For some of us Beatlemaniacs, one of the most significant events of 2007 was the long-awaited DVD rerelease of Help! It's not merely the fabbest and funniest Beatle film but Ringo Starr's proudest cinematic moment, and that includes Caveman. Ringo's been on a roll lately, with his recent solo best-of, Photograph, showcasing buried gems like "Beaucoups of Blues" and "Early 1970."

John Wesley Harding is Bob Dylan's 8th studio album, released by Columbia Records in 1967.

Produced by Bob Johnston, the album marked Dylan's return to acoustic music and traditional roots, after three albums of electric rock music.

In 2003, the album was ranked # 301 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Hard work, solid chops and wry charm have already earned Tele slinger Jon Byrd a sterling reputation on the honky-tonk side of Nashville’s Americana community, but even those familiar with his work to date are likely to find Byrd’s debut CD an elegant surprise.

This U.S. band is comprised of a bunch of rowdy southern rockers, who were obviously weaned on Lynyrd Skynyrd, Neil Young, and the Rolling Stones. The band's story began in the mid-80s at the University of North Alabama, when Patterson Hood (son of renowned Muscle Shoals session bass player David Hood) joined forces with fellow guitarist Mike Cooley. The duo formed the post-punk outfit Adam's House Cat, but failed to make much of an impact outside their local club scene.

One could question the validity of a greatest hits collection that draws from only three solo albums, but with the rampant success of the Eagles' recent reunion, Henley saw fit to compile this retrospective personally. He could have done much worse. The songs still stand up over time, and the thematic sequencing of "Actual Miles" serves the selection well. The collection also features a pair of previously unrecorded tracks with "The Garden Of Allah" being the more interesting of the two. "Actual Miles" serves as a decent primer to anyone who wants to hear Henley's hits but wishes to eschew his actual albums.

David Wilcox is a brilliant song writer, a great singer, and one of the hottest guitar players in the world. He first made his name as a wild, live performer and then as a first-rate recording artist whose work, from "Out Of The Woods" (1980) to his brand new release, "Boy In The Boat" (2007), stands the test of time.

When Five Horse Johnson formed back in 1995, announcing themselves as a blues band, their friends may have thought they had cause to worry. After all, it is a well-worn banality that white boys can only ever hope to mimic the blues, isn't it? Thankfully, over the past decade, Five Horse Johnson has happily proven doubters wrong. Over the course of six albums, the band has carved out a niche all their own, combining their love and respect for the blues with classic rock and other less dog-eared influences to become one of the most loved and respected bands in the stoner rock community. Always a right freight train live, the band has spent a lot of time on the road with the likes of Clutch and Halfway To Gone, gathering fans, friends and drinking partners all over the world.

There's a reason Hall & Oates have erased this one from their history. "War Babies" is really a Todd Rundgren album in which Daryl Hall happens to be singing songs that he wrote. The production is unmistakeable Todd. It sounds just like "A Wizard, a True Star" and "Todd", his two 'psychedelic' albums that were recorded right around the same time.

It was Christmas of 1983 that I received Cargo by Men at Work on cassette, packaged with Zenyatta Mendatta by the Police, as a gift from my cousin. Though history may have been kinder to the Police, as long-term popularity is concerned, Cargo was the better of the two albums, and Business as Usual, their debut, was arguably equally good. I even enjoyed their less than perfect final studio album, Two Hearts. That’s just to say, I’m a fan. Fast forward almost two decades: my band’s drummer and I went to catch the recently reunited Men at Work in Atlanta hoping for a good laugh – we hadn’t had many good experiences with '80’s band re-unions so our expectations were pretty low. We could hardly bring ourselves to clap: they weren’t good – they were incredible. We stood there, jaws agape, amazed at the excellent showmanship, musicianship, and raw talent, as they tore through a perfect mix of hits, individual solo-material, rarities, and even new songs – truly one of the best concerts I’ve ever seen.