expanded the folk-rock approach of his debut album, , to strains of jazz, among other styles, on its ambitious follow-up, released only eight months later. His chief musical lieutenant was keyboard player , who lived on the E Street that gave the album and 's backup group its name. With his help, created a street-life mosaic of suburban society that owed much in its outlook to 's romanticization of Belfast in . Though expressed endless affection and much nostalgia, his message was clear: this was a goodbye-to-all-that from a man who was moving on. represented an astonishing advance even from the remarkable promise of ; the unbanded three-song second side in particular was a flawless piece of music. Musically and lyrically, had brought an unruly muse under control and used it to make a mature statement that synthesized popular musical styles into complicated, well-executed arrangements and absorbing suites; it evoked a world precisely even as that world seemed to disappear. Following the personnel changes in in 1974, there is a conventional wisdom that this album is marred by production lapses and performance problems, specifically the drumming of . None of that is true. 's busy style is appropriate to the arrangements in a way his replacement, , never could have been. The production is fine. And the album's songs contain the best realization of 's poetic vision, which soon enough would be tarnished by disillusionment. He would later make different albums, but he never made a better one. The truth is, is one of the greatest albums in the history of rock & roll. ~ William Ruhlmann