PLAYLIST CD SPOTLIGHT CAMPBELL'S ALPHABET.

Byline: Fred Shuster Music Writer

GLEN CAMPBELL: ``All the Best'' (Capitol)

By the time he got to Phoenix, Glen Campbell was a superstar.

More than 40 years ago, the 24-year-old sharecropper's son from Arkansas moved to Los Angeles and quickly became a sought-after studio guitar picker for Frank Sinatra, the Beach Boys, Phil Spector, Merle Haggard and Elvis Presley.

A solo single, ``Turn Around Look at Me,'' released in 1961 on a regional label, got the attention of Capitol Records. But it wasn't until he cut John Hartford's ``Gentle on My Mind'' six years later that Campbell became as familiar around the house as the soup of the same name.

Brilliantly crafted pop standards by Jimmy Webb, including ``By The Time I Get to Phoenix,'' ``Galveston'' and ``Wichita Lineman,'' soon topped the charts, followed by numerous TV cameos. A variety series, ``The Glen Campbell Goodtime Hour,'' took to the CBS airwaves in 1969, making the good-natured singer-guitarist the first country star for folks who didn't like country music.

Campbell's popularity continued with the hits ``Rhinestone Cowboy'' and ``Southern Nights,'' and he eventually began cutting gospel albums and appearing for several months at a stretch with Andy Williams in Branson, Mo.

Although there have been numerous compilations of Campbell's famous recordings, the just-issued ``All the Best'' gives perhaps the most comprehensive overview of a long career, with 25 tracks, most recorded at Capitol's legendary studios on Vine Street, taking in his most eloquent performances. Among them are a couple of fine duets with Bobbie Gentry, singer of the classic chart-topper ``Ode to Billie Joe.''

Now living in the Phoenix of his 1967 Grammy-winning single with his wife, Kim, and their three teenage kids, Campbell is as laid-back in conversation as you might expect. We caught up with him between golf games.

Q: When you recorded those early Capitol hits, did you imagine they might be beloved four decades on?

We knew Jimmy's songs were saying something that would remain relevant for a long, long time. Plus, we had incredible players like the Dillards and members of Ricky Nelson's band. I think we got 'By the Time I Get to Phoenix' down in three takes.

Q: The new anthology contains the two Top 40 hits you had with Bobbie Gentry. Was there immediate chemistry there?

We sounded natural together. I was opening for her on the road, and we thought we should maybe record Boudleaux and Felice Bryant's 'All I Have to Do Is Dream.' The other one, 'Let It Be Me,' was originally a Chet Atkins instrumental with words added. They've both been covered by everyone.

Q: What's your take on the pop scene today?

You just don't hear good pop ballads very much anymore. That's why country started doing so well a few years back with all types of different people. But I don't get into the other stuff that's on the radio too much.

CHECK THESE OUT (other new releases):

SONNY CLARK, ``Sonny Clark Trio'': Top-notch date showing Blue Note's most undervalued pianist, who died at age 31 in 1963, in harmony with drummer Max Roach and bassist George Duvivier. Fantastic cover art, too.

TONY WILLIAMS, ``Wilderness'': The hard-hitting percussionist's 1996 final recording, repackaged with alternate tracks, finds Williams melding jazz and classical alongside Pat Metheny, Herbie Hancock, Michael Brecker and a 30-piece orchestra.

EESK, ``Ghost Taxi'': Exotic uneasy listening inspired by Chinese and Hindi film scores, sung by the Bay Area's Elise Malmberg and co-produced by avant guitarist Joe Gore (Tom Waits, PJ Harvey).

Next Tuesday: JANIS JOPLIN, ``The Essential Janis Joplin''

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