This is no less than the story of a flawed man finding his own greatness--the primary factor behind the power and substance of these simple, no-frills performances, as well as the reason why any serious fan of Cash or country music history will want to walk the line it so compellingly traces.

There's plenty here for country fans of pretty much any ilk.

Ultimately, there's enough in this big box to last a fan weeks, months and years. It's not all equal, but it certainly leaves no stone unturned.

Set You Free doesn't sound like every other album coming out of the Nashville factory these days-and that's definitely a good thing.

If you’ve ever bemoaned the absence of traditional country sounds in an era of pop, rock and even hip-hop production, be still—Ashley Monroe is throwing you a country music lifeline.

Each track evokes an emotion, a giggle, a tear or a memory, but always a hunger for what’s next.

The only real clunker is a lugubrious redo of “Lodi,” featuring John’s sons Tyler and Shane, but otherwise, this should be a must for Fogerty followers.

The album’s overall spirit of adventure is summed up in the gorgeous title track, written by the Perrys with fellow family trio The Henningsens. Starting sweet and delicate, it offers a message of encouragement to be bold in the face of uncertainty and doubt as it builds to a thrilling crescendo.

The trio’s second album, Annie Up, (thankfully) picks up where their debut, Hell on Heels, left off, offering more engaging studies of real-life heartbreak, domestic inertia and the daily trials of womanhood.

Country music and old-time gospel music have borrowed from each other for decades, but rarely have the two styles blended as flawlessly as on a new offering from one of gospel music's most revered groups.

Even the least attractive and most un-country voices heard here (let's not name names) have a unique, soulful quality that makes them suited for the deeply felt sentiments that fill The Lost Notebooks, a package that finds the heart of real country music still beating and Hank's vital presence anything but lost.

With these 15 tracks, it's clear he can do it all pretty damn good.

You’ll want to hit the road and play this one over and over.

It’s an album that defines an artist, proving that the Williams name (the daughter of Bocephus, Holly comes from the Hank lineage) remains as trailblazing and unique as ever.

Bruce and Kelly let their plaintive, tight harmonies deliver the goods, a refreshing break from the bombast that often substitutes for real emotion in much of the current fare.

The musicianship on Wheelhouse is incredible and Brad just keeps on getting more flavorful as a guitarist. Serious music buffs are going to love Wheelhouse, while cursory fans may be left scratching their heads.

If last year’s Heroes, with the tongue-in-cheek “Roll Me Up,” was Willie proving he’s still vital, Let’s Face the Music and Dance is a legend who has seen it all reveling in the melancholy of time’s passing.

Love Is Everything further showcases George’s smooth voice and, perhaps more importantly, his uncanny knack for picking outstanding songs.

While touching upon Led Zep's more pastoral moments and Raising Sand's rootsy variety, Robert avoids rehashing his former glories.

Darius' brand of country music, much like Radney's, is full of detailed, true-to-life accounts of love, regret and loyalty to childhood stomping grounds.

Producer T Bone Burnett had the foresight to infuse the album's recording with vintage microphones and techniques that would have been used on recording sessions half a century ago.

[Reba] singing, "I'll give my heart to a song, but I'll never sell my soul." That's exactly how Reba's approached her career thus far, and what she continues to do on this emotionally charged set of songs.

This disc highlights a collection of substantial songs every bit as relevant as they were in Loretta's heyday.

The sugared tunes would be easy to dismiss except for the credible guitar riffs, foot-tapping rhythms and fiery passion with which Keith sings. Thankfully, it's not all sunshine.

A true duo, Joshua Scott Jones' rugged rock voice blends and contrasts at the right moments with Meghan Linsey's fluid soul singing.

The plucky "Bombshell," a nimble instrumental number, is just one example of the shimmering mandolin and fiddle solos that permeate the album.

Brad Paisley, having been raised on traditional country music, is one of a handful of contemporary stars who could title an album This Is Country Music (with all that the title implies) without raising more than a few eyebrows.

Mostly introspective, lower-key fare fills out the album's remainder, resulting in an occasional lag in momentum. This, however, is offset by inventiveness and instrumental wizardry, offering those who accept Follow Me Down's tempting invitation entry into a wonderland of musical riches.