Compiling music from the golden age of the 78 era has typically been a practice of categorization by region, genre, style, or instrument. Labels such as Yazoo, Mamlish, Herwin, and, in Europe, Document/Wolf, seemed to divvy up the blues sides and release them in compilations such as The Georgia Blues, Guitar Wizards, or The Barrelhouse Piano and Sanctified Singing of Arizona Dranes. Yazoo also dropped double LPs by heavyweights such as Charley Patton or Blind Lemon Jefferson while Herwin snapped up the remaining titles or delved into early jazz by the likes of Freddie Keppard or King Oliver. County and Rounder put out similarly organized compilations of string band music like Texas Farewell or Mountain Blues. When CDs allowed most of the above-mentioned labels, as well as others, to pack more music onto a single release, often the themes either changed or expanded. Yet the new technology also allowed compilers to re-examine the context in which music was re-sold to a public not even alive when the original sides were actually recorded, pressed, and distributed. Now there were potentially new ways of listening to this old music, due not only to the fact that the popularity of indie rock, noise, outsider artists, and alt. country have allowed younger folks to soak it up with ears attuned to things preceding generations had never been exposed to, but also because, nearly a century later, the best of this stuff has only become more radically ageless.