If That Ain't Country

In this episode, we're featuring an oft-overlooked album from Cal Smith: "Country Bumpkin" (1974). The title track itself, of course, was Smith's biggest and most enduring hit, immortalising his impact to generations of fans. However, many listeners never got past big hit single to the rest of the album, which is a surprisingly modern yet traditional release, overseen by master Walter Haynes in the producer's booth. Cal Smith brings his relaxed-yet-sincere delivery to an extremely well chosen collection of covers - as well as a few originals - employing the talents of master songwriters including Don Wayne (of course), Tommy Cash, Hank Cochran, Red Lane and Bill Anderson. From his days as a San Jose DJ to rhythm guitarist with ET's Texas Troubadours, "Country Bumpkin", in it's entirety, is Cal Smith's finest release, and really does deserve to be heard past the infectious "frost on the pumpkin" lyric. Highlights include "Between Lust And Watching TV", "Jesus Is A Good Ole Boy" and a pair of back-to-back Loretta Lynn hits in "They Don't Make 'Em Like My Daddy" and "Love Is The Foundation". Dig a little deeper to be rewarded.

In this week's episode, we're featuring the fourth album from the charming Teea Goans: "Swing, Shuffle & Sway" (2017). Although Goans grew up in a yellow singlewide on her grandmother's property in the itty bitty town of Lowry City, Missouri, she moved to Nashville with her high school sweetheart (now husband) and has been on the rise ever since. Her personal Facebook page is crammed with "SupportTraditionalCountry" hashtags and that's exactly what she does on this album. As the title suggests - this music is meant to dance to, and includes a healthy dose of standards, featuring the lyrical version of "Steel Guitar Rag" (with a virtuoso performance by Mike Johnson on steel), "I'd Be A Legend In My Time" and a more recent cover of Wild Rose's "Go Down Swingin'". Other highlights include the cautionary "Just Because She Always Has" and a great version of Keith Whitley's "It Ain't Nothin'", for which Teea borrowed 90s country baritone Mark Wills. Great example of how country music can be traditional and modern at the same time. Bravo.

In this week's episode, we're featuring "Mississippi You're On My Mind" (1975), a Capitol Records compilation of Stoney Edwards' early work on that label. The music is country gold, but Stoney's story almost beggars belief. Born in Oklahoma, he moved his family out to San Francisco where he had a horrific workplace accident - trapped in a sealed tank, he ran out of oxygen and inhaled severe amounts of carbon dioxide before he was freed.. the doctors said he was terminal, but within two years he was writing and recording country music again. Indeed, it was at a benefit that he organised for Bob Wills (at the time in ailing health also) that led to his signing with Capitol Records. That this music even happened is somewhat of a miracle, and Stoney's hard country style on this album is best exemplified in his biggest hits: "She's My Rock" and "A Two Dollar Toy", but other highlights include the wholesome "We Sure Danced Us Some Good'uns" and the banging "The Cute Little Waitress". The story of Stoney Edwards is one you'll want to hear.

Do you remember the days when you could call into your local radio station and make a request, or even a dedication? Well, in this week's episode, we're remembering the roots of radio with a good old fashioned all-request show. You told us what you wanted to hear, and we've got it for you this week: including listener requests from Illinois, Georgia, Texas, Alberta, New Zealand, Australia, Northern Ireland and many more. Our listeners have good taste too - we've got music this week from Vern Gosdin, Moe Bandy, Keith Whitley, Kris Kristofferson and we'll also be remembering the forgotten career of Kentuckian Marty Brown. Lots of fun this week - get you some!

When George Jones asked the musical question, "who's gonna fill their shoes?", very often the answer involved folks like Daryle Singletary. But when Daryle passed away, it left some hard questions - who's gonna fill his shoes? As such, this week's episode is entitled: the "Who's Gonna Fill Their Shoes: Daryle Singletary" edition - we're here to prove traditional country is in good and capable hands in 2018. We've got six singers Daryle's age or younger who are carrying on the tradition, including the Singletary-esque tones of Kevin Moon, Brian Mallery and Korey Rose; the originality of Matt Prater; the suave but hard country sounds of Tim Culpepper and the singing Louisiana lawman Clifton Brown. Take a listen to this week's show: you're going to feel reassured and upbeat after having done so. Traditional country music is in good hands - Daryle Singletary would agree. PS. I'm no good at photoshopping.

This week we lost one of this generation's purest traditional country's voices. At the age of only 46, Daryle Singletary passed away, leaving behind his wife and four kids. Musically, he was a hardline traditionalist who's message and baritone has resonated amongst fans since his 1995 major label debut. Gone too soon, and a personal hero of mine - this was a difficult episode to make. It felt to me like Daryle's passing is the biggest gut punch to traditional country music since Keith Whitley died in 1989 - if only because both had so much more to give. My hope is that this episode will allow fans a chance to say goodbye to Daryle by featuring one of his best post-2000 albums: "That's Why I Sing This Way" (2002). Mr. Singletary was an icon, an ambassador, an all-round nice guy and it's not an exaggeration to say that every song on this album is a highlight. Rest in peace mate, I'll miss ya.

In this episode, we're featuring the sophomore album from Clint Black: "Put Yourself In My Shoes" (1990). Black's first album, "Killin' Time" (1989) - with 28 weeks at #1 and with five #1 singles - was always going to be a hard act to follow. But having written or co-written all the songs on this release with main collaborator and guitarist Hayden Nicholas, Clint Black borrows from several styles under the country music umbrella, and the result helped him graduate, well and truly, from the so-called "Class Of '89". There's roadhouse honky tonk on "This Nightlife", lovelorn musings in "Loving Blind", western swing on "One More Payment" and old-west balladry on "The Goodnight-Loving" - and with sensational picking from Black's road band, "Put Yourself In My Shoes" was a worthy follow up to "Killin' Time", if less successful commercially. Then again, commercial success doesn't really mean much these days, does it?

In this episode, we're featuring what many consider one of the best releases from hard country singer Darrell McCall: "Lily Dale" (1977). The most successful McCall album since his 1963 solo debut, his traditional country sound seemed to appeal to country fans around the time the Outlaw movement was catching on - and sure enough, on the title track McCall is joined by Texas' favourite son Willie Nelson. The result became a dancehall standard, and cemented Darrell McCall on the Texas circuit, where he later moved and signed to Heart Of Texas Records in 2005. This album though, finds the Ohio-native in fine voice, with distinct influence from his days as harmony vocalist/bass guitar for both Faron Young and Ray Price evident for the keen ear. Co-produced by steel guitar virtuoso Buddy Emmons, highlights include a tribute to McCall's adopted state of many years, "Tennessee"; a solid Roy Acuff cover in "Pins And Needles (In My Heart)"; "Dreams Of A Dreamer" and of course the famous title track, ensuring we're still talking about Darrell McCall's many talents to this day.

In this episode, we're featuring the debut album from Saint Louis' Clint Hasse: "Inside Nashville" (2017). With a voice that brings to mind Texas greats like Tommy Hooker for tone and Ernest Tubb for warmth, this album is 100% original. 13 new country music compositions, with styles ranging from western swing, slick 60s country-pop and Bakersfield twang to straight out honky tonk - this is an immensley pleasing first outing, overseen expertly by producer Justin Branum, who also happens to play near anything with strings. Clint's debut album draws from his own life experiences and influences on "Inside Nashville", and with tip-of-the-hat songs to Glen Campbell, George Jones & Buck Owens, any country fan won't go unsatisfied. Pickers are A-class, including Doug Jernigan on steel guitar and Eugene Moles on telecaster - and highlights are plentiful. Look out for the quasi-autobiographical "I Could've Been George Jones' Son" for a laugh, "The Disappearing Cowboy Way Of Life" for a western swing toe-tapper and "The Twang" for the spirit of country music captured in song. Highly recommended.

In this episode, we're featuring a classic example of the "Bakersfield Sound": Buck Owens & His Buckeroos' landmark "Together Again/My Heart Skips A Beat" (1964). Jam-packed with twangy telecasters, crying steel guitar and uncanny harmonies between Buck & right-hand-man Don Rich, we meet the Buckeroos right at the peak of their powers. Ignored largely by the Nashville establishment, Buck & the boys toured hard, bringing the music to the people - and as a result, they became one of the tightest country and western bands out there. They were making money hand-over-fist, but having fun too - and this album reflects that. Highlights include the infectious "Truck Drivin' Man", the clever "Ain't It Amazin', Gracie" and the twin hits in "Together Again" and "My Heart Skips A Beat". But really, there aren't any bad songs on this record. Get you some.