Throughout the '70s, Newbury continued producing albums that were critically acclaimed for their unique, mysterious atmosphere and poetic songs, such as Live at Montezuma Hall (1973), Heaven Help the Child (1973), and I Came to Hear the Music (1974). However, his albums did not sell much, in part because of their eclecticism and Newbury's growing disdain for the music business, especially in Nashville. By 1975, the outlaw country movement had captivated the industry, reaching its commercial zenith with the release of the Willie Nelson concept album Red Headed Stranger and the RCA compilation Wanted! The Outlaws a year later, which would be recognized as country music's first platinum album. The year before, Waylon Jennings recorded his album This Time at Tompall Glaser's "Hillbilly Central" studio at 916 Nineteenth Avenue South, bucking the Nashville studio system so he could record his music exactly as he wanted to. Jennings and Nelson, along with a coterie of other like-minded outlaws, were heralded by many as visionaries for their independent spirit and reaped the rewards of record-breaking sales. Newbury, meanwhile, who had arguably inspired the spirit of the outlaw country movement more than any other artist, was having difficulty keeping his albums in print. Newbury biographer Joe Ziemer sums up the singer's dilemma in his book Crystal and Stone: "Though diversity derives from aptitude and ability, diversity was Newbury's problem with radio stations. One dominant characteristic of his music is eclecticism, and that's what made his albums unattractive to strict radio formats."