Decca in the 1930s and '40s. Rogers's delightful voice rings out high above the music on these classics, displaying a beautiful tone and depth of emotion. Two early hits with the Sons kick off the collection: "I'm an Old Cowhand," a swinging romp complete with perfect harmonies, group yodels, and Hugh Farr's sprite fiddle; and "Moonlight on the Prairie," a soft ballad of the plains on which Farr's somber fiddle work adds to the lonesome mood. Rogers's solo work focuses attention on his own considerable vocal talents through a range of material: songs from the books of Gene Autry and Bob Wills, cowboy love songs, World War II-era laments, and most significantly, tributes to the open spaces of the Old West. --Marc Greilsamer  (less)

not afraid of either tantalizing melodies or country music history. Here the Mavericks reprise four tunes from their eponymous indie debut and toss in four new Raul Malo originals along with covers of Hank Williams (a lackluster "Hey Good Lookin'") and Buck Owens (a much more engaging "Excuse Me"). Their deft mix of old-school honky-tonk, Orbisonesque sob stories, and punchy modern country-rock serves notice of a band with enormous commercial and artistic potential. --Marc Greilsamer  (less)

one of country music's wonders. Although his classic duets with Loretta Lynn first come to mind when you think of Twitty in the '70s, this solo album has exceptional material (nary a novelty tune nor emotional misstep to be heard) and flawless Nashville production, and contains some of Twitty's most vital singing. His version of "Blue Eyes Crying in the Rain" is peerless, and his wit and eye for detail is well-shown on "Up Comes the Bottle (Down Goes the Man)." --Roy Kasten  (less)

one of country music's wonders. Although his classic duets with Loretta Lynn first come to mind when you think of Twitty in the '70s, this solo album has exceptional material (nary a novelty tune nor emotional misstep to be heard) and flawless Nashville production, and contains some of Twitty's most vital singing. His version of "Blue Eyes Crying in the Rain" is peerless, and his wit and eye for detail is well-shown on "Up Comes the Bottle (Down Goes the Man)." --Roy Kasten  (less)

lively fiddle fills by Stuart Duncan, while "I'll Always Be Loving You" sounds like classic Bakersfield with Brent Mason adding the bright electric guitar fills. Two Jim Lauderdale songs combine funny lyrics and twitchy dancehall rhythms, and an old Max Barnes number, "No One but You," is given a seductive swing arrangement. Coproduced by Strait and Tony Brown, "Lead On" proves that country music doesn't have to sacrifice great singing to keep the dancers happy. --Geoffrey Himes  (less)

pure symphonic pop and a kind of ode to the cinematic string arrangements--not of Nashville, but of Nelson Riddle, or the classic seasonal recordings of Bing Crosby. The selection is tasteful if conservative, though Gill sings every chestnut expertly and even digs a bit deeper on the religious material. The only surprise is the Amy Grant-composed title cut, the album's one undeniably soulful moment. If you're looking for lush and easy-swinging holiday mood music, brimming with the sentiments of the season, you've found it. --Roy Francis Kasten  (less)

rock-influenced storm the likes of which hadn't been seen since Waylon Jennings' early outlaw period 15 years prior. Like Waylon, Earle toted a larger-than-life sound, badass attitude, and gritty country-rock sound with him into the studio. Fortunately, he also possessed a craftsman's gift for songwriting. This disc concentrates mostly on Earle's groundbreaking debut, GUITAR TOWN, and rightly so. That album's title tune, as well as the snarling ""Devil's Right Hand"" and ""Good Ol' Boy (Gettin' Tough)"" combine a knack for sharply turned wordplay with a real insight into the depths of the American underbelly. One of Earle's primary influences was Townes Van Zandt, a fact made plain by the narrative skills Earle displays on ""Copperhead Road."" To prove that Earle can sing a truck-driving song with the best of them, a rocking version of Dave Dudley's classic ""Six Days on the Road,"" originally used for a movie soundtrack, is also included. ESSENTIAL STEVE EARLE makes a fine starter kit, but once you try it, you'll want to continue on to further appreciate the riches in Earle's oeuvre.Entertainment Weekly (3/5/93, p.59) - ""...This compilation shows Earle moving from rockabilly to rock and captures the hostility and disillusionment of the nation's itinerant underbelly..."" - Rating: A+"  (less)