Waylon Jennings spent 20 years with RCA Records, signing with the label in 1965 and remaining with them until 1985, when he moved on to record for MCA Records. Needless to say, his key creative years were with RCA, particularly after 1972, when Jennings renegotiated his deal to give him more artistic control over what he produced. This box set package includes five of the resulting RCA albums that Jennings produced between 1973 and 1978, including 1973's Lonesome, On'ry and Mean, 1974's This Time and The Ramblin' Man, 1977's Ol' Waylon, and 1978's Waylon & Willie (with Willie Nelson), with whatever bonus tracks that were included on RCA's individual CD reissues of each album. It's a whole lot of Waylon, probably more than the casual listener would need and serious fans would most likely already have all of, but a big chunk of Jennings' legacy is here, so it makes an easy way to connect with his most creative period as an artist in one simple swoop.

Let's call a spade a spade. Orion is an Elvis impersonator. No more, no less. That he's a good Elvis impersonator is important, since if he wasn't, Sun probably wouldn't have tried to promote his recordings as if they were genuine Elvis material, even going to the extremes of overdubbing Orion's voices on recordings by such Sun stalwarts as Jerry Lee Lewis and Carl Perkins. This doesn't make him any better, but it sure makes him fascinating, particularly because he is gifted at mimicry and these are pretty good evocations of Elvis at his peak…

On this 1986 debut, Steve Earle burst on the scene as a fully formed songwriting master, synthesizing effortlessly the finest parts of country-folk troubadours like Townes Van Zandt and the anthemic, working-class rock of Bruce Springsteen. "Someday," a country-rock masterpiece about a kid stuck pumping gas in a dead-end town, remains the perfect realization of this style, and with the exception of the slight and silly "Little Rock 'N' Roller," most everything else here (especially "Hillbilly Highway" and the heartbreaking ballad "My Old Friend the Blues") comes awfully close. The 2002 reissue, overseen by Earle and original producer Tony Brown, offers fresh remastering, new liner notes by Earle, and a bonus live version of Springsteen's "State Trooper."

Lucinda Williams is incapable of sounding anything less than 100-percent engaged and sincere. Whatever she has to say, she clearly means it, and that more than anything else is the thread that runs through 2020's Good Souls Better Angels, her fourth album since she launched her own record label and took full control of her process of recording and releasing music. Cut mostly live in the studio with her road band – Stuart Mathis on guitar, David Sutton on bass, and Butch Norton on drums – these 12 songs play like a long stream-of consciousness journey, with Williams writing in blues structures that repeat certain lines like a mantra while her band either sneak up on the music like a ghost or howl with elemental, bluesy skronk (the raw, gritty tone of Mathis' guitar matches Williams' vocals for sheer ferocity on numbers like "Down Past the Bottom," "Bone of Contention," and "Wakin' Up" like he's roots rock's answer to Ron Asheton).

As guitarist and frequent songwriter with the Jayhawks, Gary Louris was on hand from the group's atmospheric country-influenced early recordings to their later grand-scale pop productions, so it shouldn't be much of a surprise that Louris' first solo album should embrace both ends of this musical spectrum. Vagabonds manages to sound grand and organic at once, with the arrangements and production capturing a sense of the wide open spaces of Hollywood Town Hall and Rainy Day Music, especially on the beautifully heart-tugging "She Only Calls Me on Sundays," while also encompassing the more ambitious melodic conceits of Smile and Sound of Lies on tracks like "Black Grass" and "Omaha Nights."

Ring of Fire: The Best of Johnny Cash is the sixteenth album in total by the singer-songwriter Johnny Cash, released on Columbia Records in 1963. This album collects tracks from singles and an EP released between 1959 and 1963, Cash's first years on the Columbia label, and marked the first release of these tracks in LP format, with the exception of "I Still Miss Someone," which had previously appeared on the 1958 album The Fabulous Johnny Cash. "Ring of Fire", one of Cash's most famous tracks, made its first LP appearance here. Ring of Fire was the first #1 album when Billboard debuted their Country Album Chart on January 11, 1964. It was certified Gold on February 11, 1965, earning him his first Gold LP.

Having made an enormous contribution to the establishment of the Nashville Sound and the modernisation of country music, Anita Kerr felt the need to expand her artistic horizons and in 1965, made the move from Nashville to Hollywood. She wanted to work with different people, to get her own songs recorded, to play jazz, to conduct an orchestra, to take on more ambitious and more varied projects musically, and to form a vocal group which, rather than be confined to studio sessions, might also appear in club and concert settings. Her arrival on the West Coast was well timed. She had just fought off The Beatles to win a Grammy for the album We Dig Mancini and she was quickly able to assemble a stellar Anita Kerr Singers (B.J Baker: alto, Gene Merlino: tenor; Bob Tebow: bass, with Anita herself as soprano and soloist) and secure a contract more tailored to her needs with Warner Brothers. The result over the next two years, were these five superbly fashioned albums.

This album comprised the first full-length work by Johnny Cash and Waylon Jennings as a duo, though they had previously worked together as part of the Highwaymen, the existence of whose three LPs may account for the relative neglect that Heroes has received. And it is one of the most obscure records in either artist's output, a fact that's astonishing, given the quality of the music, the singing, and the overall production. Co-produced by Chips Moman, and with Cash and Jennings at the top of their game (and so good at what they do that they make it sound easy), there's not a weak point anywhere here. There's almost no original material on this album, which doesn't make it any less personal than something that Cash or Jennings might have composed themselves: they throw themselves into the music and make it their own, with Moman and the other players smoothing out the whole creation.

It may be far too obvious to even mention that Norah Jones' follow-up to her 18-million-unit-selling, eight-Grammy-winning, genre-bending, super-smash album Come Away with Me has perhaps a bit too much to live up to. But that's probably the biggest conundrum for Jones: having to follow up the phenomenal success of an album that was never designed to be so hugely popular in the first place. Come Away with Me was a little album by an unknown pianist/vocalist who attempted to mix jazz, country, and folk in an acoustic setting – who knew? Feels Like Home could be seen as "Come Away with Me Again" if not for that fact that it's actually better.

On the first album they’ve released together since they were partners in The Jayhawks in 1995, singer/songwriters Mark Olson and Gary Louris reconvene for a recording that's unlikely to disappoint fans of their old band. But while they mine a thoughtful country-folk vein that’s not far removed from Jayhawks territory, Olson and Louris take a somewhat softer, more acoustic-based, balladic approach here than they did in the Jayhawks days, lending Ready for the Flood a warm, honeyed glow.

This edition of Dutton Vocalion's two-fer series features a pair of LPs by Engelbert Humperdinck: "We Made It Happen" and "Sweetheart", originally issued on Decca in 1970 and 1971. Highlights among the 23 tracks include cover versions of "'My Cherie Amour," "Raindrops Keep Fallin' on My Head," and "For the Good Times." Casual listeners should pick up Engelbert Humperdinck Gold on Hip-O/Deram before delving into these recordings.

A lifelong bluegrass and country music fan, legendary singer, songwriter and producer Barry Gibb has long dreamed of a project that would bring him together with some of the artists he admires the most. With the help of Grammy Award-winning producer Dave Cobb, that dream has become a reality with GREENFIELDS: The Gibb Brothers Songbook, Vol. 1-out January 8th via Capitol Records. The album includes new renditions of some of the Bee Gees' biggest hits, that Barry Gibb has re-recorded with several of the world's biggest country artists, including Dolly Parton, Keith Urban, Olivia Newton-John and Sheryl Crow.

Two full albums from the man who was an important influence on California country giants Merle Haggard and Buck Owens! The first album is pure genius from the young Tommy Collins – an early figure on the Bakersfield scene, and an artist who almost single-handedly shaped the sound of the west coast scene with his Capitol Records material included here! Collins had a wonderful way of updating older hillbilly modes – traces of Texas and Arkansas, moved over to postwar Cali – where things got tightened up, became a bit more confident, and were given a razor-sharp sound by the excellent Capitol production. Every tune here is a classic – and many have a sense of double-entendre that rivals the hippest R&B work of the period, but with a very different sound overall – on titles that include "You Better Not Do That", "How Do I Say Goodbye", "It Tickles", "You Gotta Have A License", "Smooth Sailin", and "Whatcha Gonna Do Now".

One of the most influential guitarists of the 20th century, as well as a legendary musician and producer within country music. Without Chet Atkins, country music may never have crossed over into the pop charts in the '50s and '60s. Although he recorded hundreds of solo records, Atkins' largest influence came as a session musician and a record producer. During the '50s and '60s, he helped create the Nashville sound, a style of country music that owed nearly as much to pop as it did to honky tonks. And as a guitarist, he was without parallel.

Legacy’s 2010 collection The Essential Highwaymen doesn’t merely cover recordings made by the supergroup of Willie Nelson, Waylon Jennings, Johnny Cash, and Kris Kristofferson, it rounds up selections from their solo albums of the ‘70s, ‘80s, ’90s, and 2000s. Specifically, these selections are written by other members of the group, so the net effect is a generous 36-track collection of Highwaymen highlights in all forms, drawing a more detailed portrait of their crossed paths than any individual album by the supergroup.