专辑名称：Twilight of the Renegades
熟悉60年代到80年代音乐的资深歌迷，如果你听主流音乐，或许你会知道Donna Summer和Richard Harris都唱过的Mac Arthur Park.如果你听爵士乐，或许你曾听见过The Moon Is a Harsh Mistress.而我们肯定听乡村音乐，那我们应该有听过Glen campbell的By the time I get to Phoenix，又或者Wichita Lineman,或者Galveston。更或者应该都听过了85年第28届格莱美最佳乡村单曲，由Johnny Cash，Willie Nelson，Waylon Jennings，Kris Kristofferson一同演唱的Highwayman~
是否有人注意听过67年第10届格莱美年度最佳金曲和年度最佳单曲得主《up,up and away》?（其实这首歌不单只获得那年格莱美的这两个重要奖项）是否有人注意到那年的最佳年度专辑The Beatles的《柏派上校的孤心俱乐部》，还有，是否还有人注意过那年乡村部分的得奖情况？有这样几个名字：“Tammy Wynette”“Glen Campbell”你能想到什么？这年有个人其实是真正的大赢家。
之后的许多年中格莱美的提名以及得奖名单中，其实都提到过他的名字，只是我们都忽略了真正创造了这些成绩的某个人。而这个人就是-Jimmy Webb，他是一个浪漫主义者，同样也是一个满含乡村情结，追求新传统主义的创作者，整个音乐世界里让无数人敬仰的著名作词作曲家，他同时横跨摇滚，民谣，乡村，爵士等多个不同风格的音乐领域，曾与众多不同风格的歌手合作过，比如Bob Dylan,The Beatles, George Harrison, Mick Jagger, Johnny Rivers，Frank Sinatra,Simon & Garfunkel，Joni Mitchell等等，他创作以及监制了相当多的传世老歌，捧红了一大批那个年代的歌手。而这其中就有乡村界的两员Tammy Wynette和Glen Campbell，尤其是后者Glen Campbell的日后成功，他俩的合作就是最好的体现。
Busy working with such recording artists as Michael Feinstein and Carly Simon when he isn't writing songs for motion pictures or composing so-far-unstaged Broadway musicals, Jimmy Webb hasn't bothered much with his solo performing career in the late '90s and early 2000s beyond making club appearances in major cities in the U.S., Great Britain, and Australia. Specifically, until Twilight of the Renegades, he had not issued a new album in nine years (Ten Easy Pieces, 1996) or an album of new material in 12 (Suspending Disbelief, 1993). Released in the U.K. in May 2005 and in the U.S. three months later on the day after the composer's 59th birthday, the album finds a performer who has long since given up on worrying about the trappings of rock he embraced on his records of the 1970s, but not on the ambitious songwriting and arranging that characterized his classic work of the 1960s. The 12 songs are mostly piano-based ballads, the extended melodies of which will sound familiar to anyone who's heard "By the Time I Get to Phoenix" or "The Highwayman" (in other words, everyone). The song structures tend to be extended, too, often eschewing the conventional verse-chorus patterns of pop. The lyrics are imaginative and touch on surprising subjects, starting with "Paul Gauguin in the South Seas," one of several songs about unusual characters in search of individual happiness, only some of whom succeed in finding it. In this sense, the most touching song must be "Class Clown," which follows a character from the schoolroom through life to the point when Webb concludes his story by repeating, "He's homeless." But there are also touching love songs, notably "Why Do I Have To...," the arrangement for which strongly recalls Burt Bacharach with its single muted trumpet. Webb has improved as a singer over the years, but his wheezy tenor still has a limited range and little projection. In his lower range, he sometimes recalls the upper range of Warren Zevon, though he lacks Zevon's bitten-off phrasing. The vocals remain the weak spot in the performing aspect of Webb's career, so that one continues to listen to him to hear a composer's individual interpretation of his work, rather than for definitive renditions of the songs.
1. Paul Gauguin In The South Seas
3. Why Do I Have To...
4. Class Clown
5. Spanish Radio
6. Time Flies
7. How Quickly
8. High Rent Ghetto
9. She Moves...
10. Just Like Marilyn
11. No Signs Of Age