After decades of recording for RCA Victor, Atkins switched labels; this 1985 effort is a summit meeting of sorts with young guitar hotshots like Larry Carlton, George Benson, Mark Knopfler, Steve Lukather, and Earl Klugh, plus session A-teamers like Boots Randolph, Larrie Londin, David Hungate, Mark O'Connor and others. Atkins' tone is, as usual, faultless, and his playing superb. If the "meetings" don't always come off, it's usually due to the overzealousness of the other guitar players (Lukather's over-the-top style screams '80s big hair, for instance), not Chet, whose playing always exercises the utmost in restraint in every situation. All in all, a good modern-day Chet Atkins album, but not the place to start a collection.

"Amy Holland" is singer Amy Holland's self-titled debut album. The album was released on LP record in 1980, and was produced by Amy's future husband Michael McDonald. One of the songs on the album "How Do I Survive" (a song originally sung by The Paul Bliss Band) became a big hit and made it to the Top 30 chart. Amy Holland would often perform "How Do I Survive" live on music TV shows such as Music Fair (a Japanese music show) and Young Oh! Oh!. Those live performances of the song can be found on YouTube. Holland mostly recorded some song covers for this album, with one of them being Annette Hanshaw's 1928 jazz-standard Forgetting You The success of the song How Do I Survive helped Amy earn a Grammy Nomination for Best New Artist in 1981, but she did not win the award however. Some of the songs on the album have been written by Michael McDonald such as "Here In The Light" and "Show Me the Way Home". "How Do I Survive" was a hit peaking at #22 on the Billboard Hot 100. Three years later Amy would release another studio album called "On Your Every Word".

Collection includes: 'Taylor Swift' (2006) SHM-CD + Deluxe Edition; 'Fearless' (2008) SHM-CD + Platinum Edition (CD+DVD); 'Speak Now' (2010) 2CD Deluxe Edition; 'Red' (2012) 2CD Deluxe Edition; '1989 D.L.X.' (2014) (CD+DVD).

When "Polk Salad Annie" blared from transistor radio speakers in the summer of 1969, the first thought was of Creedence Clearwater Revival, for Tony Joe White's swamp rock bore more than a passing resemblance to the sound John Fogerty whipped up on Bayou Country and Green River. But White was the real thing – he really was from the bayou country of Louisiana, while Fogerty's bayou country was conjured up in Berkeley, CA. Plus, White had a mellow baritone voice that sounded like it had been dredged up from the bottom of the Delta. Besides "Annie," side one of this album includes several other White originals. The best of these are "Willie and Laura Mae Jones," a song about race relations with an arrangement similar to "Ballad of Billie Joe," and "Soul Francisco," a short piece of funky fluff that had been a big hit in Europe in 1968. "Aspen, Colorado" presages the later "Rainy Night in Georgia," a White composition popularized by Brook Benton. The second side consists of covers of contemporary hits, with the funky "Who's Making Love" and "Scratch My Back" faring better than the slow stuff.

Just like the title says – 17 of Fricke's biggest hits from her the early '80s, including the number ones "He's A Heartache (Looking for a Place to Happen)", "It Ain't Easy Bein' Easy", "Don' Worry 'Bout Me Baby", and "Your Heart's Not In It".

Back to the Grindstone was an excellent return to form from Ronnie Milsap and, not coincidentally, it was his last great record, as well as his last hit album. Throughout Back to the Grindstone, Milsap displays his talent for eclectic, soul-inflected R&B, tearing throug a gritty duet with Patti LaBelle on "Love Certified," covering "Since I Don't Have You" with heart, and then slipping into hard country with "Turn That Radio On." Not one of the 10 songs on the record is weak, and Milsap responds with a gutsy, powerful performance, easily making Back to the Grindstone one of his best albums.

With the arrival of Delta Lady: The Rita Coolidge Anthology, one can only remark: what took so long? No other singer – not Maria Muldaur, Bette Midler, Bonnie Bramlett, Carly Simon, or Linda Ronstadt – more perfectly embodied the wide range of changes that popular music underwent from the late '60s through the mid-'80s, and continues to seek new means of expression today. This two-disc anthology on Hip-O offers the first complete portrait of this complex and multivalent talent on CD (though a box set would have been nice). Rita Coolidge scored her first chart hit with friend Donna Weiss' "Turn Around and Love You" in 1969. That song earned her a studio spot where she fell in with Delaney & Bonnie, Leon Russell, and a huge cast of musicians. Being a background vocalist on Delaney & Bonnie's classic Accept No Substitute earned her a place on Russell and Joe Cocker's Mad Dogs & Englishmen revue and the rest is history, including a handful of chart hits and guest appearances that stagger the mind.

Digitally remastered two CD set containing a trio of albums from the acclaimed vocalist. This set features Nicolette Larson's first three solo albums from 1978, 1979 and 1981. Larson had been a singer with Commander Cody and on the back of that obtained her Warner Bros contract. All three albums made the US Top 100, with Nicolette peaking at #15 and the single 'Lotta Love' making the Top 10. Larson was very much an interpreter of other people's songs, with producer Ted Templeman coaxing the best from her. Larson sadly died in 1997.

If Rhino had merely combined Linda Ronstadt's Greatest Hits, Vol. 1 and volume two, they would have a compilation that captured her at her peak. They didn't do that for 2002's The Very Best of Linda Ronstadt, but they did follow that basic blueprint very closely, with 16 of the 21 songs culled from her '70s heyday, with the remaining five drawing from her late-'80s/early-'90s adult contemporary comeback, including "Don't' Know Much" and "Somewhere out There." That these songs don't quite fit musically with the laid-back Californian soft rock of the '70s doesn't matter, nor does it matter that her excursions into other genres – her traditional pop albums with Nelson Riddle, her Mexican records, her country albums with Trio – are missing ("Different Drum" with the Stone Poneys is here), because this collection expertly delivers her biggest hits in an enjoyable fashion with very little fat. Those original hits records remain first-rate, but it's nicer to get all of these on one disc instead of two.

Carrie Underwood will release her first ever Christmas album, My Gift, via Capitol Nashville. The album will include Classic Christmas standards plus a few original tracks! Underwood emerged from the promise of her 2005 American Idol win to become a true multimedia superstar, spanning achievements in music, television and film. A 7X GRAMMY® winner, she’s sold over 64 million records worldwide and recorded 27 #1 hits, 14 of which she co-wrote.

Reba McEntire will be re-releasing her Triple Platinum album - Rumor Has It on September 11th. It is the 30th Anniversary of this iconic album and to help celebrate this, the album will have bonus tracks that have never before been released. Rumor Has It is the 17th studio album by Reba McEntire. It was released on September 4, 1990. The album contained 4 Top 10 hits including- "Rumor Has It", "Fancy", and the #1 Song-"You Lie". The album reached #2 on the Top Current Country Albums chart.

"Golden" is the fourteenth studio album by Australian singer Kylie Minogue. It was released on 6 April 2018 by BMG Rights Management. A large portion of the record was recorded in Nashville, Tennessee, where she found new inspiration with its music, and also recorded some material in London and Los Angeles, California. The album was co-produced by Minogue alongside a variety of producers including Ash Howes, Richard "Biff" Stannard, Sky Adams, Alex Smith, and Mark Taylor, among others. Each track was co-written by Minogue, making it her first album since Impossible Princess (1997) to do so.

Gaslighter is the brilliant new album from the Dixie Chicks (the fifth studio album to be released by the band). It is their first new album since 2006’s Taking The Long Way which won five Grammy Awards including “Album Of The Year,” “Record Of the Year” and “Song Of The Year.” Gaslighter is produced by Jack Antonoff with the Dixie Chicks. Superstars, renegades, innovators, heroes, villains, and moms, the Dixie Chicks have grown from a band into a cultural phenomenon. Since the release of their debut album Wide Open Spaces in 1998, the Dixie Chicks’ music has stirred emotions in fans across the world, making them one of the biggest and most influential bands of our time.

Tony Joe White's second Warner Bros. album is an awesome, exquisite musical jewel and a departure from most of the attributes for which he is best known, from songs like "Polk Salad Annie." Acoustic textured for much of its length and built on a close, intimate sound overall, The Train I'm On is permeated with the dark side of White's usual swamp rock sound, filled with songs about unsettled loves and lives, and men caught amid insoluble situations. Betraying surprising vulnerability for much of its length, even on songs like "If I Ever Saw a Good Thing" and "300 Pounds of Hongry" (among the few full band numbers here, with a gorgeous sax solo by Charles Chalmers on the former), he shows off an emotional complexity that wasn't always obvious on his earlier work, only really cutting loose boldly on "Even Trolls Love Rock and Roll" and a tiny handful of other cuts. The rest is dark, pensive, soulful bluesy rock, highlighted by some bristling acoustic guitar work (check out "As the Crow Flies") and superb singing throughout ("The Migrant" is worth the price of admission by itself).

James Taylor stopped pushing himself into new musical and lyrical territories in the late '70s, so it doesn't come as a great surprise that Hourglass, his first studio album in six years, doesn't offer anything new – it's a collection of pleasant, melodic, simple songs about love, family, and social activism. That's not necessarily a bad thing, since Taylor has a gift for such material, and on Hourglass, he sounds as good as ever. The music, in many ways, has greater depth than previous records, since it features cameos from such heavy hitters as Stevie Wonder, Yo-Yo Ma, Shawn Colvin, Michael Brecker, Mark O'Connor, and Branford Marsalis. There are a few songs that fall a little flat, failing to make much of an impression one way or the other, but on the whole, Hourglass is a nice addition to his catalog.