The 16-tracks on this compilation are from 's trio of mid-1970s titles: (1976), (1977), and (1978). After a less than personally (or professionally) satisfying stint earlier in the decade with , teamed up with , who helped him get out of his pending contract with the former. Under the direction of , the guitarist assembled the same instrumental support combo he'd used during his concurrent and practically incessant touring -- (bass), (keyboards), and (drums/vocals). The core quartet are augmented by all-stars (drums), (percussion), the horn section, and even backing vocals from former member . The ferocious opening whine of is followed by 's nimble and liquefied tone, which enhances his otherwise bold and unabashed emotive leads. Specifically, the center solo exemplifies his remarkable ability to ably turn from a finely honed and sinister sound, to a divergent string stretching bluesy intonation. The reading of ' is nothing short of an inspired augmentation of the original. While 's production on has been roundly criticized, there is a distinct progression from his previous studio releases, which were consistently hit-or-miss. is represented on this collection by no less than six of the LPs nine tunes. The effort was overseen by bassist , and yields some thoroughly excellent material. Of top priority is the stretched-out Memphis groove on sporting contributions from personnel (guitar) and (bass). Of equal note is which commences this set, with riff upon riff of smouldering rounds of fretwork from . builds upon a spacey motif, right down to the astronaut headgear depicted in the cover artwork. Within the grooves are the languid and restrained as well as a pair of diverse cover versions of classics ( ) and ). After a blistering take-off, the former disintegrates, thanks to the rather uninspired arrangement, which is highlighted by 's intense fret board flurries. Vocalist fronts the soulful which is nowhere as essential as the live (and otherwise unavailable) rendering included on the two-disc (1992), or the decisive, if not definitive interpretation on (1971). The ante is significantly raised, however, on the intense which aptly reasserts 's proficiency. Although there is a bit of overlapping material, (1993) is a great companion to the aforementioned as a worthwhile critical assessment of 's sadly unrated status, reiterating his moniker as "The World's Best Unknown Guitarist." ~ Lindsay Planer