performed by Allan F. Nicholls "Old Man Mississippi", written by Juan Grizzle "My Baby's Cookin' in Another Man's Pan", written and performed by Jonnie Barnett "Since You've Gone", written by Gary Busey, performed by Allan F. Nicholls, Cristina Raines and Keith Carradine "Trouble in the U.S.A.", written by Arlene Barnett "In the Garden", written by C. Austin Miles, performed by Ronee Blakley Release Box office The film was a box-office success, with theatrical rentals of $6.8 million in North America by 1976. According to a piece in Film Comment "it is still amazing to me that the impression was so prevalent in the cultural reaches of Manhattan that Nashville was one of the year's commercial blockbusters rather than, as it was, the twenty-seventh highest-grossing film of the year." The film grossed approximately $10 million in the United States. Critical responseNashville received significant attention from critics, with Patrick McGilligan of The Boston Globe writing that it was "perhaps the most talked about American movie since Orson Welles' Citizen Kane. Pauline Kael, film critic for The New Yorker, described it as "the funniest epic vision of America ever to reach the screen". Gene Siskel, Roger Ebert, and Leonard Maltin gave the film four-star reviews and called it the best film of 1975. In his original review, Ebert wrote "after I saw it I felt more alive, I felt I understood more about people, I felt somehow wiser. It's that good a movie." On August 6, 2000, Ebert included it in his The Great Movies compilation. Vincent Canby of The New York Times praised the film's music as "funny, moving and almost nonstop" as well as its "well‐defined structure, [in which] individual sequences often burst with the kind of life that seems impossible to plan." Writing for the New York Daily News, Harry Haun praised the film's attention to detail and characterization, noting: "I have seen Nashville 4½ times, and I'm still discovering dimensions that had eluded me." Charles Champlin of the Los Angeles Times praised the humor, which he noted as ranging "from slapstick to satire", and commended the film as "the most original and provocative American movie in a very long time." According to film critic Ruth McCormick, however, after an initial wave of praise, a critical backlash ensued. "Robert Mazzocco in The New York Review of Books, Greil Marcus in The Village Voice and John Malone in The New York