Marshall Crenshaw

After two critically acclaimed but only moderately selling albums, los Lobos were hired to record songs for the film biography of Hispanic '50s rocker Ritchie Valens, resulting in this soundtrack album, which, in addition to eight los Lobos recordings, features tracks by Marshall Crenshaw, Brian Setzer, and others. los Lobos' remake of the title song topped the charts, as did this album, which went on to sell two million copies. The result has been something of a career dilemma for the band, who went back to being a critically acclaimed, modest seller afterward.

The 1980s were probably the last real decade for the pop single. It was certainly the last one in which every record that made the Hot 100 was an actual vinyl single. Radio was still breaking big hits and new artists, rather than TV talent shows and the still-nascent Internet. And people still rushed to their local record store to buy what their local station was playing, rather than streaming or downloading it.

Among musicians, Arthur Alexander was always considered one of the greatest R&B songwriters. Both the Beatles and the Rolling Stones covered his songs, "Anna (Go to Him)" and "You Better Move On," respectively, early in their careers. But they weren't the only ones – throughout the years, his work was rich source material for many blues, soul, rock, and country artists. He may have earned the recognition of his peers, but he remained relatively unknown to the general public, right up to his death in 1993. In order to raise his profile, Razor & Tie released Adios Amigo: A Tribute to Arthur Alexander in 1994, assembling a stellar and diverse lineup to record new versions of his songs. The diversity and the fresh arrangements illustrates the depth of Alexander's songs and how well they lent themselves to new readings. Like any tribute album, Adios Amigo is uneven, with a few tracks falling flat, but the best moments – Elvis Costello's "Sally Sue Brown," Robert Plant's "If It's Really Got to Be This Way," Chuck Jackson's "You Better Move On," Frank Black's "Old John Amos," John Prine's "Lonely Just Like Me," Gary U.S. Bonds' "Genie in the Jug," Graham Parker's "Every Day I Have to Cry" and Nick Lowe's "In the Middle of It All" – are affectionate salutes to a departed master, and they're damn enjoyable in their own right as well.