Robert Baird

<B>RY COODER & MANUEL GALB&#193;N: <I>Mambo Sinuendo</I></B><BR> Perro Verde/Nonesuch 79691-2 (CD). 2003. Ry Cooder, prod.; Jerry Boys, eng. AAD? TT: 50:31<BR> Performance <B>****?</B><BR> Sonics <B>****</B>

<B>COLDPLAY: <I>A Rush of Blood to the Head</I></B><BR> Capitol 5 40504 2 (CD). 2002. Coldplay, Ken Nelson, prods.; Mark Phythian, Ken Phythian, engs.; Rik Simpson, Jon Withnal, Ben Thackeray, Jon Bailey, Andrea Wright, asst. engs. AAD? TT: 54:14<BR> Performance <B>****&#189;</B><BR> Sonics <B>****</B>

<IMG SRC="/images/archivesart/40thlogo.jpg" WIDTH=150 HEIGHT=150 HSPACE=6 VSPACE=4 BORDER=0 ALIGN=LEFT>And I used to think our annual "<A HREF="http://www.stereophile.com/showcategory.cgi?category=Records%202%20Die%… To Die For</A>" issue was difficult. Whew! When it came down to choosing the 40 most influential rock/pop, jazz, and classical records of the past 40 years, during which this magazine has been the most honest and enjoyable source of high-end audio journalism, my initial list contained more than 200 choices. A painful paring-down process ensued, with input from every member of the <I>Stereophile</I> staff.

<B>THE BAND: <I>The Last Waltz</I></B><BR> Warner Bros./Rhino Entertainment R2 78278 (4 CDs). 1978/2002. Robbie Robertson, prod.; Rob Fraboni, John Simon, co-prods.; Larry Samuels, exec. prod.; Terry Becker, Tim Kramer, Elliot Mazer, Wayne Neuendorf, Ed Anderson, Neil Brody, engs. AAD? TT: 4:10:16<BR> Performance <B>*****</B><BR> Sonics <B>****?</B>

<B>WILCO: <I>Yankee Hotel Foxtrot</I></B><BR> Nonesuch 79669-2 (CD). 2002. Wilco, prods.; Jim O'Rourke, mix. AAD? TT: 51:51<BR> Performance <B>****</B><BR> Sonics <B>****</B>

<B>SHELBY LYNNE: <I>Love, Shelby</I></B><BR> Island ISLF 15426-2 (CD). 2001. Glen Ballard, prod.; Scott Campbell, eng.; Bob Clearmountain, mix. ADD? TT: 42:19<BR> Performance <B>****?</B><BR> Sonics <B>****</B>

As I sit down to write a year's-end musical retrospective, I feel that the old column-writing joke between Stereophile editor John Atkinson and myself about first needing a subject and, second, needing it to make sense, will not be a problem this time out. For me, the music and almost everything else about 2001 have been dwarfed in importance by the mayhem wreaked on New York on September 11.