{"title":"* Country \u0026 Folk","description":null,"products":[{"product_id":"willie-nelson-country-music-hightone-series-lp-vinyl","title":"Willie Nelson – Country Music (HighTone Series 2-LP Vinyl)","description":"\u003ch3\u003eReview\u003c\/h3\u003e\u003cp\u003eDon't be fooled by the trick of the title. The generic appellation—Country Music—may suggest a truck-stop compilation vibe; dusty and spinning on a turnstile rack next to the jerky and candy bars. Really, this effort is anything but that. Instead, it's a latter-day gem from Willie Nelson that celebrates country music with the widest and most respectful of panoramic definitions.\u003c\/p\u003e\u003cp\u003eOriginally released in 2010, this reissue is back on 2-LP vinyl, CD, and most digital platforms. Initially, Nelson's first for Rounder Records, it was a Grammy-nominated success, earning the nod in the Americana category. And true to that genre, the 15-track set rides predominantly on the graceful gliding of fiddle and mandolin, more so than Nelson's unmistakable guitar talent. Notwithstanding, Willie's trademark picking is still present, for sure; yet, embedded tastefully in a collection of songs he grew up singing and playing, dotted with hues of bluegrass, Appalachian folk, blues, spirituals, and Texas swing.\u003c\/p\u003e\u003cp\u003eCollaborating with T Bone Burnett, Nelson gathers up a handful of tunes by country icons, including Ernest Tubb and Hank Williams. With spare instrumentation, and a vocal honest and pure, it is as relaxed and authentic as Willie gets. The lope of \"I Am a Pilgrim\" is infectious. The chill of \"Satan Your Kingdom Must Come Down\" is the blues incarnate. The pulse of \"Pistol Packin' Mama,\" foundational and fun.\u003c\/p\u003e\u003cp\u003eThis is a genuine double-album delight, rich with reverence and patience, seeking not to update these classics, nor archive them as relics. Rather, Nelson performs each in a manner that confirms his vibrant, beating-heart, lifelong love of each. Indeed, anything but generic. This is, at its finest, the music of the country.\u003c\/p\u003e\u003cp\u003e\u003cem\u003e— Larson Sutton, \u003ca href=\"https:\/\/jambands.com\/reviews\/2026\/03\/08\/willie-nelson-country-music\/\" target=\"_blank\"\u003ejambands.com\u003c\/a\u003e\u003c\/em\u003e\u003c\/p\u003e\u003ch3\u003eProduct Details\u003c\/h3\u003e\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003eFew artists alive have earned the right to front a collection like this the way Willie Nelson has. His voice, weathered and unhurried, carries the same dust and faith these songs were written with, and his phrasing has always belonged more to jazz and blues than to Nashville convention. Hearing him move through this repertoire feels less like an interpretive exercise and more like a homecoming.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003eCountry Music sees the legendary Willie Nelson interpret traditional country standards for an album The Washington Post hails “a calm, contemplative, and remarkably consistent album.” The 2010 GRAMMY®-nominated album features renditions of 14 country classics such as “Dark as a Dungeon,” \"Satan Your Kingdom Must Come Down,\" and “Satisfied Mind,” along with a version of his 1959 single, “Man with the Blues.”\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen=\"\"\u003e\n\u003c!-- TRACKLIST_START --\u003e\n\u003ch3\u003eTracklist\u003c\/h3\u003e\n\u003ch4\u003eSide A\u003c\/h4\u003e\n\u003cp\u003eA1. Man With The Blues\u003cbr\u003e\nA2. Seaman's Blues\u003cbr\u003e\nA3. Dark As A Dungeon\u003cbr\u003e\nA4. Gotta Walk Alone\u003c\/p\u003e\n\u003ch4\u003eSide B\u003c\/h4\u003e\n\u003cp\u003eB1. Satan Your Kingdom Must Come Down\u003cbr\u003e\nB2. My Baby's Gone\u003cbr\u003e\nB3. Freight Train Boogie\u003cbr\u003e\nB4. Satisfied Mind\u003c\/p\u003e\n\u003ch4\u003eSide C\u003c\/h4\u003e\n\u003cp\u003eC1. You Done Me Wrong\u003cbr\u003e\nC2. Pistol Packin' Mama\u003cbr\u003e\nC3. Ocean Of Diamonds\u003cbr\u003e\nC4. Drinking Champagne\u003c\/p\u003e\n\u003ch4\u003eSide D\u003c\/h4\u003e\n\u003cp\u003eD1. I Am A Pilgrim\u003cbr\u003e\nD2. House Of Gold\u003cbr\u003e\nD3. 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These two Texas-bred lifers occupied parallel lanes for decades, Howard churning out hits from Nashville's Tin Pan Alley while Nelson eventually rewrote the rules of what a country record could sound like. Hearing Willie inhabit these songs now, well into his ninth decade, carries the weight of a lifetime spent inside the tradition Howard helped build.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003e\u003cspan\u003eAmongst the nearly 150 albums that Willie Nelson has released, he has a number of amazing full-album tributes to songwriters from Kris Kristofferson and George Gershwin to Ray Price and Cindy Walker. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003eAdding to that list is a new studio album dedicated to songwriting legend \u003cstrong\u003eHarlen Howard,\u003c\/strong\u003e who has scores of country hits, including a number that crossed over to pop and even R\u0026amp;B charts.\u003cspan\u003e \u003c\/span\u003e\u003cspan style='font-family: -apple-system, BlinkMacSystemFont, \"Segoe UI\", Roboto, sans-serif;'\u003eA member of both the Country Music Hall of Fame and Songwriters Hall of Fame, Howard wrote hits for Ray Charles (“Busted”), Buck Owens (“I’ve Got A Tiger By The Tail”), Conway Twitty (the title track), Bobby Bare (“The Streets Of Baltimore”), and so many more. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eProduced by longtime collaborator Buddy Cannon and featuring a murderers’ row of crack Nashville musicians, \u003c\/span\u003e\u003ci\u003eI Don’t Know A Thing About Love\u003c\/i\u003e\u003cspan\u003e is an amazing addition to Willie’s unparalleled catalog.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen=\"\"\u003e\n\u003c!-- TRACKLIST_START --\u003e\n\u003ch3\u003eTracklist\u003c\/h3\u003e\n\u003ch4\u003eDisc 1\u003c\/h4\u003e\n\u003cp\u003e1. 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At 87 when this was recorded, his voice carried the kind of lived-in authority that no amount of studio polish can manufacture, making him a natural heir to Sinatra's storytelling tradition rather than simply a country star paying tribute.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003e\u003cspan\u003eHonoring the enduring inspiration of Frank Sinatra, \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cu\u003eThat’s Life \u003c\/u\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003eis Willie Nelson’s second album of classics made famous by The Chairman Of The Board. Willie’s first ode to Frank, 2018's \u003c\/span\u003e\u003ci\u003e\u003cu\u003eMy Way\u003c\/u\u003e\u003c\/i\u003e\u003cspan\u003e, earned Willie the Grammy for Best Traditional Pop Solo Album, and \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cu\u003eThat's Life\u003c\/u\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003e finds Nelson (who has penned a few standards himself) inhabiting 11 more of the most treasured songs in the Great American Songbook including the title track, \"Luck Be A Lady,” \"Nice Work If You Can Get It,\" \"I've Got You Under My Skin,\" \"You Make Me Feel So Young,\" and \"I Won't Dance\" (a duet featuring \u003c\/span\u003e\u003cb\u003eDiana Krall\u003c\/b\u003e\u003cspan\u003e). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eProduced by Buddy Cannon and Matt Rollings, \u003c\/span\u003e\u003cb\u003e\u003ci\u003e\u003cu\u003eThat's Life\u003c\/u\u003e \u003c\/i\u003e\u003c\/b\u003e\u003cspan\u003ewas recorded at Capitol Studios in Hollywood--where Frank Sinatra created a string of album masterpieces--with additional recording at Pedernales Studios in Austin, Texas. Willie delivers 11 new studio performances, coming alive in a musical landscape animated by lush string and vibrant horn arrangements, on an album mixed by recording-industry legend Al Schmitt (who has recorded and mixed more than 150 gold and platinum albums and won more Grammy Awards than any other engineer or mixer). \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003eThe album cover features a brand-new painting of Willie and his iconic guitar, Trigger, standing in the glow of a streetlamp, evoking classic Sinatra album covers of yore.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen=\"\"\u003e\n\u003c!-- TRACKLIST_START --\u003e\n\u003ch3\u003eTracklist\u003c\/h3\u003e\n\u003ch4\u003eDisc 1\u003c\/h4\u003e\n\u003cp\u003e1. Nice Work If You Can Get It\u003cbr\u003e\n2. Just In Time\u003cbr\u003e\n3. Cottage For Sale\u003cbr\u003e\n4. I've Got You Under My Skin\u003cbr\u003e\n5. You Make Me Feel So Young\u003cbr\u003e\n6. 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Chameleon marks the introduction of a young voice already wrestling with the questions that take some artists a lifetime to articulate.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003eWhen the Amsterdam singer-songwriter Jana Mila (pronounced Yah-nuh MEE- lah) began writing a song called “Chameleon,” she thought she was writing about someone else—a friend who seemed to be changing her colors to please other people. “But the more I lived with the song, the more I felt like I was writing about myself,” she admits. “Doesn’t everybody try to reflect other people? Don’t I change my own colors in order to be accepted? Especially when you’re young, you can lose yourself in other people if you don’t know who you are.” That is the central idea behind her debut album, also titled Chameleon, which introduces Mila as an artist deeply committed to self-reckoning and self-possession. Our innate desire to belong and to be loved can lead to a kind of self-annihilation, making us strangers to ourselves. Writing songs is her means of finding and sustaining her identity.“The album is a conversation with myself, a way of getting to know myself better. There are little fears woven into every lyric, but there’s also advice to myself. I’m writing to find a part of myself that has some wisdom.” Musically, Mila is the best kind of chameleon. The album draws from a wild array of sources, entertaining new ideas on every song: dusty Laurel Canyon folk on “It’s True,” catchy Nashville country on “Let Me In,” driving ‘70s rock on “I Wasn’t Gonna.” She puts her stamp on every note, turning those fears into an album of remarkable confidence, eloquence, and power. Chameleon is a self-portrait rendered in vibrant detail.\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen\u003e\n\u003c!-- TRACKLIST_START --\u003e\n\u003ch3\u003eTracklist\u003c\/h3\u003e\n\u003ch4\u003eSide A\u003c\/h4\u003e\n\u003cdiv\u003e1. Like Only Lovers Could (2:53)\u003c\/div\u003e\n\u003cdiv\u003e2. Somebody New (2:52)\u003c\/div\u003e\n\u003cdiv\u003e3. Chameleon (3:25)\u003c\/div\u003e\n\u003cdiv\u003e4. Love Let Go (3:43)\u003c\/div\u003e\n\u003cdiv\u003e5. I Wasn't Gonna (3:24)\u003c\/div\u003e\n\u003ch4\u003eSide B\u003c\/h4\u003e\n\u003cdiv\u003e1. It's True (3:12)\u003c\/div\u003e\n\u003cdiv\u003e2. Let Me In (2:56)\u003c\/div\u003e\n\u003cdiv\u003e3. In Between (3:09)\u003c\/div\u003e\n\u003cdiv\u003e4. Rosie (2:31)\u003c\/div\u003e\n\u003cdiv\u003e5. The City (4:17)\u003c\/div\u003e\n\u003c!-- TRACKLIST_END --\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 607396581719\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e New West Records\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 8.30.24\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e LP Vinyl\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":48669958766747,"sku":"401201","price":29.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/packshot-jana-mila-chameleon-crystal-blue-lp-vinyl-vinyl-lp-relix.jpg?v=1781124724"},{"product_id":"ondara-spanish-villager-no-3-lp-vinyl","title":"Ondara – Spanish Villager No. 3 (LP Vinyl)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003eJ.S. 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The presence of sister Bobbie, whose piano has anchored Willie's sound since the early touring days, gives the record a rootedness that no outside collaborator could replicate.\u003c\/p\u003e\n\u003c\/div\u003e\n\n\u003chr\u003e\n\n\u003cp\u003e\u003ci\u003eThe Willie Nelson Family\u003c\/i\u003e\u003cspan\u003e finds Willie joined in his Pedernales Studios by a host of his family members and extended family of long-time band members, performing songs that they have performed for much of their lives. Sister Bobbie, sons Lukas and Micah, and daughters Amy and Paula all contribute plus band members Mickey Raphael, Kevin Smith and Billy and Paul English. Produced by Willie and Steve Chadie and shaped around a setlist of 12 favorite spirit-driven songs from the Nelson Family repertoire, the album draws on deep Americana (including A.P. 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Willie's son Lukas (who fronts his own band, Lukas Nelson \u0026amp; Promise of the Real) sings lead vocals on two of the album's tracks--\"All Things Must Pass\" and \"Keep It On The Sunnyside\"--while sharing lead vocals with Willie on \"I Saw the Light,\" \"I Thought About You, Lord\" and \"Why Me.\" These songs represent the final recordings Willie made with his longtime drummer and pal Paul English who was Willie’s drummer for over 50 years before he passed away in February 2020.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003chr\u003e\n\n\u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003eHeaven And Hell\u003c\/li\u003e\n\u003cli\u003eKneel At The Feet Of Jesus\u003c\/li\u003e\n\u003cli\u003eLaying My Burdens Down\u003c\/li\u003e\n\u003cli\u003eFamily Bible\u003c\/li\u003e\n\u003cli\u003eIn The Garden\u003c\/li\u003e\n\u003cli\u003eAll Things Must Pass\u003c\/li\u003e\n\u003cli\u003eI Saw The Light\u003c\/li\u003e\n\u003cli\u003eIn God’s Eyes\u003c\/li\u003e\n\u003cli\u003eKeep It On The Sunnyside\u003c\/li\u003e\n\u003cli\u003eI Thought About You, Lord\u003c\/li\u003e\n\u003cli\u003eToo Sick To Pray\u003c\/li\u003e\n\u003cli\u003eWhy Me\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 194398874920\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Sony Legacy\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 11.19.21\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Broadtime","offers":[{"title":"Default Title","offer_id":49890504114331,"sku":"137787","price":14.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1041\/7172\/files\/packshot-willie-nelson-the-willie-nelson-family-cd-cd-relix.jpg?v=1792790176"},{"product_id":"johnny-cash-bears-sonic-journals-johnny-cash-at-the-carousel-ballroom-april-24-1968-lp-vinyl","title":"Johnny Cash – Bear's Sonic Journals: Johnny Cash, At the Carousel Ballroom, April 24, 1968 (LP Vinyl)","description":"\u003cdiv class=\"relix-editorial\"\u003e\n\u003cp\u003eApril 1968 found Johnny Cash at a crossroads, months away from his landmark Folsom Prison recording and deep in a period of raw, road-hardened performance. 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