If That Ain't Country

In this episode, we're featuring some of the best early 60s honky tonk you've never heard: from the chronically underrated Skeets McDonald, our feature album is: "Call Me Skeets!" (1964). Skeets got his first major record deal in LA - he was picked up by Capitol and spent a good stint with them which included his only #1 hit in 1952 with "Don't Let The Stars Get In Your Eyes". He flirted with rockabilly and rock 'n' roll, but it was after his move to Capitol's arch-rivals Columbia in 1959 that we pick up the story - all of our feature album was recorded between '59-'63, and it demonstrates Skeets McDonald's refusal to budge from his hard country sound. We feature some sensational country shuffles, a few featuring a young Johnny Paycheck on harmonies, Jimmy Day on steel and Tommy Jackson on fiddle - and Skeets' nasal hillbilly twang slots in perfectly. As one reviewer in the 60s wrote: "Listening to him [Skeets] sing is like playing a record you liked twenty years ago. It's the plaintive sound from a thousand beer joints along highways from Altoona to Albuquerque.".. Can you believe that was meant to be a negative review??

This week, we get Hankified. All the songs included in this week's show are by or about the lanky, hollow-eyed hillbilly Shakespeare from Montgomery, Alabama. Our feature album is from Hank disciple Jim Owen: "A Song For Us All: A Salute To Hank Williams" (1977), and he's enlisted help from Hank's original Drifting Cowboys and the Charlie Daniels Band for this sensational project. Like countless others, Jim Owen was captivated by the mystery and aura of Hank Williams from a young age and set out to learn all he could about the man in terms of singing, style and mannerism. The result was a 90-minute, one-man show called "Hank" with which Jim Owen toured the country to rave reviews. With some wonderful commentary to link the songs together, Jim Owen (as Hank) released this album around the same time, as a humble tribute to the man who gave so many so much - and influenced generations of country fans and singers more than any one person can say. We picked the best tracks from this double album and continued the Hank theme with a plethora of songs from other Hankaholics - this week's show is mandatory listening for any and all fans of country music.

In this episode we're featuring a sensational album from Nashville-based songsmith Scott Southworth: "Hey Hillbilly Singer!" (2018). After playing in bands of every other genre, he made the full time move to country music and moved from his native Oregon to Music City to pitch songs to guys in suits in 2004. Achieving more than a few cuts over the years, for this album he's rounded up some of his musician friends (incidentally some of the best in the world, period) and recorded eleven tracks, all from his own pen. Highlights include the wonderful tribute to his wife of twenty five years in "Put Another Quarter In The Ride", the defiant "I Ain't Leaving Town", the barroom weeper "Cigar Store Indian" and the oh-too-true "Nobody Leaves This World Alive". This whole album sounds to me like Scott Southworth is just having a great time: unshackled from major label pressure or expectation, making the music he wants to make. And luckily for us, that music just so happens to be solid gold traditional country music. Bravo.

In this episode, we're featuring a hot album from Country Charley Pride: "To All My Wonderful Fans: From Me To You" (1970). That's the long title, but the album is straight to the point. Track #1 gives you a great idea of what to expect on this release, a country-as-cornbread ode to the travelling man in "That's The Only Way Life's Been Good To Me". Pride's voice is like butter at this period in his career, and he could sing the proverbial phone book and sound sublime in doing so. In 1970, Charley Pride was pumping out 2-3 albums a year and still selling 500,000 copies each time - a long way from the Montana smelter-worker of only a few short years prior. Production is on point with longtime producer Cowboy Jack Clement at the helm and of-note picking comes from Gene O'Neal on steel guitar on a sensational version of "Fifteen Years Ago" that Conway Twitty would surely approve of. Other highlights include the Frizzell-tinged "Today Is Not Tomorrow" and one of two chart-toppers from the album in "Wonder Could I Live There Anymore". Great stuff.

In this episode we're featuring the debut record of a fresh-faced 27-year-old Oklahoma boy singing good country music: "Garth Brooks" (Self Titled) (1989). From the look on his face on the front cover of this album, I'd say he didn't have any clue of the fame about to come his way on the strength of this release - and fame did come, sure enough. This record achieved diamond certification (sales of 10 million plus in the USA alone) and catapulted Garth's career into the stratosphere, turning him into the household name that millions grew up with. But right here at the beginning of it all, this is as country as Garth Brooks ever was, in this reviewer's opinion - honky tonk tracks like "Nobody Gets Off In Town" and "Not Counting You" combine with twin story songs in "Cowboy Bill" and "Alabama Clay" to speak of a country musician possessing of layers, to say nothing of the big hits from this album. You'll never hear a more stripped-down, straight-ahead traditional country release from Garth Brooks, and as one review put it: "If his pop-crossover experiment "Chris Gaines" made you sick and longing for the country Garth, just listen to this album and remember why country fans fell in love with him and his music."

In this episode, we're featuring a rodeo-themed album from ex-bull rider Red Steagall and his road band The Coleman County Cowboys: "For All Our Cowboy Friends" (1977). The inclusion of The Coleman County Cowboys over the A-class Nashville pickers that Red was using at this period in his career adds authenticity: world-champion fiddler Snuffy Elmore dragging the bow, James Wood on steel and Red's younger brother Danny Steagall on guitar add road miles to the album's sound. The artwork alone is a great introduction to the legends of this All-American sport, with black and white photos of many of the greats to go along with Red's name-checking throughout the album. Red Steagall's music was and is anthemic for many in the rodeo fold and is packed full of story songs worth their weight in gold buckles: "Freckles Brown" is the true story of the first rodeo cowboy to ride the infamous bull Tornado; "Dawson Legate" details a man's tragic rodeo fever; "Two Pairs Of Levis And A Pair Of Justin Boots" takes a humorous look at a relationship bust-up and there's a lot of truth to the album-opener, titled simply "Rodeo".

In this week's episode, we're featuring the latest album from genuine roping and riding cowboy Paul Bogart: "Leather" (2017). After moving from his home of Oolagah, Oklahoma (pop. 1146) to Nashville about a decade ago to pursue a career in music, he released a handful of albums, enjoying a steady rise in success. By the time 2018 had rolled around, Bogart had graduated from honky tonks to arenas and "Leather" is a thoroughly professional project to match. With Trent Willmon at the helm, the production is radio-friendly and slick at times, but firmly rooted in the traditions of country music. Songs like "George Jonesin'" aren't just name-checking the legends: Jones himself would have his toes tapping to the western swinger "All That Cowboy Jazz"; cowboy subject matter is tackled with authenticity given Bogart's calf-roping history on "When The Cowboys Are Gone" and the tender "Buckaroo Lullaby"; and the listener is hooked right out of the gate with "Better With My Baby". When your friends next talk about "modern country music", do them a favour and turn them onto to Paul Bogart.

In this episode, we're featuring a Columbia concept album from "The Master" - Ray Price: "Love Life" (1964). Released after another highly successful thematic album in 1963's "Night Life", our feature album continues the tradition - this time, it's all songs about love. Loving, losing, heartbreak, euphoria, disappointment - the highs and lows of one of humankind's most relatable subjects - Price has a song for everyone's "Love Life" on this release, and he's fine voice to boot. Backed by some of the best Cherokee Cowboys that ever were - Johnny Bush on drums, Jimmy Day & Buddy Emmons alternating on steel and Tommy Jackson on fiddle - Price croons his way through this album without breaking a figurative sweat. Restrained yet soaring, his was one of the finest voices in country history and just why that was the case is demonstrated in abundance. Highlights include the Willie Nelson-penned "How Long Is Forever", the made-to-two-step-to "You're Stronger Than Me" and a tale of divorce in "All Right (I'll Sign The Papers)".. but as usual, there are no duds when it comes to mid-60s Ray Price.

In this week's episode, we're featuring a gritty example of 21st century honky tonk from The Reeves Brothers: "King Of Country Music" (2017). Sons of an Arkansas traditionalist who found success in Southern California, Matt & Cole Reeves have forged a sound reminiscent of something that may have been heard on an AM radio in about 1975: grimy, no frills barroom country music. Their rough-hewn product belies the fact that both brothers were in their twenties when they recorded this album, but Cole Reeves says wryly that years of touring and cigarettes may have helped that sound along. The Reeves Brothers growl and twang their way through a collection of straight country gold (most of which you've never heard before, despite the amount of well-chosen covers) - highlights include the matter-of-fact "Waltzes And Western Swing", the travel-weary "King Of Country Music", the raucous "Mama You Raised A Ramblin' Man" and an unexpected gospel gem in "Unclouded Day". Although home is the little town of Delight, Arkansas - the bright lights of Vegas and surrounds have claimed The Reeves Brothers in 2018, and this album is proof they're going places.

In this episode, we're featuring an album that captures Faron Young at his very best: "Step Aside" (1970). Released at a particularly busy time for Young on Mercury Records, "Step Aside" was crammed in amongst seven full length studio albums in four years, but that fact hasn't affected the output one bit. The Singing Sheriff is in the best voice of his career: mellow yet animated, soaring yet wonderfully controlled, and all with a healthy dose of twang. As you'd expect, it's fiddles and steel, the best musicians and Jerry Kennedy at the helm yet again - it's almost as if Mercury knew to make hay while the sun was shining on ol' Faron, because this was one of his last commercially successful albums before the ensuing decline in sales eventually plunged Faron into what may be described as a prolonged bout of depression. Highlights are plentiful, including the wonderfully uptempo cheating song "Just Like Me", "Come On Home And Sing The Blues To Daddy", a sensational cover of "Hello Darlin'" (Conway would approve) and a better-than-the-original re-recording of "Goin' Steady": the song which started it all for Faron back in 1952.