Additional personnel: Steve Katz (harmonica); Roosevelt Cook (mandolin, Mellotron, organ, bass, bass drum, background vocals); Robert Nix (drums); Bobbi Hall (percussion).

Engineers include: Bob "Tub" Langford, Rodney Mills, Danny Turbeville.

Recorded at Studio One, Doraville, Georgia.

Lynyrd Skynyrd: Ronnie Van Zant (vocals); Ed King (guitar, bass instrument); Gary Rossington, Allen Collins (guitar); Billy Powell (keyboards); Robert Burns (drums).

Additional personnel: Steve Katz (harmonica); Roosevelt Gook (Mellotron, bass instrument, background vocals); Robert Nix (drums); Bobbye Porter (percussion).

The Allman Brothers came first, but Lynyrd Skynyrd epitomized Southern rock. The Allmans were exceptionally gifted musicians, as much bluesmen as rockers. Skynyrd was nothing but rockers, and they were Southern rockers to the bone. This didn't just mean that they were rednecks, but that they brought it all together -- the blues, country, garage rock, Southern poetry -- in a way that sounded more like the South than even the Allmans. And a large portion of that derives from their hard, lean edge, which was nowhere more apparent than on their debut album, Pronounced Leh-Nerd Skin-Nerd. Produced by Al Kooper, there are few records that sound this raw and uncompromising, especially records by debut bands. Then again, few bands sound this confident and fully formed with their first record. Perhaps the record is stronger because it's only eight songs, so there isn't a wasted moment, but that doesn't discount the sheer strength of each song. Consider the opening juxtaposition of the rollicking "I Ain't the One" with the heartbreaking "Tuesday's Gone." Two songs couldn't be more opposed, yet Skynyrd sounds equally convincing on both. If that's all the record did, it would still be fondly regarded, but it wouldn't have been influential. The genius of Skynyrd is that they un-self-consciously blended album-oriented hard rock, blues, country, and garage rock, turning it all into a distinctive sound that sounds familiar but thoroughly unique. On top of that, there's the highly individual voice of Ronnie Van Zant, a songwriter who isn't afraid to be nakedly sentimental, spin tales of the South, or to twist macho conventions with humor. And, lest we forget, while he does this, the band rocks like a motherf*cker. It's the birth of a great band that birthed an entire genre with this album. ~ Stephen Thomas Erlewine

More rock than Little Feat, but with a similar Southern boogie feel and absolute top-notch musicianship. [sentence fragment okay with Muze?] Al Kooper produced this record, which explains the sensitive use of strings and piano. Although tracks such as "I Ain't The One," "Simple Man," and "Tuesday's Gone" are outstanding, the one to wait for is "Free Bird," a song that rivals "Stairway To Heaven" for hard rock credibility. The nine-minute epic starts with organ and slide and builds in a similar way, but at 4:44 it changes into fifth gear and the air guitars are out in force.

More rock than Little Feat, but with a similar southern boogie feel and absolute top-notch musicianship. Most of the members of this record are now dead even though the band plays on. Al Kooper produced this record, which explains the sensitive use of strings and piano. Although tracks such as "I Ain't The One," "Simple Man" and "Tuesday's Gone" are outstanding, the one to wait for is "Free Bird," a song that rivals "Stairway To Heaven" for hard rock credibility. The nine-minute epic starts with organ and slide and builds in a similar way, but at 4:44 it changes into fifth gear and the air guitars are out in force.