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"Myself When I Am Real" (09/10/2002) Folk Norman, Bebo, Brentwood RecordsPersonnel: Bebo Norman (vocals, acoustic guitar); Jerry McPherson (electric guitar); Ed Cash (guitar, strings, keyboards); Carl Hergsell (keyboards); Craig Young (bass); Dan Needham (drums, percussion, programming). Recorded at Ed's, Franklin, Tennessee. With a few solid and successful albums already behind him, Christian pop singer-songwriter Bebo Norman takes the title of MYSELF WHEN I AM REAL literally, splicing away any layers of sonic distraction in favor of a more roots-oriented approach that spotlights the melodies and messages of his songs. This isn't exactly a lo-fi recording; there are plenty of panoramic moments, but there's more of an organic quality to the production and arrangements, as warm-sounding acoustic guitars mix with the plangent electric instruments, and Norman's inviting voice sails over the top. While there are plenty of full-speed-ahead pop-rockers here, it's telling that Bebo himself feels one of the key tracks to be "Great Light of the World," an acoustic guitar-driven, waltz-time ballad that offers simultaneously one of the most introspective and most faith-oriented lyrics on the album.

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"Greatest Hits" (05/07/1996) Folk Baez, Joan, A&M Records (USA)Producers: David Kershenbaum, Joan Baez, Norbert Putnam, Henry Levy. Includes liner notes by Bob Garcia. Digitally remastered by Dave Collins (A&M Mastering Studios). This is part of A&M Records' Backlot series.

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"Firecracker *" (06/06/2006) Folk Wailin' Jennys (The), Red House RecordsThe Wailin' Jennys: Ruth Moody (vocals, acoustic guitar, banjo, accordion); Annabelle Chvostek (vocals, acoustic guitar, mandolin, violin); Nicky Mehta (vocals, acoustic guitar, harmonica). Additional personnel include: Mike Hardwick (acoustic guitar, electric guitar, dobro); Richard Moody (violin, viola); David Travers-Smith (trumpet, horns, organ, percussion); Joe Phillips (acoustic bass); Christian Dugas (drums).

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"We Shall Overcome - Complete Carnegie Hall" (10/31/1989) Folk Seeger, Pete, Columbia (USA)Recorded at Carengie Hall on June 8, 1963, this recording is one of Pete Seeger's most famous concerts. It contains the entire concert, about twice as much music as the LP. Capturing a complete mid-'60s solo concert at New York's Carnegie Hall on two hour-long discs, Pete Seeger's WE SHALL OVERCOME is a glorious-sounding document of the folksinger/musicologist/social activist at the peak of his powers. Opening with a fleet-fingered banjo medley and ending more than two hours later with a stirring version of his classic "Guantanamera," Seeger touches on every aspect of his music, from protest songs to blues to traditional ballads to leftist anthems. The entire concert is remarkable, but a particular highlight comes in the middle of the first disc, when Seeger covers two songs by Bob Dylan, the apocalyptic "A Hard Rain's a-Gonna Fall" and the anti-boxing tirade "Who Killed Davey Moore?," a gesture of solidarity from one generation of folkies to another. The remastered sound is pristine and the set includes new liner notes.

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"The Asch Recordings Vols. 1-4 [Box]" (08/17/1999) Folk Guthrie, Woody, Smithsonian Folkways RecordingsAlso available separately as Folkways 40100, 40101, 40102 and 40103. Producer: Moses Asch. Compilation producer: Jeff Place, Guy Logsdon. Recorded in New York, New York between 1944 and 1949. Includes liner notes by Jeff Place and Guy Logsdon. All tracks have been digitally mastered using HDCD technology.

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"Anthology of American Folk Music [Box]" (01/04/2005) Folk Various Artists, Smithsonian Folkways RecordingsThis newly remastered six-CD box set is a reissue of the six-LP set compiled by folk archivist Harry Smith in 1952. Some of the many artists influenced by this collection of field recordings from the '20s and '30s are Bob Dylan, Bruce Springsteen, Jerry Garcia, Joan Baez and Peter, Paul & Mary. The ANTHOLOGY contains a 100-page booklet that incorporates Smith's original annotations, archival photos, graphics and testimonials by well-known musical figures including Elvis Costello, Dave Van Ronk and Eric von Schmidt. The final disc of this 6 CD set contains a multimedia portion which provides a hypertext essay of images, text, and additional information. Recorded between 1926 and 1932. Includes liner notes by Greil Marcus, Anthony Seeger, Amy Horowitz, Jon Pankake, Luis Kemnitzer, Moses Asch, Harry Smith, Neil V. Rosenberg and Jeff Place. Digitally remastered by Dave Glasser and Charlie Pilzer. ANTHOLOGY OF AMERICAN FOLK MUSIC won the 1998 Grammy Awards for Best Album Notes and Best Historical Album. This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files. This six-CD box set is nothing less than a blueprint for virtually every form of 20th Century pop music. A staggering compendium of the varied but closely connected styles of early American music, the ANTHOLOGY collects folk, blues, hillbilly, and church music to present a textured and unbelievably rich tapestry. This collection's worth as both a historical document and a source of infinite delight cannot be overstated. Folk archivist Harry Smith envisioned the project and compiled these 78s in 1952. His choice of material reveals not only his impeccable taste but also the spirit of true democratic humanity, manifested and reflected in song. Recorded largely in the rural South of the early '20s and '30s, the ANTHOLOGY covers forlorn ballads of lost love, Creole chants, Christian hymns, deep swamp blues, novelty songs, political music, and innumerable tunes that dazzle with their melodic and rhythmic charms and risks. Included here are many legends of roots music, including The Carter Family, Blind Lemon Jefferson, Charlie Patton, Dock Boggs, and Mississippi John Hurt, as well as dozens of others less heard. Make no mistake. This definitive examination of the roots of America's musical family tree is of monumental importance. It belongs in every music lover's library.

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"Christmas With the New Christy Minstrels: Complete" (12/15/2004) Folk New Christy Minstrels, Collectors' Choice MusicCHRISTMAS WITH THE NEW CHRISTY MINSTRELS: COMPLETE contains 2 LPs on 1 CD: MERRY CHRISTMAS! (1963)/CHRISTMAS WITH THE CHRISTIES (1966). Originally released on Columbia Records.

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"Beautiful People: The Greatest Hits of Melanie" (07/13/1999) Folk Melanie (Singer/Songwriter), Buddha RecordsCompilation producers: Peter Schekeryk, Mike Ragogna. Includes liner notes by David Okamoto. Digitally remastered by Robert Fripp.

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"Defying Gravity *" (02/08/2005) Folk Wheeler, Cheryl, PhiloPersonnel: Cheryl Wheeler (vocals, acoustic guitar); Jonatha Brooke, Lucy Kaplansky, Rachael Davis, Ben Wisch (vocals); Duke Levine (acoustic guitar, electric guitar, steel guitar, lap steel guitar, National guitar, mandola); Marc Shulman (acoustic guitar, electric guitar); Kenny White (piano, organ); Zev Katz, Paul Bryan (bass guitar); Jay Bellerose (drums, percussion); Shawn Pelton (drums). Recording information: The Bottom Line, New York, New York; Bailey Building & Loan, New York, New York (2004).

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"Choose Your Partners! Contra Dance & Square Dance Music of New Hampshire" (06/22/1999) Folk Various Artists, Smithsonian Folkways RecordingsRecorded at Cedarhouse Sound, New London, and Fishtraks, Portsmouth, New Hampshire. Includes liner notes by Jack Beard, Lynn Martin and Kate Van Winkle Keller. All tracks have been digitally mastered using HDCD technology.

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"1200 Curfews" (10/11/1995) Folk Indigo Girls, Epic (USA)Indigo Girls: Emily Saliers (vocals, acoustic & electric guitars, dobro); Amy Ray (vocals, acoustic & electric guitars, mandolin, melodica). Additional personnel: Gail Ann Dorsey (vocals); Jerry Marotta (vocals, saxophone, drums); Jimmy Descant (electric guitar, background vocals); Michelle Malone (mandolin, background vocals); Scarlet Rivera, Sheila Doyle (violin); Jane Scarpantoni (cello, pennywhistle); Sara Lee (pennywhistle, bass, background vocals); Sandy Garfinkel (harmonica); Michael Lorant (tambourine, background vocals); Gerard McHugh, Dede Vogt, Russell Carter (background vocals). Producers: Indigo Girls, Russell Carter, Jerry Marotta, Richard Winn, David Kehrer. Engineers include: Don McCollister, Fred Derby, Tchad Blake. Recorded between 1982 and 1995. Includes liner notes by Indigo Girls, Steve Morse and Russell Carter. The idea started off simple enough--record a couple of the Indigo Girls' better shows, and release a live album. Well, 1200 CURFEWS later, this celebrated acoustic duo has released a double album, chock full of exceptional live performances from a wide variety of settings. And they're not all from the stage either. "Thin Line," a modest little gem of a song, was recorded in the dressing room of the Santa Monica Civic Center. The majority of tunes on this formidable set were, however, recorded on stage, and the Girls deliver on all fronts. We get raw emotion, shimmering acoustic hooks and plenty of straight-up, honest music. The Indigo Girls rarely use any percussion, and are happy to present their songs with bare-bones arrangements. The aforementioned "Thin Line" is a perfect example. As Amy Ray starts off with her powerful, deep voice and deliberate phrasing, Emily Saliers joins in with her trademark harmonies. She expertly rides a few notes above, or sometimes right alongside, her partner. The effect is mesmerizing. The band also gives Buffy Saint Marie's "Bury My Heart At Wounded Knee" a go, and they achieve a haunting rendition of a timeless protest song. Another highlight is "Jonas And Ezekial," a bluesy, tightly-wound exploration of heaven and hell. "Every devil I meet is an angel in disguise," sings Ray. As they often do, these two fine musicians build to a harrowing climax, where they are wailing in a mesh of layered harmony and perfect vocal counterpoint. This is a great live act that has recorded an immaculately-mixed two-disc set. Loyal fans as well as newcomers should be more than satisfied.

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"In the Kind Land" (04/15/2005) Folk Bok, Gordon, Timberhead Music

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"Butt Naked Free" (03/14/2000) Folk Davis, Guy, Red House RecordsPersonnel includes: Guy Davis (vocals, 6- & 12-string guitars, steel bodied dobro, harmonica, tambourine); T-Bone Wolke (mandolin, accordion, Hammond B-3 organ, electric bass); John Platana (guitar, tambourine); Levon Helm (mandolin, drums); Mark Murphy (acoustic double bass); Gary Burke (percussion). Recorded at The Club House, Germantown, New York. Armed with both 6- and 12-string guitars and an engagingly raspy singing style, Guy Davis carries on the legacy of country-blues alongside a small class of younger musicians that includes Keb' Mo, Corey Harris and Alvin Youngblood-Hart. On his fourth album, Davis pens a broad range of songs that touch on broken dreams ("Raining In My Soul"), teenage femme fatales ("Sugarbelle Blue") and high-stakes gambling ("Waiting On The Cards To Fall"). Family serves as important motivation for this raconteur (whose parents are actors Ossie Davis and Ruby Dee). Results of this inspiration include the fleet-fingered instrumental "The Place Where I Come From (Butt Naked Free)" inspired by Davis' then infant son's crazy-legs dance and the jaunty "Ain't No Bluesman," written for this same child to sing when he got older. Elsewhere, Davis looked to Blind Willie McTell for a strolling version of his "Writing Paper Blues" (fleshed out by organist T-Bone Walk and drummer Levon Helm). Other highlights include the bittersweet "Let Me Stay Awhile" and "High Flying Rocket," a humorous sexual ode rife with double-entendres.

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"40 Days" (08/10/2004) Folk Wailin' Jennys (The), Red House RecordsThe Wailin' Jennys: Cara Luft (vocals, guitar, dobro); Nicky Mehta (vocals, guitar, harmonica); Ruth Moody (vocals, guitar, accordion, keyboards, bodhran). Recording information: Private Ear, Winnipeg, Canada.

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"The Very Best of David Wilcox" (05/07/2005) Folk Wilcox, David (American), A&M Records (USA)Additional personnel includes: Randy Brecker, Mark Egan. Producers include: Pat McCarthy, Ben Wisch, Richard Gottehrer, Jeffrey Lesser. Compilation producer: Mike Ragogna. Includes liner notes by David Okamoto. All tracks have been digitally remastered.

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"Good For What Ails You: Music Of The Medicine Shows, 1926-1937 [Digipak]" (10/04/2005) Folk Various Artists, Old Hat Enterprises

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"There But For Fortune" (03/28/1989) Folk Ochs, Phil, Elektra Entertainment2 LPs on 1 CD. Liner notes by Lenny Kaye. Songs from the LPs ALL THE NEWS THAT'S FIT TO SING, I AIN'T MARCHIN' ANYMORE, PHIL OCHS IN CONCERT. THERE BUT FOR FORTUNE is an excellent complement to the other single-disc Phil Ochs compilation, THE WAR IS OVER. Where that album covers the singer/songwriter's later, more pop-oriented A&M albums, THERE BUT FOR FORTUNE anthologizes Ochs' three Elektra releases, 1964's ALL THE NEWS THAT'S FIT TO SING, 1965's I AIN'T MARCHIN' ANYMORE, and 1966's IN CONCERT. At this time, Ochs was a Greenwich Village-based topical folksinger, somewhere between the sometimes strident declamatory style of early Bob Dylan and the sly, ironic humor of Ochs' contemporary Richard Farina. The caustic "Love Me, I'm a Liberal" and the haunting title track, perhaps better known in Joan Baez's rendition, are particular highlights, but by eliminating the albums' weaker or more dated tracks and sequencing the songs with thoughtful care, THERE BUT FOR FORTUNE provides an excellent introduction to the early work of one of folk's most gifted performers.

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"Voices of the Civil Rights Movement: Black American Freedom Songs 1960-1966" (01/21/1997) Folk Various Artists, Smithsonian Folkways RecordingsProducer: Bill Bennett. Reissue producer: Bernice Johnson Reagon. Includes liner notes by Bernice Johnson Reagon.

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"Live @ UC Santa Barbara 5/9/66 *" (10/22/2002) Folk Edmonson, Travis, Folk Era Records

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"The Dance of Death & Other Plantation Favorites" (07/06/1999) Folk Fahey, John, TakomaSolo performer: John Fahey (acoustic guitar). Producer: Ed Denson. Reissue producer: Bill Belmont. Recorded at Adelphi Studios, Silver Spring, Maryland on August 22, 1964. Includes liner notes by Lee Gardner. Digitally remastered by Joe Tarantino (1999, Fantasy Studios, Berkeley, California). Listening to this classic 1967 LP, the keen-eared might note that the melody to "On The Banks Of The Wichita" was lifted directly from Ravi Shankar's 1962 "Theme From Pather Panchali." (Which is fine because it's a great melody.) John Fahey's method was always to take themes--sections--movements from the great store of American roots music (folk, blues, Tin Pan alley, even classical) and meld them together in an avant-garde genre of his own making. DANCE OF DEATH (1967) is a representative title in the superior run of albums Fahey recorded (and re-recorded) for his own Takoma label throughout the 60s, and speaks to Fahey's reputation for experimentation and eclecticism.