Oh You Kid! is a vibrant historical compilation released by Sepia Records in 2013, bringing together classic recordings by actress and singer Dorothy Provine alongside honky-tonk piano maestro Joe "Fingers" Carr (Lou Busch). The album compiles Provine's charming 1961 nostalgia-tinged studio set Oh You Kid!, where she delivers spirited ragtime medleys and Vaudeville-era pop standards from the turn of the 20th century, backed by Carr's signature lively keyboard work. The second half of the collection spotlights Joe "Fingers" Carr And His Swingin' String Band, featuring energetic instrumental renditions of mid-century pop hits and Latin-tinged novelties. Enhanced by rare bonus tracks including Provine's sultry take on Body And Soul, this 28-track release offers a delightful and comprehensive journey through vintage American vocal pop and ragtime revivalism.

This five-disc, 100-track set is like bottling time. These are the songs that dominated pop and rock radio stations in the 1980s, particularly if you lived in Britain, and listening to this box is like a nostalgic waltz back to that era. There are dozens of signature and iconic 1980s tracks here, including Billy Idol's "White Wedding," Culture Club's "Do You Really Want to Hurt Me," Kim Carnes' "Bette Davis Eyes," Crowded House's "Don't Dream It's Over," Talking Heads' "Wild Wild Life," the Vapors' "Turning Japanese," the Specials' "Ghost Town," and John Waite's "Missing You," among so many more, but again, this is a British set, so you get some more localized hits, too, like Cliff Richard's "Wired for Sound," which may be less well known to some listeners. It all adds up to a nice musical time capsule of a time and place.

I Love The 90's - 10 Years Anniversary Edition is an expansive five-CD collection released by Universal Music in 2017, celebrating a decade of monumental success for one of Europe's premier retro party brands. Spanning exactly one hundred massive tracks, this box set serves as the ultimate anthology of 1990s dance floor culture, moving effortlessly across mainstream pop, energetic Eurodance, eurobeat, hard house, techno, and early trance anthems. From international chart-toppers like Aqua, Snap!, the Backstreet Boys, and Vengaboys to club club-staples from The Prodigy, Faithless, Gigi D'Agostino, and Sash!, each disc delivers a high-octane journey back to the peak of nineties nightlife. Whether highlighting commercial radio smash hits, rave classics, or underground rave favorites, this collection stands as a brilliantly preserved, action-packed time capsule of a historic musical era, making it an essential compilation for dynamic retro enthusiasts worldwide.

Here at last is 90s XL. 4CDs and 80 tracks of ultimate 90s anthems! Only the biggest and the best from the golden decade are on here! 90s XL boasts a massive 80 tracks across 4CDs. The album features a raft of iconic artists and timeless tracks including Oasis, Fugees, Faithless, Fatboy Slim, Take That, Manic Street Preachers, Natalie Imbruglia, The Corrs, Simply Red and many more!

Backed by the sterling Buckaroos, Owens's trademark Bakersfield honky tonk was grittier and meatier than that of contemporaries like George Jones. Relying heavily on the crisp lead guitar of Don Rich and the steel-guitar strains of Tom Brumley, the music possessed a distinctive locomotive rhythm. Rhino's comprehensive 62-song collection follows Owens from his landmark 1961 duets with Rose Maddox through early collaborations with Harlan Howard to his first number one hit, "Act Naturally." Owens would put a stranglehold on the country charts, reaching the top spot consistently with hits including "Together Again" and "I've Got a Tiger By the Tail." Along the way, he'd mix in Chuck Berry covers, bluegrass staples, and even a Paul Simon tune. His later work features duets with Susan Raye, Emmylou Harris, and Dwight Yoakam.

75 Country & Bluegrass Hits is an expansive three-CD compilation released by Not Now Music in 2013, capturing the defining sounds and foundational masterpieces of American roots music. Across seventy-five meticulously curated tracks, this collection brings together legendary performers and pioneering ensembles who shaped the landscapes of traditional country, high-lonesome bluegrass, and heartfelt folk music during the mid-20th century. Listeners are treated to iconic solo masterpieces from standard-bearers like Johnny Cash, Patsy Cline, Willie Nelson, George Jones, and Dolly Parton, seamlessly juxtaposed with the rapid-fire banjo pickings and tight vocal harmonies of Lester Flatt & Earl Scruggs, Bill Monroe, and The Stanley Brothers. Spanning timeless honky-tonk anthems, mountain ballads, emotional story-songs, and instrumental breakdowns, this beautifully assembled set serves as both a perfect introduction for newcomers and a deeply nostalgic treasury for lifelong fans of authentic Americana, delivering over three hours of essential musical history.

This three-CD box set contains 66 tracks taken from various schools of the first decade (or so) of rock & roll: doo wop, girl group, rockabilly, early soul, light pop/rock, New Orleans R&B, and more. For the most part they were big hits, though one or two things you'll rarely if ever hear on oldies radio are thrown in, like Little Richard's "True, Fine Mama" or Shep & the Limelites' "Our Anniversary." Sometimes songs that were released after the British Invasion started, but owed much to doo wop or girl group sounds, are included. Well, how else would you explain the presence of songs like Jay & the Americans' "Cara, Mia" or the Casinos' "Then You Can Tell Me Goodbye," the latter of which didn't come out until 1967? But why opt for this particular collection, when there are so many other oldies anthologies that either opt for the absolutely most familiar huge smashes if buyers want just the biggest hits, or far narrower, specialized focuses like rockabilly and doo wop if the buyer's choosier and more knowledgeable? You certainly couldn't call a box that has nothing by Elvis Presley, Gene Vincent, Fats Domino, Jerry Lee Lewis, Sam Cooke, Carl Perkins, or Brenda Lee (just for starters) a definitive response to the gauntlet thrown down by the subtitle "The Greatest Songs From Early Rock 'n' Roll." Generally, the compilation targets the kind of warm, romantic songs that nostalgic viewers of the PBS pledge drive perennial Doo Wop 50 special might be apt to buy (or submit a pledge in exchange for) on an impulse right after the credits roll. That's not a purely flip remark: The box was co-presented by Rhino with WQED, the Pittsburgh station that originated the Doo Wop 50 program. Any box that has classics like "Twist and Shout," "He's So Fine," "Cathy's Clown," "Do You Love Me," "Hello Stranger," "Will You Love Me Tomorrow," "Runaway," "Up on the Roof," "Stand By Me," "What'd I Say," and many others of similar quality has a lot going for it, but it's certainly not the best you could do if you're looking for starting points for collecting late-'50s/early-'60s rock. Basically, it's the equivalent of those all-over-the-map collections of oldies that have been hawked on TV for decades, assembled with considerably greater taste and much better liner notes.

Originally recorded in 1965 and beautifully reissued by Original Jazz Classics in 1991, Here and Now captures the brilliant hard bop pianist Hampton Hawes in peak creative form. Backed by a stellar, sensitive rhythm section consisting of bassist Chuck Israels and drummer Donald Bailey, Hawes applies his signature blues-drenched phrasing, muscular swinging attack, and sophisticated harmonic vocabulary to a fascinating selection of mid-1960s contemporary material and popular show tunes. The trio delivers exceptionally fresh, swinging interpretations of timeless standards like Fly Me to the Moon, The Girl from Ipanema, and The Days of Wine and Roses, alongside a vibrant reading of Chim Chim Cher-ee from Mary Poppins. Throughout the entire eight-track session, the synergy between the musicians is palpable, with Israels providing a flexible, melodic foundation and Bailey driving the groove with impeccable, crisp brushwork and cymbal play. This album remains a masterful testament to Hawes' unique ability to transform familiar pop culture melodies into profound, deeply expressive, and enduring modern trio jazz statements.

Baby Won't You Please Come Home is an extensive collection celebrating the polished swing sound and refined big band arrangements of Jimmie Lunceford and his legendary orchestra. Released in 1991 by Double Play, the compilation presents a wide selection of lively performances drawn from Lunceford’s influential years during the height of the swing era. Known for combining precision ensemble playing with energetic rhythms and sophisticated orchestration, Lunceford’s band became one of the defining forces of classic American jazz in the 1930s and 1940s. The recordings featured here showcase the orchestra’s trademark balance between technical excellence and infectious entertainment value, filled with sharp brass sections, swinging melodies, and smooth vocal passages. Tracks such as “Baby Won't You Please Come Home,” “White Heat,” and “Belgium Stomp” capture the vibrant dance-hall atmosphere and rhythmic drive that made the ensemble so popular. Despite the vintage origins of the material, the performances remain fresh, dynamic, and highly enjoyable, offering listeners a comprehensive portrait of one of swing music’s most disciplined and influential big bands.

Margie is an energetic and entertaining collection showcasing the refined big band artistry of Jimmie Lunceford, one of the most influential bandleaders of the swing era. Released by Savoy Jazz in 1989, the compilation highlights Lunceford’s signature combination of tight ensemble arrangements, polished brass sections, infectious rhythms, and sophisticated orchestration. Known for his disciplined band sound and highly danceable performances, Lunceford helped define the golden age of swing during the 1930s and 1940s. The recordings featured on this collection capture the vibrant atmosphere of classic American jazz with lively horn interplay, strong rhythmic momentum, and moments of playful musical humor. Tracks such as “Cement Mixer,” “Margie,” and “One O'Clock Jump” demonstrate the band’s remarkable precision and dynamic energy while maintaining an accessible and joyful spirit. The arrangements balance technical excellence with entertainment value, reflecting Lunceford’s unique ability to combine musical sophistication with broad audience appeal. Margie remains an enjoyable document of classic swing and an essential listen for fans of traditional big band jazz.