Two CDs devoted to the Springfields is probably a bit much for casual fans. This set could likely have been trimmed to one 70-minute CD, leaving out "Silver Dollar," "Row Row Row" and some of the other lesser material from their first album, although it is strange in an enlightening way to hear Dusty singing the latter, a pre-World War I standard more suited to the likes of Ruth Etting. What's good is that none of the high spots are left out, including "Allentown Jail," the ethereal "Far Away Place," "Silver Threads and Golden Needles" (natch), the delightful "Little Boat" (the best of their international numbers), and the gorgeous, near-British beat style "Come On Home," where Dusty starts to show off some of the soulfulness that would later identify her voice. The notes are well detailed, and the mastering is flawless.

Just as the title implies, 25 Years of Greatness is a career-spanning 32-track compilation covering most of the highlights of the Wolfe Tones' first quarter of a century. There is the important caveat, however, that like many folk groups, the Wolfe Tones have recorded many of their most popular songs several times, and this collection tends to favor more recent and/or more arranged versions of the Spartan originals that graced early albums like Let the People Sing. That's not as much of a problem as it would be with some groups, however, as the Wolfe Tones have wisely resisted any temptation to "update," "modernize," or otherwise ruin a traditional Irish folk style that has worked for them for so long; even the Fairport Convention-like electric track of the new "Rock On Rockall" has a bracingly traditional feel to it. This is the Wolfe Tones set to have if you're having just one, but there's plenty more where this came from.

The Very Best of Marianne Faithfull' is a particularly strong collection of Marianne's earliest recordings made for Decca between 1964 to 1968. This album contains every one of her singles which made the charts both in Britain and America during those fruitful four years.

Released in 1994 and curated by Joe Boyd, the 16-track collection Way to Blue held true to its claim as An Introduction to Nick Drake. Though largely unknown during his lifetime and brief career, the beguiling English folksinger ascended to a kind of romantic cult hero in the two decades following his 1974 death. His name was known among artists and hardcore record collectors and thanks to Boyd's Hannibal Records label, his three lone albums along with the essential 1986 rarities disc Time of No Reply were all back in print. Artists like R.E.M., the Cure, and the Dream Academy had all cited him as an influence in the mid-'80s, but it really wasn't until the '90s that his gentle, austere music began to achieve the legendary status that it would enjoy well into the 21st century. A handful of other Nick Drake compilations had existed before this one, but Way to Blue remains the definitive primer for aspiring and casual fans.

Before becoming a solo act, Linda Ronstadt was the lead singer of the Stone Poneys, an L.A.-based trio with an acoustic folkish sound and strong original material. The band's focal point and greatest asset was Ronstadt's clear, powerful singing. Originally recording in a coffeehouse folk style not far removed from Peter, Paul and Mary, the group rocked up its sound slightly and scored a Top 20 hit with "Different Drum," written by Mike Nesmith of the Monkees, in 1967.

Best known for her lengthy collaboration with famed electronic composer Mike Oldfield, singer Maggie Reilly was born in Glasgow, Scotland in 1956. She began her performing career during the early 1970s as a member of the local blues band Joe Cool; later renamed Cado Belle, the group's self-titled debut LP was issued in 1976. An EP followed a year later, but Cado Belle dissolved soon after, with Reilly turning to session work before signing on with the trio Riotous Assembly. She met Oldfield in 1979, and a year later contributed vocals to his album QE2; they collaborated on three more projects – Five Miles Out, Crises and Discovery – before Reilly made her solo debut in 1984 with a cover of the classic "As Tears Go By." She spent the latter half of the decade focusing on raising a family, returning to music only intermittently, including a 1989 reunion with Oldfield on his album Earth Moving; finally, in 1992 Reilly issued her debut solo LP Echoes, followed a year later by Midnight Sun. Elena appeared in 1996.

Building on her well-represented holiday catalog, Christmas with Judy Collins is essentially a reissue of the folk artist's 2000 release All on a Wintry Night, padded with two additional songs. All 14 tracks from Wintry Night are featured here in their original sequence with the addition of a new single, the western-tinged "Angels in the Snow" leading off the album, and a stirring, largely a cappella version of "Amazing Grace" closing it out. Fans of Collins' rich, warm voice will enjoy some of the more stripped-down arrangements, which feature her singing to a simple piano accompaniment on lesser-known carols like "In the Bleak Midwinter" and "Cherry Tree Carol." On the other hand, the dated synthesizer sounds on tracks like "Come Rejoice" and "Good King Wenceslas" sound rather homogenous and the spoken intro over the faux-strings of "Away in a Manger" is far too heavy-handed to take seriously. Fortunately, the bulk of the album's 16 tracks favor the more minimalist arrangements keeping Collins' lovely voice at the forefront without much distraction.

This double-disc is a very solid collection of Sally Oldfield's recordings for the CBS subsidiary Bronze (don't laugh, Uriah Heep was on there too). Before her brief resurgence in the '90s, Oldfield's recordings were new age before there was such a term. She brought not only a songwriter's sense of elegance to tape, but also an instrumentalist's sense of silence and dynamic. Brother Mike Oldfield helped out on "Waterbearer," perhaps he best-known offering here, as well as on some of the subsequent tracks on later records. Oldfied was the real precursor to people like Enya and Loreena McKennitt, marrying a classicist's sense of arrangement and dynamic to a mystic's heart and a Celtic woman's abiding folk history, myth, and legend. These two discs are impeccably remastered and offer a wonderful introduction to a talent who, at least on this side of the pond, never got her proper due.

Bolland & Bolland are two Dutch music producers and brothers, Rob Bolland and Ferdi Bolland. They produced and wrote for such artists as Falco (including his Number 1 hit "Rock Me Amadeus"), Samantha Fox ("Love House"), and wrote the Status Quo hit "In the Army Now" – which they released under their own name in 1981 and which was also recorded by Gerard Joling. Their hit singles career started as early as 1972, with "Wait for the Sun" in a folk, a cappella-style following the success of Simon and Garfunkel and their Dutch equivalents Greenfield and Cook. When, in 1976, their success started to wane, they turned towards a more electronic sound, an early example of which can be heard in "Spaceman", a 1978 hit in the Netherlands.

The inspiration behind Closer to the People was to get Tanita Tikaram closer to her road band: to record the singer/songwriter with a touring combo with serious blues and soul roots. Several of these players have done time with Van Morrison, a comparison that comes in handy for Closer to the People, not because her songs sound like Van's – they don't – but the record trades in jazz and soul influences while also spinning these familiar tropes into the realm of the personal. Tikaram specializes in sculpted, open-ended compositions – even when the tempo quickens her songs seem to unfold gracefully – and that means the hushed arrangements, underpinned by acoustic bass and brushed drums, seem like reflections of the song's soul.

Green Linnet 20th Anniversary Collection is a double-disc collection featuring 38 tracks from the Celtic music insitution. Every one of the label's biggest artists – including Silly Wizard, Altan, Wolfstone, the Bothy Band, John Williams, Tannahill Weavers – is on the collection, giving a good representation of not only the label, but the state of Celtic music of the '70s, '80s, and '90s. It's an excellent retrospective.