, and eventually began to receive their due as Southern rock pioneers. The 1998 Marshall Tucker Band consisted of Gray, Milner, Lawter, Swanlund, David Muse (formerly of Firefall, on sax, flute, and keys), and drummer B.B. Borden (formerly of Mother's Finest). The band took several stylistic detours with 1998's all-blues outing Face Down in the Blues and the 1999 spiritual album Gospel. A thorough reissue campaign was inaugurated in 2003, and the new studio record Beyond the Horizon appeared one year later. In 2006, the group released a live 1980 concert, Live on Long Island. ~ William Ruhlmann & Michael B. Smith, All Music Guide [-] Hide

Wet Willie were, after the Allman Brothers Band and Lynyrd Skynyrd, the hardest-rocking of the Southern bands to come to national attention in the early '70s. For seven years, from 1971 until 1978, they produced an enviable array of albums awash in good-time music, rollicking high-energy blues-rock, and white Southern soul, and for their trouble... [+] Read More

Wet Willie were, after the Allman Brothers Band and Lynyrd Skynyrd, the hardest-rocking of the Southern bands to come to national attention in the early '70s. For seven years, from 1971 until 1978, they produced an enviable array of albums awash in good-time music, rollicking high-energy blues-rock, and white Southern soul, and for their trouble they racked up just one Top Ten hit ("Keep On Smilin'") and a lot of admirers. In contrast to the Allman Brothers Band, whose jumping-off point was really Cream and who based their music on long jams, Wet Willie were closer in spirit to Booker T. & the MG's and perhaps the Mar-Keys, of Stax/Volt fame, much more steeped in sweaty, good-time R&B than the blues-rock of the Allmans or the country-rock of the Marshall Tucker Band. Think of what Lynyrd Skynyrd might have sounded like with but one lead guitar on a white chitlin circuit, if such a thing had existed.

The band, originally called Fox, got together in Mobile, AL, in 1969 behind the powerful vocals and distinctive sax of Jimmy Hall, with Jimmy's brother Jack on bass and banjo, Ricky Hirsch on lead and slide guitars and mandolin (as well as writing a lot of the songs), Lewis Ross on the skins, and John Anthony (later succeeded by Mike Duke) playing the keyboards. They counted the Rolling Stones and the Animals among their influences, but their sound was closer in spirit to early Otis Redding or Little Richard -- which made the move to Macon, GA, in early 1970 a natural one, the town being Richard Penniman's onetime home, as well as the headquarters of Capricorn Records, the company run by Redding's onetime manager, Phil Walden. Wet Willie auditioned for Capricorn that summer and were at work on their debut album by the fall of that same year.

Despite sharing the same label as the Allmans and the Marshall Tucker Band, Wet Willie wasn't like either of those groups. They jammed, but usually not for stretches of more than ten or 12 minutes, and they weren't laid-back Southerners. Rather, Wet Willie played an intense, very vocal-oriented brand of white Southern soul. Indeed, they were probably the only white group that one could imagine doing a song such as, say, "Papa Was a Rolling Stone," and not embarrassing themselves in the process; the group probably most like them in later years was Southside Johnny & the Asbury Jukes, and they were much less defined regionally.

Their first two albums were released with barely a ripple, and their third, a live concert document called Drippin' Wet, was the first to scrape the lower reaches of the Top 200 albums. The group's third studio release, Keep On Smilin', finally gave them a hit with the title track, and yielded a handful of other popular tracks. The addition of the female backing group the Williettes only opened the group's sound out further with a gospel and soul sensibility. Dixie Rock and Wetter the Better followed in short order, but neither of those albums matched Keep On Smilin' in the songwriting department, and the band suffered a gradual decline in its album sales, despite getting a hit single out of "Dixie Rock." The band issued one final album on Capricorn in 1977, which was followed, perhaps too closely, by Wet Willie's Greatest Hits (Capricorn by that time had run into severe financial problems and was releasing anything that looked like it might sell).

Around this time, the group went through a series of internal shifts and it next emerged in 1978 with new lineup and a new contract with Epic Records. Jimmy and Jack Hall were still there, only now they were joined by three additional singers -- in addition to keyboardist Mike Duke, guitarist Marshall Smith and drummer Theophilus K. Lively contributed seriously to the vocalizing, and, to top it off, the band now had another guitar player in Larry Berwald. The result was the gorgeous Manorisms album, which showed off harmony singing like nobody's business and a pop side to the soul stylings that occasionally had the group crossing successfully close to Motown territory, only a lot hotter and sweatier than, say, the Grass Roots (who also had a kind of white Motown sound) ever got. Sad to say, while their concert audiences were healthy and they were at no loss for gigs, Manorisms never sold, lacking the hit single to get it a foothold on AM radio. The band released one more album, Which One's Willie?, in 1979, which performed just as poorly or worse. The group finally broke up in 1980 after nearly a decade of great records and even better shows.

In the 1990s, Wet Willie re-formed around a core of keyboardist John Anthony, guitarist Ricky Hirsch, and Jimmy Hall, with other musicians -- including Smith, Duke, and Lively -- filling out their ranks. Wet Willie's recording efforts have been intermittent at best, but they've been very busy performing on-stage. In 1996, they were inducted into the Georgia Music Hall of Fame and, in March of 2001, were inducted into the Alabama Music Hall of Fame. They remain an active performing band in two distinct incarnations -- with Jimmy Hall in their lineup, they're billed as Wet Willie, while for shows and on records for which Hall is unable to participate, they work as the Wet Willie Band, with guitarist Ric Seymour as lead singer. ~ Bruce Eder, All Music Guide [-] Hide

Building on the bandmembers' own personal accomplishments that came from the Rockin' Into the Night album, .38 Special released an even stronger bunch of songs a year later with Wild-Eyed Southern Boys. Focusing on the same Southern-based rock & roll formula, the efforts from Southern Boys contain a little more guitar zing while complementing... [+] Read More

Building on the bandmembers' own personal accomplishments that came from the Rockin' Into the Night album, .38 Special released an even stronger bunch of songs a year later with Wild-Eyed Southern Boys. Focusing on the same Southern-based rock & roll formula, the efforts from Southern Boys contain a little more guitar zing while complementing the band's ability to produce marketable radio music. "Hold on Loosely," with its smooth vocal stride, managed to peak at number 27 in April of 1981, giving .38 Special its first Top 40 single, and the title track, "Honky Tonk Dancer," and "Back Alley Sally" keep a homespun flavor alive and well, indicating that the band's Southern roots haven't been dismissed completely. Even though the bulk of the tracks lean toward .38 Special's rootin'-tootin' good-time persona, tracks such as "Fantasy Girl" and "First Time Around" reveal a stronger regard for producing catchy and approachable rock & roll tunes. It's on Wild-Eyed Southern Boys that .38 Special seemed more confident, harnessing a distinct guitar rock sound that enabled the group to distinguish itself from other FM rock bands. Cracking the Top 20 on the album charts and eventually reaching platinum status, Wild-Eyed Southern Boys marked the onset of the band's success throughout the course of the decade. ~ Mike DeGagne, All Music Guide [-] Hide

On Amorica, the Black Crowes finally come into their own, taking their cue from the most relaxed, groove-oriented tracks on their previous album. While the album contains no immediately obvious singles, the songs are the best the band has ever written, stretching out into a hard, jam-oriented, funky blues-rock. The Black Crowes' influences are... [+] Read More

On Amorica, the Black Crowes finally come into their own, taking their cue from the most relaxed, groove-oriented tracks on their previous album. While the album contains no immediately obvious singles, the songs are the best the band has ever written, stretching out into a hard, jam-oriented, funky blues-rock. The Black Crowes' influences are still discernible -- no band celebrates the glory days of rock culture quite as enthusiastically -- but they use the music of the Stones, the Faces, and Little Feat much the same way the Stones used the music of Chuck Berry: it's a starting point that leads the band into a new direction, incorporating different musical genres, and making the music original. That sense of reinterpretation is what keeps Amorica fresh. [American also released an edition that added two bonus tracks: "Song of the Flesh" and "Sunday Night Buttermilk Waltz."] ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Nearly ten years separate Gregg Allman's third and fourth solo albums (not counting Allman & Woman), which is quite a long stretch by anyone's standards. Of course, there were a number of reasons why Allman didn't release an album between 1977's Playin' Up a Storm and 1986's I'm No Angel -- various substance addictions, bad marriage,... [+] Read More

Nearly ten years separate Gregg Allman's third and fourth solo albums (not counting Allman & Woman), which is quite a long stretch by anyone's standards. Of course, there were a number of reasons why Allman didn't release an album between 1977's Playin' Up a Storm and 1986's I'm No Angel -- various substance addictions, bad marriage, disappearing bands. By 1986, he had pulled it all together and crafted I'm No Angel, an album designed to be a comeback. After all, the title track alone was a statement of purpose, a declaration of his bad-boy ways. Since this album was released in the midst of the Reagan era, it's not only a little musically tame -- slick surfaces and keyboards dominate -- but the attitude is a little lax, too. On the title track, a song that justifiably became one of his signature tunes, the lyrics say "darn" instead of "damn," which is a little tame for someone like Allman. Still, what matters is the tune, and it's a corker -- so much so that it overshadows many of the other cuts on the record. However, I'm No Angel is, by and large, a solid and thoroughly enjoyable set of songs. The main problem is the production, which is a bit too much of its time. However, that's an easy flaw to overlook, especially for hardcore fans, because Allman rarely delivered a solo album as solid as this. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Southern rock's last great gasp is spelled out on this 18-track compilation. Wisely leaving off anything from the weak albums (No Reservations, Siogo, Vertical Smiles, and Rick Medlocke and Blackfoot) and cherry-picking from the rest of their output, this slims the group's best down to a nice solid chunk of heavy twin Southern-rock guitars,... [+] Read More

Southern rock's last great gasp is spelled out on this 18-track compilation. Wisely leaving off anything from the weak albums (No Reservations, Siogo, Vertical Smiles, and Rick Medlocke and Blackfoot) and cherry-picking from the rest of their output, this slims the group's best down to a nice solid chunk of heavy twin Southern-rock guitars, macho lyrics, and thundering drumbeats. While some naysayers will point to the group's "Highway Song" as being little more than a spirited "Free Bird" knockoff, the guitar interplay between Medlocke and Charlie Hargrett is well worth the listen. Other highlights include "Train Train," "Left Turn on a Red Light," and a cover of Free's "Wishing Well." Another special bonus is three tracks from Highway Song -- Blackfoot Live, a U.K.-only release that clearly illustrates what a potent live combination the original quartet truly was. ~ Cub Koda, All Music Guide [-] Hide

Super Hits is a budget-priced collection that features a handful of Charlie Daniels Band's biggest hits, but it doesn't provide a definitive retrospective, nor does it have every hit that a casual fan could want. It's entertaining, but it leaves you wanting more. ~ Stephen Thomas Erlewine, All Music Guide

Super Hits is a budget-priced collection that features a handful of Charlie Daniels Band's biggest hits, but it doesn't provide a definitive retrospective, nor does it have every hit that a casual fan could want. It's entertaining, but it leaves you wanting more. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide