I started listening to early country music in December 2021 when I started Hank Williams. (Unfortunately, I never got around to writing a review for his 40 Greatest Hits, which remains my favorite compilation ever.) This page compiles many of country music's first stars, starting with the Carter Family and Jimmie Rodgers, and going up to country music stars from the 1950s, like Webb Pierce and Kitty Wells. String bands/country acts that recorded prior to the Carter Family's recording debut in 1927 are included on the Early Folk page. I enjoyed the hell out of the artists below and I lament that so many high grades on this page might make it harder for my readers to determine what to listen to but, in truth, I've hardly found an early country musician whom I didn't find worthwhile.
Roy Acuff: Columbia Historic Edition (1985): A
Roy Acuff: The Essential Roy Acuff 1936-1949 (1992): A-
Eddy Arnold: Ultimate Eddy Arnold (2003): B+
Gene Autry: Blues Singer (1929-1931): Booger Rooger Saturday (1996): B+
Gene Autry: Columbia Historic Edition (1982): B
The Carter Family: RCA Country Legends (2002): A
The Carter Family: Can the Circle Be Unbroken: Country Music's First Family (2000): B
Patsy Cline: The Definitive Collection (2004): A
The Delmore Brothers: 16 All Time Favorites (1958): A-
Flatt & Scruggs: Foggy Mountain Jamboree (1957): B+
Red Foley: Country Music Hall of Fame (1991): C
Lefty Frizzell: Look What Thoughts Will Do (1991): A-
Don Gibson: RCA Country Legends (2001): A-
Maddox Brothers & Rose: America's Most Colorful Hillbilly Band: Their Original Recordings 1946-1951, Vol. 1 (1993): B
Patsy Montana: The Best of Patsy Montana (2001): A-
Bill Monroe: RCA Country Legends (2002): A-
Bill Monroe: The Essential Bill Monroe (1945-1949) (1992): B+
Bill Monroe: The Very Best of Bill Monroe and His Bluegrass Boys (2002): B-
Moon Mullican: Moonshine Jamboree (1993): A
Webb Pierce: 20th Century Master - The Millennium Collection: The Best of Webb Pierce (2001): A-
The Prairie Ramblers: Snowflakes (2011): B-
Jim Reeves: The Essential Jim Reeves (1995): C+
Tex Ritter: Capitol Collectors Series (1992): B-
Jimmie Rodgers: Essential Jimmie Rodgers (1997): A
Roy Rogers: Country Music Hall of Fame Series (1992): B+
Hank Snow: The Essential Hank Snow (1997): A
The Stanley Brothers: The Complete Columbia Stanley Brothers (1996): A-
Merle Travis: The Best of Merle Travis: Sweet Temptation 1946-1953 (2000): A-
Merle Travis: The Merle Travis Guitar (1956): B+
Ernest Tubb: Country Music Hall of Fame Series (1987): A-
Kitty Wells: God's Honky Tonk Angel: The First Queen of Country Music (2000): B
Hank Williams: 40 Greatest Hits (1978): A+
Tex Williams: Vintage Collections (1996): C
Bob Wills & His Texas Playboys: The Essential Bob Wills 1935-1947 (1992): A
Roy Acuff: Columbia Historic Edition (1985):
Despite its inclusion of two recordings from 1951 with an evolved band, this compilation mostly celebrates Acuff's early recordings with the Crazy Tennesseans, who would change their name to the Smoky Mountain Boys during the core years this compilation represents--1936 to 1942. Before Acuff became such a star at the Grand Ole Opry that he rarely picked up his instrument of choice, he played one mean fiddle and was occasionally so gracious as to let his bandmates take up lead vocals, which they do exceptionally well on "Weary Lonesome Blues" and Acuff's signature "Wabash Cannonball." For a stickler like me, I wish the two 1951 cuts were not included so this compilation could be a little more focused and be a better historical document of his developmental period. However, there's no denying the quality of each cut and how smoothly the track-list transitions in between time periods and genres--folk traditionals, love songs, blues, gospel songs, and of course plain ole country music. Acuff would earn the nickname the "King of Country Music" when he peaked in popularity in the early 1940s but as this compilation shows, he was already swinging well before then. A
Roy Acuff: The Essential Roy Acuff 1936-1949 (1992):
Once he established himself in country music so much so that "for drawing power in the South, it was Roy Acuff, then God," as Hank Williams said in 1952, he began recording more songs that showed his strong religious conviction. Although they don't make up the majority of twenty recordings compiled, the religious hymns, which are more hit or miss than his other recordings, are what make this less enjoyable and less consistent than Columbia Historic Edition. Still, the best recordings on this compilation--"Just to Ease My Worried Mind," "It Won't Be Long," "Not a Word from Home," "Wabash Cannonball," and the instrumental "Black Mountain Rag"--and Columbia Historic Edition put him only slightly behind the two country music giants Jimmie Rodgers and Hank Williams. A-
Eddy Arnold: Ultimate Eddy Arnold (2003):
Eddy Arnold began recording in the country music scene in 1945 and quickly became a mainstay on the charts. By 1948, most of his singles were hitting the Top 10 of the country charts and several had went to number one. Although his path seemed set, the mid-50s hurt his sales as rock'n'roll started gaining traction. That's when, in 1955, Arnold helped develop the Nashville Sound, a country subgenre of high-quality production, crooning, and big orchestras. This helped reinstall him regularly to the charts even though the subgenre was initially controversial amongst some in the country music establishment. Covering both of these unique periods in Arnold's career, this compilation nicely documents his work in chronological order and spends its first half on the traditional country he recorded and the second half on the Nashville Sound. While his traditional recordings are not as influential, they are undoubtedly his best recordings and are nicely distilled down to eleven tracks. Unexpectedly, however, the Nashville Sound recordings prove to be consistently enjoyable as well. While the pop environment doesn't work for everyone, Arnold proved to be a delightfully smooth and emotionally convincing vocalist in the first half of his career and he is thus able to navigate the string recordings with surprising success. If the Nashville Sound gets old by the 6th or 7th track, Arnold was able to hold our attention captive for a lot longer than most others in such a genre. Plus, everybody knows that strings sounded better in the late 50s/early 60s. B+
Gene Autry: Blues Singer (1929-1931): Booger Rooger Saturday (1996):
One of country music's most influential stars began his career as Jimmie Rodgers's biggest fan and was so infatuated by him that he based his singing, yodeling, songwriting, and guitar playing--yes, everything--after him. In the end, he sounds so much like Rodgers it's scary and very hard to tell the two singers apart. These days, it would be plagiarism but when the folk tradition ran supreme, I'm sure few batted an eye. Although the extent to which Autry copies Rodgers makes me slightly uneasy, I can't deny my ears enjoy the hell out of this. Plus, Autry's songwriting helps artificially expand Rodgers's preciously short discography--my favorite addition is the companion pieces "Bear Cat Papa Blues" and "Wildcat Mama Blues." B+
Gene Autry: Columbia Historic Edition (1982):
Though Autry started his career off hugely influenced by Jimmie Rodgers and the blues, he eventually formed his own style that blended the new and old worlds of country music. As with other installments of the Columbia Historic Edition, this compilation mostly serves to offer rarities from Autry's career that are hard to find elsewhere. In that sense, it's not the best place to go to find out what made Autry's music career so influential. However, because neither of the world's two largest streaming services offer Autry's most critically acclaimed compilations, this more or less has to serve that purpose. Thus, most of us are stuck listening to this instead of what seems to be the best choice, The Essential Gene Autry: 1933-1946. Though this one offers three excellent cuts--"I'll Go Ridin' Down that Old Texas Trail," "There's a New Moon Over My Shoulder," and "Ridin' Down the Canyon"--that showcase a country singer with an experienced but easy voice, the rest offers merely pleasant tracks that don't need to be explored by non-completists. B
The Carter Family: RCA Country Legends (2002):
The Carter Family--composed of husband A.P Carter, wife Sara, and Sara's cousin Maybelle--began recording in 1927 and broke up 1944, eight years after A.P and Sara Carter's marriage dissolved. In that time, they became one of the most respected acts in the genre for breaking ground, along with Jimmie Rodgers, as country music’s earliest commercial stars. Their earliest recordings--1927 to 1929--are highly praised and popular opinion generally indicates that Anchored in Love and My Clinch Mountain Home best represent this period. Spotify doesn't carry either (much less any compilation dedicated to their 20s recordings), so I'm stuck with this one, which packages a few cuts from their early period and a few from the early 30s. If it's your only option too, it's worth checking out. The tight gospel harmonies are resounding, their repertoire is diverse, and Maybelle's guitar playing is outstanding. This compilation misses a few of their biggest hits from the time period it represents--another reason other compilations are generally favored--but it flows nicely and offers a satisfying dose of the first vocal group to become country music stars. A
The Carter Family: Can the Circle Be Unbroken: Country Music's First Family (2000):
Although not as highly praised or influential as their early recordings, the Carter Family's 1935 recordings, which make up this compilation, are considerably well thought of but I don't think they add much to the Family's legacy. Firstly, their harmonies were much better in the early days and this song selection isn't as excellent. Secondly, where A.P. Carter's lead vocals on the RCA songs were some of their best songs, he doesn't get any lead vocals here, regulated instead to singing in the background where he usually adds nothing. Most disappointing, however, Maybelle's guitar rarely catches my ear. B
Patsy Cline: The Definitive Collection (2004):
Patsy Cline began recording in 1954 with Four Star Records, where she performed a wide array of material, but she came into the limelight with "Walkin' After Midnight" in 1957, which was a crossover hit on both the country and pop charts. Although generally aligned with country music, Cline had pop elements in her recordings from the get-go and she further built upon them when she moved to Nashville in 1960. There, she signed with Decca Records, who released "I Fall to Pieces," a number one hit on the country charts, as her first single in 1961. Cline's studio recordings with her new label favored the high production quality, backing vocalists, and orchestration of the contemporary Nashville Sound, allowing her to continue to have crossover success on the pop charts. While at the peak of her powers at Decca, Patsy Cline died in early 1963 in an airplane crash. Despite her death at 30 years of age, Cline recorded an impressive catalog and this compilation chronologically collects twenty-two songs from her career, most of which are from her short two year stint at Decca (which itself was interrupted by a severe car crash). Not only does she stand out as one of the greatest vocalists of all time, but she navigates the Nashville Sound better than everyone else save for Don Gibson (who stayed closer to traditional country instrumentation). Whether she's paying homage to Bob Wills or recording songs popularized by Hank Williams, she does substantial justice to the country classics she sings. When she popularizes songs herself, they instantly become resounding classics. A
The Delmore Brothers: 16 All Time Favorites (1958):
Though they began their recording career in 1931 and became the Grand Ole Opry's most popular act by 1936, the Delmore Brothers' most celebrated recordings came in the 1940s when they were one of the first country music acts to add an electric guitar to their band. In fact, with songwriting that blended country, the blues, and gospel music, many rightly consider them to be pioneers of rock'n'roll. With their twangy country harmonies, a chugging electric guitar, and prolific songwriting team, the duo rightly remains one of the premier acts of their time. This compilation summarizes their career in 16 tracks, all of which showcase the brothers navigating the changing times, from just before they added an electric guitar to when they had mastered their small ensemble and paved the way for a much traveled highway. A-
Flatt & Scruggs: Foggy Mountain Jamboree (1957):
Not long after joining Monroe's Bluegrass Boys and bringing the band to its peak popularity, Lester Flatt and Earl Scruggs ventured out on their own and formed their own band the Foggy Mountain Boys. As with their first studio album, this complies their earliest recordings from 1951 to 1955. Although the duo brought Monroe much closer to what we know as bluegrass today, they complete the template here. With Scruggs having complete freedom to show his mastery of the banjo, an instrument which has never been played the same since this album, the band reach impressive heights as they bring one of the most upbeat genres to life. Despite this, for every track where Scruggs' banjo is something to behold, there's another where I wish he would slow down and stop showing off. It would certainly make the instrumentals easier to distinguish. B+
Red Foley: Country Music Hall of Fame (1991):
Just like minstrel acts that imitated black music while missing all the magic and making all the money, once country music proved a viable commodity, acts such as Red Foley entered the picture as manufactured stars to make the big labels rich. Foley jumped on the country music stage in 1941, resonating with none of the talent and all the professionalism of a late career Ernest Tubb. He doesn't sing like a brakeman or even a kid from modest means, he sings a businessman with too much self-importance. Others can laud his versatility or his hits, a few of which are decent; I'll be never be playing him again. C
Lefty Frizzell: Look What Thoughts Will Do (1991):
A successor to Rhino's The Best of Lefty Frizzell, this compiles all of its eighteen cuts with sixteen new ones. If the earlier compilation is available to you, go for it instead (it's probably an A). Although the extra songs are nice enough, they add about an hour of either B-side material from his peak period or A-side material from his later career when alcoholism took much of his inspiration. At his best, however, Lefty was certainly an exceptional honky-tonker, writing beautiful melodies, singing delicately every time, and being the only contemporary rival to the great Hank Williams in the genre. Such is his charm that it reminds me of the gentle Mississippi John Hurt. But so far Williams has been the only country singer I've found that can sustain my unwavering attention for more than thirty tracks uninterrupted and thus, I usually just listen to the first disc here. A-
Don Gibson: RCA Country Legends (2001):
Don Gibson was signed to Mercury and Columbia in the late 1940s and early 1950s but it wasn't until these contracts had run out that he started to take songwriting seriously. Soon, early compositions like "Sweet Dreams" impressed enough people that he recorded it with MGM Records, where it went to number nine on the country charts in 1956. By 1957, he signed with RCA Victor where he partnered with producer Chet Atkins, a pioneer in the burgeoning Nashville Sound. However, the Gibson's recordings do not utilize the subgenre's hallmark strings. Instead, the thoughtfully constructed production relies on crisply recorded instruments and several backing vocalists, whether he's laying down a lonesome ballad or a fast-paced scuffle that recalls rockabilly. Gibson's and Atkin's delightful instrumental ingenuity brings together country music and rockabilly so flawlessly, in fact, that it's easy to take the novel combination for granted. However, it's Gibson's enduring originals, his impressive vocal range, and plainly-stated charisma that elevate his work to be amongst the best ear candy of the decade. Although this compilation doesn't stay true to chronology, it mostly sticks to his peak period from 1956 to 1961 and ends with one of his final chart successes in 1966. A-
Maddox Brothers & Rose: America's Most Colorful Hillbilly Band: Their Original Recordings 1946-1951, Vol. 1 (1993):
Consisting of four brothers and their sister, the Maddox Brothers & Rose are a curious band from Alabama who made their name in California. While the music is fairly standard dancing country/Western music, their selections and vocals highlight their humorous personalities. Rose often takes lead, gleefully shouting, irreverently snorting, and colorfully har-har-harring through honky-tonk covers. Some fans apparently prefer their eccentric interpretations to the better known Hank Williams versions, but there's no reason to be so daft here. While the Maddox Family never offend, their songs are frequently more eyebrow raising than genuinely enjoyable and Rose's straight vocal work doesn't boast significant emotional pull. B
Patsy Montana: The Best of Patsy Montana (2001):
In 1935, Patsy Montana made history with "I Want to Be a Cowboy's Sweetheart," the first single by a female country artist to sell a million copies. Although she had a few minor hits afterwards, her sole claim to fame has mostly regulated Montana to an insignificant historical footnote when she should be widely remembered as a serious and delightfully talented country singer. Montana might not be the most original or prolific songwriter (a few of the cuts featured on this compilation rehash the subject that made her famous) but her gentle, chippy country voice is backed by a solid and simple country group who give her songs danceability and charm. This compilation excellently covers her initial recording period of 1935-1940 in twenty-four songs that were also released as 2009's Cowgirl's Best. Although the old-fashioned sentiment of "I Want to Be a Cowboy's Sweetheart" is another reason Patsy Montana may not be given her due today, I think it's sexist not to curtsy to the best yodeler since Jimmie Rodgers. A-
Bill Monroe: RCA Country Legends (2002):
As the Father of Bluegrass, Monroe began his career performing with his brother as the Monroe Brothers and recording with him as early as 1936. Then, he formed the Blue Grass Boys and recorded with them from 1940 to 1941 under RCA Victor. This represents that second short period: the very beginnings of bluegrass while it was still being developed. While the band's harmonies are fairly in line with country music's old-timey singing (a style which I love almost without exception), both Monroe's distinct Kentucky drawl and the music boast the Appalachian roots the band came from. Although it represents a less well-known period of the Blue Grass Boys--they would peak in popularity in the late forties with the addition of two more bluegrass superstars Earl Scruggs and Lester Flatt--it's well worth the time to check out (especially considered Columbia has never released a concise compilation of Monroe's 1945-1949 period with the company). A-
Bill Monroe: The Essential Bill Monroe (1945-1949) (1992):
After recording with RCA Victor for the first few years of his career (see directly above), Monroe signed with Columbia at the age of 34. During his four year period there, Monroe reached his commercial peak and bluegrass as we know it took full form when Earl Scruggs and Lester Flatt joined the Blue Grass Boys. His years with Columbia are very easily the most important of his career, both in terms of sales and influence. However, Columbia has never released a short compilation to do this period justice. Instead, the compilations (of which there are only four that are currently available) are thrown together and long. This one compiles forty songs of which there are sixteen alternative takes of some of his most well-known songs. Monroe’s band is very talented but are not able to hold my interest for such a duration. B+
Bill Monroe: The Very Best of Bill Monroe and His Bluegrass Boys (2002):
After recording with Columbia Records for five years, Monroe signed with Decca in 1949 and spent the rest of his career there. Though enjoying much success just before, Monroe joined Decca on a commercial and creative decline as he struggled on without Earl Scruggs and Lester Flatt--the backbone of the Bluegrass Boys--who left to form their own band, the Foggy Mountain Boys. Monroe and his famed band never fully recovered from this loss. This compilation, which is made up of songs from 1950 to 1981, is mostly dedicated to rerecording the hits his band generated during their Columbia days. All of the cuts are enjoyable to some extent but since Monroe isn't breaking any new ground, it's largely inessential. B-
Moon Mullican: Moonshine Jamboree (1993):
Moon Mullican grew up a properly diverse musician. By the time he was fourteen, he had learned guitar and bass but specialized on piano and was fluent in the blues, hillbilly boogie, and country and western music. Solo recording evaded him until 1946 but for years he was a highly demanded session player and swooned in local popularity as the band leader of a Texas/Louisiana outfit. When he finally entered the studio on his own, he had enough experience to plow through an endless supply of timeless originals and inventive covers that foresaw the coming of rock’n’roll. This compilation covers his early recording period up until 1954 when rockabilly started sweeping the nation. Unfortunately for Mullican, he wasn't able to capitalize on the genre, but today he is well remembered for helping pave the way for it. Although his influential piano playing hogs most of the critical attention, his genre blending and his willingness to credit the black performers who impacted him was equally important and groundbreaking. Not to mention his effortless charm and vocal dexterity, which are practically on equal footing to Hank Williams. A
Webb Pierce: 20th Century Master - The Millennium Collection: The Best of Webb Pierce (2001):
When Hank Williams died in 1953, honky-tonker Webb Pierce quickly took his place as country music's biggest star by quite an astounding margin. Each of his singles entered the top ten for the next four years and ten of them reached number one. By 1960, he had accumulated 48 charting singles and was the best selling country artist of the 1950s. For the amount of excellent hits he amassed during this unbelievable hot streak, it's surprising that these days he's infrequently mentioned in the same breath as other honky-tonkers like Hank Williams, Ernest Tubb, and Lefty Frizzell. But while his obscurity now is sinful, the record-buying public of the mid-50s understood how special of a talent Pierce was. Although only an occasional songwriter, his smooth and emotional tenor is something to awe and his band chugs along at perfect pace. Because this compilation only offers twelve cuts from this prolific hit maker, more comprehensive compilations are often preferred by hardcore fans. However, there's not a single dud on this 29 minute track-list and for many, including myself, the skimp track-list will be easy introduction to love through and through. A-
The Prairie Ramblers: Snowflakes (2011):
While this cowboy/swing ensemble originating from Kentucky in 1930 is perhaps best remembered for backing Patsy Montana on her signature 1936 song "I Want to Be a Cowboy's Sweetheart," the Prairie Ramblers became a well-recognized and popular act in their day for starring in several cowboy/western movies with Gene Autry and Rex Allen, both of whom also utilized the group for recordings. Despite being prolific recorders as a backing band and as themselves from the 1930s up until 1947, the band has been somewhat overlooked since the LP era and Discogs does not collect a single compilation of the band that has been released in the US (the Prairie Ramblers interestingly may have more of a following in Germany). This suspicious compilation, available only on streaming platforms, has no reviews to its name or any other clicks online vouching for its release, suggesting for all intents and purposes it does not actually exist. But if you're a child of the digital age and don't feel like throwing away several bucks for an international shipping of a used CD, you might as well pretend it's real. Collecting singles and recordings that were released as early as 1935, this album shows a hoppy, versatile, and competent instrumental group that is ultimately just okay. Although the smooth, danceable western swing and backing vocals are perfect carbon copies of cowboy music you swear you've heard before, it's mostly the lack of a convincing lead singer to define their uniqueness amongst a milieu of dozens of other solid but soulless cowboy ensembles that damns them from being rediscovered. B-
Jim Reeves: The Essential Jim Reeves (1995):
Jim Reeves began his country career in 1953 when he released "Mexican Joe," which charted at number one on the country charts. In 1955, he moved to RCA where he began forging and pioneering the Nashville Sound. Emphasizing Reeves's country croon, high-quality production, female backing vocals, and orchestration, this sound carried Reeves to impressive commercial heights, which he enjoyed for the next decade until his early death in 1964. This compilation covers twenty songs from his time at RCA in more-or-less chronological order as Reeves's country croon and patented formula endlessly dulls. Rarely are these well-orchestrated tracks given decent pace, but when they are (such as on the standout cut "Home"), Reeves's music can start approaching the enjoyment that comes from Don Gibson and Eddy Arnold works. The majority of the time, however, the high-production value and delicate singing miss substance, its mission helplessly commercial. C+
Tex Ritter: Capitol Collectors Series (1992):
Although Ritter always recorded music, he didn't work on it full time at first. Focusing on acting in movies in the 1930s, he eventually signed with Capitol Records in 1942, where he soon became a national sensation in country music. This compilation covers his entire time at Capitol, finishing up with a single from 1974 in the same year he died. With 25 songs, the album collects much of his best material in more or less chronological order. The first part of the compilation--"Jingle Jangle Jingle," "There's a New Moon Over My Shoulder," "Have I Stayed Away Too Long," "Jealous Heart," "We Live in Two Different Worlds," "You Two-Timed Me One Time Too Often," and "When You Leave Don't Slam the Door"--sets him up to be both a delicate country singer and swinging leader of a satisfactory Western band but the quality soon teeters off. Towards the middle, the album begins showcasing his frequently lame novelty songs. These might be important to his history at the label but they're hard to get through, as he sings comedically to no effect and narrates stories over minimal instrumentation. While John Prine might fondly recall "Blood on the Saddle" and Gram Parsons may have taken significant inspiration from "Daddy's Last Letter" to compose "Hippie Boy," the rest of us will find no utility in the second half of this compilation. B-
Jimmie Rodgers: Essential Jimmie Rodgers (1997):
Just like the railroads he worked on in his early life, Rodgers's records spread across the US thoroughly, so much so he has earned the nickname "the Father of Country Music" and his influence can even be heard in blues musicians from Muddy Waters to Big Bill Broonzy to the Mississippi Sheiks. Recording only from 1927 to 1932 because tuberculosis took him at the ripe age of 35, Rodgers became an impressive songwriter in that short period of time, mostly sticking to his own songs which have become classics over time: "Away Out on the Mountain," "Waiting on a Train," "Blue Yodel (T for Texas)," and "In the Jailhouse Now." But as a part of the early American folk tradition, he was also an adept interpreter. His "Frankie and Johnny" is my favorite version of the widely covered folk song, particularly because of the final verse (which I credit to him). Where so many traditional folk and blues songs focus on the evil, cheating, and unfaithful ways of women, Rodgers ends the song in a much unexpected way: the blame squarely on the men in the story. A
Roy Rogers: Country Music Hall of Fame Series (1992):
Rogers, originally born Leonard Slye, is most famous as the actor that went on to become the King of Cowboys for his many starring roles in Western films. However, Rogers got his start as a musician as a part of the Sons of the Pioneers in 1933, which became a popular Western singing group. This compilations covers his musical career from 1934 to 1942 and takes two hits from his time with the Pioneers while the rest comes from his solo career. The Sons of the Pioneers are no Texas Playboys but they are very talented with a sound you can pick out of haystack. Rogers's solo career isn't as powerful. Still, Rogers recorded a handful excellently written and memorable songs, which makes this fairly worthwhile, especially for fans of Western music. B+
Hank Snow: The Essential Hank Snow (1997):
Born in Canada in 1914 and spending much of his early life facing unrelenting adversities, Snow moved to Nashville in 1949 and was an instant hit. His first single charted in the top ten and Snow never looked back, recording and writing some of the most irresistible country music of the time. His earliest recordings--"The Rhumba Boogie," "I'm Movin' On," and "The Golden Rocket"--are undoubtedly his best and something like the first eleven songs on this compilation play like an A+. As with several other country artists of his time, however, he got into a comfortable groove at some point and stopped releasing music of such incredible inspiration. Nevertheless, he remained a remarkably charming performer until the end and his powerful, echoey baritone could always carry a tune. A
The Stanley Brothers: Complete Columbia Recordings (1996):
About ten years younger than Bill Monroe and hailing from western Virginia instead central Kentucky, the Stanley Brothers rose alongside Flatt & Scruggs as commercially successful adaptions of Monroe's bluegrass genre. Although Monroe considered them cheap imitations of him, both duos quickly became important innovators in the bluegrass genre. By 1948, only a year after starting a recording career, the brothers--with their backing band the Clinch Mountain Boys--signed with Columbia, where they recorded 22 songs. All of those sides are included here and are considered some of the most important early recordings of the genre. Although the brothers don't revolutionize the vocal stylings or instrumental choices of the genre, they have a good repertoire which mostly focuses on original songs, many of which have rightly become standards in the genre. A-
Merle Travis: The Best of Merle Travis: Sweet Temptation 1946-1953 (2000):
Travis was a powerful force in country music when he entered the scene in 1937 as an incredibly gifted guitarist. In 1946, he was signed to Capitol Records and began recording the highest charting hits of his career. However, his legacy is more cemented in his guitar playing, which isn't let totally loose on the hits he generated. But his hits aren't bad and these remain the best versions of these tracks. Although his guitar talents aren't apparent, his smooth baritone voice greatly serves his excellently written honky-tonk classics and his band knows how to lay down well paced country heartache. A-
Merle Travis: The Merle Travis Guitar (1956):
While Travis's greatest hits are powerful original works, Travis set the country music scene on fire with his skills on guitar. This studio album, which never features a vocal, was the first of many meant to show off and document his speedy and head-spinning fingerpicking talents. Although it can be highly impressive and even groovy, there are certainly times where his flashy style doesn't sound too far removed from Scruggs' virtuoso talents that don't actually do that much. A well-balanced combination of his strong songwriting and this dizzying talent is unfortunately something that neither this nor his greatest hits albums offer. B+
Ernest Tubb: Country Music Hall of Fame Series (1987):
Inspired by the records of Jimmie Rodgers, Ernest Tubb started singing and playing guitar in his teenage years before making it big in 1941 with "Walking the Floor Over You," which sold one million copies and instigated the rise of the honky-tonk style that Hank Williams would perfect in 1947. Tubb's deep baritone on the 60s single "Thanks a Lot" is perhaps his signature to many but I prefer the slightly higher and modest voice on his early records, which were more spritely, more urgent, and more influenced by Rodgers. Like Acuff's early work, they were recorded by someone who still had to make it, someone who hadn't reigned over the Grand Ole Pry for a decade yet. A-
Kitty Wells: God's Honky Tonk Angel: The First Queen of Country Music (2000):
Kitty Wells was the first female country singer to top the US country charts in 1952 and did so by singing a feminist song: "It Wasn't God Who Made Honky Tonk Heroes," an original lyric which blamed unfaithful men for unfaithful women. She then followed that up with a response to Webb Pierce called "Paying for that Backstreet Affair," which is sung from the perspective of the woman who was unknowingly facilitating the affair in Pierce's song. From the get-go, Wells didn't just open doors for women in country music, she kicked them without a hint of compromise. Throughout the 50s and into the 60s, her fame kept rising and her feminist songs kept coming. This compilation chronologically covers her peak years in 25 songs that range from 1952 to 1965. Unfortunately, for all the ass Wells kicked as an unapologetic feminist, she doesn't stand out as an emotional vocalist. She does have a excellent voice, but rarely does she seem to lose herself in the pieces. Instead, she always sings comfortably within her range and without a hint of energy or reckless passion. Which is worse: that Kitty Wells is a frequent associate of Red Foley or that he completely outperforms her in emotional arrest? B
Tex Williams: Vintage Collections (1996):
Amongst the many Western swing bands that attempted to ride the coattails of Bob Wills's popular act was Tex Williams & the Western Caravan. Rather than show any original artistry or hire a great band, Williams plays the type of swing music you'd be disappointed to run into at a local fair. A significant portion of his songs consist of charmless novelty cuts and lame talking blues that end with several band members taking a solo. The actual songs (a few of which are undeniably sexist) aren't much more interesting. While the songwriting isn't necessarily subpar, Williams's smooth baritone never has emotion or excitement behind it, which sounds perfectly at home with the band's lifeless playing. C
Bob Wills & His Texas Playboys: The Essential Bob Wills 1935-1947 (1992):
Forming his famed band in 1934 and first recording in September 1935, Wills explored country music's every corners as he recorded it in a style tinted with all the different genres he loved as a child, whether it be jazz or the blues. Most of this versatility was made possible by the plentiful members of the Playboys, which had become a sort-of country music orchestra by the late 30s. Fully taking advantageous of his magnificent players, Wills expertly recorded almost every genre he tried out while maintaining the Western Swing foundation that made his songs boogie. Wills's boyish enthusiasm for his favorite music comes off endearingly whenever he steps to the mike: his voice is as integral to the band's sound as the band's frequent instrumental break-downs. A