An amazing portrait of America between the wars – served up over dozens of vintage 78rpm recordings – all based around themes of daily life mentioned in the title! The collection is an incredible historical document – pulled mostly from the collection of Louisville 78 collector Don Wahle, and remastered and re-presented beautifully by the folks at Tompkins Square – who not only sort the songs into key categories, but also provide a wealth of notes and images to further illuminate the tunes! There's a number of tracks on here that have never been reissued before, mixed with others that are still plenty darn rare – and the package features 42 tracks that include "Climbing The Golden Stairs" by Happy Four, "Oh Declare His Glory" by McDonald Quartette, "Fourth Of July At The County Fair" by Bill Chitwood, "Tennessee Coon Hunt" by Whit Gaydon, "Hide Away" by Oscar Ford, "Poor Man Rich Man" by David McCarn, "Driving Saw Logs On The Plover" by Pierre La Dieu, and "Flat Wheel Train Blues (parts 1 & 2)" by Red Gay & Jack Wellman. CD

Merle Haggard's criminally underrated second album for Anti- – finding him looking back to the songbook of Lefty Frizzell and other classic honky tonk laments with a master's touch – essential for Hag fans or anyone ready to be schooled in true, real deal, hokum free country music. The production is barely a production at all – Hag set his band up in a cabin on his property and basically lets it all play out live and direct, a God given gift to those of us who loved the songs he recorded in the 80s and early 90s, but couldn't deal with the glossy over-production – and his voice sounds better than it has in years. Includes the excellent originals "More Than My Old Guitar" and "Honky Tonk Mama", Lefty's classics "Always Late (With Your Kisses)", "If You've Got The Money (I've Got The Time)", "My Baby's Just Like Money" and "I Want To Be With You Always", plus Hank Sr's "Honky Tonkin". If only this thing sold well enough for Anti- to bankroll Vol 2, we coulda died happy. CD

Pivotal singles from the amazing Wanda Jackson – one of the greatest female rock and country voices from the 50s onward – who mixes a cutesy coo and a feral growl for a sound that was pretty much unprecedented at the time! The material bridges proto rock and country music in a way that confused the heck outta radio programmers and the label's hope to break her into superstardom back in the day – and Wanda had a voice that could've (and should've) made her a star on par with the Sun Studios boys club. She's tough and tender at the same time – and Capitol producer Ken Nelson is near the top of his game here, too. This really is the best of her Capitol singles – 29 in all – including "I Gotta Know", "Fujiyama Mama", "Honey Bop", "Did You Miss Me?", "Right Or Wrong", "Sinful Heart", "In The Middle Of A Heartbreak", "Mean Mean Man', "Sympathy", You Bug Me Bad", "Silver Threads And Golden Needles", "Rock Your Baby", "(Every Time They Play) Our Song", "Little Charm Bracelet", "No Wedding Bells For Joe", "Honey Bop" and more. CD

An amazing legacy in music from Mike Cooper – a British musician who started out in the world of folk blues, but never ended up moving towards some of the rockish modes of his contemporaries – instead finding his very own sort of special space in the freedom allowed by the Dawn Records label! The set begins with the very spare Oh Really – a set that has Mike Cooper mostly on guitar and vocals, in a style that's part Piedmont, part Delta blues – but also given a more folksy spin, and graced with Cooper's unusual vocals – almost making the whole thing feel like a spare acoustic version of Canned Heat territory – with titles that include "Maggie Campbell", "Saturday Blues", "Electric Chair", "Crow Jane", and "You're Gonna Be Sorry". Do I Know you is a record that follows up with a sound that's maybe a bit fuller than Mike Cooper's debut, but still relatively spare – with Mike on acoustic guitar and slide guitar, Harry Miller on bass (really great bass, by the way!), and Poor Little Anne on a bit of vocals. Miller brings these deep tones to the record that really transform things – and titles include "Do I Know You", "Start Of A Journey", "First Song", "Theme In C", and "The Link". Trout Steel is a beautiful set from the British scene at the start of the 70s – a record that's got a fairly folksy tone, but lots of jazzy currents as well! The set was issued on the seminal Dawn Records label – and really shows that imprint's commitment to the left side of the spectrum – as Mike Cooper's vocals and acoustic guitar come into play with more guitar from Stefan Grossman – plus alto sax from Mike Osborne, tenor and soprano from Alan Skidmore, piano from John Taylor, and bass from the late Harry Miller – all key players on the UK avant jazz scene of the time! The mix of these players with Cooper's core inspiration is not unlike some of the most progressive material coming from Island Records – or, even better, the special jazzy moments on records by Tim Buckley or Tim Hardin – company that Cooper could very easily keep, given the strength of his songwriting. Titles include "Don't Talk Too Fast", "On My Way", "Hope You See", "Weeping Rose", "Trout Steel", "I've Got Mine", "That's How", and "Pharoah's March". Places I Know blends Cooper's acoustic guitar and rootsy vocals with some very compelling arrangements from Mike Gibbs – the British jazz talent who was already known for his larger ensemble creations at the time, but who works here in these really subtle ways – to inflect Cooper's core inspirations with just some slight instrumental colors, tones, and phrases on most numbers – while Cooper brings in the core Machine Gun Co group on a few more. The result is a record that's way more than familiar folk – and arguably a lot hipper than most of the British acid folk of the time, too – on titles that include "Night Journey", "Paper & Smoke", "Country Water", "Time To Time", "Goodbye Blues Goodbye", and "Places I Know". The Machine Gun Co album is a partner record to Places I Know – recorded in the same sessions, but with tracks that are longer, and even more openly expressive – all with backings from the sweet Machine Gun Co quartet, a group with some especially nice electric piano from Alan Cook! Heavy use of that instrument really works against some of the folksier elements in Cooper's music – with these blocks of warm sound and color that really illuminate the tunes, and almost unlock a new level in the vocals. Cooper plays a bit of electric guitar at times – and titles include "So Glad That I Found You", "Lady Anne", "Midnight Words", and "Song For Abigail". CD also features songs from singles – "Your Lovely Ways (parts 1 & 2)", "Time In Hand", and "Schaabisch Hall". (Rock, Folk/Country) CD

An amazing, largely unheard collection of recordings by Bob Wills & His Texas Playboys! If you're not down with the lore, what's now known as The Tiffany Transcriptions is a series of recordings that the western swing pioneers cut for Tiffany Music, Inc. in the mid-to-late 40s, which were intended only for syndicated radio play at the time – but Tiffany went bust shortly thereafter, and a lot of went unheard for years and years. Wills and his Playboys are really at a peak level here – bridging rural dancehall music with swing jazz in landmark fashion and folksy charm. We've always been huge fans of Playboys singer Tommy Duncan, and he's in top form here, - and the set includes some excellent instrumentals, too. It features 50 tracks on 2CDs – 30 of which have never been reissued, or included on earlier Tiffany Transcriptions anthologies – and 20 of the 50 have never been released before now! Includes "Put Another Chair At The Table", "Travelin' Blues", "Bubbles In My Beer", "Detour", "Sliver Dew On The Blue Grass Tonight", "On The Alamo (Instrumental)", "Ragtime Annie (Instrumental)", "Goodnight Little Sweetheart", "I Wonder If You Feel The Way I Do", "She's Gone", "Still Water Runs The Deepest" and many more. Deluxe package, too! CD

One of the most compelling larger projects put together by Merle Haggard during his "concepts" years at Capitol Records – a double-length set that has the country legend dipping into the spiritual side of the spectrum, with key recordings at a number of different locations! The album features work recorded at the chapel at San Quentin Prison, at the Big Creek Baptist Church in Tennessee, a Rescue Mission in Nashville, and at the Assembly Of God Tabernacle back in California – all of which make for a nicely varied expression of the way that country music comes into play with spiritual themes, along with help from famous guests The Carter Family, and some vocals from Bonnie Owens too! The Strangers provide the backings, and although there's some spoken bits from time to time, the clear appeal of the record is Merle's great vocals as he takes on tunes that include "The Family Bible", "Guide Me Lord", "Life's Railway To Heaven", "Steal Away", "On The Jericho Road", "Precious Memories", "Turn Your Radio On", "Where Could I Go", "If We Never Meet Again", and "I Saw The Light". CD

Four albums that show the continuing evolution of Earl Scruggs in the 70s – with a sound that's very different than his earlier music, and maybe even sharper instrumentation overall! First up is I Saw The Light – a record made after the famous banjo pioneer split with Lester Flatt, and was very popular with a young rock crowd – as evidenced by help he gets here from Linda Ronstadt and the Nitty Gritty Dirt Band – not to mention Gary and Randy Scruggs, Vassar Clements, and Norman Blake! The mix of famous names and the growing Scruggs Review sound is great – and the record is an unlikely but important entry in the rise of country rock during the early 70s, with a very different quality than some of Earl's earlier work. We might well thank the Nitty Gritty Dirt Band – as the vibe is similar at times to their shifting music of the period – mixed with some Mike Nesmith inspiration, as a few of his tunes are included. Titles include "Lonesome & A Long Way From Home", "Silver Wings", "Never Ending Song Of Love", "Rock Sant & Nails", "Some Of Shelly's Blues", "It's A Picture From Life's Other Side", and "Propinquity". Features bonus tracks "The Cure", "I Saw The Light", "Fireball Mail", and "Tramp On The Street". On Live From Austin City Limits, the great Earl Scruggs takes on the growing Austin scene – which turns out to be a perfect fit for his Revue's blend of new country modes and older styles of instrumentation! Earl leads off the set with stunning work on banjo – maybe even sharper than earlier years – and the group lead off with some Dylan material at the start, showcasing some of their rock leanings – but soon bringing on other songs of their own, and making for this beautiful mix of key instrumental moments and lyrical passages. Lead vocals are from Gary Scruggs, and Randy and Steve Scruggs are in the group too – on titles that include "Nashville Skyline Rag", "I Shall Be Released", "Tall Texas Woman", "I Just Can't Seem To Change", "Black Mountain Blues", "Everybody Wants To Go To Heaven", and "The Swimming Song". Strike Anywhere is a mighty nice album from the great Earl Scruggs – recorded with his boys' Revue group, and a sound that really helps keep Earl's instrumentation fresh for the 70s! Years back, we never would have thought that mixing the legendary Scruggs banjo sound with keyboards would have worked – but the change here is a great one, as Earl makes the shift that a few of his traditional instrumental contemporaries were doing at the time – such as Vassar Clements or Bashful Brother Oswald – finding a new setting for the instruments that still shine out in the lead at all the best moments. Titles include a great remake of "Mandolin Wind" – plus "Muhammad Ali", "Bring It On Home To Me", "You Really Got A Hold On Me", "I Think Of You", and "Dreaming As One". On Bold & New, the great Chips Moman produced and recorded the record – a set that shows that move that Earl had made into country rock during the decade, delivered in the best possible hands! Vocals are from some of Earl's sons, and the man himself still gets gets in plenty of banjo solos too – as the group mix their own material with a few from Bobby Emmons, who plays organ, electric piano, and clavinet on the set. Titles include "The Cabin", "Our Love Is Home Grown", "That's Alright Mama", "Found Myself A New Love", "Games People Play", "Take The Time To Fall In Love", and "Louisiana Lady". CD

A landmark album in the British folk scene at the start of the 70s – one of those records that was maybe a bit ignored at the time, but which has gone on to shape the sound of generations in the decades that followed! Anne Briggs has a really haunting voice – one that's got this spare, eerie quality that maybe follows from earlier American work by a singer like Jean Ritchie – and she's also a hell of a guitarist too, playing here with a complexity and sense of sound that instantly rivals some of the greats of both the Takoma Records generation, and UK contemporaries like Bert Jansch and John Renbourn. The album mixes vocals and instrumentals beautifully – and although the sound is lean, the whole thing has a tremendously powerful sound – on titles that include "Standing On The Shore", "Tangled Man", "Clea Caught A Rabbit", "Fire & Wine", "Highlodge Hare", "Sandman's Song", "Time Has Come", and "Tidewave". LP, Vinyl record album

Four of the more obscure RCA albums from the great Bobby Bare – all brought together here in a single set! First up is the very unusual English Countryside album – a special set that has the vocals of Bobby Bare paired with a group from the UK – Liverpool's Hillsiders, who sing with a style that's a bit folk, and a bit rock – but which takes on a very distinct country vibe amidst the RCA production of Chet Atkins! Both Bare and The Hillsiders sing solo on the record – but most of the set has them paired together, and the presence of all those voices on the tracks create a nice sense of spontaneity – maybe a hint at the more relaxed recording approach that Bobby would use on his big albums of the mid 70s! Titles include "Sweet Dreams", "Six Days On The Road", "Find Out What's Happening", "Love's Gonna Live Here", "Goin Home", "Blue Is My Lonely Room", and "I Washed My Face In The Mountain Dew". Margie's At The Lincoln Park Inn is a seminal album in the career of Bobby Bare – and the record that really has him turning from a young smiling country singer to the kind of more adult, mature talent that would really send him over the top! The album's promise of "controversial country songs" is certainly apt – as in addition to the great Tom T Hall title cut, the album also features Bare taking on great material from Kris Kristoffersen, Mel Tillis, and even the team of Spooner Oldham and Dan Penn – all set to arrangements that are nicely more sophisticated than those used on the more pop productions of some of Bobby's earlier albums. Titles include "Margie's At The Lincoln Park Inn,", "The Law Is For The Protection Of The People", "Watching The Trains Go By", "Skip A Rope", "Rainy Day In Richmond", "Cincinnati Jail", "Wild As The Wind", and "Drink Up & Go Home". I Hate Goodbyes is the record that marked the return of Bobby Bare to RCA Records in the early 70s – and one that also marks the start of a very different phase in Bare's career! This time around, Bobby's handling the production himself – working with the kind of thoughtful, mature material that would really let him open up – songs from Billy Joe Shaver, Mickey Newbury, the team of Bill Rice and Jerry Foster, and even an early tune from Shel Silverstein – who would soon become one of the biggest contributors to Bobby's records. The vibe is very different than his RCA material of the mid 60s, and in a great way – on titles that include "I Hate Goodbyes", "Restless Wind", "Ride Me Down Easy", "Send Tomorrow To The Moon", "You Know Who", "An Offer She Couldn't Refuse", "What's Your Mama's Name Child", and "Poison Red Berries". Last up is Cowboys & Daddys – an overlooked gem in the mid 70s RCA years of the great Bobby Bare – and a set that really shows the dedication that Bare had during these years to finding the most sophisticated material of the new country generation! The list of songwriters alone is great – as the set features tracks from Terry Allen, Shel Silverstein, David Hickey, and Tom T Hall – plus an early contribution from Bob McDill, with whom Bare would soon record a lot more material on albums to come. There's a mature, laidback vibe to the whole set – different than some of the more playful Bobby Bare albums of the time – and titles include "Chester", "The Cowboy & The Poet", "Amarillo Highway", "Speckled Pony", "Calgary Snow", "Last Dance At The Old Texas Moon", "Pretty Painted Ladies", and "The Stranger". CD

A classic set from British singer/songwriter Michael Chapman – his last recorded for the Harvest Records label, but done in a way that has the sort of rootsy undercurrents you'd be more likely to find in work from the US! Chapman plays both acoustic and electric guitar, often blended together in ways that echo his folk roots, but push things into a headier space overall – especially when some of the larger arrangements come into the mix – used sparingly, but in ways that show the deeper currents of the lyrics. Paul Buckmaster handled these orchestrations, with just the right touch – and titles include "Polar Bear Fandango", "Indian Queens", "Wrecked Again", "Time Enough To Spare", "Night Drive", and "Mozart Lives Upstairs". (Rock, Folk/Country) CD

Way more than just another box set by a well-established act – as this collection moves way past their hits, and pulls together a huge amount of unreleased material that really testifies to the long-running genius of one of the most unique British groups to emerge in the late 60s! The set does feature key album highlights, but also includes 55 previously-unissued tracks, and lots of rare material too – as well as a fair bit of live recordings that really show the role that improvisation played in the group's performance – that odd current of jazz that could sometimes show up and color the way that the group presented its influences from more ancient forms of music. The group also shifted members with ease, and really moved their sound around over the years – in a way that many fans would say was only a continued refinement of their aims. The huge set documents this change, and also includes the unreleased Manor album – and comes in a special box with 48-page book, and a total of 121 tracks on 7 CDs, nearly half of which (55 tracks) are previously unreleased. CD