If That Ain't Country

In this week's episode we're featuring a 1969 album from prolific songwriting and singing talent Liz Anderson: "Country Style". After relocating from North Dakota, The Andersons moved to Southern California and by the end of the decade, demand was growing for Liz Anderson's songwriting. She'd routinely host many of The West Coast's greats in her living room for picking parties and song pitching opportunities and those connections paid off with her first real hit as a songwriter coming in 1961 when Del Reeves cut "Be Quiet Mind". She was an instrumental part of Merle Haggard's early career (Liz Anderson's "(My Friends Are Gonna Be) Strangers" proved the inspiration for The Hag's band name if you need any further proof of Anderson's importance), and Chet Atkins signed her to RCA in 1965. Liz Anderson enjoyed a few hits while at that label but was too often pushed towards fluffy semi-novelty material for sustained success. And while Anderson didn't possess the down-home twang of Loretta or the hurting of Tammy Wynette, to this reviewer's ears she did have some of Kitty Wells' plaintive stylings and her everywoman vocal is right at home on "Country Style".

In this week's episode we're featuring an excellent introduction to the music of Gary Stewart: "Greatest Hits" (1981). Born the son of a mining man in Kentucky but calling Fort Pierce, Florida home from the age of 12, Gary Stewart was playing music around the area as a teenager. After catching part of his performance locally, Mel Tillis (also from the area) suggested Stewart go to Nashville to work on his songwriting craft and work his way up from there. And he did. Starting in the mid 60s several back and forth trips to Music City, many with buddy and songwriting partner Bill Eldridge, resulted in some attention and gradually their songs started finding the right ears. Hit cuts were recorded by Nat Stuckey and Billy Walker (amongst others) and after brief recording stints themselves and plenty of discouragement, Gary Stewart eventually got signed to RCA. A re-release of "Drinkin' Thing" scored his first Top 10 and the ball was rolling. Somewhat pigeonholed during his time at RCA, it was songs of drinking, divorce and cheating which made up the majority of Gary Stewart's hit list. Chart success notwithstanding however, it was his emotive vibrato and unique mix of country and southern rock which remains a favourite with fans of country music delivered with feeling.

In this week's episode we're featuring the major label debut for Mark Chesnutt: "Too Cold At Home" (1990). Having dropped out of high school to pursue a career playing bars and honky tonks, Chesnutt garnered enough attention to record some independent material in San Antonio and Houston during that period (including at AV Mittelstedt's famous SoundMasters Studios). Some of that material got the attention of MCA/Decca and thus followed his signing and debut album. The title cut, written by 60s country star Bobby Harden and at one time turned down by George Jones, found a home with Mark Chesnutt and a further four big singles did well for the Beaumont native. In a cruel twist of fate, Chesnutt's father Bob, who had been a honky tonk singer himself and instrumental in helping foster his son's musical dreams, passed away the year "Too Cold At Home" was released. Solidly rooted in the sounds of the new traditional movement, Chesnutt's debut album contains some very strong material: the barroom classic "Brother Jukebox" always hits a chord; the swinging "Blame It On Texas" has you heading for the honky tonk and the title track is a masterclass in country music for those who may have forgotten what it sounds like. Barely a dud on there.

In this week's episode we're featuring a slice of Mac Wiseman's country and bluegrass history that spent almost forty years in the vaults of Capitol Records: "The Lost Album" (1964). As one of the last original members of bluegrass' "first generation", Wiseman had played with Bill Monroe, was a founding member of Flatt & Scruggs' Foggy Mountain Boys and enjoyed solo hits before signing with Capitol in 1962. Assembling the best pickers from the worlds of both country and bluegrass, Wiseman recorded most of our feature album in February of '64. But circumstances which we'll detail in this week's show got in the way, and Capitol's priorities changed - "The Lost Album" was shelved indefinitely (save for four songs released on 45) as Wiseman negotiated out of his contract and went elsewhere for distribution. Eventually re-released nearly forty years later to coincide with Wiseman's 60th year in the music business, fans can enjoy a helping of Mac Wiseman's trademark storytelling on this collection of 12 songs. Chosen with an emphasis on narrative, "The Voice With A Heart" was in it's prime in 1964 and "The Lost Album" stands the test.

PART 2 OF 2: On the occasion of Johnny Bush's passing in October of 2020, we've got a two-part podcast tribute to the man who epitomised Texas dancehall music. Part two has us digging back into the show archives for an episode which originally aired in July 2017.  

From the original show notes: In this episode, we're featuring a hard country album from Johnny Bush: "Here Comes The World Again" (1973). After having served in Ray Price's and Willie Nelson's bands, he had paid his dues and this was Bush's first release on a major label (RCA). "Whiskey River" (written by Bush) was just about to become a big hit and it seemed Johnny Bush's star was on the rise. In the summer of 1972, however, a mysterious vocal condition put Bush's well-known high notes at risk. He adopted tricks to get around it, but the impact was profound: within a few years, he could barely speak, and it was only many years later with some enterprising medical treatment that Bush was able to regain his singing abilities. This album came at a very uncertain time for "The Country Caruso", but you wouldn't know it from the material included. This is a fantastic collection of jukebox-friendly shuffles, drinking songs, broken-heart ballads and beer joint singalongs - fiddles and steel guitar abound. Highlights include the "Cold Grey Light Of Dawn", dancehall favourite "Green Snakes On The Ceiling" and "Here Comes The World Again".

PART 1 OF 2: On the occasion of Johnny Bush's passing in October of 2020, we've got a two-part podcast tribute to the man who epitomised Texas dancehall music. Part one has us digging back into the show archives for an episode which originally aired in December 2016.  

From the original show notes: In this week's episode we're featuring the most successful commercial album for Texas icon Johnny Bush: You Gave Me A Mountain (1969). Bush's career, as detailed by Pete Drake on the rear of the vinyl album, had hit stumbling blocks at every turn, and had been turned by down by most of the major labels of the day. Drake, though, heard something in his voice which "just needed the right song". So the steel-guitar maestro signed the unknown Bush, and the one-time drummer for Ray Price's Cherokee Cowboys launched himself to the brink of stardom with this album - the title track going to #7 on the charts. But overall, it must be said that this is one of the finest examples of why Johnny Bush is regarded as a Texas honky tonk icon - the notes that he hit are mountainous, sure enough.

In this week's episode we're featuring yet another sterling album from Mel Tillis: "Love Revival" (1976). After a stint in the US Air Force and moving from his native Florida to Nashville in the mid 50s, Tillis struck paydirt as a songwriter relatively quickly. Hits with good friend Webb Pierce, Carl Smith and Brenda Lee helped him earn a recording contract with Columbia and later Kapp Records, but solo success didn't really happen until the 70s. Seemingly one of the many overlooked figures on classic country radio today, Tillis' catalogue is absolutely chock-full of solid country gold. "Love Revival" is one such album - packed with fiddle and steel and a good dose of country shuffles. "Good Woman Blues" was the big hit, but dig past it and there is a lot to like. The intertwining fiddle and steel intro on "I Order One For Me" is simply addictive; included is an excellent cover of Hank Thompson's "The New Green Light"; the excellent shuffler "My Only Strange Love" deals with a husband and wife grown apart and "Gator Bar" is a typically self-deprecating slice of Tillis humour. An easily overlooked sterling album release from front to back.

In this week's episode we're featuring the debut country record for Louisiana's Alecia Nugent: "The Old Side Of Town" (2020). After three top-notch bluegrass albums on Rounder Records, Nugent elected to slow down and came off the road to spend more time raising her three daughters. Life got in the way, however, and after an extended period at home but with the intention of recording another project, Nugent moved back to Nashville, secured a backer and her first album in ten years was born. Even during the making of her third album "Hillbilly Goddess", the Rounder folks noted that Nugent had a penchant for picking country-flavoured songs - so it seemed natural that "The Old Side Of Town" would be her country music debut. Classic country too - fiddle from Stuart Duncan and steel from maestro Paul Franklin under the deft production of Keith Stegall - Nugent's return to form is steeped in tradition and is an intensely personal, emotional and enjoyable album. The tearjerking tribute to her Dad in "They Don't Make 'Em Like My Daddy Anymore" is the album's lynchpin; a cover of mentor/employer Tom T. Hall's "The Old Side Of Town" is right on point and the Texas shuffle style of "Tell Fort Worth I Said Hello" is another highlight. Thoroughly enjoyable comeback which will likely appeal to fans of both country and bluegrass music.

In this week's episode we're featuring the debut album from Missouri's Leona Williams: "That Williams Girl, Leona" (1970). As a young woman in St. Louis working as a beautician by day and playing music several nights a week on the side, connections that Leona Williams made during that time would serve her young career well. A friendship with Loretta Lynn saw Leona move to Nashville and join Loretta's first band "The Blue Kentuckians" and a former bandmate who landed an Opry role helped her to get her first recording session. Leona's traditional-edged style got the attention of industry heavyweight Wesley Rose, and she was signed to Hickory Records in 1967. Rose deliberately helped set her up for a lifetime in country music, and that's exactly how it panned out for this modest gal from The Show Me State. Leona herself will say "she's just as plain as an old shoe" (an expression her mother liked to use), but hopefully the music featured in this week's show will serve to convince you that Leona Williams' 50+ year in country music is testament to an entertainer who had the charisma, talent and drive to deserve it.

In this week's episode we're featuring a 2020 release from The Reeves Brothers: "The Last Honky Tonk". Distilling the best of 70s country down to a twelve-song collection, the most refreshing part of this album lies in it's original material. All but three of the tracks were written by brothers Matt & Cole Reeves who both ooze country music pedigree. The Reeves Brothers come by their throwback sound honestly, without pretence or effort it seems - this gloriously grimy brand of honky tonk IS their sound. Recorded between producer Kevin Skrla's Wolfe Island studios and Sugar Hill in Houston, the result contains significant Haggard overtones and features prolific steel guitar from Caleb Melo. Cole Reeves' twangy vibrato and Matt Reeves gritty growl serve to bring fans of hardcore, traditional country music an album worth it's weight in Lone Star beer and quarters for the jukebox. Get into it!