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Former Dire Straits leader Mark Knopfler's second proper solo album (he's remained preoccupied with soundtrack work through the years) is a stirring and considered set of transatlantic blues. The collection is bolstered by contributions from Van Morrison ("The Last Laugh") and James Taylor (the title track), while Knopfler's guitar playing remains fresh and alive as he merges country and folk picking with electric blues. But it's as a writer that he really impresses: "Baloney Again" is a sensitive portrayal of a black gospel outfit in Jim Crow America; the title track is an intriguing distillation of Thomas Pynchon's doorstopper novel, Mason & Dixon; and "Silvertown Blues" is a stirring appreciation of blue-collar endeavor. A lovingly and honestly crafted collection, Sailing to Philadelphia shows Knopfler's talent and commitment remain as strong as ever.

Former Dire Straits leader Mark Knopfler's second proper solo album (he's remained preoccupied with soundtrack work through the years) is a stirring and considered set of transatlantic blues. The collection is bolstered by contributions from Van Morrison ("The Last Laugh") and James Taylor (the title track), while Knopfler's guitar playing remains fresh and alive as he merges country and folk picking with electric blues. But it's as a writer that he really impresses: "Baloney Again" is a sensitive portrayal of a black gospel outfit in Jim Crow America; the title track is an intriguing distillation of Thomas Pynchon's doorstopper novel, Mason & Dixon; and "Silvertown Blues" is a stirring appreciation of blue-collar endeavor. A lovingly and honestly crafted collection, Sailing to Philadelphia shows Knopfler's talent and commitment remain as strong as ever.

Fleetwood Mac had existed for more than a dozen years before they issued their first authorized concert recording – sort of astonishing given their reputation as a fine live act going all the way back to 1967.

Fleetwood Mac had existed for more than a dozen years before they issued their first authorized concert recording – sort of astonishing given their reputation as a fine live act going all the way back to 1967.

1976's THOROUGHBRED was Carole King's last album for Lou Adler's Ode Records imprint, and it's clearly a transitional release. Change was afoot in the musical air in 1976, and while there's no hints of punk or disco on THOROUGHBRED–which is a good thing–King is definitely moving away from the solo piano sound of her earlier solo albums. King's thumping, percussive piano playing is still all over the album, but guitars play a more prominent role than ever before. At times, the instrumental interplay resembles that of Fleetwood Mac, particularly Waddy Wachtel's Lindsey Buckingham-like solo on "Only Love Is Real." The songs themselves are in the eclectic style of 1973's all-over-the-map FANTASY, with the country-tinged "We All Have To Be Alone" and "Ambrosia" sitting comfortably between the slinky pop of "I'd Like To Know You Better" and the soulful "Still Here Thinking of You."

1976's THOROUGHBRED was Carole King's last album for Lou Adler's Ode Records imprint, and it's clearly a transitional release. Change was afoot in the musical air in 1976, and while there's no hints of punk or disco on THOROUGHBRED–which is a good thing–King is definitely moving away from the solo piano sound of her earlier solo albums. King's thumping, percussive piano playing is still all over the album, but guitars play a more prominent role than ever before. At times, the instrumental interplay resembles that of Fleetwood Mac, particularly Waddy Wachtel's Lindsey Buckingham-like solo on "Only Love Is Real." The songs themselves are in the eclectic style of 1973's all-over-the-map FANTASY, with the country-tinged "We All Have To Be Alone" and "Ambrosia" sitting comfortably between the slinky pop of "I'd Like To Know You Better" and the soulful "Still Here Thinking of You."