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Tracklist:

01. Conway Twitty - Hello Darlin'
02. Lynn Anderson - Rose Garden
03. Jerry Lee Lewis - Once More With Feeling
04. Merle Haggard - The Fightin' Side Of Me
05. Johnny Cash - What Is Truth
06. Bobby Bare - How I Got To Memphis
07. Roy Clark - Thank God And Greyhound
08. Loretta Lynn - Coal Miner's Daughter
09. Tompall & The Glaser Brothers - Gone Girl
10. Dolly Parton - Mule Skinner Blues (Blue Yodel No. 8)
11. Guy Drake - Welfare Cadilac
12. Jerry Reed - Amos Moses
13. Sammi Smith - Help Me Make It Through the Night
14. Tom T. Hall - A Week In A Country Jail
15. Flying Burrito Brothers - Wild Horses
16. Charley Pride - Is Anybody Goin' To San Antone
17. Ray Price - For The Good Times
18. Tammy Wynette - Run, Woman, Run
19. George Jones - A Good Year For The Roses
20. Waylon Jennings - The Taker
21. Dolly Parton - Joshua
22. Jerry Lee Lewis - There Must Be More To Love Than This
23. Loretta Lynn & Conway Twitty - After The Fire Is Gone
24. Johnny Cash - Sunday Morning Coming Down
25. Billy Joe Shaver - Chicken On The Ground
26. Conway Twitty - Fifteen Years Ago
27. Marty Robbins - My Woman, My Woman, My Wife
28. Mickey Newbury - How I Love Them Old Songs

If the music on the 1970 volume of Bear Family's superlative ongoing Dim Lights, Thick Smoke and Hillbilly Music series isn't as wild and adventurous as that on 1969's, chalk it up to the record industry assimilating the shifting fashions of the time. Nothing here sounds as wild as the singles on the 1969 volume, but everything here still feels modern: Dolly Parton's "Joshua" is nearly as lean and ornery as Waylon Jennings' "The Taker," Johnny Cash's "Sunday Morning Coming Down" is a finely realized hangover ode that never would've been written three years prior, Roy Clark's novelty "Thank God and Greyhound" pops with tacky vitality. Elsewhere, there is sinewy Merle Haggard ("The Fightin Side of Me"), robust Jerry Lee Lewis ("There Must Be More to Love Than This," "Once More with Feeling"), AM crossovers from Lynn Anderson ("Rose Garden") and Sammi Smith ("Help Me Make It Through the Night"), pure Nashville schmaltz symphonies from George Jones ("A Good Year for the Roses") and Ray Price ("For the Good Times"), crackling country-rock from Jerry Reed ("Amos Moses"), then the slightest hints of country-rock (Flying Burrito Brothers' "Wild Horses," which doesn't feel of piece with the rest here), and outlaw country (Billy Joe Shaver's "Chicken on the Ground"). All these loose ends combine into one singular sound that is the dawn of a new decade, one where all the progressive country, psychedelia, Bakersfield sound, and Nashville polish combine into a new mainstream, and Dim Lights 1970 winds up fascinating for how it documents that shift.

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