Blessed with a knack for seamlessly melding seemingly disparate sounds, Lee Hazlewood was anything but a conventional artist. A slow burn like “Sundown, Sundown,” mixing symphonic and Western elements to build the dreamy country psychedelia he was known for, is difficult to pigeonhole. And the late-career cut “T.O.M. (The Old Man)” lends his fluid poetry a blissfully cinematic backdrop.