It was Joe Strummer's good fortune that he was the frontman of one of the greatest rock bands of all time, the Clash. It was his burden that after the group broke up, he had to spend the rest of his career being judged by a standard that meant only so much to him. Very little of what Strummer did as solo artist followed the musical template of the Clash, and that was just the way he wanted it. His albums had as much to do with folk as rock in their focus on storytelling and character studies, as well as his willingness to incorporate acoustic guitars and fiddles in their arrangements to give them a sound and personality distinct from what he'd done in the past.

Rockin' is a budget-priced collection covering Dave Edmunds' Columbia recordings. Which means, of course, that his biggest hits and best-known songs are present as live tracks, not the original hit single versions, and that the remaining cuts are culled from uneven records which were often hampered by Jeff Lynne's heavy production. Therefore, Rockin' doesn't capture Edmunds at his best, but it does offer a fair overview of a decidedly uneven portion of his career.

Willie Nile's style has never been monochromatic, either as a songwriter or a performer, but over the course of a recording career that was launched in 1980, two things have been consistent – the guy clearly loves rock & roll, and he sure likes guitars (Nile even released an album called House of a Thousand Guitars). So was anyone out there expecting Nile to make an entire album of contemplative, midtempo acoustic numbers built around the guy playing piano? In many respects, If I Were a River upends the average fan's expectations about a Willie Nile album (especially after 2013's decisively rockin' American Ride), although the dramatic force of Nile's songwriting and the passion of his vocals should be more than familiar to anyone who has been listening to his music over the years

Blasters founders Dave Alvin and Phil Alvin have had a famously combative relationship over the years, but as Dave once said, "We argue sometimes, but we never argue about Big Bill Broonzy." So it's fitting that their love of Big Bill brings them together in the recording studio for their first album together since the Blasters' Hard Line in 1985. Common Ground: Dave Alvin & Phil Alvin Play & Sing the Songs of Big Bill Broonzy features the Alvin Brothers performing a dozen songs from the Broonzy songbook, and while listening to this is a potent reminder of how good Broonzy's songs still sound in the 21st century, it also demonstrates the complementary talents of Dave and Phil Alvin.

This two-fer from the Australian Raven label is a part of a series of Delbert McClinton reissues. All of them come with new liner notes, session photos, and bonus tracks. These two albums, from 1980 and 1981, respectively, represent a renaissance for McClinton of sorts. While he never had a fallow period creatively, The Jealous Kind allowed him a renewed commercial viability even if it was short-lived. Both records were issued by the Muscle Shoals Sound imprint of Capitol Records and were produced by Barry Beckett with the Muscle Shoals rhythm section and horns. While the first disc is centered around diversity in its song choices – by everyone from Larry Henley to Bobby Charles to Van Morrison to Al Green to Jerry Williams – and took radical approaches to reinterpreting the material through soul, blues, funk, rock, and country, the latter chose hard-driving Southern-fried funk and R&B and a relatively close-to-the-vest approach in terms of material – most notably covers of "In the Midnight Hour" and Naomi Neville's "Lipstick Traces (On a Cigarette)".

Okie is the third studio album by J. J. Cale, released in 1974. Several songs from the album were later covered by other artists, including "I Got the Same Old Blues", by Eric Clapton, Captain Beefheart, Bobby Bland, Lynyrd Skynyrd, and Bryan Ferry; "Anyway the Wind Blows", by Brother Phelps in 1995 and Bill Wyman's Rhythm Kings in 1999; and "Cajun Moon", by Herbie Mann on his 1976 album Surprises with vocals by Cissy Houston, by Poco on their album Cowboys & Englishmen, and by Randy Crawford in Naked and True (1995). "I'd Like to Love You, Baby" was covered by Tom Petty & The Heartbreakers in 2003, appearing on their 2009 album, The Live Anthology.

Dire Straits is the debut studio album by the British rock band Dire Straits released on 7 October 1978 by Vertigo Records internationally and by Warner Bros. Records in the United States. The album produced the hit single "Sultans of Swing", which reached #4 on the Billboard Hot 100 chart and number 8 on the UK Singles Chart. The album reached #1 on album charts in Germany, Australia and France, #2 in the United States and #5 in the United Kingdom. Dire Straits was later certified double-platinum in both the United States and the United Kingdom.

One thing that's obvious about Dave Alvin if you've followed his career at all is that the man loves music. He's a fan as much as an artist, and the joy derived from the simple act of playing and singing a song that moves him is palpable and infectious. He also loves musicians who feel the same way he does, and his best recordings are full of moments where the interplay between Alvin and his partners is taut and just short of electric. From an Old Guitar: Rare and Unreleased Recordings presents 16 tracks from Alvin's personal archives, 13 of them covers, and according to his liner notes, most of them were recorded for no other reason than he and some friends went into the studio, got to playing, and walked out with some magic preserved for the ages.

During 1969 and 1970, CCR was dismissed by hipsters as a bubblegum pop band and the sniping had grown intolerable, at least to John Fogerty, who designed Pendulum as a rebuke to critics. He spent time polishing the production, bringing in keyboards, horns, even a vocal choir. His songs became self-consciously serious and tighter, working with the aesthetic of the rock underground – Pendulum was constructed as a proper album, contrasting dramatically with CCR's previous records, all throwbacks to joyous early rock records where covers sat nicely next to hits and overlooked gems tucked away at the end of the second side.

Co-produced by John Alagia and Lukas Nelson & Promise of the Real and recorded at Shangri-La in Malibu and The Village Studios in West L.A., Turn Off The News features the band’s most mature and absorbing work of their career. Guest turns include background vocal and instrumental support from: Kesha, Margo Price, Sheryl Crow, Shooter Jennings, Lucius, Willie Nelson and Neil Young. On songs like the Wilburys inspired album opener, “Bad Case,” the poignant and relevant title track, “Turn Off The News,” the 60’s infused R&B of “Save A Little Heartache,” and the vulnerable balladry of “Mystery,” Lukas brings his prodigious gifts to bear, as a songwriter, a singer, a guitarist and band leader – an artist at the peak of his powers, ready to seize the tremendous opportunity at hand.

"Along the way of the past 55 years, songs holding a wide range of emotional pieces of me wound up getting left behind. Basement demos never recorded, not quite right for the project, various reasons. Now these songs, "Spares," cover decades of writing and circumstance, in various periods of my musical and personal life are here, together to share."

Beginning with his self-titled debut in 1970, Ry Cooder's records seemed to be as much history lesson as they were entertainment. Not because Cooder was trying to club you over the head with this stuff; he simply gravitated to great songs, no matter what the era or genre. Released in 1978, Jazz seems to be his first conscious attempt at a concept album, in the historical sense. Here he pays homage to some of the early tunes and masters of jazz, ranging from the late 1800s through the "coon songs" of the early part of the next century, to the ragtime and "Spanish" music of Jelly Roll Morton, and the sophistication of cornetist Bix Beiderbecke. The only living artist (at the time of release) who's represented here is the great Bahamian guitarist Joseph Spence, who recorded from the '50s through the '80s, and whose syncopated style was extremely influential in Cooder's own development as a guitarist.