Showing posts with label hillbilly. Show all posts
Showing posts with label hillbilly. Show all posts

Thursday, 6 October 2011

Americana 2011 Review



This year's Americana Festival was my first even though the event has been going for over thirty years. It's something me and the misses have always planned to do but never quite got around to. Boy am I glad that we decided to rectify that this year. As ever with an outdoor festival in Britain, the weather was to play a major part. On the Friday we got soaked, on the Saturday we got sunburnt and on the Sunday we had a mixture of both. Such is the quality of the music on display, the rain doesn't seem to get in the way of a good time.

My first impression when we got there was the huge scale of the event. There are hundreds of American cars, bikes, campers and lorries inside the main grounds, together with thousands of tents, campers and caravans in the surrounding fields. Booking in was a breeze with the staff being helpful and on-the-ball. If only one of them could have been around when we tried to put the tent up! A sign that greeted the visitors on entrance was that there was a zero tolerance on trouble makers, and this probably resulted in there was no sign of drunken or yobbish behaviour. The atmosphere throughout the weekend was one of great camaraderie and the typical British spirit of "we're going to have a ball whatever the weather". Anyway, onto the music.

The first band I saw were Caravan of Wayne who I'd looked forward to ever since seeing them on youTube doing covers of Little Ol' Wine Drinker Me and Me And Bobby McGhee. As they're name suggests, they are heavily influenced by the great Wayne Hancock and they do there hero proud. A cracking start to the weekend despite the fact that by this time it was already lashing down. Next up were the Mee Kats who played a nice rockin' set, not surprising when you consider there pedigree.

By the time the Hicksville Bombers came on, the dark clouds had been replaced by flashes of lightning and massive rumbles of thunder and the rain had been replaced by hail. It was a biblical storm as the Bombers rocked away while the crowd stayed and danced in the rain. It was one of my favourite shows as the lightning was fierce, the hail actually hurt and band played a blasting set, appreciating the fact that their fans were carrying on regardless. They adopted a couple of heavy metal tunes into rockabilly numbers and although I've seen less than favourable reviews in Now Dig This, to me it worked really well. I loved the set and with the weather and everything, it's a gig I'll never forget.

The evening kicked off with a bang from Aynt Skynyrd. They're a fine tribute act and I really enjoyed their version of Tuesday's Gone. But the star of the show for Friday night was the newest sensation of the rockin' scene, Si Cranstoun. He was amazing, with a set full of mostly original songs including the dance-floor favourites, 50’s Pin-Up and Dynamo. The crowd were right behind him and his encore included cracking versions of Jackie Wilson’s Reet Petite and Sam Cooke’s Twistin’ The Night Away. He’s obviously a big fan of Nappy Brown and did Don’t Be Angry and Little By Little. He was a quality act and has real potential to join Imelda May on the mainstream charts. It was to everyone’s good fortune that one of the following days bands had to drop out so the organisers wisely chose to get another set out of Si Cranstoun. The second show followed the same as the first, and was equally as great.

I took in a couple of indoor shows later that night and was really impressed the hillbilly sounds of Rusty Steele. I’ve been a fan since his wonderful joint tribute album to Hank Williams with the Rimshots. Final band of the evening were the mighty Jack Rabbit Slim, who played a powerhouse set of 21st Century rockabilly. It was powerful stuff and they created a great atmosphere with crowd pleasures like The Touch and Killer Dilla.

The weather on Saturday was scorching and the highlight of the day time shows were Truly Lover Trio with their Roy Orbison sound. I caught a bit of Mary Jean Lewis who seemed really good and then waited for Narvel Felts. One of my wife’s favourite songs is Kiss-A Me Baby and I’d preached to her how great he was when I’d seen him a few times at Hemsby with the Rimshots. Unfortunately, Narvel’s ill health seems to have caught up with him. His backing band, Lazy Dog provided a solid country backing and his set was of a much more country flavour than at Hemsby. Nothing wrong with that, but he struggled to reach a lot of notes, and I wonder if we’ll ever see him over here again.

I can’t describe how much I enjoyed James Intveld. I love his rockin’ country sound and with his voice and a wonderful band (the guitarist was sensational), it was the highlight of the weekend. He played tracks from his three albums and I’m hard pressed to pick some favourites. If pushed, I’d say, Somewhere Down The Road and A Woman’s Touch (Rod Pyke’s favourite). The women were swooning and my wife thought he looked like Johnny Depp. He’s phenomenal and I hope he gets called back every year.



I’ve seen Johnny Power’s a few times and his show is always packed with energy, aided in no small part by the dynamic guitar of Chris Casello. Keith and the rest of the crowd went absolutely mental when the guitar intro to Long Blonde Hair blasted through the night air. It’s a classic and Johnny, Chris and the band played it with venom - a magical moment.

I caught a couple of Alvin Stardust numbers and was baffled by some weird versions of rock 'n' roll classics. No sign of Shane Fenton in this poor performance, but I was really impressed by the country band, Two Tons of Steel. They’re the real deal and listening to them in the open air on a hot summers night is about as good as it gets. This could have been a summer fair in Alabama, which sort of sums up the name, Americana I suppose.

The evening closed with a storming set from the Revolutionnaires, who had the crowd jumping with a brilliant set of hot jumping blues. The lead singer alternated from harmonica to piano to guitar and it was high quality showmanship. It was probably the best atmosphere of the weekend with the hanger busting at the seams, including a few lads that just couldn’t resist the urge to get on stage and boogie on down.

As always when you’re having fun, the time flies by and before we knew it, it was Sunday. First up was another set from James Intveld which was pretty close to the previous day’s, although the addition of Modern Don Juan was brilliant. His voice is perfect for that West Texas rock ‘n roll, with a comforting quality along the lines of Sonny Curtis or Buddy Knox. If you’ve never seen James Intveld before, I urge you to check his tour dates and go and watch him, he’s brilliant.

Former Dr Hook front man Dennis Loccorriere gave a pleasant acoustic set but we missed most of it as we wanted to watch the doo-wopppers The Roommates. Their sound was great and despite the sore throat of one of the lead singers, they gave us a fine mixture from the likes of Dion and more surprisingly, Gene Vincent. One of the things I loved about the Americana was the laid back atmosphere and this seemed to extend to the artists as well. To me this was highlighted by Art Adams sitting in the crowd on a deck chair watching the Roommates while fans came up to him and chatted or had a photo taken.

I enjoyed the set from Some Like It Hot, a real rockabilly band that hit the spot. We all looked forward to the Kingcats but sod’s law decreed that the heaven’s would open once again. Despite the torrential rain, the crowd and the band got into the groove and Bill Crittenden treated us to his beautiful, Elvisesque vocals. The band were joined by Bill’s daughter Abbie Marie but after two songs their set was rather crudely terminated. The crowd were yelling for more but the plugged was pulled, much to the annoyance of the crowd and a very upset father and daughter. I forgot the name of the bearded guy who unceremoniously pulled the plug, but he was a bit o a pain all weekend, continually talking shouting over the mic about his sandwiches while the deejays tried to spin the wax and get the dancers going.



I've seen and been a big fan of Paul Ansell for many years and eagerly awaited his show. Even though this was far from his best performance, there was still much to enjoy. There was a lot of songs from his new album, which I've yet to really warm to. A couple more listens and I should be there! I was gutted that we had to leave before John Lewis hit the stage. His Hemsby shows with the Rimshots are amongst the best I've ever seen.

A special mention must go to the sound guys who defied the elements to keep the music coming. Sterling work in some pretty unhelpful conditions.

I can't wait for next year, with a line-up that is shaping up to be a must. Acts confirmed to date include Hayden Thompson, The Balsters, The Polecats and Confederate Railroad. Roll on next July.

Sunday, 17 April 2011

Hillbilly Hootenanny - Mid Wales, April 2011



The Hillbilly Hootenanny is a throwback to the travelling troupe shows that used to be the norm in small towns across 40s and 50s America. This particular band of hillbillies featured Ian Cal-Ford and the Railmen, Chuck Micallef and former Darts from man Bob Fish. The glue that held them all together and played with all three acts was the highly talented Dave Luke. Despite being based in mid Wales, he's the guitarist for Nashville stalwart Gail Davies, who also showed his prowess on mandolin and steel guitar. To be able to carry off those black and red cowboy boots he has to be good!

The night kicked off with a set from Canadian Micallef, who sang a mixture of some classics and a few self written tunes. He was joined throughout by Dave Luke on mandolin and duet vocals. I thought that Chuck had a Waylon Jennings feel to his voice and would have loved him to have done some Waylon. The highlight of his set for me were the one he wrote about his dad and Hank's Mind Your Own Business. Dave Luke remained on stage to back Bob Fish, whose plaintative vocals were the perfect foil for his autoharp. The crowd seemed to really enjoy his performance.

The final act was Wales' very own Man in Black Ian Cal-Ford and the Railmen. I first saw them in the 90's at an all-dayer in Bristol when Mac Curtis headed the bill, and was blown away by their authentic sound, with Sitdown Steve Tompsett playing great Scotty Moore and Chet Atkins licks. Nowadays they lean more heavily on the Johnny Cash songbook but still play the odd rockabilly track, as outlined by a stirring cover of Johnny Talley's Wild Wild Mind. The Sun classic Luther Played The Boogie was spot on and another highlight for me was I Still Miss Someone. The crowd were on their feat for a double bill of Ring of Fire and Walk The Line. Milkcow Blues Boogie complete with the "hold it fellas, that don't move me" start allowed Tompsett and Dave Grieves to show their skills. Their great set was rounded off with all the others joining them for a rousing sing-along of Hank's I Saw The Light. Somehow the night ended with Leavin' On A Jet Plane, which although at odds with the Eisenhower era feel of the night, again pleased the crowd and send everyone home in great spirits. If the Hillbilly Hootenanny comes your way, make sure you check it out. It's the real deal.

(Photo courtesy of Ian Cal-Ford).

Thursday, 31 March 2011

Johnny Cash Bootleg Vol.2



Johnny Cash
Bootleg Vol.2 - From Memphis to Hollywood

From Memphis to Hollywood is the second volume in the Johnny Cash's Bootleg series. Again it's a double CD, this time focusing on the Sun Records period of 1954 to late ’57, and his first decade at Columbia Records from 1958 to 1969.
The first CD kicks off with a stunning 15-minute live May 1955 broadcast from KWEM in West Memphis, Arkansas hosted by Johnny himself. A mixture of live Sun songs and sponsorship announcements, it's historic value is up there with the Hank Williams Health & Happiness shows that first emerged many moons ago. What struck me was JC's voice when publisising the Home Equipment Company's wares - it doesn't actually sound like him, and it's strange to hear his uncertain manner, compared to the confident narrator he became. There's an Irish butcher's dozen of demos with just Johnny and his acoustic guitar - essential listening for Sun and JC afficianados. The sound quality is really good except for his demo of Rock 'n' Ruby, but it's inclusion is more than justified as it's great to hear Cash in rockabilly mode.
We also seven outtakes from Sun recording sessions, commencing with a driving Wide Open Road. The fun sun of ol JC comes to the surface in Leave That Junk Alone but the pick for me is his cover of Brakeman's Blues and a magical, acoustic rehearsal of Big River, with alternate lyrics. I was really looking forward to hearing his original demo of Restless Kid, a number that I love courtesy of Ricky Nelson. I'd love to have heard him do it with Luther and Marshall, but even so, this is a great demo, with Johnny's vocal sounding so manly compared to Ricky's - they both work equally well though, as the young gun sound of Ricky also fits the lyrics.

The second disc sees the Dyess Dark Dresser move to Columbia and features 23 studio numbers, including non-album singles, outtakes and b-sides (11 tracks of which have been previously unreleased) together with a pair of demos. The sound is crisp and clear with the songs having a spit and polish that seems miles away from disc one. The early highlights are the Johnny Yuma Theme (almost Restless Kid) and The Losing Kind. The single version of Locomotive Man is as good as anything he ever did. Foolish Questions is a rare treat, a funny song that can withstand repeat plays. It's so dry and gives a small insight into a man that obviously suffers fools lightly. Being a Forestry boy I also found a lot to enjoy in The Frozen Logger.

My only critisism of the second CD is that the alternative versions don't differ much from the released takes. But that's being picky - this is a quality release that will appeal to old and new Cash fans alike.

Thursday, 3 February 2011

Johnny Cash t-shirt

Are you sick of seeing the same Johnny Cash t-shirt, the middle finger shot. It was great when it first came out but now that's about all you see. Here's an alternative you might like, direct from the good folks at ShakyShirts.

ShakyShirts can offer this latest design for just £9.99.



ShakyShirts ship daily, and strive to have all items dispatched within 24-48 hours of purchase. The tees are custom printed to order, using the latest printing and pressing technology. ShakyShirts only use the best quality t shirts that will not shrink in the wash.

ShakyShirts design their own t-shirts, with an original range that you won’t see elsewhere, thereby giving you a unique look.








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Wednesday, 2 February 2011

Reasons to Love youTube No.10 - Johnny Cash, Big River, 1962

No need for words, just watch and enjoy some vintage Johnny Cash from 1962 - in stunning picture quality to boot.


Tuesday, 14 September 2010

George Jones - Who's Gonna Fill Their Shoes

George Jones is 79 today. Check out this classic 1985 video for Who's Gonna Fill Their Shoes? Apart from Willie, Merle and Jerry Lee I think all the others in it are dead. How the hell are the Killer, the Possum and the Red Headed Stranger still alive. Obviously the other guys didn't abuse themselves enough!

There's a few lumps in the throat moments in the video, like the clip of Jerry lee pounding the keys and a lovely smile from Marty Robbins. When it flashes to Johnny Cash the hair's on my neck stood up - what presence the man had.

Anyway, happy birthday George, take a ride into town and have a beer. There must be some gas in the lawn mower!


Reasons to love youTube No.8 - The Honey Dewdrops

Rockin' Chair Money- The Honey Dewdrops

I've never heard of the Honey Dewdrops, but I just put Rockin' Chair Money into youTube and voila. What a great surprise. It's an acoustic take on the great Hank Williams number and it cooks. The driving sound of that acoustic guitar blows my mind.

From the look of things, they're a husband and wife folk group. Well, even if the sex gets stale they've still got the music.

Check out their other stuff on youTube, you should be impressed.


Tuesday, 20 July 2010

Laid to rest while my PC was laid up

Unfortunately there's been a few deaths whilst I've been off-line. Two mjor ones in my world are Harvey Fuqua of the Moonglows and Hank Cochran.

I'm away from home this week so I've got no records with me. But my iPod will celebrate all three lives with the likes of;

Ten Commandments of Love, Sincerely and See Saw for Harvey.

Tired and Sleepy (Cochran Brothers), The Chair (George Strait) and Tootsie's Orchid Lounge for Hank.

Whilst writing this I've just found out that guitar legend Fred Carter has died. It gets worse and worse.

Monday, 31 May 2010

Reasons to love youTube No.4 - Wilburn Brothers




Continuing the long line of brother-duos, the Wilburn's were probably the last bona-fide act in the tradition. Had rock 'n' roll not materialised in the mid-50's I'm sure the Everly Brothers may have claimed that honour, but it did and they can't! The brothers, Doyle and Teddy were born in Hardy, Missouri in 1930 and 1931 respectively, the final kids in a bunch of five. Before they reached puberty they were part of the Wilburn family band with brothers Lester and Leslie and sister Geraldine, playing on guitars, mandolin, and fiddle that their dad had bought from the Sears, Roebuck catalogue. A series of local gigs soon made way to appearances throughout the south until in 1940 they came across, and impressed Roy Acuff who arranged for them to join the Grand Ole Opry. They lasted for six months until the Opry were forced to drop them because of child labour infringements.




In 1948 they joined the legendary Louisiana Hayride and had formed a close allegiance with future Hall of Famer Webb Pierce. This exciting period was scuppered by the Korean conflict which saw both Doyle and Teddy called up for action. When they returned from duty they were forced to become a duo as the elder brothers had left the business and Geraldine had gotten herself hitched. Webb Pierce was by now working at the Opry and with the two Wilburns old enough to fight for Uncle Sam and therefore definitely old enough to sing on the radio (!) they rejoined the famed Nashville show. They became a part of Pierce's backing band and signed in their own right to Decca records.




They enjoyed their first hit record in mid 1954 when Sparkling Brown Eyes spent four months on the charts, peaking at number four. They made national television appearances on both The Arthur Godfrey Talent Show and American Bandstand. Over the next 15 years they notched up 30 hit records, including Go Away With Me, Which One is to Blame, Trouble's Back in Town, It's Another World, I Wanna Wanna Wanna, I'm So in Love With You, Go Away With Me, Roll Muddy River, and their biggest single, 1966's Hurt Her Once for Me. From a rocking point of view there was only one record to warrant mention. As with most country artists in the 50's they were tempted into taking a stab at rockabilly. They cut little known but pretty good rocker, Oo Bop Sha Boom which was released as a single (Decca 9-30591).




Their talents didn't just end on the performing front though. They formed the Wil-Helm Talent Agency with former Hank Williams sideman Don Helms and started a music publishing house called Sure-Fire. These helped the early careers of among others, Sonny James, the Osbourne Brothers, Jean Shepherd and most controversially of all, Loretta Lynn, who parted in a sour manner from the set-up. When she collaborated with Hollywood on her biopic Cole Miner's Daughter the Wilburn Brothers were omitted completely from the story line despite their massive role in her career. Such was the ill feeling between the three after the split that Loretta started to use other writers instead of writing herself and letting Sure-Fire get the publishingIn 1963 they started their own weekly TV show, in colour, The Wilburn Brothers Show, that ran until 1974. They were named Duet of the Year in the Music City News Awards in 1967 and were nominated for Vocal Group of the Year at the 1972 CMA Awards.




Doyle died of cancer on October 16, 1982, which left Teddy to carry on as a solo act on the Grand Ole Opry until his own death from congestive heart failure on November 24, 2003. As with most acts from the past, their artistic talent is long forgotten by the country music industry but real fans of the real sound still hold them close to their hearts. Their harmonising and countrypolitan sound still has a freshness today which outshines the majority of stuff the Nashville labels are producing today. If they are to be the last of the sibling duos they certainly carried the torch with proud. The stage is set for someone to take the throne, but when and who will that be?




Top Ten Picks:

1. Trouble's Back In Town - Top 5 hit from 1962 is countrypolitan Nashpop that has the Big O and Jim Reeves written all over it.

2. Trouble Keeps Hanging Around My Door - The Wilburn's revived the Delmore Brothers style on this great Ted Daffan ballad. All that was missing was a Wayne Raney blast on harmonica.

3. Hey, Mr Bluebird with Ernest Tubb - A perfect slice of Nashville pop from the pen of the late-great Cindy Walker that sees Ernest as tuneful as he ever got.

4. Which One Is To Blame - 1959 hit record in the Ray Price shuffle beat. You'd swear the Cherokee Cowboys were backing the boys here.

5. I Wanna, Wanna, Wanna ­ Louisiana music guru J.D. Miller penned this uptempo two minute chunk of fiddle laden hillbilly.

6. Somebody's Back In Town ­ Top ten honky tonker written by Teddy and Doyle and Don Helms.

7. Arkansas ­ a deviation into the folk field that suits the guys to the ground.

8. Sparkling Brown Eyes with Webb Pierce ­ this classic split tempo number was their first hit.

9. Fighting A Mem'ry ­ pure honky tonk from the pen of Danny Walls.

10. Hurt Her Once For Me ­ their biggest hit from 1966 which reminds me of Buck Owens.

Saturday, 29 May 2010

Reasons to love youTube No.3 - Stonewall Jackson

For some reason, Stonewall Jackson is a much overlooked artist. He's got a great voice, a good strong quiff and some pretty good songs as well. Here's a few selections from the wonderful world of youTube.

That's Why I'm Walkin'



I Washed My Hands In Muddy Water



Don't Be Angry

Sunday, 9 May 2010

Hank Williams Revealed: The Unreleased Recordings



Hank Williams Revealed: The Unreleased Recordings
Time Life Entertainment

Hank Williams Revealed is the follow up to last years, Hank Williams: The Unreleased Recordings. The format is the same, three CD’s featuring some complete 15-minute “morning shows” of hits, narratives and gospel. The shows were pre-recorded in Nashville and sponsored by Mother’s Best Flour and Feed for distribution to radio stations across the land. Hank Williams Revealed features three full Mother’s Best programs first heard nearly 60 years ago, as well as stand-alone songs, in-studio conversations and banter between Hank and the Drifting Cowboys.

The first CD is billed as The Hits… Like Never Before. The first thing that strikes you is the quality of Hank’s vocals and the band. These versions are so tight they could have been released as singles. The disc kicks off with his then current single, Cold, Cold Heart, running at over three minutes. It’s of particular interest because this is believed to be the first public appearance of the song. Highlights include Move It On Over, described by Hank as “The Doghouse Blues, the dog song”.

The upbeat manner and jokey nature of Hank belie the pain and suffering he was going through at this time in his life. We do get a glimpse of it at the beginning of the second disc when during the introduction to That Beautiful Home he says he’ll get up out of this chair to the mic if his back can stand it. This second disc, Southern Harmony, contains the spirituals and although this isn’t really my favourite genre, there are some great numbers on offer. How Can You Refuse Me Now is beautiful and Lord Build Me A Cabin also hits the spot. Something Got A Hold Of Me is a duet with Miss Audrey where she maintains her 100% record of always sounding like she’s in the middle of an argument.

The third and final disc, Luke the Drifter, is an intriguing collection of less familiar songs. Hank jokingly refers to Luke The Drifter as his half brother before reciting the clever, bittersweet, Everything’s Okay. I love the version of Jimmie Davis’ honky-tonkin’ homage to Dixie, Where The Old Red River Flows with Hank’s strange yodel which is part Lovesick Blues, part Muleskinner Blues. A drop or two of moonshine liquor must surely have passed his lips before this recording. Prime-time Hank. His revamp of Tennessee Waltz to Alabama Waltz drags a bit, but not so a rompin’ Orange Blossom Special, which sees Jerry Rivers shine. I Hang My Head and Cry is neat ballad, almost a rewrite of I’m So Lonesome I Could Cry.

As with the first box, this is a superb release that sits nicely alongside the 10 Hank box and the Health & Happiness Shows. He was a freak of nature to be such a brilliant and consistent artist even when his personal life was in tatters. He remains the bench mark for all country singers.


Saturday, 3 April 2010

Alan Jackson - Freight Train



I try not to get swayed by other people’s reviews of albums, but must admit that after reading Ninian Dunnett’s review on the BBC website, before I’d bought the album, I was a bit worried. The over-riding feeling from her review was that with his 20 year tenure at Arista coming to an end, Alan Jackson had left his best stuff in the locker, ready for the next chapter of his phenomenal career.

On first hearing I agreed with the review, there were maybe ahlf of the dozen tracks that sounded good, the rest being nothing more than filler. Three more listens over the last two days have changed all that. I really like this album and even though it might not have any career songs like Here In The Real World, Chattahoochie, and countless others, it had no duffers either.

AJ wrote eight of the dozen and hopefully there are better songs still in his pen, waiting for the label change before sparking back to life. It’s probably no coincidence that the best songs are the ones written by others.

His slow Georgia drawl shines throughout, this guy has a great voice and it’s perfectly complimented by the strong country of fiddles, steel and twangy guitar. The title track moves along nicely and will get repeated plays on my iPod over the coming years. Best track for me is the clever Jay Knowles and Adam Wright co-write, Taillights Blue.

The first single – It’s Just That Way



Hard Hat And A Hammer on the Late Show with David Letterman

Saturday, 14 November 2009

Rockin' Song of the Week No.85 - Marty Brown



Rockin' Song of the Week No.85 - Marty Brown - I'd Rather Fish Than Fight

Marty Brown was one of the nearly-men of the early CMT years. I thought he was great, and that in itself sort of doomed him and ensured he'd never make it big time. He's hardcore country, the type that would have Shania running for the barn (there's a thought hey!). He was born in Maceo, Kentucky where he was raised and worked the tobacco fields. As you do when you come from that neck of the woods and sing country music, Brown made his way to Nashville, where he should have found fortune and fame. To be fair, he did to a certain degree - let's face it, I'm 4,000 miles away and I'm a fan.

He recorded four albums for MCA, with his first two, High And Dry and Wild Kentucky Skies being great. They are hard-edged honky tonk records with the rockers being particularly strong. Brown signed for the highly tasteful Hightone label and his Here's To the Honky Tonks for them was again an artistic success even if the charts didn't reflect so. Over the years he toured with such heavyweights as Garth Brooks, Alan Jackson and Hank Williams, Jr. I understand he still performs but he should be so much more.

I'd Rather Fish Than Fight is from 1993, and was pushed with a video that had heavy rotation on CMT at the time. Produced by Richard Bennett and Tony Brown, the backing crew included no less than Larrie London, Buddy Emmons, Marty Stuart and Stuart Duncan. No wonder if rocks like crazy, these guys have been around the block a bit. If you haven't heard this song, believe me - you should. This is a brilliant uptempo hillbilly bopper that is better than Wayne Hancock at his best - and that is some compliment. The most overlooked song in country music during the 90's.

Recommended downloads: Too many, but try Honky Tonk Special which was BR549 before they were even formed. It sounds like them at a Hank Williams Convention. Your Sugar Daddy's Long Gone is another great slice of honky tonk. From the slower end of the market, try In My Wildest Dreams, and have a look-see at the youTube clip below.

Thursday, 15 October 2009

Flip's Clips No.5 - Merle Haggard



Merle Haggard - Working Man Blues

After all that retro 60s colour here's one from probably the 70s in film noir shades. This is my all time fav stone country tune which I first heard when JLL did a raunchy Chuckachug version on Mercury 40 years ago this month. That got me to buy my first Merle Haggard best of on UK Capitol which almost made me buy a second stereo as I couldn`t stop playing the darn thing for months. I was so amazed to find a 60s artist who cut country as good as Mr Cash / Willaims / Gibson / Lewis / Robbins / Pierce / Owens.

Bakersfield guys had a much more pure twangy country sound than a lot of the bastardised forms of alleged country sneaking out of late 60s/early 70s Nashville in that dreaded countypolitan- stringdrenched-choir screeching- over mixed mishmash with snoring session players literally doing it in their sleep.

Long before Waylon became an "outlaw" Merle was the genuine fallen to the bottom ex jailbird who picked himself up and kicked musical ass all over the world for the next few decades.

This clip has a few minus points (should be in colour and what the heck are the horns doing there??) but listen to the awesome lyric, Merle's cool incantation and the legend that is Roy Nicholls on lead playing the heck out of it in his solos. Like Steve of the Railmen he kicks musical butt whilst sitting on his own, inspiring ole Merly Whirly to take a lick or two, roll over Muskogee and tell Memphis the news.

To quote young (well, compared to me) Mr Mather its shhhhhhhhhhhhhhhiiiiiiiithottttttttttttttttt sooperbbbbb.


Saturday, 10 October 2009

Flip`s clips No.2 - Dave Dudley



If Chuck Berry had lusted over a big semi instead of Caddies then he coulda written and recorded this, the greatest trucking song of all time. Ladies 'n gentlemens I give you Mr Dave Dudley doing 6 Days On The Road on his debut Opry appearance in 1966 in absolutely magnificent retro-colour.

Dig the guitar, the Presley-Cash-ish slurring on the end of lines. Didn't the censors spot the Little White pills line, all this fuss bout Jagger/Morrison breaking the rules on Sullivan (hell Bo n Elvis did that in 55-57). This is the bible belt temple of American values here in Nashville and he gits away with that line, white line fever in deed.

There's only one decent Dudley CD and I think that is now deleted. So why have BF ignored the consistently great albums he did for Mercury in the 60s/70s, go figure ( I mean they`ve even done Pat Boone and that`s without a rope n feathers ----;-))).


Flip's Clips No.1 - Hank Snow

An Occasional Visual Treat aka Flip`s Clips

youTube is to music fans what early eBay was to vinyl collectors. Loved Mister Hank Snow since hearing his Nobody`s Child on an old RCA country EP,I only knew the cool Billy Fury version back in the mid 60s.

When Shaun and I visited the Great Escape record store on Broadway in Nashville I picked up a great Opry promo pic of Hank at the vintage mic and a few years later Shaun got me a great autograph of Mr Snow to frame alongside the pic, now sits here above the PC. I also picked up a great promo 45 of I Don't Hurt Anymore and his Sings Jimmie Rodgers LP.

Hank, like say Marty Robbins, couldn't be pegged to one style, he often dabbled in proto rockabilly and was a great singer, songwriter , always had great sidesmen in his Rainbow Ranch Boys and always dressed like a star (probably to make up for the rags he wore in his often difficult years as an abused child).

This clip of him doing his Uber-classic I`m Movin On is amazing, sounds just like the recording even though this Opry clip is from 1967. There are earlier clips on the tube of you but this is in glorious technicolour, breathtaking outfits, small in stature (but a giant talent) the oh so cool (ahem!) Mr Snow lives up to his name in a blaze of red and the canary yellow suits of da Boys are only outmatched by epic black and white spat like boots, these boots are made for strumming, enjoy - - - -

Check out the man`s music on Bear Family, if you can't afford the mega boxes then I highly recommend the single cds Snow On The Tracks (rail songs natch) or especially the Goldrush Is Over probably the best comp ever.


Wednesday, 7 October 2009

Nashville Blues on youTube

You gotta love Marty Stuart for keeping the faith. Check out the clip of Chuck Mead and Chris Scruggs on Marty's tv show. They sing the Delmore Brothers' Nashville Blues and they sound so authentic. The guitar playing is great with a couple of lovely solos, and there's a bit of acoustic playing immediately before Scrugg's solo that sounded sublime to these ears.

They might not have the CMT image of Brooks and Dunn or be as shaggable as Faith Hill but give me Mead and Scruggs anyday. No wait a minute, can I just have a couple of minutes with Faith Hill, and then listen to them?


Saturday, 26 September 2009

Rockin’ Single of the Week No. 73 - Lawton Williams


Lawton Williams – Moon Joe / Lightnin’ Jones
RCA 47-7580

Lawton Williams was better known for his song-writing than his singing, but don’t let that put for off. It’s not that his singing wasn’t any good, it’s just that his writing was breathtaking. Among the many hits he wrote are Fraulein, Color of The Blues and Farewell Party. When he died a couple of years ago, Bobby Braddock told the Tennessean that Lawton Williams’ songs “were hard country at a time when so much country was being influenced by rock and roll and rockabilly. He was a great songwriter." Williams was born in Troy, Tennessee on July 24th 1922, the son of a fiddler. I assume that the type of guy who play a string instrument not the type seeks dishonest ways of getting by.

While was stationed in Houston during World War II he fell under the influence of Floyd Tillman who helped hone his songwriting skills. He also began performing and by the end of the '40s he’d recorded for a handful of small country labels including Sultan and Fortune. Much of the ‘50s saw him working on the much celebrated Big D Jamboree, as well as more recording on Four Star, Coral, and Imperial. But it was the songs he wrote that got him the biggest accolades with Bobby Helms scoring big style with Fraulein, Hank Locklin’ making out with Geisha Girl and Color of the Blues going massive for the songs co-writer, George Jones. Williams did make the charts a couple of times in the early ‘60s with the 1963 novelty "Everything's OK on the LBJ," scoring during a quick stop at RCA Victor.

The song that has been getting me all excited this week, is Lawton’s Lightning Jones, which although it didn’t become a hit, did enough to spawn an album by the same name. The song could be a Johnny Horton number, from the guitar opening and shuffle beat to the western lyrics. The guitar figure has a bit of “the bells are shining me, for me and my girl”. Moon Joe is more of a novelty (telling Ike he’d be better off sticking to golf), and is definitely worth a listen. The guitarist is superb on both numbers. The two songs were cut in May ’59 in Dallas and the story goes that they were only supposed to be demos, but such was the quality that RCA decided to issue them. The November 9th, 1959 issue of Billboard advised “deejays desiring a sample of Lawton Williams’ latest RCA Victor Release Lightnin’ Jones b/w Moon Joe, have only to drop him a card at station KCUL, Fort Worth where he does a platter show from 2-5 pm daily. Williams is also a regular on the Big D Jamboree, Dallas each Saturday night”.

George Jones - White Lightnin' (youTube)




Check out this great clip of George Jones. From a tv show in 1962, he's got the old flat top that no-one can believe he ever had - it's so much better than the playdo wig he wears now! I think it's Gordon Terry taking the guitar solo, but what I love is the way the guys tweeak ol' Possum's ears at the end - just letting the steam out. Perhaps they should have followed him around and done that in the 70's when he was getting a bit hot under the collar from a bottle of bourbon too many.

Saturday, 19 September 2009

Hank Williams - Rockin' Chair Money


Hank Williams
Rockin' Chair Money - Gonna Shake This Shack
Bear Family Records

Tracklist: Tennessee Border/ Swing Wide Your Gate Of Love/ Move It On Over/ Rootie Tootie/ I'm A Long Gone Daddy/ I Saw The Light/ I Ain't Got Nothin' But Time/ You Better Keep It On Your Mind/ Honky Tonkin'/ Pan American/ The Blues Come Around/ Lovesick Blues/ Mind Your Own Business/ You're Gonna Change (Or I'm Gonna Leave)/ Rockin' Chair Money/ Roly Poly/ My Bucket's Got A Hole In It/ Long Gone Lonesome Blues/ Why Don't You Love Me/ I'm Satisfied With You/ I'll Be A Bachelor 'Til I Die/ I Can't Get You Off Of My Mind/ Nobody's Lonesome For Me/ Fly Trouble/ Moanin' The Blues/ Hey, Good Lookin'/ Half As Much/ Honky Tonk Blues/ Jambalaya (On The Bayou)/ Settin' The Woods On Fire/ Kaw-Liga/ Ten Little Numbers/ Fool About You.

Along with most people who weren’t “there at the time”, my first Hank Williams album was a Greatest Hits affair. It gave me an insight into the greatest country music artist of all time and whetted my appetite for more. A couple of years ago I bought the stunning Complete HW 10 CD box set and over the years have bought the Opry live, the Health and Happiness shows and just about anything that offers something new. So why the hell did I need to get this CD? Well it’s on Bear Family for a start, and it also features 33 tracks in the uptempo mode, ideal for a happy drive around the countryside. Don’t get me wrong, I love Your Cheatin’ Heart and My Son Calls Another Man Daddy is one of my favourite songs of all time, but for me, the real meat and bones of ol’ Hank are the numbers when he’s got a pep in his step.

Seventeen of the songs here made the country top 10, but for me the real beauty of this set is the less obvious stuff. You Better Keep It On Your Mind, Nobody’s Lonesome For Me, I’m Satisfied With you, they all sound great even against such illustrious company as the likes of Hey Good Lookin’ and Lovesick Blues.

Following Hank’s death, a shed load of songs came out with backing tracks overdubbed. These were followed decades later by the unadulterated, “unplugged” originals. You may have both or you might just have the unplugged. For the most part, Bear Family have chosen to go with the fuller sounding dubs (thankfully minus strings) and I believe they’ve made the right choice. Overdubbed in 1959, Rockin’ Chair Money and Tennessee Border both sound brilliant in this format and I can’t stop singing track two. Surely Hank had his tongue firmly in his cheek with that famous half smile cracking as he asks his chick to “swing wide your gate of love, open it for me”. I’ll have ten bucks worth with her as well.

As with their Rocks! series, Bear Family’s hillbilly sister, Gonna Shake This Shack Tonight goes from strength to strength. Mind you, it can’t get any stronger after this. Rockin’ Chair Money packs all the punch of Miss Audrey when the drunken Hank stumbled home with a head full of booze and that lop-sided grin.

To top it all, and to close the CD in blistering style hanks 1951 demo of Fool About You is given a pure rockabilly backing with probably Grady Martin adding the spice as he did to so many sessions. A brilliant ending to an absolutely essential package.