Texas Country Artists Locals Only: Texas Twang This page collects artist profiles and record reviews of country music from the state of Texas. It's part of a larger guide to unsigned and off-the-radar regional artists from years gone by, which is also part of the even larger Guide To Hick Music on Slipcue.com. Most of the artists here are little-known locals, bar-band singers, etc., but the list also includes Nashville stars who were from the state, as well as some bluegrass and gospel artists, etc. This is an ongoing projects, with new stuff coming in all the time, and we welcome any recommendations, additions or corrections.






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The Abbey Of South Texas "The Abbey Of South Texas" (Echo Records, 19--?) (LP)
(Produced by Bubba Perron)
The Abbey was a Texas party band that got together around 1970 and played through the entire decade, breaking up in 1981. The original lineup featured steel guitarist Shorty Heinsohn, Denis Kotara (bass), Rick Kotara (lead guitar), Sammy Morales (guitar), Jeffery Teltschik (keyboards), Jerry Teltschik (drums), and Kurt Warnken on "horns." These Lone Star lads forged an interesting mix of current pop/hard rock hits and country classics... The twangtunes included "Before The Next Teardrop Falls," "Statue Of A Fool," Ray Wiley Hubbard's "Up Against The Wall Redneck Mother," and Lefty Frizzell's "That's The Way Love Goes." This is all balanced by good-timin' rock hits such as "Devil With The Blue Dress," Bad Company's "Movin' On," and ZZ Top's "Tush." Rock on!


The Abbey... Of South Texas "Full House" (Echo Records, 1976) (LP)
(Produced by Bubba Perron)
Half live, half in studio. Side One of the album was recorded in concert at the Golden Stallion nightclub in San Antonio, while Side Two was recorded at the ZAZ Studio under more controlled circumstances. A similar mix of country and rock/pop material, with fist-thumping, booty-shakin' rock hits from folks like Peter Frampton, KC & The Sunshine Band ("Play That Funky Music"), Foghat's "Slow Ride," Steve Miller Band ("Rock'n Me") alongside real-deal country tunes with plenty of Texas twang. Same lineup as above...


The Abbey Of South Texas "Live" (Echo Records, 19--?) (LP)
(Produced by Bubba Perron)
Their third album was a live set in keeping with their signature mix of frat rock, hip 'Seventies stuff, some soul tunes, and twang. Rock highlights include versions of Frampton's "Do You Feel Like I Do," "Fooled Around And Fell In Love," "Gloria," "Squeeze Box" by The Who, and BTO's "Takin' Care Of Business." The country side is sparser, but still good stuff, represented by Clyde Beavers' "Drunk Again," Merle Haggard's "It's All In The Movies" and Jack Greene's "Two Empty Glasses." One imagines a good time was had by all.


Mack Abernathy "Different Situations" (CMI Records, 1988) (LP)
(Produced by Michael McClary)
Back-Forty commercial country from a Texas songwriter and former rodeo rider... Urged on by steel guitarist Tom Brumley, Abernathy headed to Nashville to cut this album with a studio crew that included fiddlers Johnny Gimble and Buddy Spicher, as well as guitar picker Ray Flack, who plays lead on the title track. The song charted nationally, hitting #80 on the Billboard charts, along with his cover of the old Floyd Tillman classic, "Slippin' Around" (which pegged out at #98). Abernathy didn't bust out on the national scene, but he definitely solidified his standing as a Lone Star artist; years later he recorded "Don’t Tax My Beer," a protest song aimed at the Texas legislature, which was trying to use some suds to soak their taxpayers.


Gaylen Ackley "Dreams Do Come True" (Dreamland Records, 1974-?) (LP)
(Produced by Gaylen Ackley & Lonnie Wright)
Singer Clifford Gaylen Ackley (1939-2001) was a Texas native, born in Houston though he lived most of his life in the tiny crossroads town of New Ulm while owning a regional telephone company based in nearby Industry, TX. Though not a professional musician, he self-released a few singles as well as this album, which appears to have been his only full-length LP. The repertoire is typical of a certain strata of country performers, mixing ballads and oldies with newer hits, as well as a medley of celebrity impersonations (Dean Martin, Merle Haggard, Jim Reeves, Elvis Presley, Roger Miller, Hank Snow and Fats Domino) as well as a polka medley on the first side of the disc. It's an all-covers set that unfortunately does not include any of the original songs from his singles, neither "The Parlour" (a pretty funny tune sung in praise of New Ulm's local tavern) or "Hello Marvin Zindler" (a topical song based on the closing of The Chicken Shack, the infamous bordello in La Grange that inspired the play "The Best Little Whorehouse In Texas.") There's no date on the disc, but it seems to be of mid-'Seventies vintage, with the most recent tunes coming from 1968, when Merle Haggard's "Today I Started Loving You Again" and Joe South's "Games People Play" came out. No info on the album's producer or any backing musicians. Mr. Ackley performed locally and as evidenced by a few show notices in small-town papers like The Bellville Times and The Sealy News, though that's about it. The earliest notice comes from 1968, and the latest I could find was from a Slavic fraternal lodge which had him performing one of their events in 1976. He was also active in local civic activities and an annual charity golf tournament was established in his name.


Jay Boy Adams "Jay Boy Adams" (Atlantic Records, 1977)
I mostly remember Texas-born hippie troubadour Jay Boy Adams from hearing him make a stoned foray into the studios of my beloved KFAT radio, way back in the late 1970s... He hung out, the deejays obviously loved him, and I'm pretty sure you could hear them toking it up on air... This record (which has one of the most depressing hippie album covers ever...) is an odd mix of acoustic folk and Southern rock, with guitarist David Lindley and up-and-coming singer-songwriter Jackson Browne chipping in... Definitely a relic of its time!


Jay Boy Adams "Fork In The Road" (Atlantic Records, 1978) (LP)
(Produced by Bill Ham)
Adams was still hanging with Jackson Browne on this late-'70s album, but the vibe is more Michael Martin Murphey-style cosmic cowboy material, albeit with a distinct LA-scene pop gloss woven throughout. Adams and David Lindley trade off slide and pedal steel licks, and Lindley definitely adds a lot of the album's twang and overall musical direction -- Adams doesn't indulge in quite the same solipsistic singer-songwriter navel-gazing as Browne's albums, but the familiar tones of Lindley's guitars are a reminder of the comfortable pop-twang that Jackson had brought to the top of the charts. For twangfans, songs such as "Superkicker," "Lone Line Writer," and a cover of "Tennessee Stud" have a nice feel, although Adams never quite finds the same anthemic groove that made the best of Murphey's songs so anthemic and memorable. Lyrically, I thought the most interesting song was "Stray Dogs And Alley Cats," which also seems like the most personal and truly reflective of the songs on here, with Adams talking about his father's pragmatic world view, in which "you've got to be nice to everyone/but still look out for number one"; you can hear the hippie-era ballad singer struggling against the wisdom of his "straight," car-dealer dad, and yet you can't help but wonder how much this advice must have helped Adams get by in the glad-handing music business. An interesting album that's certainly worth checking out, especially if you like super-'Seventies stuff.


Jay Boy Adams "The Shoe Box" (Smith Music, 2007)
(Produced by Monty Byrom & Jay Boy Adams)
A strong roots-twang set with some great songs, sweet picking and plenty of conviction. The title track is a reflection on the pleasures of reflection and nostalgia, other highlights include the jaunty "Moro Bay" and "Showman's Life," which examines the unseen hardships of showbiz (which Adams, who left the spotlight to start a tour-bus rental agency, probably knows quite a bit about...) A good throwback to '70s-style indie-twang, with guest performers that include Ray Benson (of Asleep At The Wheel) and Marty Stuart on mandolin... Definitely worth a spin!


Jay Boy Adams "Let It Go" (Rockin' Heart Records, 2014)
(Produced by Jay Boy Adams & Monty Byrom)
'Way back in the 1970s, Texas-born troubadour Jay Boy Adams straddled the worlds of outlaw country and fancy-pants singer-songwriter pop; he was pals with Jackson Browne and worked as a roadie for high-profile rock bands, such as ZZ Top, and recorded a couple of albums of his own that were, as they say, highly regarded at the time. In 2007, he came back to the studio to record a doleful, world-weary set of roots-rock and folk, and this new album follows suit. It's an extended meditation on life and the wisdom that comes with middle age and beyond, with Adams sounding a bit like a mix between Rodney Crowell and Loudon Wainwright III. Not all the songs are gems, but there are some definite winners, including the album's opener, "Judgement Day," which is a nice twist on the looking-back-on-my-wild-days genre, in which Adams sees a little too much of himself in his own wild and stubborn daughter, and the contemplative "Count Your Friends," which may be the album's strongest song.



Kay Adams -- see artist profile


Misty Adams/Mary McCoy "Mary McCoy/Misty Adams" (Crazy Cajun Records, 1978).(LP)
(Produced by Huey P. Meaux)
A split album, apparently cobbled together from old material from the Crazy Cajun vaults featuring two Lone Star gals who'd been around a while... Side One features four songs by Mary McCoy, a Houston area singer and radio personality from Conroe, Texas who'd been cutting singles since the early 1950s, and started her radio career in 1951. She sang on The Louisiana Hayride in 1955 and met Elvis Presley in both her capacity as a radio deejay and while performing on the same Hayride shows -- all at the tender age of sixteen! In 1967 she signed with a new label and became duet partner with another Conroe local, honkytonker Jimmy Copeland, who was also a country music deejay; they recorded several singles together, some of which are collected on an album he put together years later. Like Mary McCoy, Misty Adams cut several 45s on various labels associated with producer Huey P. Meaux -- including Jin Records, Princess Records and Skill -- and her six tracks here seem to be drawn from those mid-'Sixties singles, presumably McCoy's as well. I'm not sure if Misty Adams did much else, though Mary McCoy has released a few albums, including a self-released gospel set called Through the Storm. Every five or ten years, someone would write an article about how long she'd been working in radio -- the most recent one I've seen was an excellent profile piece in Texas Monthly dated August 2021, where they noted that Ms. McCoy was just months away from being named the longest-running female radio host in the world. Pretty durn cool, if you ask me.


Stan Alexander "Remember Me" (Blanco Records, 1983) (LP)
(Produced by Stan Alexander & Richard Westley)
A curious but kind of delightful album... Stan Alexander was a young dude from Chireno, Texas (near Nacodoches) who had a strong affinity for older music, covering blues-tinged, sentimental hillbilly oldies such as "There's A New Moon Over My Shoulder," "I Thought I Heard You Calling My Name" and "Remember Me," as well as other, eclectic selections of a more modern vintage. Alexander had a very gruff, old-man sounding voice suggesting a Lone Star geezer such as Don Walser, but if you look at the pictures, he was just some skinny kid from East Texas. He was also a pretty idiosyncratic vocalist, perhaps not that great technically, but there's a relaxed, potluck-party charm to this album that might win you over. Alexander has some definite quirks -- he bends everything into an odd, blues-based mode, and he sometimes struggles on uptempo numbers, though on the softer side when he really starts to croon, he might remind you of Fred Neil or Hoyt Axton, with a similar post-folk vibe. There's some nice picking on here, too... I like the mellow, unpretentious feel of the sessions, mostly with Houston locals in the crew, as well as bluegrasser Alan Munde playing banjo, and some nice pedal steel by Dave Williams. If you like unusual, uncompromised, unique-sounding roots records, give this one a spin. I'm not saying it's a classic, but I got into it.


Wyvon Alexander "Wyvon" (Gervasi Records, 1983) (LP)
(Produced by Jerry Shook)
This Texas honkytonk crooner's full name is Wyvon Alexander, and this record is pretty darn good. Robust, soulful, and packed with original material, this is a nice mix of hard-edged barroom ballads and smoother commercial country. This might appeal to fans of Ed Bruce, Vern Gosdin or Waylon Jennings -- kind of in that general territory. Definitely worth a spin!


A. L. Allen "My Help Cometh From The Lord" (Classic Records, 1977) (LP)
(Produced by David Fauss & Kevin McManus)
Wow. This one's definitely a doozy! I mean, for anyone looking for Christian artists playing real-deal country, this disc is hard to beat. Archie Lee Allen (1927-2021) was a Pentecostal preacher living in Vidor, Texas at the time he cut this album, leading a congregation at the Calvary Tabernacle in nearby Beaumont. He was born in Mississippi and had real country roots, playing steel guitar in a hillbilly band with his brothers called the Mississippi Ramblers, but when he turned eighteen in 1945, he got religion and moved away from secular music to become a tent revivalist, working in a wide regional swath that included stints in Indiana, Illinois, Kentucky, Louisiana and elsewhere. He led several congregations before taking the job in Beaumont sometime around 1969, and his music certainly embodied the often wild, expressive tradition of Pentecostal country music. For this record, he the pilgrimage to Nashville to book a studio session with some top-level pickers, and he certainly made the most of it. Though blessed with modest vocal power, he really threw himself into it, backed by guys like guitarist Jack Eubanks, steel player Larry Sasser, and Bruce Watkins, who anchors the session on lead guitar, fiddle and banjo. A lot of times when gospel artists record in Nashville, everybody seems to go out of their way to tone things down -- a little steel guitar softly chiming in the background, but nothing loud enough to scare the neighbors. Mr. Allen, on the other hand, gets these Tennessee boys to really blast away: the opening track, "My Help Cometh From The Lord," is almost shocking in its brash, pure honkytonk vibe, while the lyrics are a real hoot, reveling in the doom and destruction awaiting the unsaved sinners. Though there are a couple of nods to the southern gospel elite -- one song each from Rusty Goodman and Dottie Rambo -- most of the songs are A. L. Allen originals, and they reflect his own bedrock fundamentalism. The energy flags a bit after the dynamic opening number, but not much. This a truly twangy record, and Mr. Allen's willingness to shoehorn clunky religious harangues into the robust arrangements makes for some quality country kitsch. I think he had some later records as well, but details are vague.


Jules Verne Allen "The Singing Cowboy -- Complete Recordings: 1928-1929" (BACM, 2009)
One of the more authentic western music singers, Texas-born ranch hand Jules Verne Allen laid claim to be "the original" singing cowboy, and was certainly one of the first celebrities in the field. He recorded only a couple of dozen tracks, notably for the RCA Victor label, and also wrote a book entitled Cowboy Lore, which was a mix of humor, history and philosophizing about the newly-commercialized cowboy lifestyle (and also included a nifty dictionary of cowboy slang). This disc includes all the recordings he made for RCA and the Montgomery Ward label in 1928-29, echoes of a simpler era, to be sure!



Terry Allen -- see artist profile


Tommy Allen "Still A Lot Of Good Miles Left In Me" (JED Records, 19--?) (LP)
(Produced by John E. Denny)
Dunno the story behind this guy, but I think he was a Lone Star lad, singing hardcore honkytonk twang... He seems to have been pals with some folks who had almost, kinda-sorta made it in the Nashville studio scene: this album was recorded in Nashville, with Darrell McCall, Dewayne Orender and Judy Rodman singing harmony. All the songs are Tommy Allen originals.


Tommy Allen "Rough And Real" (JED Records, 1984-?) (LP)
(Produced by John E. Denny)
As with the previous album, this is all original material; Dewayne Orender also plays on this album, some of which was recorded in San Antonio as well as Nashville...


The Angle Sisters "Back Home Again" (Telephone Records, 1975) (LP)
(Produced by Buddy Angle, Don Caldwell & Lloyd Maines)
One of the countless Lone Star locals in the orbit of the Maines Brothers Band and producer Don Caldwell, this is a full-on Lubbock-or-leave-it lovefest, with musical contributions by The Angle Sisters (Gwen and Stacy, of Knox City, Texas) along with Don Caldwell on saxophone, Rick Hewlitt (lead guitar), Wayne Hill (fiddle), Steve Keaton (drums), Curly Lawler (also on fiddle), Lloyd Maines multi-tasking on banjo, guitar and pedal steel, Hymie Smith (bass) and Monte Williams playing piano... The Telephone label was one of Caldwell's side projects, run out of his sound studio which documented a lot of local and regional musicians... Tone of cover tunes on this album, though one or two may have been originals, such as "If You Love Me Let Me Know."


The Angle Sisters "...A Little Bit Country" (Texas Soul Records, 1977) (LP)
(Produced by Don Caldwell, Lloyd Maines & Syl Rice)
A similar set, largely cover tunes, with maybe a couple that might be original to this album, and a bunch of locals backing the Angle gals. Don Caldwell and Lloyd Maines anchor the band, along with fiddle player Richard Bowden, though the rest of the players are less familiar. I'm not sure what became of these two -- they also appeared on one of the Grapvine Opry compilation albums, circa 1978, so I assume they were in the show's cast for a while, but for the time being I don't know the full contours of their performing career... Any info is welcome!


Jerry Ann "Unmistakably" (A + R Records, 1976-?) (LP)
(Produced by Gene Huddleston, Larry McPhail & Jerry Ann McPhail)
A countrypolitan also-ran, gal singer Jerry Ann seems to have been a foil for songwriter David Patton, who returned to Texas after recording a couple of early 'Seventies albums, and settled into regional work. Patton composed all the songs on this album, which was recorded at the same time he was establishing his new band, the Dallas-based Side Of The Road Gang, a band that also backed Jerry Ann on at least one single (a duet with Dick Kasper.) The liner notes on this disc inform us that Jerry Ann had been performing for about a year on Dallas-area TV station Channel 11 before she cut this album. She had a soft, milky vocal style reminiscent of '70s stars such as Crystal Gayle and Anne Murray, doleful but not a lot of bite, and pretty standard-issue for the era. Backing her are keyboard player Stuart Lamb, Jimmy Lowrance (lead guitar), Larry McPhail (bass), David Patton (rhythm guitar), James Stanley (rhythm guitar), Dickie Lee Taylor (keyboards), and Wesley Taylor on lead guitar and steel. Not sure what Jerry Ann's real name was, although she may have also performed under the mononym JeriAn; as far as I know this was her only album.


Applejack "First Swig" (Adobe, 1978) (LP)
(Produced by Scott Martin)
The El Paso, Texas trio of Mike Durham, Charlie McDonald and Cleo Pair played a mix of honkytonk and softer country-folk... The softer stuff was best, and Side Two of the album leads off with a particularly folkie number, Bob Coltman's "Before They Close The Minstrel Show," which dramatically changes the pace of the album. This leads into a parade of mellower numbers: an oldie by Tom Russell, a nice version of Jesse Winchester's "Brand New Tennessee Waltz" and -- this is the one that won me over -- a cover of a Kenny Rogers song that I actually enjoyed... and that's no easy trick to accomplish!! One their hard-country efforts, the vocals and the band don't always have enough ooomph... But this band is fondly remembered, and the album may grow on you...


Amanda Arnold "Amanda Arnold" (Isis Moon Records, 1983) (LP)


Tom Asbridge "Moments With Tom" (Square Records, 19--?) (LP)
Originally from Marion, Kentucky, singer Tom Asbridge relocated to Memphis for a few years, and cut this album in Little Rock, Arkansas. A few years later, he made his way to Houston, Texas, where he's been ever since. This album includes some interesting cover songs, including a version of Chip Taylor's "Clean Your Own Tables," Sammy Johns' "Chevy Van" and yet another rendition of "Me And Bobby McGee," as well as a couple of tracks that may have been Asbridge originals.



Asleep At The Wheel -- see artist profile


Kip Attaway "Jess For You" (CIS Northwest, 1981) (LP)
(Produced by Jim Flannagan)
Originally from Texas, singer Kip Attaway decamped to Idaho in the early 1970s, skipping out on the Lone Star outlaw scene, but bringing a lot of the same freewheeling attitude to his new perch in the Rockies. Over the years he hung around with a lot of notable folks -- Jerry Jeff Walker, cowboy honkytonker Chris LeDoux, the Braun Brothers -- and was especially tight with bad-boy twangster Pinto Bennett, playing in various bands and on various albums together. In later years, Attaway moved away from his hippie bar-band roots and focussed more on being a redneck-ish comedy artist, though this early stuff is still pretty rooted in the outlaw vibe of the times. This album was recorded in Allegeny, Oregon with a bunch of locals -- most of the songs are Attaway's own originals, along with a few well-chosen covers of songs by Pinto Bennett, Bruce Hauser, Willis Alan Ramsey and good ole Jerry Jeff. Not a bad place to start!


Kip Attaway "On Down The Road" (Very Available Records, 19--?) (LP)
(Produced by Kip Attaway)
I'm not sure what year this album came out, though I'm guessing 1983-85, based on the sound and look of the record. Overall, I'd have to say I didn't care much for this one -- there are a lot of tracks with just terrible pop-crossover arrangements and cheesy production that sounds both glossy and rinkydink. The opening track is the worst, a kind of 'Eightiesed-up bar-band rock number that I almost didn't get past... The rest of the record gets better, though not by a lot. There are a couple of decent twang tunes, though their charms are largely obscured by the iffy, antiseptic production... Still, an alcoholic novelty song like "I'll Hold The Bottle (You Hold The Wheel)" is one that deserves to be known, and in terms of actual songwriting, as opposed to performances, this record has material that's worth a spin. But honestly, not a lot on here that I'd want to listen to for fun. Attaway's longtime pal Pinto Bennett chips in on this album, though in a pretty strictly background role.


Bobby Attwood "Picks The Nashville Sounds" (1973-?) (LP)
(Produced by Jimmy Peppers)
A guitar instrumental album by a guy from Wichita Falls, Texas, who also owned a music store in town and is remembered as one of the best pickers in town. Although it's very no-art, DIY, the album features liner notes by '70s star Mel Street; Atwood led a band of his own, which was managed by Street in the early '70s.


Bobby Attwood "Just Pickin' " (Wichita Records, 197--?) (LP)
(Produced by Jimmy Peppers)
This appears to be the same album as above, just with better graphics, and more complete liner notes. Not sure which edition came first, but this one rather helpfully provides information about the recording session, which was held at the RCA studios in Nashville, and included A-list session men such as Larry Butler (piano), Ray Edenton (guitar), Lloyd Green (steel guitar), Tommy Jackson (fiddle), Kenny Malone (drums), Bob Moore (bass), Leon Rhodes (electric bass) and Buddy Spicher on fiddle. Can't ask for a better crew than that! Includes instrumental versions of "Okie From Muskogee," Bill Doggett's "Honky Tonk," and a version of Mel Street's big hit, "Borrowed Angel." (Mel Street was apparently Attwood's manager at the time...)


The Austin All Stars "The Austin All Stars" (Thumbs Up Records, 19--?) (LP)



The Austin Lounge Lizards - see artist discography


Luke Austin "Introducing Luke Austin & Country Kingdom" (Country Kingdom USA, 197-?) (LP)
(Produced by Al Bruno)
Independent twang from Houston, Texas with bandleader Luke Austin frequently sharing the spotlight with his sidemen. Looks like it's all cover songs, with picking courtesy of Austin, lead guitarist Terry Martin and steel player Jimmie Powell, along with bassist Don Babb and pianist Roscoe Horton. (And why do I never mention the drummers? If I was Rudy Blake, I'd be pissed!)



Gene Autry - see artist discography


W. C. Averitt & Chubby Wise "Bluegrass" (Stoneway Records, 1970) (LP)
(Produced by Roy M. Stone)
A fairly straight-up bluegrass set by fiddler Chubby Wise and guitarist W. C. Averitt (1930-1987) who were both in the orbit of the Houston, Texas-based Stoneway label, which specialized in instrumental albums. Averitt also played on some other local-label albums and various local bands.



The Bad Livers -- see artist profile


Glen Bailey "First Edition" (Yatahey Records, 1982) (LP)
(Produced by Bart Barton)
A little bit of a mystery disc, though some of the details are falling into focus... I'm not sure where Glen Bailey was from originally, but apparently by the time he cut this album he was living in Texas, and got drafted by Dallas-based record producer Bart Barton (known locally as "The General") to record this novelty-heavy set of country-pop. The arrangements are a little prefab, and his vocals seem slightly insincere, but apparently that was good for the times, as this album notched up a couple of minor hits, "Stompin' On My Heart," which hit #87 on the Billboard country charts, and "Designer Jeans," which peaked at #85. (There's a mildly interesting backstory to "Designer Jeans": according to a Billboard column, it was written by a couple of guys in Australia who shopped it around Nashville and got a bunch of rejections, then repackaged it providing phony names and pretending they were American songwriters, upon which it was optioned by Barton...) I'm not sure if the is the same Glen Bailey who played East Coast gigs in New York and Maryland, circa 1976-78, as the disco/R&B act Glen Bailey & Circus... but I kinda think it might be. His country roots don't seem to have run all that deep.


Jerry Don Bailey & Allyx "One Little Cloud" (Dax Records, 19--?) (LP)
(Produced by Jerry Don Bailey)
Without doubt, this is a truly oddball indiebilly album. Bailey seems to have been from Russellville, Arkansas and recorded this album there, but released this album on the Houston-based Dax label. Apparently, he eventually moved to Texas (although it turns out there were an awful lot of guys named Jerry Bailey from Arkansas, so I'm not entirely 100% sure if I've got the right guy...) Anyway, this is a tinny, thinly-recorded set, a mix of Jerry Reed-ish raunch and spacey philosophizing, with a few really good honkytonk songs packed in the middle. Particularly noteworthy is a Willie-esque barroom weeper, "That Door" -- indeed, if you can overlook the weak-sounding production, there are actually some pretty good songs on here. By the way, you might be forgiven for assuming that "Allyx" was the name of some female backup singer -- it's not, though: actually that's the name of his band. Go figure. If you're into outsider art, country style, you might wanna check this one out. No date is given on the album -- anyone have more info about these session?


Jerry Don Bailey "Blacktop River" (Dax Records, 19--?) (LP)
(Produced by Jerry Don Bailey)


Tracey Balin "Standin' On A Mountain Top" (Crazy Cajun Records, 1978) (LP)
(Produced by Huey P. Meaux)
A studio second-stringer, backup singer Tracey Balin was born in Beeville, Texas and was thirty-one years old when he cut this solo album, his grab at the brass ring after years and years of singing behind stars such as Roy Head, Freddy Fender, Ronnie Milsap and others. It's mostly cover tunes, several by the Beatles, a couple from the Righteous Brothers, and a few that seem to have ben original to this album -- a couple by Earl and Earnest Cate (of The Cates Gang) and one called Take Your Time" by Weldon Dean Parks, a session picker originally from Fort Worth who worked with all kinds of rock and pop royalty. Balin recorded at least one other album for Crazy Cajun, with even more of a pop-rock feel, and later moved into the Contemporary Christian scene.


Tracey Balin "Love Me Tonight" (Crazy Cajun Records, 1978) (LP)
(Produced by Huey P. Meaux)


Marcia Ball "Circuit Queen" (Capitol Records, 1978) (LP)
(Produced by Neil Wilborn)
Although she's now known as a blues player, early on pianist and singer Marcia Ball was singing country music in the Texas outlaw scene, notably with the band Freda & The Firedogs. Her solo debut was an interesting mix of Emmylou-ish country twang, countrypolitan, and a hint of the New Orleans-style blues she came to specialize in, further down the road. The hallmarks of Emmylou's "hot band" crew are easily heard, from the production style (and accompaniment by Emmylou cohorts such as Albert Lee, Buddy Emmons and Rodney Crowell) to some of the repertoire (including a version of Crowell's "Leaving Louisiana In The Broad Daylight"). This album won't blow your mind, but it's an intriguing footnote to Ball's career, and dovetails nicely with other records of the era. Worth checking out.



Michael Ballew - see artist profile


The Bandoleros "Johnny Bush Presents The Bandoleros" (Bandolero Records, 1973) (LP)
(Produced by Johnny Bush)
A "solo" album by the backing band for Texas honkytonker, Johnny Bush. The set list includes a bunch of well-known dance numbers: "Cotton Eyed Joe," "The Westphalia Waltz," etc., along with yet another version of "Orange Blossom Special"(!) This edition of the band features, among others, Rick Price on pedal steel and Ron Knuth and Hank Singer playing the fiddles.



R. C. Bannon -- see artist profile


Bryan Barnes & Phyllis Barnes "Just Us 2" (Lost Creek Records, 1976--?) (LP)
(Produced by Jack Wilcox, Clarke Wilcox, Bryan Barnes & Phyllis Barnes)
This one's pretty iffy. A lounge-a-delic hodge-podge of AOR, folkie soft-pop and country material, recorded in the Irving, Texas by the husband-wife team of Bryan and Phyllis Barnes. Includes songs written or recorded by artists as diverse as the Beach Boys, the Bee Gees, Neil Diamond, Tom Jans, Jose Feliciano and Kenny Loggins, as well as two songs written by Mr. Barnes, "Road To Nowhere" and "Now You've Gone." On the country side of things there's a cover of the Ray Price oldie, "Crazy Arms," though really that's about it. The regionally famous Top 40 country band, The Shoppe, back the Barnes duo up on one track. Not 100% sure when this came out, though the most recent song on here that I could pin down is "Jive Talkin'," which came out in 1975... so maybe '76?


Bryan Barnes & Phyllis Barnes "Just Us 2: Live" (Lost Creek Records, 1977) (LP)
(Produced by Bryan Barnes & Phyllis Barnes)
I think this was their second album, a live set cut at a couple of different venues, the La Pirogue Lounge in Thibodaux, Louisiana, and the Steak & Ale restaurant in Houston, Texas... By the time they cut this disc, the Barnes duo seem to have settled on a more explicitly country sound, but also veering into cornball comedy, as heard on their "Johnny Trash" medley and a cover of Ray Stevens' "Ahab The Arab." They also tip their hats towards Waylon & Willie, Neil Diamond and Linda Ronstadt," covering her 1977 version of Roy Orbison's "Blue Bayou." Not sure what happened to the duo after this, or if they recorded anything else...


Will Barnes "Texas Music In My Blood" (1975) (LP)
Originally from Wichita Falls, Texas, Will Barnes settled in Dallas and took up a years-long gig fronting the house band at a place called the Texas Tea House, which is where he was working when he cut these two albums (and a few singles to boot!) This first album is packed with original material, with all but two tracks penned by Barnes himself, and a tasty cover of the Mel Tillis oldie, "Tupelo County Jail" as one of the exceptions. Also included are regionally themed numbers like "I Always Die In Dallas" and the title track, "Texas Music In My Blood" and a whole raft of oddball, idiosyncratic tunes which -- as Barnes notes in the liners -- take some inspiration from the Lone Star gonzo troubadour Jerry Jeff Walker. A bunch of folk are pickin' and singing on this album, though only three other guys got their pictures taken: bass player Lee Harris, drummer Kent Horn and pedal steel player Mitchell Smithy, who I assume formed the core of his live band


Will Barnes "No Place But Texas" (Armadillo Records, 1977) (LP)
(Produced by Phil York)
The party continues with another set of mostly-originals shaggy twang, with the album divided into one side called West Texas, the other East Texas. Highlights include "Grandpa Was A Farmer," "My Old Truck" and "She Ran Off With Buck" (which also came out as a single) and a ten-minute(!) cover of Guy Clark's classic, "Desperados Waiting For A Train," as well as an anti-cover song, "Don't Make Me Sing Redneck Mother," poking fun at Rusty Weir's outlaw classic, which was indeed one of the most heavily covered songs of the era. The band includes Will Barnes on vocals and guitar, Dave Ferguson playing fiddle, Sandy Gerondale (piano), Mike Hanna (piano), Michael Jeffery (lead guitar), Cass Moore (piano), Mitchell Smithy on pedal steel, more pedal steel by Larry White, and Gina Williams playing mandolin on one track... The overlapping musicians seems to indicate that this album was produced in a number of sessions over a long period of time and/or some turnover in his band... At any rate, it's more of that genuine Texas outlaw twang you've heard so much about... Not sure what happened to Barnes after the 'Seventies, though I believe he was still playing at the Tea House for several years in the early '80s.


Will Barnes "Texas In My Blood" (Bear Family Records, 1999)
This twenty-song compilation mainly draws on both of the LPs above while adding a few "new" novelty numbers that were on his singles: "Clap For Me (But Don't Give Me The Claps)," "Naked With The Girl Next Door," and "Marijuana Polka," while omitting about a half dozen songs from the old albums. Which I guess means all three items are priceless unique collectors items!


Joe Bob Barnhill "Joe Bob Barnhill" (Condor Records, 1977-?) (LP)
A native son from Turkey, Texas, Joe Bob Barnhill paid his dues in the 'Fifties rockabilly scene, knocking around with Buddy Holly, Buddy Knox and other contemporaries, playing guitar for sessions at the Norman Petty studios in Clovis, New Mexico before making his way to Nashville, where he became a notable songwriter, publisher and independent studio owner. Barnhill's biggest success may have been "Party Dolls And Wine," an early '70s hit for Red Steagall, though he's had several songs recorded by various artists over the years. Barnhill settled into the business end of Nashville, producing a bunch of mom'n'pop custom albums, as well as working with some middle-rung chart artists. He produced a string of albums for Canadian country star Dick Damron during Damron's mid-1970s outlaw years, wrote music with Steve Wariner, produced some late-vintage sessions with Hank Thompson, etc. etc., and even found time to record several singles and a couple of albums of his own, scoring a few mild chart hits along the way. His son, Joe Barnhill, took a swing at Nashville as well, recording a mainstream country album for Capitol Records in 1990, although his only chart success came with two middle-rung hits in the late '80s.


Joe Bob Barnhill "Stompin' The Standards" (RPA, 1977) (LP)
Here, Barnhill covers a bunch of big band standards: "Chattanooga Choo Choo," "Don't Get Around Much Anymore," "Take The A Train," "Tuxedo Junction..." Go figure!


Beacon City Band "Beacon City Band" (Potato Satellite Records, 1981) (LP)
(Produced by John Hill & Laurie Hill)
This scruffy acoustic twangband from Gruene, Texas featured Roland Denney (bass), Denice Franke (vocals, guitar), Douglas W. Hudson (mandolin, guitar), and David Wright (vocals, guitar, and harmonica). About half the songs were written by David Wright, with one more from Denice Franke, along with a cover of an old Nanci Griffith song, "West Texas Sun," just for good measure. Years later, Franke would perform on several of Griffith's best-known albums, as well as releasing several albums of her own. Like Griffith, these guys were coming at their music from a fairly folkie vantage point, with flowery-but-not-cloying guitar picking and achingly emotive vocals. Fans of Townes Van Zandt, perhaps, might really dig this one.


Beaver Creek "Live" (Impresario Productions, 1976) (LP)
(Produced by Phil York)
An ambitious album by a teenage trio from Oak Cliff, Texas, led by two gals -- guitarist Marsha Britton and bassist Lisa Burgess -- with Keith Livers on drums. Britton and Burgess wrote all of the songs -- each composing solo -- and sang some nice, spunky duets on material that ranged from honkytonk to slightly rockabilly. The band was formed right after the girls graduated from high school, and they played regionally in North Texas for several years. Lisa Layne Burgess later shortened her name and joined the country novelty band, Vince Vance and the Valiants and was the lead singer on their most successful song, the Top Forty holiday classic, "All I Want For Christmas Is You," and was a member of the band (off and on) for many years. She finally moved into a career as a Patsy Cline imitator, playing Patsy onstage and various venues such as Branson Park. Though less high-profile, Marsha Britton went on to have some success as a songwriter and recorded three indiebilly albums in the 1990s. Whew!


Gary Beck "Gary Beck Group: Past And Present" (Lynn Record Company, 19--?) (LP)
(Produced by Gary Beck)
An ambitious, though somewhat flawed set of funky country from Corpus Christi, Texas... Bandleader and songwriter Gary Beck wrote all but three of the tracks on this album, and the cover tunes themselves are kind of intriguing -- "Bad, Bad Leroy Brown," "The Weight," and a version of Francis Lai's "Love Story." That last one gives you a sense of what might go wrong here, in that Beck's musical reach may have outpaced his grasp. He was a veteran club musician who previously cut a single or two with local roots/soul singer Billy Jack Collard and may well have been part of the Buddy Collard Band, sometime during the 'Seventies. Beck and Collard are joined here by a guy named Jack Hamilton and a gal singer identified only as Jamie. There's a clear debt to the eclectic roots sounds of the Muscle Shoals scene, with Beck shifting between semi-countrypolitan country and more groove-oriented material, while Jamie clearly wanted to be an Ava Aldridge or Dusty Springfield-type white soul gal. The results are a little iffy, though not outright terrible by any means -- if anything, they sound like they just needed more time to rehearse, or more time in the studio to smooth things out. A good portrait of a working bar band with big dreams in late-'Seventies Texas.


William C. Beeley "Gallivantin' " (North Park Records, 1970) (LP)
Growing up in San Antonio, Texas, William Beely fell under the spell of outlaw poet Townes Van Zandt and followed in his footsteps, playing local clubs and self-releasing this album when he was just a kid. It became legendary, of course, eventually getting an official reissue in 2017. Beeley got signed and recorded a second album for Malaco Records, but it got shelved and sat in the can for years... Fans of the more arty, poetic side of the Texas twang scene might wanna check these out!


Will Beeley "Passing Dream" (Southern Biscuit Records, 1979) (LP)


Will Beeley "Highways And Heart Attacks" (Tompkins Square, 2019) (LP)
(Produced by Jerry David DeCicca)


Mirl Bell & Young Country "Introducing..." (Guide Records, 1974-?) (LP)
(Produced by Mike Bell)
Indie country from Houston, Texas... This album was recorded at Ray Doggett's studio and includes no release date on the disc or record jacket. Alas. About half the songs are written by Bell, including the forlorn "I Keep Existing." I couldn't find much information about this guy online -- he got a several brief plugs in Billboard throughout 1974, including references to some rodeo shows he was doing, and he copywrited some of his music that same year; other than that he's kind of a cypher. Anyone know what happened to this guy?


Billy (Holcomb) & The Bordertown Boogie Band "Billy & The Bordertown Boogie Band" (Victory Records, 19--?) (LP)
A maniacal western movie fan and regional historian from Denison, Texas, Billy Holcomb was born around 1938 and grew up idolizing Gene Autry and all the other singing cowboys of the silver screen. He gobbled up every western film, novel, magazine, comic book and related goo-gaw he could find. Starting in his teens, he wrote several monographs including a biography of Gene Autry, and a book documenting the history of the local movie theaters in his hometown, entitled Theater Row: The Movie Palaces Of Denison, Texas. Another passion was his devotion to country and gospel music, which is seen in these albums, as well as in the hundreds of songs he wrote over the course of several decades. Mr. Holcomb founded the Texoma Music Association, a regional music booster group, and became president of the National Gospel Music Association, holding that title for over fifteen years. This band was originally a gospel group called Billy And The Border Town Gospel Band, though they changed the name after broadening their repertoire to include more secular material.


Billy (Holcomb) & The Bordertown Boogie Band "America: In God We Trust" (Victory Records, 19--?) (LP)
Patriotic and gospel songs were Billy Holcomb's bread and butter, as heard on this theme album, packed with original material from his own voluminous catalog of compositions...


Billy & The Bordertown Boogie Band "Boots, Bits, Bridles And Spurs" (Victory Records, 1985) (LP)
(Produced by Billy Holcomb & Mark Duvall)
The third album by this spunky Lone Star band... The musicians included Billy Holcomb on lead vocals, as well as Ben Holcomb, Bob Cagle, Bobby Connell, Johnny Means and Buddy Yockey. Most of the songs were their own original material, with five(?) songs credited to Billy Holcomb, and two to the band. They also covered standards such as "Buckaroo," "Johnny B Goode," Jimmie Rodgers' "T For Texas," and Ray Charles's "What'd I Say." In addition to these three albums, Mr. Holcomb also released a string of singles, and may have recorded other albums as well; these three were listed on the back cover of this third album, though I'm not sure when these first two came out. Billy Holcomb was still performing at western-themed music events at least as recently as 2019(!)



Clint Black -- see artist profile


The John Blackburn Trio "The John Blackburn Trio" (Willie Price Productions, 1979) (LP)
(Produced by Willie Price)
A nice, modest set from some Amarillo, Texas locals... Mostly in a folkie/acoustic blues revival mode, but with some touches of twang. They open with a nice, breezy version of the Byrds "You Ain't Going Nowhere," and dip into folk scene cowboy nostalgia ("Ain't No More Cane On The Brazos") and some playful acoustic blues'n'jazz, such as a snippet of "Keep On Truckin'," as well as a bit of bluegrass on Side Two. Blackburn slips into flamenco-style guitar and closes the album with a Spanish-tinged version of Luiz Bonfa's "Manha Da Carnaval." For twangfans perhaps the most interesting track is a cover of an obscure early song by Rodney Crowell, "Home Sweet Home Revisited," which Jerry Reed and JD Crowe popularized, but Crowell left out of his own recorded canon... This is a nice version, too. Not an earthshaking album, but a good snapshot of some just-plain folks having fun making music together. The ensemble also included gal bassist/dobro player Thunda Warren.


Dan Blocker & John Mitchum "Our Land Our Heritage" (RCA Victor, 1964) (LP)
(Produced by Joe Reisman)
A celebrity disc with a folkie/patriotic slant... The star of the show is DeKalb, Texas's own Dan Blocker (1928-1972), the actor best known as "Hoss," from the TV western, Bonanza. Apparently Blocker wasn't much of a musician: he provides recitations, but it's fellow actor John Mitchum (Robert Mitchum's kid brother) who sings the songs. Pop producer Joe Reisman provided the arrangements.


The Bluegrass Ramblers Of Texas "Bluegrass Music From Bluebonnet Country" (Dane Records, 1972) (LP)
(Produced by Ray Doggett)
Although we tend to think of Texas twang in terms of honkytonk, western swing and outlaw stuff, there's a strong bluegrass tradition as well. This group cut several albums and made the scene at the Kerrville Folk Festival. The group included Kenneth Clemons on mandolin, Kenneth Holder (fiddle), Emil Humbert (bass) Johnnie Martin (guitar) and Jim Moratto on banjo, with some second fiddle on few songs by Bill Northcutt. The repertoire is mostly Stanley Brothers and Bill Monroe songs, along with one original by Kenneth Holder, called "Indian Hollow."


Bluefield "Bluefield" (Mercury, 1975) (LP)
(Produced by Pete Drake & Ronnie Light)
This band featured Lang Scruggs and Joe Scruggs (cousins of Earl) along with Linda Hargrove on piano, Hoot Hester on fiddle, and Paul Franklin playing dobro & steel. The set list includes a few pop covers ("A Taste Of Honey," "I Can See Clearly Now") along with Alan Munde's "Molly Bloom," and a couple of Linda Hargrove songs -- indeed it seems like this was an under-the-radar Hargrove outing, as much as anything else. The Scruggs brothers seem to have grown up in San Angelo, Texas, or at least they went to high school there...


Jim Bolin "Songs For Squares" (Andrea Records, 1978) (LP)
An amiable baritone from Dallas, Texas, Jim Bolin sang sleepy renditions of country ballads and folkie epics like "The Blizzard," as well as Red Foley-esque renditions of gospel classics "How Great Thou Art" and "Just A Closer Walk." Bolin dedicated this album to his daughter Andrea, who was eleven years old at the time, and presumably the inspiration for the little girl who asks "What Is A Square?" a novelty recitation tune defending old-fashioned all-American values against the lazy hedonism of the hippie welfare bums... Other highlights include similar cornball patriotic songs, including "The Last Farewell" and Bobby Bare's "God Bless America Again." Unfortunately, there are no producer or musician credits included, though I can't help but wonder if Dallas local Smokey Montgomery might have led the backing back, who provide solid, if not particularly dynamic accompaniment: one of the songs Bolin covers is a version of Montgomery's mega-schmaltzy "My Friend, My Friend." This isn't really a very dynamic record, but there's plenty of kitsch value, as well as Bolin's palpable sincerity and dedication to the music.


Bowley & Wilson "Bowley & Wilson" (Harvest Productions, 197--?) (LP)
(Produced by John Bowley, John Wilson & George M. Jones)
This Texas-based comedy duo, John Bowley and John Wilson, tore up stages for several decades and recorded several albums, including this one, which includes that blast from the past, "The Fart Song." Plenty of crude but clever material, as well as a decent amount of twang. Maybe not as rough around the edges as Chinga Chavin or Montezuma's Revenge, but sure to appeal to many of the same fans.


Bowley & Wilson "The Wildest Show In Texas" (Bowley & Wilson) (LP)
Hey man, if you think you can handle it, this one's a full-on double LP.


Bowley & Wilson "A Date With Bowley & Wilson" (Bowley & Wilson, 19--?) (LP)


Bowley, Wilson & Kendrick "Eat It!" (Bowley & Wilson, 1973-?) (LP)
(Produced by John Wilson)
And then there were three! At some point they officially expanded into a trio, with James Kendrick chiming in... Not sure when this came out, but, well, everybody's a little fuzzy on the details. Anyway, these fellas go out of their way to project an air of independence and amateurism, with false starts and studio chatter between songs, and a ragged musical sensibility that pairs nicely with their salty sense of humor. There is, of course, "The Fart Song," a purely puerile classic which kicks the album off. This bit of unvarnished potty humor soon gives way to a defiant counter-culturalism, where our longhaired Lone Star troubadours skewer their goat-roper antagonists in "Mister Redneck," and lament their fate as pot-smoking weirdos exiled deep in the heart of Texas ("Two Years In Fort Worth Is Worth Ten Years In Leavenworth," balanced on Side Two by Michael Martin Murphey's "Fort Worth I Love You.") The album also includes couple of curious covers from the world of 'Seventies pop radio: from the Doobie Brothers catalog comes their bastardized version of "Jesus Is Just Alright With Me," while the album ends with an epic rendition of Don McLean's already-interminable "American Pie." No date on this disc, but I thing it came out around 1973, or so.


Bowley & Wilson "Greatest Tits (Up Yours)" (Bowley & Wilson, 1995-?) (LP)
Dunno if these are original recordings or what, but this collection would probably satisfy your curiosity about B&W and BWK. If not, there's also an official website that can give you all the deets about their incredibly long career.



Don Bowman - see artist profile


Boyce & Kramer "Voyage" (Frog Records, 1978) (LP)
David Boyce and Rex Kramer cut this set in Houston, Texas, mixing decidedly pop material with a few eclectic country choices, like "Mr. Bojangles," "Luckenbach, Texas" as well as, um, Kenny Loggins' "Danny's Song" and a Paul Anka oldie. Rex Kramer probably had the longer musical backstory: he'd been in the 'Sixties surf-garage band The Coastliners, whose range spanned bubblegummy pop and thudding, thumping '60s punk, with a discernible Kinks influence. Like all the best people, he "went country" in the 'Seventies, producing some interesting results -- their countrypolitan cover of Don Gibson's "All Wrapped Up In You" has such a believably breezy, slightly manic feel that you could almost imagine it being a country radio hit in 1974 or thereabouts. The album also includes a couple of Kramer originals, "Ring In My Pocket" and "You Oughta Be Against The Law." Not sure where either of these guys wound up after this...



Bill Boyd - see artist profile


Jim Boyd "Country Favorites, Texas Style" (Fanfare Records, 1983) (LP)
(Produced by Marvin Montgomery, Andy Bradley & Bob Sullivan)
A latter-day solo set by Texas-born western swing guitarist Jim Boyd (1914-1990), who was the brother of bandleader Bill Boyd and a member of numerous regional bands, including stints with his brother 'way back in the 1930s, as well as with Roy Newman's band and in a late lineup of the fabled Light Crust Doughboys. Fellow Doughboy Marvin Montgomery arranged these sessions, which include several musicians from his stable of Dallas studio pros -- included are Montgomery on rhythm guitar, Maurice Anderson (pedal steel), Dale Cook (drums), Mark Jaco (bass), Dave Tanner on piano and some fancy fiddlin' from Jimmy Belkins, who was in Merle Haggard's band at the time. Jim Boyd plays guitar and sings lead throughout, except on one track, "I'm Getting Better," which features guest vocalist Ace Diamond, a rockabilly revivalist from New England.


Clyde Brewer & Bob White "The Twin Fiddles Of..." (Stoneway Records, 1973) (LP)
(Produced by R. M. Stone)


Clyde Brewer & Bob White "Seven Come Eleven" (Stoneway Records, 1974) (LP)
(Produced by R. M. Stone)


Clyde Brewer & Bob White "The Texas Touch" (Longhorn Records, 1983-?) (LP)
(Produced by Clyde Brewer & Dusty Dickerson)
Twin fiddles, Texas style, backed by a sharp band of old-timers with steel, bass, guitars and the like... Fiddler-pianist Clyde Brewer (1930-2011) was a western swing pioneer -- he started out in Shelly Lee Alley's Depression-era band, the Alley Cats and went on to play with a bunch of western swing legends, notably with Cliff Bruner, Laura Lee McBride, and Moon Mullican. He stayed in the Houston area, and along with fellow fiddler Bob White and bandleader Dick Allen, Brewer helped anchor the (Original) River Road Boys. The group recorded prolifically over a span of decades, with various lineups over the years. This disc is packed with local talent, including steel guitar by Dusty Stewart, and vocals by Jim Johnson.


Clyde Brewer & Bob White "Country Music High" (Longhorn Records, 1985) (LP)


Bobby Bridger "Merging Of Our Minds" (RCA Victor, 1972) (LP)
(Produced by Bobby Bridger & Bob Kramer)
A multi-talented writer, performing artist and musician, Louisiana-born Bobby Bridger made a handful of singles for other labels before recording this lofty, folk-tinged album for RCA-Nashville. In 1970, he moved to Austin and was an early participant in the pre-outlaw independent Texas country-folk scene, eventually becoming involved with the Kerrville Folk Festival, serving on its board of directors for over a decade, and performing there annually for many years. Bridger steadily became more and more interested in Western American history, and Native American rights issues... On this debut, he mixes cosmic-Christian spirituality with mildly bombastic, Jimmy Webb-esque/Glen Campbell-ish folk-pop arrangements and searching, sometimes strained lyrical profundities... On Side Two, he branches out into spacier, gooier, Tim Hardin-style dreaminess, notably on the uber-hippiedelic "Sharing's Just Another Word For Love," and the truly horrific "Sea Chanty." By and large the studio crew was not made up of Nashville regulars, although Pete Drake plays steel and slide, and it's not every day you find a record which features session guitarist Fred Carter, Jr. sitting in on bongo drums(!) Not really my cup of tea, countrywise, but worth checking out if you're in a kitschy or historical frame of mind.


Bobby Bridger "And I Wanted To Sing For The People" (RCA Victor, 1973) (LP)


Bobby Bridger "Heal In The Wisdom" (Golden Egg, 1981)
The title track of this album, "Heal In The Wisdom," was made the official anthem of the Kerrville Folk Festival...


Bobby Bridger "A Ballad Of The West" (Golden Egg, 2001)
This is Bridger's magnum opus, a concept album trilogy about American Indians, with lots of narration interspersed with songs...


Marsha Britton "Marsha Britton" (Grapevine Records, 1990) (LP)
(Produced by Hud Hanson & Mark Singletary)
A Texas native, singer Marsha Britton was a featured performer at Billy Bob's dancehall in Fort Worth and, presumably based on this disc, at the Grapevine Opry variety show. She recorded at least four albums in the early 1990s and at some point moved to Nashville to try her luck in Music City. All the songs on this album (her first?) were written by Ms. Britton; Texas blues guitarist Anson Funderburg plays on two songs, "Oak Cliff Blues" and "Walk On Me," with additional guitar and pedal steel by James Pennebaker and Gary Carpenter.


The Brooks Brothers & Their Almost Famous Band "...In Concert At The Grapevine Opry" (Yatahey Records, 1980) (LP)
There's obviously history here that I'm not totally aware of: led by Bill and Randy Brooks, the Brooks Brothers band started out in the early 1970s and stayed together though the rest of the '80s, playing local shows both large and small. But despite the longhair-rocker look, these Texas boys were actually a shamelessly cheesy lounge band, though admittedly with some genuine twang and bar-band licks in the mix. Their emotive pop ballads are super-painful, and sometimes seem to verge on self-parody: devotees of pure cheese will get a big kick out of this disc. Still, it is kind of fun to hear their gonzo, balls-out approach to working their audience, including a super-goofy routine where they dragged some dudes out of the audience to play cowbell and tambourine on a wild rendition of "Squaws Along The Yukon" -- maybe a funny part of their live show, but it sure was a weird choice to include on their record. They also deliver a lusty rendition of the Mac Davis hit, "It's Hard To Be Humble" -- another album highlight -- while the inclusion of a long version of "How Great Thou Art" foreshadowed Bill Brooks's later move into gospel music. I can't honestly "recommend" this record, but it is an authentic snapshot of these dudes and their live show. I know there are those of you out there who will get off on it for all the meanest reasons, but I think these guys were mostly just having fun and not taking things super-seriously. So laugh away... I don't think they'll mind.


The Brooks Brothers "Almost Famous Band" (Brooks & Blazier Publishing, 1983) (LP)
(Produced by Phil York)
This one looks even more pop-oriented than their earlier album (or albums...?) But hey, in for a penny, in for a pound...


Jim Brown & Vintage Wine "Jim Brown & Vintage Wine" (Telephone Records, 1975-?) (LP)
(Produced by Don Caldwell)
One of several mid-1970s albums produced at Don Caldwell's studio in Lubbock, Texas, with backing by members of the nascent Maines Brothers Band, including steel player Lloyd Maines and Don Caldwell on saxophone. Alas, not a lot of info about Jim Brown and the Vintage Wine band, though any clues are welcome. The songs appear to be all covers, including a version of "Six Days On The Road," some folkie stuff like "Reuben James" and "Last Thing On My Mind," a medley of Merle Haggard songs, and another of Elvis Presley oldies. As far as I can tell, though, there's not original material.


Lee Browning "Country And Western Demo: Male Vocals" (Frederick Records, 197--?) (LP)
The very epitome of a low-rent, ultra-generic "song poem" release, this album touts itself as "a variety of songs written by Lee Browning," produced by the Sundance Productions studio in Dallas, Texas. Unfortunately, the actual musicians on the album remain unnamed -- there are two different male voices, though it's doubtful that Browning played as well. Anyone out there have more info about this record?


Cliff Bruner & The Texas Wanderers "Legends Of Western Swing Series" (Delta Records, 1981) (LP)
One of the legendary early architects of classic western swing, Texas fiddler Clifton L. Bruner (1915-2000) had his heyday in the 1930s and '40s, when he played in Milton Brown's band, then founded his own group, where he helped launch the career of piano pounder Moon Mullican. Although Bruner broke up his touring band in the 'Fifties, he still played locally in the Lone Star State and kept up his chops over the years, as heard on this indie album, which served as a last hurrah for his recording career. He revisits oldies such as "Faded Love" and "Maiden's Prayer," and gets a little playful on more modern tunes like "Cotton Eyed Disco." It's not as electrifying as his old stuff, sure, but it's always nice to hear old-timers give a mature twist to the music they love.


Rommie Bryan "Rommie's: The Place And The Man" (Vesco Records, 1966-?)
A bass player and guitarist, Ronbrous ("Rommie") William Bryan, Jr. (1931-2018) was born in Downsville, Louisiana but spent most of his professional life working in Texas where, among other pursuits, he opened a couple of different nightclub/restaurants. This album seems to be a mid-1960s souvenir of his Dallas club, filled mostly with covers of country ballads popular in the early 1960s, such as "Make The World Go Away" and "What's He Doing In My World," as well as the Buck Owens classic, "Together Again," and "King Of The Road," which was a hit for Roger Miller in 1965. Mr. Bryan also opened a place in Waco called Rommie's Our Town, in 1973 (though I don't think that's the venue pictured on this cover) and eventually moved back to Dallas where he played in the lounge of the Anatole Hotel for over twenty years, and also gave music lessons and taught in the local schools. He played jazz as well as country, and cut at least one single in the early 'Sixties with the Rommie Bryan Trio, recorded as a souvenir of his 1963 stint at the Bali Hai lounge, in Dallas.


The Buckboard Boogie Boys "Lucky To Be Live" (Reed Records And Tapes, 1978) (LP)
(Produced by Claude Morgan)
A self-trained musician, guitarist Claude "Butch" Morgan grew up in Hondo, Texas, on the outskirts of San Antonio. Morgan did military service in the Army during the Vietnam War, getting tracked into the USO where he played for American troops stationed in Germany. Morgan got home just in time to catch the first waves of the outlaw music scene, opening for Willie Nelson and others as the new genre took off, and formed the Buckboard Boogie Boys which soon included his pal, picker-singer Larry Patton. Patton already had considerable experience as a sideman in both Texas and Nashville, including session work as a studio guitarist in the mid-'70s, and numerous live shows backing old-school Nashvillers and newcomers alike. A full-time gig as the bass player in Hank Williams, Jr.'s band ended abruptly when Williams' had a near-death climbing accident in 1975. So, came the Boogie Boys. They were twangy, but with a rugged, bluesy, boogie-rock feel, not unlike the Commander Cody Band, and worked steadily to become one of San Antonio's most best-known country-rock bands of the 1970s. This live record mixes rowdy rock-flavored originals with classics like Hank Williams' "Jambalaya" as well as plenty of banter with the audience. The Boogie Boys broke up in 1979, with Morgan going into a series of local-only Texas bands, eventually gravitating towards the folkie-songwriter scene around the Kerrville Folk Festival. Larry Patton went out on the road and then back to Nashville, where he got work with a number of bands, notably with the Flying Burrito Brothers, an on-again, off-again, decade-plus stint that started in '87. By the early 1990s, he mostly moved out of the spotlight, starting a new career driving tour buses for other musicians, folks like Delbert McClinton, Ricky Skaggs and the Oak Ridge Boys. This album caught Morgan and Patton together towards the end of the Buckboard Boogie band's glory years, though they both recorded elsewhere after the group broke up. The Buckboard Boogie Boys reunited in 2016, with Patton and Morgan joined by bassist Roger Santos and drummer Jimmy Rose, the same lineup as on this album. [Thanks to the artists' own websites and to music writer Hector Saldana, whose column about the band's first reunion show added a lot of context and background info.]


Terry Bullard "Terry Bullard" (Bullet Records, 1980) (LP)
Originally from New Mexico, as a teenager Terry Bullard set out to conquer the world, moving first to LA and then to Texas, where he tried his hand at acting, country music and rodeo riding. Bullard had a regional hit with a version of Terry Stafford's "Amarillo By Morning" (a minor hit for Stafford in '73, and later a Top Five single for George Strait). He was taken under Stafford's wing for a while, and wrote a bunch of songs, but nothing ever quite clicked for him as a solo performer. This actually wasn't his first album -- he also recorded one called Pride when he was fifteen years old. Bullard apparently played in a few house bands in LA nightclubs and elsewhere, and has self-released a bunch of CDs in the digital era.


Oscar Burr "Color Me Country" (Lamon Records, 1983) (LP)
(Produced by Carlton Moody & David Moody)
A singer from Laredo, Texas, backed by the Moody Brothers. Burr's not a songwriter but this album seems to showcase some new material, including three songs by Hoot Gibson, with others by Quince White and Jim McCrary, plus a few cover tunes.


Bill Busby "Texas, Home Sweet Home" (1983-?) (LP)
Self-released early 'Eighties neotrad honkytonk from a fairly obscure artist out of Crosby, Texas, a small suburb just east of Houston... William Busby was active in local rodeo events dating back to his school days in the early 1970s, and eventually became the proprietor of the Crosby Fair And Rodeo, where he served as an emcee, auctioneer and entertainer. He also led a band called the Lone Star Express, though I'm not sure how intensively he pursued his musical career... There was a flurry of show announcements in the local papers around 1983-84, which is probably around the time he recorded this album. Mr. Busby wrote about half the songs on this album, and also covered pop and top country hits by the likes of Mel Tillis, Sam Cooke, and the Beatles. No info on the band backing him... though any clues are welcome!


Larry Butler "Searchin' For Gold" (Three "3" Star Productions, 19--?) (LP)
(Produced by Larry Greenhill, Bobby Arnold & Bobby Whitten)
Not to be confused with the Top Forty producer who worked with Kenny (Sauron) Rogers, this native of Belton, Texas is hard-country, through and through. Butler is perhaps best known for the legendary tale of how he gave young Willie Nelson his first gig in the Lone Star state -- Willie was on his way to Nashville, but kind of a little broke, so he offered to sell Butler several of his songs for ten bucks apiece. Butler declined to rip the poor kid off, and instead loaned him some cash and offered him a job playing bass in his band. They've been pretty tight ever since. Willie performs on this album, and they've made several records together over the years, including a Hank Williams tribute album. All but two of the songs on here are Larry Butler originals, and the band are all locals as well... and did I mention Willie Nelson is on here, too? Well, he is!



Tracy Byrd -- see artist profile


Cactus Country Band "Flor Del Rio" (Hacienda Records, 1979) (LP)
(Produced by James Lisenba & Jerry McCord)
Singers Janie C. Ramirez and Hilario Ramirez fronted this Tex-Mex-meets-twang band from Corpus Christi, Texas, playing a mix of classic country hits ("Paper Roses," "Pretty Fraulein," "Jambalaya" and "Margaritaville") and traditional Mexican folk and ranchera tunes. They recorded several albums, which I hopefully can track down soon.


Don Caldwell "...Plays Love Songs" (Texas Soul Records, 1979-?) (LP)
(Produced by Bill Gammill, Lloyd Maines & Syl Rice)
Perhaps better known as a music producer than as a sideman or solo artist, saxophone player Don Caldwell started his own studio in Lubbock, Texas, way back in 1971, recording countless local and regional artists over the years, including nationally-known acts and Americana icons like Terry Allen and Joe Ely. Caldwell captured Texas twang at its height, and is best known for his long association with The Maines Brothers, an extended-family act that included steel player Lloyd Maines, who also became a prominent record producer. They helped get Lloyd's kid Natalie into show business, and recorded several Maines Brothers albums on the Texas Soul label. While Caldwell had deep country roots, his own solo set is more of a jazz kinda thing, heavily populated with standards such as "Blue Velvet," "Feelings," "Girl From Ipanema," and "Summertime," with a little bit of twang in at the edges. Caldwell also had a civic-minded side: in 1993 he purchased the Cactus Theater in his hometown of Lubbock, and worked to make it a hub for performing arts. After the studio closed, Caldwell's personal archives were donated to the University of Texas which also hosts an excellent biographical profile on its website.


Calico "Calico" (United Artists, 1975) (LP)
(Produced by Allan Reynolds & Garth Fundis)
Second-string countrypolitan/country-rock from Texas, with iffy vocals but a wealth of serious talent in the studio: Buddy Spicher on fiddle, Lloyd Green playing pedal steel, Bobby Thompson on guitar, adding a few extra licks behind the band. Top Forty fans will notice youngsters Allan Reynolds and Garth Fundis paying their dues as journeymen producers -- later they'd become two of Nashville's major heavy-hitters. Singer Jerry Oates seems to have been the driving force in this band -- he wrote most of he songs and sang some of the lead vocals, along with pianist Keith Impellitier. This is hardly a classic, but fans of '70s country-rock and soft-pop might want to check it out. The band often reminds me of less-fortunate (non-major label) acts like Greezy Wheels and Chuck Wagon who were also on the scene at the time... (Footnote: apparently steel player Tom Morrell was in an early lineup of the band, but he wasn't on this album... Anyone have more info about their history?)


Calico "Volume II" (United Artists, 1976) (LP)
(Produced by Larry Butler)


Pat Callaway & Coby Callaway "Country Wine" (Country Wine Records, 1976) (LP)
The Callaways appear to have originally been from around Lubbock, Texas, and played in the Corpus Christi area in the 'Seventies. At the time this record came out they were doing supper-club gigs at places such as Ray's Steakhouse, and had put together a revue called Pat And Coby Callaway's Donnybrook Show. This album includes eight originals written by Pat Callaway, including "Drunken Dusty Road" and "John Deere Foundry" which, along with several other tracks, appear to have been recycled on his solo album (below). There are also a bunch of cover songs, including "Delta Dawn," "Help Me Make It Through The Night" and "Let Me Be There," and even a Hank Williams medley. They seems to have split up as a duo act: the next album on this label was his solo release, while by the early 'Eighties, Coby Callaway was fronting a band called Coby & Spring, which included pianist Eric Lemons and guitarist Fender Tucker.


Pat Callaway "Pat Callaway" (Country Wine Records, 1976) (LP)
Okay, so I know Callaway has country bona fides, -- heck, he even covers a couple of Hank Williams songs -- but it's hard to ignore that gigantic Neil Diamond medley on Side Two. And not good, early Neil Diamond, but later stuff like "I Am I Said" and "Salvation Show." So, there's that.


Bill Callery "Bill Callery" (Columbia/Lone Star Records, 1976) (LP)
(Produced by Bucky Meadows & Bill Callery)
Classic cosmic cowboy stuff, a mix of spacey folk and unraveling twang... Callery's best known for having Willie Nelson include one of his songs on the Red Headed Stranger album, and for numerous songs of his that were recorded by Jerry Jeff Walker. Unfortunately he doesn't record his own version of "Hands On The Wheel" here, but Jerry Jeff fans will recognize a bunch of the other songs: "Leroy," "The Pot Can't Call The Kettle Black," as well as Callery's cover of Chuck Pyle's "Jaded Lover," also best known from Walker's classic version. Callery didn't have a super-killer voice or anything, but his songs are nice and the record's vibe is both earthy and mellow, the same kind of laid-back approach to country and bar-band music that will resonate with fans of Kris Kristofferson, Jerry Jeff Walker, or Rusty Weir. The backup band includes legendary fiddler Tommy Jackson; other than that, I don't recognize any of the names, although their performances are all rock solid, particularly the lead guitar from the album's co-producer Bucky Meadows, a veteran session musician who dropped out of the Nashville rat race and became a mainstay of the Texas indie scene. This album is definitely worth tracking down; I wouldn't be surprised if it doesn't get reissued... someday.


Gary Campbell "Silver Horses" (CP Studios, 1978) (LP)
(Produced by Lloyd Maines)
I like this one! A nice, well-produced set of indie twang, with swell pickin' and a strong bunch of original tunes. Texas songwriter GaryCampbell sings with a slightly exaggerated imperfection and thinness to his voice -- he embraces it, and it helps him sound distinctive. The arrangements and production are definitely a notch or two above most private press albums, with bright, catchy guitars and uptempo tunes. This one's a winner, with a classic mid-Seventies pop-twang feel, reminiscent of the house style at MCA/Decca.


Johnny Cantrell & Fascination "For Those Who Listen, We Love You" (Telephone Records, 1978) (LP)
(Produced by John D. Evans & Bob Lancaster)
Texas singer John D. Evans went by the stage name Johnny Cantrell, releasing numerous singles and a couple of albums on various local Lone Star labels. He had kind of an iffy, not super-polished voice, but he's one of those kinda country folk who win you over with their sincerity and lack of affectation. This disc was recorded at the Don Caldwell Studios, home of the Maines Brothers Band, with steel player Lloyd Maines sitting in to add his usual touch of class. Caldwell covers some eclectic country material -- stuff by Kris Kristofferson, Johnny Rodriguez and Kenny Rogers, and best of all (I'm serious!) Jimmy Buffett's "Margaritaville." Half the album, though, is made up of Evans originals... The backing band, Fascination, seems to have been his own group, and all West Texas locals.


Johnny Cantrell "Sweet Dreams & Lonely Memories" (Challenge Records, 1982) (LP)
I'm not sure if this album was a cassette-only release -- that's the only format I've seen -- but several of the tracks came out as singles on the Challenge and Jador labels. Cantrell continued to record into the late '80s, and possibly beyond.


The Cantrells "Roy And Cindy" (Label Unknown, Date Unknown) (LP)
This one's a real DIY ultra-obscuro -- the husband-and-wife team of Roy and Cindy Cantrell were apparently a mainstream-oriented country duo from Waco, Texas, who toured throughout the South and Midwest, and had at least one appearance on the Opry stage. This is all according to the color-xeroxed pamphlet that was stapled to this bare-bones LP -- which otherwise it has no album art whatsoever, and no other information besides the song titles listed in the inner labels. According to the booklet, Roy Cantrell saw Johnny Cash play a show in Anchorage, Alaska and was inspired to try to become a country music singer himself... They first made a go of it in 1963 when a New York City club owner helped them cut some singles in LA, and they went to Nashville twice, in '63 and '66, but both times Music City crushed their dreams -- the pamphlet ruefully describes how they had to pawn their guitars just to get cab fare and money for food. There's a Billboard column from 1967 that mentions them as being signed to the Kash label, but I'm not sure if they ever released anything. They were still touring the Midwest as late as 1972, when their backup band was nicknamed Cantrell's Raiders. As for the date this LP came out, I'd guess anywhere from 1968-73, obviously self-released as a show memento, but done so cheaply that they decided to not even create any graphics at all. (Did this album actually come out with artwork? Anyone know for sure?) It's good music, with a few cover tunes (such as "Hello City Limit") but mostly original material, as far as I can tell (there are no song credits, either...) The performances are generally pretty good, with twangy, old-school musicianship and vocals that remind me of Carl Smith and Loretta Lynn, though the vocals like the arrangements and the production values are pretty variable -- my guess is that these ten tracks were recorded at different times, over several years, possibly dating back to their first studio session in '63. If anyone has any info about this fine, forgotten duo, I'd love to hear more about them!


Joey Carmon & Crossbow "Joey Carmon And Crossbow" (Crossbow Records, 1983) (LP)
Country-pop hopefuls from El Paso, Texas... Singer Joey Carmon was originally from Kentucky and met songwriter Dave DuChane while stationed in Hawaii on military service. They played together at NCO clubs and other similar gigs, and eventually wound up in Texas, where they started the band Crossbow in 1980. They recorded two albums, the first being a studio recording packed with original material and a few covers. Carmon had a soft, croony streak to his vocals, reminiscent of Don Williams, which is matched by the often synthy/tinkly arrangements which reflect the sound of early '80s Nashville. Most of the songs on here were written by Dave DuChane, including several written with Joey Carmon. This album also includes a banjo-driven cover of Billy Joel's "Travellin' Prayer," an early song from '74 that had a kind of country-ish feel, as well as a version of Jim Croce's "Time In A Bottle," which kind of gives you a sense of where these guys were coming from... Perhaps a little too soft-sounding for many twangfans, but still a nice indie album, with more of a Top Forty feel.


Joey Carmon & Crossbow "Live At Caravan East" (Crossbow Records, 1984) (LP)
A live set from a local El Paso club... Love the cover art showing the messed-up, partially burned marquee!


Joey Carmon & Crossbow "Anthology" (1995)
This CD gathers material from the band's 'Eighties albums, just ten tracks total, with several songs concentrated on Carmon's guitar picking and banjo plunkin'.


Milton Carroll "Milton Chesley Carroll" (RCA-Victor, 1972) (LP)
(Produced by Pete Spargo & Jack Maher)
An excellent debut from Texas native Milton Carroll, who mixes strong original material with soulful covers of songs such as Elton John's "Country Comfort," Jesse Winchester's "Yankee Lady" and "Love Of The Common People," a recent hit for Waylon Jennings. In the liner notes, Carroll cites Fred Neil as an influence, and you can definitely hear his funky-bluesy, husky vocal style in some of these songs, with a few tracks getting almost as swampy as a Tony Joe White, aided in no small part by strong musical backing that includes dobro and steel guitar from Eric Weissberg. Also notable are the contributions of songwriter Tony Lordi, who was a staff writer for RCA at the time, and whose "Sweet Country Music" is an album highlight. This is a really good record, and certainly deserves a little attention in the world of digital rediscovery!


Milton Carroll "Blue Skies" (Columbia/Lone Star Records, 1976) (LP)
(Produced by Milton Carroll & Friends)
Another oddball gem from Willie Nelson's short-lived Lone Star imprint... Songwriter Milton Carroll croons in a bluesy, world-weary twang, often evoking the laconic Jerry Jeff Walker, but also harkening back to rugged, spacey folkies such as Fred Neil and Tom Rush. This includes some sweet licks from steel guitar players Jimmy Day and Buddy Emmons, although most of the other musicians aren't familiar to me. The Jerry Jeff-ish "Sweet Country Music" is a highlight for the twang-oriented among us, though he slips into a much bluesier mode by the end of Side One, particularly on the long, slow, doleful version of Percy Mayfield's "Danger Zone." Other notable numbers include the oddly morbid ".45 Slug" ("...falling in love's like a .45 slug/in your head/falling in love's like a .45 slug/bang you're dead.") as well as the cosmic cowboy vibe of "Life's Twisting Road," one of two more songs written by Tony Lordi, who apparently was a '50s/'60s rocker who penned a few nice twang tunes around this time... Another nice one from this little-known '70s twangster.


Milton Carroll "Life Of Christ" (Blue Stone Records, 1992)
At some point, Carroll turned towards religion, and has composed several Christian music songs, including this born-again concept album, co-written with a guy named Don Potter. Apparently country elders Roy Clark, Barbara Fairchild and Ricky Skaggs were all involved with this record, though I haven't heard it myself, so I don't know how much they contributed... I suppose fans of Southern Gospel and contemporary Christian music might want to check this out.


Carter & Haywood "Carter And Haywood" (Associated Music, 1978) (LP)
(Produced by Don Johnson & Carl Warren)
An arguably wimpy album with soft-rock/AOR overtones, but overall pretty nice. This was the duo of songwriters Brad Carter and Kevin Haywood, who were hunkered down in Lubbock, Texas at the time... Carter wrote all of the songs on Side Two of the album, while Haywood wrote most of Side One, including a historical narrative called "Douglas County Raid," about the notorious Quantrill's Raiders and their razing of pro-abolitionist Lawrence, Kansas, during the Civil War. (Though they were headquartered in Texas, this track made me wonder if Haywood, at least, might have originally been a Kansan, though Brad Carter was for sure a Texan, born and raised in Midland before moving to Lubbock around 1977... Another odd offering was the album's closer, "Nightmare '78," which makes reference to people burning draft cards, which I'm pretty sure wasn't still happening after the Vietnam War ended... along with the draft. But, whatever...) This is a pretty strong album with a clear country-rock flavor, though perhaps more of a John Denver-ish soft-rock vibe. But if you like how that sounds, you will love this album. The Carter & Haywood performed regionally for a couple of years before splitting up in 1980, having made this one album... Not sure what else Kevin Haywood did, though Brad Carter released several other albums as a solo artist.


John Cody Carter "When It Rains It Pours" (Lone Oak Records, 1984) (LP)
(Produced by Jeff Newman)
Texas songwriter John Preston Privitt (aka John Carter Cody) worshiped at the altars of honkytonk elders such as George Jones and Merle Haggard... especially Merle. Other than a couple of cover songs, this album is packed with original material, including a tune called "Hag," which pays homage to his weatherbeaten West Coast idol. He's backed on this early album by a crackerjack Nashville crew that included heavyweights such as Buddy Emmons, Dave Kirby and Hargus Robbins, as well as fiddler Tigar Bell, who played with Merle when he was a little kid (at age eight!) and went on to be an in-demand session player and toured with folks like Merle, Rick Van Shelton, Pam Tillis and others. John Cody Carter's offerings to the gods bore fruit in the late '80s when he was signed to Haggard's own song publishing company, Inorbit, and in 1990 he scored his first Top 40 hit as a songwriter, soon moving to Nashville to work as a staff writer while continuing to release his own albums back home in Texas. On this album he pursues a pretty complex, sometimes flowery mix of styles, reminiscent of Chris Hillman's work with the folk-tinged country-pop Desert Rose Band, though John Anderson certainly comes to mind as well. Though he was originally a Lone Star lad, Carter seems to have been living in Chico, California when this album came out, self-releasing this disc on the Chico-based Lone Oak label, which was also the name of his own publishing company.


Casanova "It's Always Time For... Country Kick'n" (Hoctor Records, 1981) (LP)
(Produced by Danny Hoctor & Danny Abernathy)
Though "coordinated by" Dallas dance instructor Jimmie Ruth White, this album features music by a "band" called Casanova, which featured a bevy of vocalists backed by Jimmy Allen on fiddle, Lou Brockman (piano), George Chodorouv (guitar), Roger Coomes (drums), Tom Kenny (steel guitar) and Rich Marassee on harmonica. The album is, of course, an attempt to cash in on the whole urban cowboy fad, a boot-scootin' bandwagon Mrs. White jumped on at her Spotlight Dance Studio, in Cedar Hill, Texas. The back cover liner notes are almost exclusively about her and her career, while information about the musicians is amazingly scarce online: for most of them, this album represents the full extent of their online profile. Though produced for the Dallas marketplace, the disc was manufactured by a company in New Jersey, and it's not clear if it was also recorded back east, or down in Texas: at least one of the vocalists, Laryn Trammell, seems to have lived in both states. Anyway, the repertoire is interesting, with a hefty chunk of outlaw material, including classics by Ray Wiley Hubbard, Jerry Jeff Walker and Rusty Wier, some western swing and other oldies, a couple of contemporary hits ("Good Ol' Boys") and an anti-disco anthem (creatively named "I Hate Disco Music.") There are also some predictable instrumental choices, notably "Orange Blossom Special" and a version of "Cotton-Eyed Joe," which had been revived as a big regional hit by Isaac Payton Sweat around the same time.


Summer Cassidy "Lone Star" (Track Records, 1989) (LP)
(Produced by Buzz Cason & Joe Funderburk)
Not a lot of info about this one... It looks to be a Nashville songwriter's demo set up by producer Buzz Cason, who contributes a couple of songs along with folks like Lee Roy Parnell and Freddy Weller. Ms. Cassidy also penned a couple, including "Texas Hoedown" and "Want You To Be." Most of the studio musicians were unfamiliar to me, though a few folks caught my eye, most notably Doyle Grisham on steel guitar, fiddler Mark O'Connor, and bass player Glenn Worf. At least one single was released off this album, "My Mama Was A Rodeo Queen" released as a single in 1989, and Cassidy got a few plugs in trade mags such as Cash Box in the early part of 1990. Other than that, a complete mystery!


Cedar Creek Society "Cedar Creek Society" (Dessa Disc, 1971) (LP)
(Produced by Jim Sutton & Jim Lockert)


George Chambers "...And The Country Gentlemen" (Renner Records, 1969) (LP)
A great set of simple, understated twang, delivered authoritatively by singer George Chambers and his (sadly unidentified) backing band. Chambers was a stalwart of the country music scene in San Antonio, playing statewide throughout Texas where he was fondly remembered as a ubiquitous figure who gave a helping hand to a young Willie Nelson, as well as with countless other Lone Star twangsters. On wax, Chambers had an un-preposessing persona, with a thin-timbered voice that may remind listeners of Bill Anderson or George Hamilton IV... Still, he grabs your attention, and the material is pretty compelling, peppered with a few cover tunes, but mostly spotlighting a wealth of original material, including several tracks penned by James W. Foster, who may have been a member of the band. This album opens with a jaunty country-rock instrumental take on the Simon & Garfunkel hit, "Mrs. Robinson," then segues into one of Foster's songs, "The Ribbon," a clunky yet country prototype of "Tie A Yellow Ribbon Round The Ole Oak Tree," then into a series of more folk-flavored tunes, including the local pride song. "San Antonio." Side Two kicks off with a pair of dance songs that were super-popular in the area, "Cotton Eyed Joe" and "Schottische," which would later become staples of the late 'Seventies line-dancing scene. It also includes a somewhat fumbling topical tune written by Aaron Allen called "Children," which seems to have been an attempt to bridge the so-called generation gap of the era, and closes with a fine cover of a lesser-known Marty Robbins song, "The Hands You're Holding Now." There's only one number written by Mr. Chambers in the mix, "These Things You'll Never Know," a fine little weeper which makes you wonder why he didn't write more of his own material. This seems to have been the first full George Chambers album, although he had been cutting earlier singles dating back at least to 1966, including a version of "The Ribbon," which might be the same version included here. It's amazing he never sued Tony Orlando. Truly.


George Chambers & The Country Gentlemen "Feelings" (Renner Records, 1971) (LP)
(Produced by Doyle Jones & Mike Leming)
Another excellent album, with a richer, more robust production style and a more relaxed feel from Chabers and his band. Indeed, this edition of the Country Gentlemen -- Jerry Blanton (steel and lead guitar), Burt Mund (guitar), Randy Reinhart (piano), Larry Roberson (drums) and Terry Yarborough on bass -- may well have been an entirely different lineup than on his previous album, for as Willie Nelson jokes in his laudatory liner notes, Willie was famous for poaching talent from the Chambers band, most notably David Zettner, who helped anchor Nelson's band in the mid-'Sixties, as well as bass player Bee Spears, who toured with Willie for many years. Speaking of Willie, two of his songs are included here, "Bloody Mary Morning" and "Within Your Crowd," a lesser-known number that Nelson recorded back in 1965. Other notable tracks include a hip cover of the then-current CSNY tune, "Teach Your Children," an instrumental version of Gordon Lightfoot's "Ribbon Of Darkness," and even a Kenny Rogers/Kin Vassey ("A Stranger In My Place") song that does not suck, at least not in this rendition. There are also a couple of songs from Chamber's pals Aaron Allan and Jerry Blanton, who worked with the Country Gentlemen over a course of many years. All in all, a pretty cool album.


George Chambers & The Country Gentlemen "Who IS George Chambers?" (Joey Records, 1979) (LP)
(Produced by George Chambers, Mike Leming & Joey Lopez)
Another fine, bare bones country album from George Chambers and his large cast of Lone Star pals... Longtime collaborators Jerry Blanton, Bert Mund and Larry Patton are on board, joined by a slew of Texas pickers, including folks like fiddler Ron Knuth and piano player Randy Rinehart, and the return of prodigal sidemen Bee Spear and David Zettner, who famously were poached from Chambers' band back in the 1960s to work for the up-and-coming Willie Nelson. Though the tempo and feel doesn't vary much from track to track, this is a pretty solid set, particularly in the song selection. Chambers makes a few nods towards the country upper crust, with a version of Merle Haggard's "Shelly's Winter Love" and Wynn Stewart's "Wishful Thinking," a song uniquely suited to his vocal range, and places him squarely in the tradition of thin-voiced country balladeers. He also sticks with some of his favorite composers, including a version of Alex Harvey's "I've Got To Pay The Piper," and a nice tune from Jerry Blanton, "Lady, I'm Calling From Houston," as well as a reprise of J. W. Foster's "The Ribbon." Perhaps the album's biggest surprises are a couple of great songs penned by Ron Knuth, who is best known as an instrumentalist, "Tomorrow We'll Do It Again," and the achingly sweet "Marie." Several tracks, including the uncredited "No Use Runnin' (If You're On The Wrong Road)," came out earlier as singles on the Joey label, and this album may have been at least partially a compilation drawing on several years of stray releases from the late 'Seventies.


George Chambers & The Country Gentlemen "Dance Time In Texas" (Axbar Records, 19--?) (LP)


George Chambers & The Country Gentlemen "Privileged Audience" (Axbar Records, 2002) (CD)


George Chambers & The Country Gentlemen "The Journey Continues" (19--?) (CD)


Ray Chaney "I've Already Been Here Too Long" (Eagle Records, 1973) (LP)
(Produced by Durwood Haddock)
An excellent album by a hardcore Texas honkytonker. Ray Chaney (1928-1972) had been playing in hard country bands since the 1940s, playing with guys like Jerry Jericho before trying to make it as a solo artist. He kicked around for over a decade, rustling up club dates and recording a few singles before going into business as a nightclub owner: Chaney opened a joint called the Stagecoach Inn in 1961, and established the venue as a prime spot for Texas honkytonkers to get their groove on... This posthumously released album was a real doozy... It was produced by Chaney's pal, Durwood Haddock, who also wrote most of the songs (with Chaney adding a few of his own...) It's pure, boozy honky tonk music, with songs about sad sacks, party animals and bar flies -- basically, one would assume, the hard-drinking clientele of the various bars that Chaney worked at over the years. The backing band is pretty strong -- no-nonsense, straight-up hard-country with chunky electric guitar, solid rhythm and not-too-flashy pedal steel -- while his vocals are also pretty plainspoken. Though admittedly a bit limited as a vocalist, he sounds confident and relaxed, with sort of Dave Dudley-esque low growl sliding sideways into sly, drunken, bluesy curl, ala Mickey Gilley. If you're looking for the real deal, Ray Chaney had it. (Thanks to hillbilly-music.com for their info about this artist!)


J. R. Chatwell "Jammin' With J. R. And Friends" (Edsel/Sundown Records, 1982/1985)
(Produced by Doug Sahm)
A fabled Texas fiddler whose career began at the dawn of western swing, in the 1930s and '40s J. R. Chatwell recorded with legendary artists such as Bill Boyd, Cliff Bruner, Adolph Hofner and the Light Crust Doughboys. Chatwell's dynamic, inventive fiddling helped set the standards for an oncoming wave of young Texas fiddlers, notably influencing Johnny Gimble, who went on to become one of the preeminent fiddlers of his generation. In the 1960s, Chatwell was hit by a stroke which impaired his ability to fiddle, but when this album was cut, over a decade later, he was still able to sing and play piano. Joining him are outlaw luminaries such as Doug Sahm, Johnny Gimble, Augie Meyers and Willie Nelson, getting into some groovy, bluesy jams...


Lyn Childress "A Different Shade Of Country" (Step One Records, 1984) (LP)
(Produced by Ray Pennington)
This was Top 40-oriented stuff, though ultimately Lubbock, Texas's Lyn Childress didn't make any dents in the charts... It's an odd assortment of songs, though it includes three written by Childress: "Dallas To Odessa," "Honey You" and "I've Done All I Can." There's a later release from 2011, when Childress was having some health problems, which has a lot of the same material -- not sure if it's a reissue, or re-recorded versions of her old songs.


Chisai Childs "Chisai Country" (Aunt Susie Records, 1979-?) (LP)
(Produced by Bill Walker, Ronnie Reynolds & Phil York)
A pioneering figure in Missouri's country tourism industry, Chisai Childs (d. 2017) got her start in the Lone Star state back around 1974 when she and singer Johnnie High took over a music hall near Dallas-Fort Worth and started up the Grapevine Opry. They enjoyed financial backing from oil heiress Susie Slaughter, who bought the building and poured money into it for several years before they all three had a mutual falling out. By 1981 Childs had set roots in Branson, occupying the Starlite Theatre and bringing in seasoned performers from Texas to wow the locals. There were other mom'n'pop mini-oprys already there, but Childs pumped up the volume and injected some Vegas-level glitz, setting the course for the rest of the area. She sold the Grapevine, left Johnnie High in the rearview mirror, and went on to become known as "the Belle of Branson." Although she was a performer and made a few records herself, Childs really legacy was as a producer, talent scout and entrepreneur, boosting the careers of Boxcar Willie and countless other artists. She recorded a number of singles and at least two LPs, as well as appearing on various Grapevine Opry souvenir records. This album was recorded in Nashville with a studio crew that included Hal Rugg and Ray Austin on steel, Johnny Gimble (fiddle), Jimmy Capps (guitar), Leon Rhodes (bass), and producer Bill Walker playing piano. Not sure exactly when this came out, but the original Grapevine Opry was still going strong, and Childs pays homage to Aunt Suzie in the liner notes, as well as Babe Wes, who wrote most of the songs.


Chisai Childs "The Many Faces Of Chisai Childs" (Aunt Susie Records, 1981) (LP)
Designed to show her stylistic range, this album highlights Chisai Childs singing weepers and novelty numbers, as well doing comedic bits such as "One's On The Way"; the cover shows her onstage at the Grapevine Opry in a variety of getups, including her country clown persona, which seems to have had a Minnie Pearl vibe. Unfortunately the studio musicians aren't identified, although they were probably members of Grapevine cast... There's also no release date on the album or the singles that were broken off from it; folks assume is was released in 1981 based on the LP's catalog number, though it may have come out earlier, as the liner notes mention that "the Grapevine Opry has been on the radio for the last five years." At any rate this album, which is packed with original material, is a fine showcase for a tenacious and groundbreaking Lone Star country gal.


Chisai Childs "Let 'Em Talk!" (Starlite Records, 19--?) (LP)


Chisolm "Chisolm" (Chisolm Productions, 1985)
(Produced by Elroy Kanahek)
An independently-produced, would-be Top 40 band from Plano, Texas, Chisolm featured a quartet of young pretty-boy frontmen, singing a bunch of original material, with most of the songs written by the duo of Warren Robb and Dave Kirby. Kirby also plays guitar on the sessions, but isn't an official member of the band; also in the studio is Terry McMillan on harmonica. This seems to have been a project of producer Elroy Kanahek's publishing company, Joyna Music -- Kirby's songs are all credited to that house, as is one contributed by Kanahek. They seem to have been shooting for a Restless Heart/Lonestar '80s pop vibe, though I dunno if any of this went anywhere in the end.



Guy Clark -- see artist profile


Barbara Clawson "...And The Nashville Beats" (C/B International Pro-Talent Records, 1970-?) (LP)
Described in the liner notes as "the Vicki Carr of the country music world," Barbara Clawson was a country gal from Corpus Cristi whose main gig was playing military shows at bases and posts throughout South Texas, backed by her band, the Country Beats. They are introduced by their first names only and they have the world's most perfect collection of Texas monikers: Al, Billy, Bob, Bubba, Gary and Johnny, which parses out to be her husband Bob Clawson and their son Bubba, along with Al Nelson, Billy Proctor, Gary Carriager and Johnny Mitchell, most of whom get a solo of some kind or another on this album. This disc is packed with original material penned by various B. Clawsons, along with covers of a Mundo Earwood song ("Not Lookin' For A Home") along with some Harlan Howard, Ned Miller, and Ms. Clawson singing Bob Dylan's sultry "I'll Be Your Baby Tonight." I'm not sure when this super-self-released LP came out, though its notable that she used her own local guys on this one, but went for the Nashville pros when she cut the Stop Records LP below... The Clawsons also owned a music store Corpus Cristi -- Clawson's Music -- which they opened in 1963, and was still being run by Bubba Clawson as recently as 2021, pandemic be damned.


Barbara Clawson "One In A Million" (Stop Records, 1970) (LP)
(Produced by Pete Drake)
The Clawsons first passed through Nashville in the late 'Sixties and crossed paths with steel guitarist and producer Pete Drake, who gave them an open invitation to record for his Stop label, which they took him up on a year or so later. Apparently the royalty checks from this album -- which included the single "One Mr. Budwiser" -- helped finance the expansion and relocation of their family-owned music shop. At least that's the family story... I'm not sure if it's Pete Drake or any of his Music City cohorts backing Mrs. Clawson on this disc, or her own Country Beats band, but there's definitely a bunch of original material on here, with most songs credited as "B. Clawson" originals (though it's not clear whether "B" stands for Barb, Bob or Bubba...) Interestingly, she also sings a couple of tunes by the songwriting duo of Jack Rhodes and Billie Jo Spears -- "Old Molly Brown" and "The Right To Love What's Left," which also appears on her other album, as do a couple other of these tracks. Not sure which album came first -- originally I thought it was the one that came out in Texas, though I might have that backwards.


John Clay & The Lost Austin Band "Drifting Through The Seventies" (Mockingbird Records, 1979) (LP)
I haven't heard this one, but I'm eager to check it out. John Clay was apparently one of the earliest outsider musicians to move to Austin, back in the early '60s, and he had his share of strong opinions about how the "outlaw" scene grew. Anyone have more info about this guy, or know if he recorded more than these two albums?


John Clay & The Lost Austin Band "Bad Boy Come Home" (Hi-Fi Nance Records, 1983) (LP)


Roy Clayborne & The Alamo "First Edition" (19--?) (LP)
Originally from San Antonio, singer Roy Clayborne was the epitome of an upbeat but struggling third-tier country lounge artist. He worked all over, in Nashville and throughout the Southwest and Midwest, as well as touring Europe a time or two. He led a variety of bands and much of his material was original. The exact details of where and when his records were recorded are a bit hard to track down: as far as I know, this was his first album, although I'm not sure when it came out. Clayborne was working professionally at least since the late 1960s, with professional management as early as 1970, although he didn't have a record deal until later. At any rate, this disc is also notable for being one of the many vanity LPs pressed with the identical beach landscape photo -- they all had different "label" names but obviously came from the same manufacturer... More on this later.


Roy Clayborne & The Alamo "Second Edition" (Alamo Village, 1975) (LP)
This live album is one of Clayborne's strongest releases -- it was recorded at the Sahara Motor Inn, which I believe was located in Tucson, Arizona. As always, Clayborne had one foot here, one foot there -- there are a couple of Arizona pride songs, notably "Son Of Arizona," where he explains that he wasn't born there, but that the state had opened its heart to him, and he now felt like a native son. Still, there's a mailing address on the back of the album for his manager, Happy Shanan, in Brackettville, Texas, so Clayborne seems to have been a pretty nomadic fellow. Oh! And the music? Pretty good, actually. The uptempo country stuff is fun, though balanced by some melodramatic, cornball numbers like the Spanish-flavored "Malagena" and his uber-earnest cover of "Please Come To Boston." There's also a perky live version of "Mary Gets Around," a song that was also released as a single on the Libbi label a couple of years later. Overall, this is a pretty strong effort, and even the flaws are kind of charming. On the track entitled "Medley," Clayborne says he's doing classic country impressions -- of honkytonkers like Lefty Frizzell, Hank Williams, etc., although really all the impersonations just sound like Clayborne singing in his usual voice, which is fine, just a little funny that he billed it that way. The only really weak moment comes on the last track, "Wouldn't It Be Something," an inspiration ballad sung by one of the younger members of Clayborn's band (unidentified on the album jacket) which is kind of a terrible song, but also the guy couldn't sing on key. But hey, that's how you know they're real people, right?


Roy Clayborne "Roy Clayborne" (Guinness Records, 1977) (LP)
(Produced by Louis Lofredo)
Very odd looking LP on a label widely said to have been a "tax scam" company -- i.e., a phony business set up for the sole purpose of writing off losses inside the US tax code. Still, to write off a record, you gotta have an artist, so Roy Clayborne got to squeeze out one more LP, even though the cover art is unbelievably weird and visually very un-country. Also, the song titles overlap with his previous releases; I'm not sure if these are re-recordings or if this is kind of a de facto "best of" collection. Anyone know for sure?


Roy Clayborne "Arizona Highways" (Libbi Records, 1978) (LP)
(Produced by Bobby Borchers)


Roy Clayborne "Roy Clayborne" (Libbi Records, 1978) (LP)
(Produced by Bobby Borchers & Larry Baker)
Clayborne was apparently doing lounge gigs in Nashville around the time this album was recorded... Although it's a studio set, I'm sure it reflects his stage show pretty well: there's some robust country stuff, like his cover of Dallas Frazier's "The Devil Ain't A Lonely Woman's Friend" (an awesome, over-the-top novelty number about an unwed teenage mother who goes to Nashville trying to make it in the music business, and winds up a drug-addicted prostitute who jumps off a bridge at age 43... They don't write 'em like that anymore!) Clayborne also covers a couple of Mickey Newbury songs (as sluggish, Elvis-esque ballads) and two by songwriter Gary Sefton, as well as two Clayborne originals. According to the liner notes, Clayborne was known as a "country western imitator," but other than the vague Elvis-iness on a few tunes, I couldn't really place any distinct likenesses. But there are some okay performances; also of interest is the producer, Bobby Borchers, a distinctive singer who cut a couple of records himself a few years earlier.


Roy Clayborne "Live At The Landmark" (Contempo Records, 19--?) (LP)
Not sure when this live album came out, although while trying to find out more about Clayborne, I did learn that he died in 1996 while on tour in Europe. Clayborne's most notable contribution to country music is probably his song, "Put Me On A Train Back To Texas," which was covered by Willie Nelson on his 1991 album, Clean Shirt. Other than that, I think he was mostly known regionally, particularly in Arizona, where he wound up hanging his hat.


Buck Cody & His Brazos Valley Ranch Hands "...Plays Western Swing" (Wizard Records, 19--?) (LP)
Early 1960's western swing a Texas band led by music promoter/singer/magician Buster Doss, who also went by the name Buck Cody, a name taken from a character he played on a children's television show in Texas. Doss put together an entire music variety show built around the Buck Cody persona, and at the time this album came out the group included vocalists Kay Arnold and Jerry Jericho, as well as fiddler Johnny Gimble. Although originally based in Texas, Doss spent most of the '60s in Nashville, where he managed several artists and started his own record label. When he returned to the Lone Star state, Doss focussed more on show promotion and publicity, including working with Willie Nelson during the time Willie ran his own, short-lived Lone Star label. In later years, during the digital era, Doss continued to promote numerous unsigned but aspiring country hopefuls, issuing CDs in what seemed like a kind of song-poem type arrangement.


Buck Cody "...And His Brazos Valley Ranch Hands" (Binge Disc, 20--?) (LP)


Jim Colegrove "Panther City Blues" (Flying High Records, 1978) (LP)
(Produced by Jim Colgrove & Mike Talmage)
Born in Springfield, Ohio, guitarist Jim Colegrove had been a key member of Ian & Sylvia's short-lived country-rock band, Great Speckled Bird, and its spinoff, Hungry Chuck, which he formed with pianist Jeff Gutcheon and some other guys from the Bearsville label scene in upstate New York. Later Colegrove headed off to Texas, where he got more into blues and bar-band music, as heard on this album, with Jeff Gutcheon sitting it... Colgrove also was part of the Juke Jumpers band, formed with Stephen Bruton, and recorded several retro blues-a-billy albums with that group.


Wanda Conklin "Hush" (Norm Records, 1969) (LP)
(Produced by John Sands)
Originally from Glen Falls, New York, singer Wanda Conklin found herself down in the Lone Star State after following her husband Jack Conklin, an active US Air Force sergeant, to his post at Denison, Texas, just north of Dallas. She started singing at NCO shows at the nearby military bases and word about her talent got passed to songwriter and record producer John Sands, who was corralling local talent to record a few of his songs. They originally planned to just cut a single, but things went so well the project expanded into this album, which was recorded in Nashville with arrangements and pedal steel by session great Lloyd Green. Fort Worth country deejay Bill Mack was impressed and subsequently recorded a few duets with Conklin for the nationally-distributed Hickory label, circa 1970-71, with a few more singles to follow on less prominent indie labels, though as far as I know this was her only full LP. Along the way she sand backup for Jerry Lee Lewis when he came through town, and apparently performed at local beerhalls such as The Stagecoach, which was owned by hardcore honkytonker Ray Chaney, who later sold the bar to Bill Mack. Conklin also apparently recorded a TV pilot in Oklahoma City for an aspiring country music host Dale Ward. After that, the trail grows cold, with some sources speculating that she went back to singing gospel music. She got a few brief plugs in Billboard, but the most in-depth profile was an article in The Amarillo Globe-Times, which is the source of most of the biographical info above.


Cooder Browne "Cooder Browne" (Lone Star Records, 1978) (LP)
(Produced by Paul Hornsby)
I remember this Texas-based Southern-rock/hippie-country band being played all the time on KFAT radio, but the song they loved to spotlight was the awesome, fiddle-driven novelty number "Swinging With The Armadillo," which sadly isn't on this album. (It can be found on the Six Pack sampler for Willie Nelson's short-lived Lone Star label...) Recorded at Capricorn Studios with guest appearances by the Marshall Tucker Band's own Toy Caldwell (on steel guitar) and Jimmy Nalls of Sea Level, this album has more of a rock/funk vibe, evoking Little Feat as well as Charlie Daniels, with slight dips into more rough-edged boogie-rock material. Mostly this is too note-heavy and aggro for me: it being the 'Seventies and all, maybe they were a little coked-up? Anyway, this is one of those archetypically disappointing albums that I sought out years ago because of the whole KFAT thing and wound up not liking anything on it. Decades later, it's still the same: just not my cup of tea. But if you're into bands like, I dunno, The Outlaws or the Charlie Daniels Band, you might like this.


Jimmy Copeland "Back To Basics" (Pa-Paw Records, 19--?) (LP)
Honkytonk singer Jimmy Copeland (1932-2014) was born in Marquez, Texas and after completing his military service worked as a radio deejay and bandleader in the Houston area. In the early 1970s he settled in nearby Conroe, and late opened a couple of nearby car dealerships and became a local celebrity both for a TV show he hosted and for his colorful TV ads, including one where he posed with his grandchildren and told viewers to "come see Pa-Paw," earning the nickname he used for his own record label. This album draws on Mr. Copeland's string of singles which date back to the 1960s, including solo recording such as "I Wouldn't Lift A Finger," "For Sale (Rent Or Lease)" and "That's What Sells The Wine," as well as several duets he cut with fellow country deejay Mary McCoy, a gal from Conroe who'd been working in local radio since the early 1950s. I've only seen the CD version of this collection, not sure if there was an LP that preceded it... Jimmy Copeland also recorded several singles that are not included here.


The Country Cavaleers "Presenting The Country Cavaleers" (JBJ, 1974-?) (LP)
These longhaired Jesus-freak country-rockers hailed from Tampa Florida, though they went to Music City to make it big around 1971, and didn't quite click with the conservative vibe of a pre-outlaw Nashville. The Cavaleers (sic) were ex-rockers Buddy Good and James Marvell, who started out as Nuggets-style mid-'60s garage rockers playing in a variety of little-known bands, including a psych-pop group called Mercy that had a short-lived major-label contract in 1969. But being Southern boys, they also moonlighted in a country band and when the rock gig fell through, they decided to make a go of it as twangsters, combining a shaggy, hippie-esque look with a down-home, moralistic Christian philosophy, spiced up with a few pop-rock hooks. They were square pegs in a world of round holes, but a case can be made they were groundbreakers as well, at least as far as their image went... For a couple of years they were in the orbit of the Wilburn Brothers, touring with the old-timers and appearing frequently on their TV show. The Cavaleers made a few waves and got a couple of nibbles from MGM and other labels, but by the time they made this LP, they were deep into the indie/custom label vortex. The duo worked together up until around 1977, with a posthumous live album coming out sometime around 1980. James Marvell, whose real name was Carlos Zaya, went solo for a few years and even recorded some Freddy Fender-esque bilingual twang, but he met with limited success, and later worked as a Christian country artist. (Many thanks to Edd Hurt for his informative article and interview on Perfect Sound Forever, which also includes a discography that includes the Cavaleers numerous singles...)


The (Country) Cavaleers "Live On Stage: A Special Tribute To Elvis Presley" (Versha Records, 1980-?) (LP)
Though billed as an homage to Elvis Presley, this album is a 'Fifties-era nostalgiafest that includes oldies by Chuck Berry and Hank Williams, as well as several Elvis tunes. Most of the tracks are live, recorded at a gig in Morganton, North Carolina, though the record seems to have been padded out with some studio recordings as well. The Elvis angle implies that this came out around 1977-78, though Edd Hurt's discography places it around 1980. Who knows?


The Country Class Band "Good Feelin's" (Country Class Records, 1984) (LP)
(Produced by Michael Henry Martin)
A Top Forty-oriented group from Wichita Falls with just the band name on the album jacket, but lead singer Joe Brumley's name also listed on the inner label. Guess they couldn't decide how democratic to be about this project, and how much Brumley wanted to be the "star" of the show(?) Anyway, they try really hard to get into the synthy sound of contemporary, early-'80s Top Forty country. It doesn't really work, but it's still a good example of a regional indie band trying to play by Nashville's rules... As far as I know, the Wayne Goodman playing rhythm guitar is not the same guy as the NPR reporter of the 2000s.


The Country Corporation "The Country Corporation" (Karma Records, 19--?) (LP)
(Produced by Billy Teague?)
Straddling the line between country and bar-band rock, this band from San Angelo, Texas was led by songwriter Billy Teague, although various members took turns singing lead, including Dian Allan, Mike Allan, Frank Markwood and Billy Teague. (There's a fifth bandmember pictured on the cover, but no credits to identify them.) Although some songs have a rock vibe, there are also familiar themes for country fans, on tunes such as "Cheatin' Turns Her On," "Funky Little Fiddle" and "You Don't Have To Go Overseas To Marry A Broad." There's not date on the disc, though it looks late '70s, possibly early-to-mid '80s. I'm not sure if any of these folks worked in other bands; this seems to be their only album.


The Country Drifters "Country The West Coast Way" (Trio Club Records, 1982) (LP)
(Produced by Joe Bielinski & Jerry Abbott)
Drummer Joe Bielinski sold this record from his home address in Mingus, Texas (and presumably a few live shows) It's a tribute to the robust West Coast country sound associated with Buck Owens and his compatriots. The Drifters were together for at least four decades, though as far as I know this was their only LP. This edition of the band includes famed steel guitarist Ralph Mooney, who helped shape the hits of Bakersfield Sound stars such as Wynn Stewart, Buck Owens and Merle Haggard. The rest of the band were Fort Worth-area musicians, including fiddler Merle David, piano player Mike McClain, bassist Bill Gilley and guitar picker Tommy Spurlock, with vocals by Bob Pritchard, Randall Branscum and Royce Turney. Nice, down-to-earth twang and pickin' from some Lone Star locals.


The Country Sounds "The Country Sounds" (1976) (LP)
(Produced by Bob Sullivan)
A Dallas-based country covers band made up of former members of Smokey Montgomery's band, including picker Howard Reed and steel player Tommy Bollinger, as well as a female vocalist only identified as "Mary Ann" and bassist Marc Jaco, who also worked as a session player on numerous indie recordings in the Dallas area. They apparently played as a house band for the Cowtown Jamboree, a live venue held in Forth Worth's Panther Hall. Montgomery backs them here on piano and banjo... As far as I can tell, these are all cover tunes, including some western swing and hillbilly oldies, as well as several instrumental showcase tunes such as "Pan Handle Rag" and "Orange Blossom Special."


The Country Traders "Tradin' A Little Country" (197--?) (LP)
(Produced by Patrick A. Flory)
This youthful quintet from Lipan, Texas (just west of Fort Worth) included brothers David and Jimmy Bass, drummer Alan Wimberly, lead guitarist Clyde Harwell and Steve Howard on rhythm guitar. They play a bunch of cover songs, including some stuff by Merle Haggard ("Branded Man," "Swinging Doors"), Waylon Jennings ("Just Pretend I Never Happened") and other oldies such as "Mental Revenge," "Six Days On The Road" and "The Race Is On." There's no date on the album, but judging from the fashion choices, hair length and song repertoire, I'd say this was recorded around 1974-75, though the only references to the band I could find online were show notices from 1976. I think these guys were all in high school when they cut this disc -- Alan Wimberly was a local basketball player, and went off to college in Memphis in '77, so I'm guessing that might have been the end of the band.


Colleen Crawford "The Man Behind The Wheel" (Special Records, 19--) (LP)
(Produced by Marvin Montgomery & Ray Winkler)
A young gal from Dallas, demo-ing some new stuff and singing a few classics. Although this is pitched as a trucker album, it's really just the title track, an original written by Libby Winkler, that's semi-specific. The rest of the record isn't necessarily about white lines and lonely highways, though there are a several originals along with a slew of country oldies. Covers of "Drinking Champagne," "Help Me Make It Through The Night," "I Fall To Pieces" and others provide a backdrop for newer, would-be hits such as "John Hathaway's "Somebody Mentioned Your Name," "The Longest Day Of My Life" and "That's The Way It Is." Unfortunately, the musicians are not listed, but since this was recorded at Phil York's studio, with Marvin Montgomery organizing the sessions, we can assume they were mostly Dallas locals.


The Critters "On Country Time" (Interlude Productions, 1981) (LP)
(Produced by Don Smith & Sal Moristere)
Also known as the Country Critters, this was a group of American military personnel stationed at Lackland AFB, outside of San Antonio, Texas which performed regionally at 4H clubs, state fairs and other events, in part as recruiters for the Air Force. A couple of cover tunes bookend this album, but mostly it's a conduit for original material written by lead singer/guitarist Bobby Ivie, as well as fiddler Julie Schembre. They are supported by Dwayne Farrow on rhythm guitar, Tim Gullick on bass, drummer Tom Harris, and steel player/multi-instrumentalist Mel Parish. Several bandmembers had been in other military groups, notably Julia Rae Schembre, who was accepted into the prestigious Air Force Band of the West not long after she enlisted in 1976, and who toured with the band in the West European and Asian theatres for several years before also joining the Critters. The group was led and founded by Parrish as an adjunct to his work in other military bands, and several of the musicians had classical or jazz backgrounds before they took up twang. This record appears to be a souvenir album produced outside the chain of command, with no mention of their Air Force duties in the liner notes... As far as I know, this was their only album.


Hondo Crouch "Luckenbach Daylight: The Back Porch Tapes" (Muddobber Records, 1986) (cassette only)
(Produced by Dow Patterson)
Based on all those old 'Seventies outlaw anthems, non-Texans might imagine the tiny town of Luckenbach as some sort of mythic, Lone Star outpost, a cowtown Shangri-La that loomed large in the state's cultural consciousness. In reality, it was an empty, dust-strewn, microscopic ghost town, a real nowheresville backwater -- at least that was the situation in 1971 when local landowner John Russell Crouch (1916-1976) bought the entire town (population three) along with his wife and a neighboring family, then refashioned it into a hippiebilly oasis where country rebels like Willie Nelson and Jerry Jeff Walker could kick back and let their hair down. Hondo Crouch was particularly tight with Jerry Jeff, who recorded his 1973 live album Viva Terlingua! in Luckenbach and who wrote about Crouch in his liner notes and songs. This cassette-only album was released posthumously, a decade after Crouch died of a heart attack in 1976. I'm not sure of the provenance of the tapes, if it was recorded all at once, or over the course of years, and who may have been playing with Crouch on the sessions. A lot of it is spoken-word stuff, including a lot of Spanish-language material, and several cuts with "Luckenbach" in their titles. Anyone know who has the rights to this record? And does it need to be revisited? [Note: probably the best thing written about Hondo Crouch was this extensive profile in Texas Monthly, published back in 1984, which details how the quixotic vision for the lost city of Luckenbach took shape way back in the goodle days of the outlaw era...]


R. W. Crouch & The Bum Steers "If You Divorce Me Baby, Who'll Get The Truck?" (D Records, 1976) (LP)
(Produced by Wayne Schuler & Lonnie Wright)
A truly oddball offering by Houston country music deejay R.W. Crouch, whose on-air nickname was "Catfish," although I guess he chose not to record under that name as well. While working on radio station KILT-FM, Houston, Crouch fell into the orbit of label owner Pappy Daily, and published his original songs through Daily's Glad Music company. At any rate, this is kind of a cool record, one of those sassy, mess-with-the-genre offerings along the lines of Terry Allen or Kinky Friedman, where solid musicianship is wed to an anarchic artistic vision, replete with purposefully "bad" performances and unruly, tangential songwriting. The backing band included, notably, guitarist Danny Epps, along with Jim Black on keyboards, Bobby Bowman (pedal steel), Sammy Bundrick (drums), Owen Cody (fiddle), Burt Fannette (keyboards), Stan Randall (lead guitar) and Dana Smith on both keyboards and fiddle. Though this album is not in the outlaw/outsider twangfan canon, it should be -- it's packed with weird, surprising songs and amiable, goofy performances. No idea if he was related to Jerry Jeff Walker's old buddy Hondo Crouch, though I imagine it's possible.



Alvin Crow -- see artist profile



Rodney Crowell -- see artist profile


R. W. Culpepper "R. W. Culpepper Sings" (World Wide Revival Crusades, 19--?) (LP)
Oh, so good. There are few things I like better than finding a truly twangy, soulful country gospel album, and this disc's a doozy. According to Randall Herbert Balmer's Encyclopedia Of Evangelicalism, Richard Weston Culpepper (1921-1983) was a Texas-born Pentecostal "holy ghost" preacher who converted while serving in WWII, then set up his own ministry following the war. Like many evangelists of the era, he seems to have moved around a lot and took part in several shifts and movements inside the Pentecostal movement. His initial postwar ministry was based in Los Angeles, where he was living at least through the early 1970s, though he later moved to Milwaukee, where he passed away in 1983. I don't know the full contours of his career, but the music on this album speaks for itself: with his fervid, slightly froglike, old-man vocals and manic true-believer enthusiasm, Culpepper recalls the musical glories of Depression-era gospel pioneers such as Albert E. Brumley and Alfred G. Karnes, whose emotionally explosive, rapturous style held an uninhibited, slightly nutty edge that many fans find so compelling. This is the sound of country preachin' music before the sleek, stuffy southern gospel movement took all the fun out of everything. Culpepper is ably backed by the Dallas, Texas group known as Bob Wills and the Inspirational Quartet, who I've always been leery of due to the obvious brand-name confusion with western swing legend Bob Wills... But they provide suitably primitive backing, often punctuated with some sweet, sly Chet Atkins-y guitar. Other musicians include David Hollis and Rachel Sherrell, who I'm guessing were backing singers... Mr. Culpepper appears to have recorded at least one other album, though I haven't laid eyes (or ears) on that one yet.


R. W. Culpepper "...Sings Let Go And Let God Have His Way" (World Wide Revival Crusades, 19--?) (LP)


Dean Curtis & The Music Men "On The Road" (Music Mill, 1970-?) (LP)
(Produced by Mickey Moody)
Born in Tucson, Arizona, honkytonker Dean Curtis settled in Texas after a stint in the Navy then led his band The Music Men through the late 1960s and '70s. He cut a string of singles as well as this full album, which appears to be a souvenir of his frequent performances at Panther Hall in Fort Worth, where Curtis and his band are pictured playing onstage at the weekly Cowboy Jamboree program. Backing him are locals Casey Dickens on drums, Kenny Norman (steel guitar), Johnny Patterson (lead guitar), Sonny Rister (bass) and Bobby Zellner on fiddle. Some of these guys had played in bands with stars such as Jimmie Davis, Tex Williams and Bob Wills -- Sonny Rister also recorded at least one single of his own, back in the 'Sixties on the microscopic Ebony label. Mr. Curtis was associated with the Dallas-Forth Worth scene, though his real center of activity was nearby Longview, Texas, where The Music Men were the house band at a club called the Rio Pall Mall. They also played local rodeos and charity shows throughout the early 'Seventies, and Curtis cut at least one single for the Stop label in Nashville, though wider fame eluded him. Later in the decade he cut a few singles for Fort Worth country promoter Major Bill Smith. As far as I know this was Dean Curtis's only full album... From the title you'd think is was a live album, though it's definitely a studio set; producer Mickey Moody also worked with Curtis on some tracks cut for Paula Records around the same time.


Mac Curtis "Sunshine Man" (Epic Records, 1968) (LP)


Mac Curtis "Early In The Morning" (GRT Records, 1970)
(Produced by Tommy Allsup)
Like many 'Fifties firebrands, rockabilly pioneer Mac Curtis tried his hand at "going country" and making it big in Nashville... This was his last major-label album, and it was reasonably successful, with the title track cracking into the Top 40 and staying on the charts for a couple of months. Overall, though, this is a pretty flat-sounding record -- not unpleasant, but not particularly energetic or soulful. The picking is nice, with an anonymous studio crew turning in a pretty good performance while Curtis more or less croons his way through a bluesy set of R&B oldies, vintage rockers and a few of his own songs, sort of in a Charlie Rich/Mickey Gilley style. It never really catches fire, though... Worth a spin, definitely worth checking out, but maybe it was for the best that he went back to his rocker roots and hit the retro-billy circuit during the rest of the '70s and '80s.



Sonny Curtis - see artist discography


Dallas County "Dallas County" (Stax/Enterprise Records, 1971) (LP)
(Produced by Don Nix)
Meh. Just consider this one a warning. Yeah, yeah, I know: you see the words "Dallas County" and you figure it's just gotta be some cool major-label country-rock missing link... But, no. It's just excruciatingly mediocre white soul-horn band stuff, with an underlay of early '70s sunshine pop. The whole thing seems pretty uninspired: the horn charts are bland and repetitive, the vocals by Sammy Jaramillo are emotive, but unmoving. It's sort of like a Three Dog Night outtakes album straight outta Texas... Maybe some fans of the genre will find this rewarding, but twangfans can safely steer clear of this disc. Nothing to see here.


Allen Wayne Damron "Live At The Kerrville Folk Festival" (Kerrville Records, 1973) (LP)
(Produced by Rod Kennedy & Pedro Gutierrez)
One of the twenty or so albums by Texas folk elder/cowboy poet Allen Wayne Damron (1939-2005). Born in Raymondville, Damron was both a performer and promoter, as co-owner of the Chequered Flag, one of Austin's first folk clubs, and one of the people instrumental in starting the Kerrville Folk Festival. Damron co-founded the Chequered Flag in 1967, and on the opening night of the club he sang a version of "Mr. Bojangles," becoming the first artist -- ever -- to record the future classic by Jerry Jeff Walker. This set is, I admit, ironically just a bit too "folkie" for me, although Damron does cover a couple of Michael Murphey songs, including a rambling rendition of "Fort Worth, I Love You," which is peppered with Texas in-jokes, and a worst-song-ever contest -- stuff that went over big with the crowd of a thousand eager folk fans.


Allen Wayne Damron "The Old Campaigner" (BF Deal Records, 1976) (LP)
This album includes the songs "Kansas Legend" and "Berkeley Woman," a combo that was enough to get my attention...


Allen Wayne Damron "Texas In His Ways" (PSG Records, 1981) (LP)
Mostly recorded live at the Lock, Stock And Barrell, in Austin, Texas...


Allen Wayne Damron "Country" (Bright Side Records, 1982) (LP)
(Produced by Hugh Sparks)


Allen Wayne Damron "Sweeping Up Dreams" (Canadian River Records, 1985) (LP)


Dan & Dave "Recorded Live At The Back Room" (D-Bar-D Records, 1981) (LP)
(Produced by Peter Butcher)
A primitively recorded live show from an Austin outlaw duo, running through a bunch of country classics, hippiebilly anthems and current hits, including covers of "London Homesick Blues," Guy Clark's "Texas, 1947," "On The Road Again," a pre-George Strait version of the regional hit, "Amarillo By Morning," some Johnny Cash and Hank Williams tunes, and even a version of "Looking For Love." The group included lead singer/guitarists Dan Burke and Dave Henry, along with Kim Hayley on bass and steel guitarist Artie Passes, performing live at a venue called The Back Room. The sound quality's not great, and the stage patter tries to be provocative (sometimes in the wrong ways, as when the emcee jokes around about one of the bandmembers being a "Jewboy" -- maybe Kinky Friedman could get away with that, but not every random Bubba...) Overall, though, this is a nice snapshot of a local Austin-area band, plugging away in the pre-Americana era, hitting a lot of the right notes, culturally speaking, with a particularly strong song selection, decent picking, and sorta-okay vocals. Worth a spin, for sure.


Merle David "Zak-Tone Records Presents..." (Zak-Tone Records, 1973) (LP)
(Produced by Charlie Taylor)
Texas fiddler Merle David played with numerous honkytonk and western swing bands from the early 1950s onward, recording at least two solo albums and one with the Fort Worth-area locals band, The Country Drifters. On this early 'Seventies offering he overdubs the fiddle parts, but gets backing from a few pals, including Jerry Abbott on piano, Bobby Green on dobro and Bruce Whitaker on bass.


Merle David "The Country-Jazz Moods Of Merle David" (Priority Records, 1980) (LP)
(Produced by Johnny Case, David Hearne & Gary Carpenter)
A jazzy solo set, with backing from John Case (piano), Jerry Case (bass) and Ron Thayer (drums). According to the liner notes, David was working in Tommy Allsup's band at the time he recorded this jazzy solo set...


Davis & Company "Finger Pickin' Good" (Aunt Susie Records, 1982-?) (LP)
(Produced by Johnnie High, Gary Scott & Phil York)
Light-hearted bluegrass from one of the acts at the Grapevine Opry... This group featured bass player Bob Davis, a veteran of the Shady Grove Ramblers, along with his sons Brad and Greg, as well as Kevin Fair (mandolin), Todd Strohmeyer (dobro) and fiddler Tammy Rogers (a local teenager who went on to do a lot of high-profile top forty session work in Nashville.) This disc spans a mix of bluegrass and country standards, as well as "progressive" influences such as the Flying Burrito Brothers ("Hot Burrito Breakdown") and Fats Domino's "I'm Walkin'." The title track, "Finger Pickin' Good," is credited to the Grapevine Opry's Johnny High and Aunt Susie Slaughter. Oh, and they also cover "Rocky Top," in case anyone is keeping track.


Art Davis "A Cowboy And His Music" (White Hat Records, 1975) (LP)
(Produced by Danny Hogan & Jim Rorie)
In 1935, Texas-born Art Davis was tapped by Gene Autry to play fiddle in his band -- Autry was on his way to Hollywood, and soon so was Davis, who wound up performing in numerous Autry films, as well as in a string of short features with Bill Boyd. World War Two interrupted his music career, and after the war he demobbed to Tulsa, Oklahoma where he and his brother Jay formed a band, playing in the vibrant western swing scene as Bob Wills and his brothers. The Davis Brothers also hosted a radio program on KTUL, Tulsa and toured widely, including numerous shows in Las Vegas. (The album below is a souvenir of their Vegas days...) Art Davis later went into TV, hosting local shows in Tulsa and Orlando, Florida, though eventually he retired from the music business. This album is a laid-back homage to the music of his youth, leaning mostly on honkytonk and western swing, though peppered with a few sentimental oldies such as Autry's "Silver Haired Daddy Of Mine" and various fiddle tunes. He's backed by a band of locals, presumably from Memphis where this album was recorded, with Jerry Ward on bass and guitar, Beecher Stuckey playing fiddle, and Billy Herbert on harmonica.


The Davis Brothers "More Top Tunes By The Davis Brothers" (Jamaka Records, 19--?) (LP)
By the time they cut this album, veteran country players Art and Jay Davis had settled into a Vegas act where they sounded like Homer & Jethro, or perhaps they were more in the Eddie Lang & Joe Venuti mold, playing Tin Pan Alley standards and a few country oldies as a simple, stripped-down string-band duo. The mandolin plays lead, with modest accompaniment by the other brother on guitar. One of them sings as well, in a laid-back, old-man kind of voice. The Davis duo was apparently considered popular enough -- and country enough -- to share billing with headliner Judy Lynn during her run at the Golden Nugget in Las Vegas. They also apparently played the Wagon Wheel honkytonk, which is where they were playing when they autographed the copy that I picked up. The album itself is super-generic, with no art at all on the back, and I'm pretty sure it's one of those vanity albums from a "custom" label that recycled the same album art for various clients. (The picture is of Grumman's Theater in LA, so go figure...) There are no liner notes, so I dunno who played what, or when this was recorded -- mid 1960s? -- so this one's basically a mystery record. I wouldn't recommend this ultra-obscuro album for the casual twangfan, but for folks who are tapped into the "sweet band" big-band style and the world of sentimental oldies, this certainly has its charms.


Duke Davis "Destiny" (Inde-Pro Records, 198-?) (LP)
(Produced by Duke Davis)
Check it out: this guy's the same Duke Davis who played bass for a while in the legendary 1960's Texas garage-psych band 13th Floor Elevators, as well as other late '60s/early '70s Lone Star rock bands. Davis also had a stint in Vegas where he worked with country lounge singer Bill Nash, and others. In 1979, he headed out to Los Angeles where he formed the Buckshot Band, an outfit that became a proving ground for numerous West Coast country pickers. On this early album, the Buckshot Band recruited some top talent, such as fiddler Byron Berline, country-rock pioneers Rick Cunha and Skip Edwards (on keyboards), Greg Leisz (dobro) and fabled pedal steel player Jay Dee Maness, as well as a bunch of lesser-known fellas who were probably the regular band members. Fellow Texan Dan McCorison sings background vocals on several songs. Duke Davis stayed in Southern California leading the Buckshot Band until the early '90s, when he decamped to New Mexico and later to Colorado, and eventually moved back to his native Texas. Along the way, he delved into more traditional, cowboy-style western music, most recently creating a theatrical show called "Westward Ho!" that showcases his love of old-school cowboy music and western swing. I'm not sure, but I think this was his first solo album, with all original material written by Davis.


Kenny Davis "Live At Jason's" (1972) (LP)
(Produced by Alan O'Day)
Alas, at one point I had researched the life and times of Kenny Davis, and even reviewed this album... but that was on a laptop that drowned when the pipes burst right over my desk. No, really. Anyway, I forget the details, but Davis -- who was apparently originally from Texas -- plugged away for years, including a stint in Southern California where he was working when he cut this album. Probably what's most interesting here is the presence of SoCal pop singer Alan O'Day, on board as the album's producer -- O'Day had been working California clubs throughout the 'Sixties and was burnt out and semi-retired when he spotted Kenny Davis playing a steady gig at Jason's House Of Prime Rib, in Burbank, and wound up doing some live gigs with Kenny Davis and his band in the early 'Seventies, which apparently got his creative juices flowing. He agreed to help make this souvenir album, which was recorded live on October 7, 1972 and probably added a few riffs along with John Toben on Hammond B-3 organ, percussionist Joey Herrick and Kenny Davis on guitar and vocals. O'Day's own solo debut was around the corner, and disco-era stardom coming a few years later, first with Helen Reddy's 1974 hit version of "Angie Baby," and O'Day's own frothy chart-topper, "Undercover Angel" in '77. O'Day dedicated his first album to Kenny Davis, though I'm not sure if Davis or the other guys played on that disc as well.


Kenny Davis "Texas Yearbook" (Fairydust Records, 1982-?) (LP)
(Produced by Kenny Davis & Carl Wilson)
Not long after he recorded his live album back in '72, Kenny Davis took a trip to Texas and like a lot of folks back at the dawn of the outlaw era, he kinda liked what he saw. I think he actually moved there at some undetermined point in time, though he makes reference to his Southern California roots in his stage banter... of which there is plenty! There's plenty of stylistic overlap over the years... Mr. Davis was quite a chatterbox and joker back in his hippie days, and he honed that part of his act into a pretty decent comedy routine. Side One of the album is all mile-a-minute standup, most of it blue humor, and it all goes over well with the crowd. The same is true of Side Two, a country music set that also wows the Lone Star locals. Davis is backed by Roland Elbert on piano, Steve Mundt (drums), David Stanley (bass) and Carl Wilson on lead guitar... They kick things off with a boisterous cover of Guy Clark's "Texas Cookin'," and move into more comedic material, including songs like "Where are All The Girls (I Used To Cheat With)" and "Centerfold Lady," an ode to long-lost fold-out girlfriends. ("Centerfold" is also a reprise of a comedy bit with the same name from Side One, which goes into considerable detail about his teenage solo sex life...) The raunchy spoken word stuff is okay, I guess, though it's music interests me more, and from a twangfan's perspective, it's actually pretty good. Fans of Jerry Jeff Walker might dig this one; wish I had a better copy, though... mine skips!)


Link Davis "Cajun Crawdaddy" (Mercury Records, 1969) (LP)
(Produced by Frank Morin)
Although Texas-born Cajun country player Link Davis had been around forever -- his first recording session was in 1937 with a western swing band called the Crystal Spring Ramblers -- this was actually the first full album he recorded under his own name. Davis had played in a variety of styles on a number of instruments -- country fiddler or rock'n'roll saxophone, he excelled at everything, but by the time this disc came out his career had run out of steam. These sessions were recorded a few years earlier, but Texas legend Doug Sahm took the tapes to his label and persuaded to put out an album. It's a nice, simple, down-homey set, with country, cajun and a little bit of blues, with Davis playing some fine fiddle and a small combo backing him that includes hillbilly old-timer Wiley Barkdull playing piano. A nice record!


Roland Davis "Lost But Not Forgotten" (Wilson Ranch Records, 1982) (LP)
(Produced by Bert Winston)
Archaic, old-school hillbilly music, played in the old-fashioned way. In the 1930s, guitarist Roland Davis traveled with various Texas stringbands, but by the time producer Bert Winston caught up with him, Davis had shifted gears and settled down to be a rancher in the Texas hill country near Kerrville... Backing him on this retrodelic set are piano plunker John Vorhes, fiddler John Shattenberg, singer Bobbi Pruneda and Rich Price on pedal steel.


Jimmy Day & His Buddies "...Salute Don Helms" (Texas Musik, 1980) (LP)
A solo set by a consummate sideman. Steel guitar pro Jimmy Day (1934-1999) was an Alabama native who played on the "Louisiana Hayride" as a kid, and backed many of the giants of the 1950's honkytonk era during a stint in Nashville. Later, Day settled in Texas and was a stalwart of the '70s Lone Star scene. This album was a tribute to Don Helms, the legendary steel player in Hank Williams' band, with sympathetic backing by several "buddies": Buddy Emmons and Buddy Spicher, and drummer Buddy Harmon. Heh, heh. Anyway, if you're a country instrumental fan, you're gonna want to check this one out.



Al Dean & The All Stars -- see discography page


Del Rio 101 "Del Rio 101" (KCMJ Productions, 1983) (LP)
(Produced by Bob Sullivan)
This Lone Star group centered around the quartet of Bo Hutto, Bob Gray, David Murray and James Gilbreath, with assistance from Marvin "Smokey" Montgomery, who plays guitar and provides arrangements, along with several Houston area musicians from his studio, such as pedal steel player Maurice Anderson and bassist Marc Jaco...In some ways, this album almost seems like a compilation, with each of the four singers taking solo spots on various tracks... Also worth noting is that Bo Hutto was also in a band called Texas Pride, whose fiddler, Carl Cloudt plays guitar on this album... dunno if they also made any records....


Desperado "Time After Time" (Ruff Records, 1978) (LP)
(Produced by Hott Soup Productions)
This band from Garland, Texas was different than the East Coasters below... To give you a sense of where they were coming from, they covered both the Eagles and Atlanta Rhythm Section, and had both banjo and saxophone in the band. Ah, the Seventies!


Dub Dickerson "Boppin' In The Dark" (Bear Family Records, 2000)
Awesome! This is the kind of thing I look to Bear Family for -- an absolutely smashing collection of an artist that I've never heard of... this rocks from start to finish. "The Boy With The Grin In His Voice," Texas-born Willis Dickerson (1927-1979) was one of those real-deal hick singers who late in the game tried to cash in on the rockabilly craze, bringing a ruggedly adult country edge to the teeniebopper style. This CD kicks off with several hyper-melodic rock tunes, like "Kiss Me With Your Eyes" and "Boppin' In The Dark" -- tunes that took liberties with the sexual license of rock'n'roll, and infused the pimply kid music with a genuinely salacious bump and grind. From there it works its way backwards into his early '50s country roots. Solid country, along with rare old rockabilly singles that make the collector nerds sweat... it's all great. Really, really great, and highly recommended!


Dub Dickerson "Sad And Lonely" (Sims Records, 1962) (LP)
(Produced by Russell Sims)
An oddly placid album by Texas honkytonker Willis "Dub" Dickerson (1927-1979) a onetime firebrand who tried his hand at rockabilly and uptempo hillbilly material throughout most of the 1950s, but seems to have tried to retrench and retool himself into a more mainstream, conservative-sounding country singer during the Kennedy era. Working at a slower tempo, Dickerson tried to stylize his phrasing, and seems to have aimed at to recreating the richly textured subtlety of Lefty Frizzell's vocal style, though on most tracks, he simply falls flat, and sounds quite awkward. The backing band is also strangely reserved and mixed way in the background, so that Dickerson's high-wire act feels even more fragile and exposed -- the lack of power coming from the instrumentalists is even more puzzling considering that the producers also seemed to be trying to cast Dickerson as a jovial, uptempo hard country singer in the style of early '60s George Jones. None of which is to say this is a bad record, just that compared to Dub Dickerson's sizzling singles of the 1950s -- which were gathered on an excellent Bear Family collection -- this set seems strangely low-energy and thinly mixed. Worth a listen, and with several fun novelty numbers, but sadly not super-engaging.


Dan Dickey "Country Strides" (Chartwheel Records, 1981) (LP)
(Produced by Johnny Howard)
Texan Dan Dickey was a true Hank Williams devotee, sticking to pure twang on this LP, with tracks recorded over a period of three years, 1978-80... Apparently he had a couple of tunes that charted 'way, 'way back in the Back Forty, "Hot Mama" and "Bye Bye Baby," sometime around 1979. I'm not 100% sure, but I think he was also an academic, an ethnomusicologist working at the University of Texas at Austin, whose specialty was in Latin American music, particularly Tejano corridos.


Rob Dixon & The Lost Cowboy Band "Live At The Crystal Chandelier" (Texas Records, 1983) (LP)
(Produced by Rob Dixon)
Originally from Sharptown, Maryland, songwriter Rob Dixon recorded his first album when he was twenty, and established himself as a live act around DC, before making tracks for Nashville where he played guitar for David Houston, George Jones and others, while also starting his own solo career. In the early 1980s Dixon relocated to Dallas-Fort Worth, which became his center of operations well into the 21st century. This album is mostly cool cover songs, with a couple of originals by Ernie Rowell (who was apparently not in the band...) The group included David Griffin on steel guitar, Rob Landrum (bass), Tim Harris (harmonica), Jim Aspero (drums) and Steve Payne on piano.


Rob Dixon "Let Me Sing You A Song" (Texas Records, 1987) (LP)
(Produced by Walt Cunningham)


Rob Dixon "Through Her Eyes" (Texas Records, 2000) (CD)
(Produced by Rob Dixon)


Richard J. Dobson "In Texas Last December" (Buttermilk Records, 1977) (LP)
One of the original gang of Austin singer-songwriters, Richard Dobson (1942-2017) was a Tyler, Texas native who hung out with Townes Van Zandt, Guy Clark, Rodney Crowell and Steve Earle back in the early days... He was a successful songwriter who recorded over a dozen albums, and while its his association with Van Zandt that many remember, I'm most impressed by his co-authorship of "Old Friends," one of my favorite Guy Clark songs. This was the first of many fine albums.


Richard J. Dobson "The Big Taste" (Rinconada Records, 1979) (LP)


Richard J. Dobson "Save The World" (RJD Records, 1983) (LP)


Richard J. Dobson "True West" (RJD Records, 1988) (LP)


Richard J. Dobson & State Of The Heart "Live At The Station Inn" (RJD Records, 1988) (LP)
(Produced by Richard J. Dobson & Mike Dunbar)


Doctor Fry's Texas Medicine "Doctor Fry's Texas Medicine" (Night Train Records, 1984) (LP)
(Produced by Clifford Fry & Kurt Zech)
A good-natured, all-locals set from Houston, Texas, featuring Clifford Fry and his mostly-family band, made up of Dr. Clifford Fry (PhD) on rhythm guitar and lead vocals, Max Fry (bass), Darelyn Fry Jennings (vocals), Larry Lawson (keyboards), Randy LeBlanc (lead guitar and steel), Scott Marsh (drums), Doug Sharp (backing vocals), with various and sundry other locals pitching in on a tune or two... The album is packed with original material penned by Fry, LeBlanc and Sharp... Not a ton of information about these folks, though I believe Clifford Fry was an economics professor at the University of Houston at the time this album was made, later becoming a corporate consultant in the private sector, with a side gig at Texas A&M. Betcha didn't know how hard them economists can party down in Texas!


John Dodd & Members Of The Milano Opry "Texas Fiddling" (ACR) (LP)
(Produced by Don Robertson)
This Lone Star "opry" broadcast weekly from radio station KMIL, in Cameron, Texas, as well as staging a monthly Saturday Night "jamboree" in Milano. Dodd's son, Greg plays guitar on this album...


Dogtooth Violet "Dogtooth Violet" (Dogtooth Records, 1976)
(Produced by Dogtooth Violet & Jeffs Wells)
One of Houston, Texas's premier 1970s country-rock bands, Dogtooth Violet was formed in 1973 by Bob Oldreive and several other locals. The eclectic, folk-tinged band was on a hot streak when fabled record producer Huey P. Meaux offered them a contract, but they chose to self-release their own indie album instead... The lineup included Bill Bertinot, Pam Grimes, Richard Jacob, Joe Lindley, Bob Oldreive, Marty Smith and many others (with most bandmembers performing on multiple instruments...) As it turned out, this was their only album, though after the band split up its members went into various other Houston-area bands, perhaps most notably Bob Oldreive, who later joined the group Hickory, which released several albums in the late '70s and early '80s.



Johnny Dollar -- see artist profile


Dotson, Lee & Middleton "Something Old, Something New" (Young Country Productions, 19--?) (LP)
(Produced by Rick Sparks)
This Dallas-based trio -- Dana Dotson, Pat Lee and John Middleton -- wrote about half the songs on this album, rounding things out with a medley of bluegrass standards and more contemporary tunes from Dan Fogelberg, Larry Gatlin and Michael Murphey, as well as a version of "Y'All Come Back Saloon," an early 1977 hit for the Oak Ridge Boys. Producer Rick Sparks also kicks in on several instruments, notably banjo, dobro and pedal steel, and other musicians chime in as well... I'm not sure if the "Young Country" studio had any connection to the band led by Randy Brooks, or if that was just a phrase and an idea that was in the air at the time. There's no date on the album, but I'm guessing at least 1978, possibly as late as 1980-81, judging from the band's photo: some major aviator glasses action!


Steve Douglas "Dark Lighted Barrooms" (Banka/Demon Records, 1981) (LP)
(Produced by Bobby Dyson, Billy Joe Kirk, David McCumber & A. V. Mittelstedt)
Houston, Texas songwriter/performer Steven Ward Douglas was born in Greenville, Michigan but after a stint in the military he moved to Texas, where he set out to pursue a career in music. Starting in 1976, he released a string of singles, several of which are gathered on this LP, along with a few newer tracks produced under the auspices of veteran producer A. V. Mittelstedt, who also plays guitar on some of the tracks. Indeed, there's a whole slew of notable musicians on here, since the dozen songs that make up this album were recorded in sessions spread out over the better part of half a decade... Some of the pickers and players include lead guitar by Randy Cornor and Steve Gibson, steel players Curly Chalker and Ray Baker, a few Nashville types such as D.J. Fontana, Bunky Keels and Charlie McCoy, and many, many others. This album was apparently released in two different versions, though with pretty much the same album art -- there's the self-titled Steve Douglas (on Demon Records) and this slightly more evocative edition, Dark Lighted Barrooms, a 1983 reissue which came out on the Banka label. (Though as far as I can tell, Douglas was the main artist on both imprints...) In 1986 Steve Douglas started the Magnolia Opry Jamboree, a mom'n'pop venue on the outskirts of Houston, which he ran until 2005. Mr. Douglas also tried to create a sort of cooperative organization to link the various mini-oprys sprinkled over the Texas landscape, a project which may have documented a lot of little-known local activity. This was his first full album, although he continued to record well into the digital era...


Steve Douglas "Love Goes Round" (Banka Records, 1983) (LP)


Steve Douglas "To A San Antone Rose" (Dorman Productions, 1989) (LP)



Tony Douglas -- see artist profile


Wade Driver "Recorded Live At The Rhythm Ranch" (Rhythm Records, 1978-?) (LP)
(Produced by Wade Driver & Bill Holford)
The whole world of square dancing and how square dance records relate to regular country music remains a bit opaque to me, though caller Wade Driver seems to have made the transition to straight country, recording both styles on his own private Rhythm Records label. Though he was originally from Georgia, Driver established himself as a caller in the Houston-Fort Worth area, and recorded this set at the ACA Studios, in Houston. This disc is a definitely calling album, with most tracks previously released as singles for square dance groups; he also released a string of singles with his band The Rhythm Rockers. Charmingly, instead of listing the musicians who play on this album, Driver has pictures of the folks in his "Rhythm Ranch" square dancing group, along with their signatures -- very intimate and adorable, though I also wish I knew who was playing the guitar. There are some intriguing songs choices, including covers of Jerry Reed's 1977 single, "I'm Just A Redneck On A Rock'N'Roll Bar" and Crystal Gayle's "Don't It Make My Brown Eyes Blue" (also from 1977) which help date the album. Along with the anonymous studio band, Driver is backed by vocalists Lanelle Davis and Judy England White, aka The Rhythmettes; Ms. Davis continued to work and record with Driver for several years, though Ms. Davis moved to New Orleans with her husband and apparently gave up her music career. Another interesting footnote is Wade Driver's son, Wade Driver Jr., who was in the Houston punk band The Degenerates, as well as a lineup of the Austin-based cowpunk group, The Hickoids... I bet ol' Dad didn't see that one coming!


Wade Driver "It's Almost Like Starting Over" (Rhythm Records, 1981) (LP)
(Produced by Wade Driver & Pat Coughlin & A. V. Mittelstadt)
A straight-up country set, not a "calling" album, with slick backing from A. V. Mittelstadt's studio crew, including guitarist Randy Corner and several less familiar pickers. Mostly this is pretty good, and Driver might have had a shot at the Top Forty if he'd recorded this a few years earlier -- hard to see this really breaking through in the increasingly corporate country scene of the early 'Eighties. Still, it's not that different from Bill Phillips's comeback material of the same era, and Phillips did pretty well. Also, Don Williams fans might dig Driver's sentimental side, even if he's a stronger on the uptempo tunes. Wade Driver's longtime collaborator Lanelle Davis is one of several backup singers, and the album seems packed with original material. Mr. Driver has kept cranking out square dance records over the years, and has been active at least through 2020, expanding his business to bring in a bunch of younger callers, who I believe both record and go out to do live performances. The various singles and albums are perhaps too numerous to include here, at least for now.


Jimmy Dry "Esquire Ballroom Presents Jimmy Dry" (Princess Records, 19--?) (LP)
(Produced by Huey P. Meaux)
Honky-tonk bandleader Jimmy Dry lived in Herford, Texas and was a local country DJ on radio station KPAN. He's backed on this album by his band, The Dance Kings, which included Ferd Heinie, Troy Passmore, Noel Stanley and Pee Wee Truehitte. I'm not sure when the album came out; looks early 'Seventies and was on a vanity label pressed by Crazy Cajun, although Dry had released singles on the Princess label back in the mid-1960s.


Alan Dryman "The Alan Dryman Show -- Live" (Juke Box/United Image Records, 19--?) (LP)
(Produced by Bert Frilot & Lonnie Wright)
A country music impressionist... The liner notes say he was born in North Carolina and started performing while living out in San Diego, California. Dryman had moved to Houston, Texas by the time this live album was recorded. His impersonations include Johnny Cash, Marty Robbins, Merle Haggard, Hank Snow and Ernest Tubb, as well as a more "pop" personalities such as Dean Martin and Elvis Presley.


Darryl DuGosh "Extraordinary..." (American Kountry Records, 1981) (LP)
(Produced by Rudy Gray, Bob Bruce & Bruce Greenberg)
The debut (and lone?) album by Texas fiddler Darryl DuGosh, who was a teen prodigy and a state championship winner whose musical career got sidelined by a motorcycle accident while he was still in high school, though he managed to make this album after his recovery. He's backed here by a bunch of San Antonio locals, but what really caught my eye was the backup singers, who included a gal named Susie Jenson and top forty veterans Dottsy and Barbara Fairchild. DuGosh also went to Nashville with his dad and cut a couple of singles, but he seems to have dropped music in favor of barrel racing horsemanship... That led to problems as well, though, when he had another accident in 2009 while riding that led to another long recuperation. (He seems to have gotten through it, though, posting YouTube riding videos over a decade later... As far as I know, though, this was his only album.)


Billy Duncan "Loving You" (Ludwig Sound, 19--?) (LP)
(Produced by Tommy Melder)
I think this guy was from Houston, though I haven't found out much about the where, when or how of this record. Notably, Randy Cornor played guitar on this album, and seems to have written a bunch of original material as well... Other than that, a mystery. Any info is welcome!


Billy Duncan "Time Won't Wait" (Lovin' Country Record Company, 19--?) (LP)
(Produced by Louie Guzik & Tommy Melder)
Same guy? If so, he seems to have been from Houston, though this was recorded in Nashville. The band included Davis Ray Bates on drums, Ken King (bass), Travis Smith (lead guitar), and Jim Owen playing keyboards... The repertoire includes a bunch of originals, with a couple by Dan Mitchell, John W. Gostick and Richard Moreland, as well as one by Mundo Earwood, who was possibly Duncan's Nashville connection.


Mundo Earwood "Chapter One" (True Records, 1977) (LP)
Lone Star songsmith Mundo Earwood (1952-2014) was a Del Rio, Texas native who flirted with national fame for two decades, releasing his first single, "Behind Blue Eyes," in Nashville, way back in 1972. The song was a modest success, but became a huge hit back home in Houston. From 1972-89, Earwood placed almost two dozen songs on the Billboard Top 100, but even though he stuck to a more mainstream, non-outlaw sound, he never quite made it over the top and remained a local legend. Many of his songs that charted were only released as singles, with some such as "Behind Blue Eyes" being re-recorded for inclusion on his LPs.


Mundo Earwood "Heartspun" (GMC Records, 1979) (LP)
(Produced by Jay Collier)
This album includes Earwood's own "Fooled Around And Fell In Love" a #25 Country single which weirdly enough is not the same song as the 1975 Elvin Bishop mega-hit, as well as "Things I'd Do For You," which peaked at #18 and was his biggest Billboard entry. He also had a sissy-sounding song on here called "Philodendron," but we'll forgive him, since Larry Hosford had already recorded a tune called "Ode To A Broken Coleus." Guys were so sensitive back then!


Mundo Earwood "Mundo Earwood" (Excelsior Records, 1981) (LP)
(Produced by Jay Collier)


East Texas String Ensemble "...From Nacogdoches" (RHB Studios, 19--?) (LP)
This Lone Star twang quartet was originally made up by four faculty members at Austin State, who started their band for a performance at the 1968 convention of the Texas Folklore Society. The pickin' perfessers were Francis Edward Abernethy (d. 2015), Charlie Gardner (1931-2016) (on fiddle, later replaced by Ronnie Wolfe), Tom Nall and Stan Alexander... They played a mix of bluegrass and old-timey music and in case you're wondering, they wanted you to know that in Texas, it's pronounced "strang insamble," and sticking to this was a point of pride for the band. (BTW - I wonder if this was the same Stan Alexander who recorded an odd little album called Remember Me in the early '80s... Anyone know for sure??) Anyway, some fun stuff from 'way back when.


East Texas String Ensemble "Live At The Texas Folklife Festival" (E-Heart Press, 19--?) (LP)
I honestly don't know when either of these albums came out -- neither bears a release date, alas. Same lineup as the first album, though, and a fun mix of honkytonk country ("Backslider's Wine," "Tonight The Bottle Let Me Down," "The Wild Side Of Life") and old-fashioned tunes such as "Old Joe Clark," "Life's Railway To Heaven," and, just because, another rollicking version of "Orange Blossom Special." BTW, another point of interest includes Tom Nall's late-life act as a "chili ambassador" and chuck wagon cook at various cowboy culture events -- these guys seem like they were a lot of fun!


The Echos "Yours Truly" (Echo Records, 1976-?) (LP)
(Produced by The Echos & Joey Lopez)
This was a six-man band from Seguin, Texas playing both country and rock... The Echos formed in 1974, with that included Rudy Castro, Roy Richter, Carlos Orosco, Bobby Roberts, Adolph Schaefer and Jim Wiley... Though they cover a few hits, such as "Wasted Days And Wasted Nights" and "Squeeze Box" by the Who, there's also some noteworthy original material, including "I Know What She Was Going Through" by Bobby Roberts and "Oh Lord How I Need Her," written by Jim Wiley. The sessions were recorded at San Antonio's ZAZ Studios, a fabled local haunt that pressed custom records for countless local artists in a variety of genres. There's no date on the album, but it's from at least 1976, based on the newer songs they covered; the group released at least one additional single, "Teardrops In My Heart," a bilingual ballad which came out in 1977, under Orosco's name.


Don Edwards "Live At The White Elephant" (Texas Skyline Records, 1977) (LP)


Linda Elaine & Roy Garrett "You're Looking At Country" (Ashland Records, 1982-?) (LP)
(Produced by Dick Casper)
As promised, straight-up country stuff from a long-running Texas duo... Not sure what their early career was like, or when they started out, but Elaine and Garrett seem to have played locally nonstop for several decades: they played Willie Nelson's annual Fourth of July picnic in 1987, and years later around 2006-2008 were headliners at the Cross Timbers Opry, a little mom'n'pop musical revue in rural Stephenville, a tiny town west of Forth Worth. They are backed by a group called the Stealer Country Band, which was led by guitarist Glen Fleming. This may have been a "pick up" band, as Flemming's main gig was leading a group called Rolling Country, which is perhaps best known as the house band at a honkytonk called Belle Starr's; various members of the ever-changing lineup of Rolling Country also found work backing top forty stars with national profiles. The lineup here included Glen Fleming on lead guitar, G. W. Logan (bass), Joe Long (steel guitar), Cecil Tippett (drums) and "Kenny" on rhythm guitar (no last name provided.) There's no date on this album, but their cover of John Anderson's 1981 hit, "Could You Catch A Falling Star" suggest a release date around 1981 or '82.


Elliott, Walter & Bennett "Zeta Reticuli" (Jam Records, 1975) (LP)
The Houston-based trio of Jerrel Elliott, Clark Walter and Gerald Bennett have kind of a cult following as purveyors of odd, esoteric Texas folk-prog twang, with overtones of '70s soft-pop and contemporary Christian music mixed in as well... From a twangfan's perspective (mine) I'm not sure there's much here to recommend these albums, but they are very DIY and obscuro, for what that's worth. Apparently the title track of this album is based on a notorious early-1960s alien abduction case... I haven't heard the album, but I gather it's rather prog-a-licious, in an acoustic-electric kinda way.


Elliott, Walter & Bennett "Elliott, Walter & Bennett" (Jam Records, 1976) (LP)


Elliott, Walter & Bennett "You Know How I Feel" (Jam Records, 1978) (LP)


Elliott, Walter & Bennett "Elliott Walter Bennett" (Jam Records, 1979) (LP)
(Produced by Elliott, Walter & Bennett)
This album opens with a couple of truly dreadful, synthesizer-led folk-prog tracks. Yech. Then they shift into twang and novelty tunes -- the tempo picks up with some lively Texas fiddle courtesy of John Henry Adams, on the Christian-oriented "I See A Great Light Comin'," which moves into one of their Bellamy Brothers-ish vocal tunes, and a novelty number called "It," which is kind of funny despite the lackluster musical backing. Similarly, the electric guitars on "Old Rockers" fail to really catch fire. A little bit of twang threads through the rest of the record, though not enough to get me too excited. Thematically, they split their interests between romance and philosophy, with another Christian-ish tune about humanity's fall from grace ("For All The Right Reasons") but again, while they merit mention here, this still isn't what I would call a country record. Doesn't do much for me.


Elliott, Walter & Bennett "Elliott, Walter & Bennett" (Jam Records, 1980) (LP)
(Produced by Elliott, Walter & Bennett)
This was, possibly, the last(?) album by EWB, and I'd say for the most part it's pretty dreadful... Or, well, lackluster, or at the very least "not my cup of tea." Side One opens with some uptempo material, perky drums and group vocals that I think were aiming for a pop-country sound similar to the Bellamy Brothers, and I think these guys might have been trying for a hit. But this disc also has that lack of polished ooommpf that separates the major label hitmakers from the limited-budget little-leaguers; these guys had the intentionality, but not the unlimited studio time to make it happen. Anyway, nothing on here really connects viscerally or stylistically for me. Side Two briefly diverges into more folkie, almost twangy material, and then grinds to a halt with a couple of slower folk-prog dirges... All in all, I'd say this is skippable.


The Elliott-Walter Band "The Elliott-Walter Band" (Jam Records, 1984) (LP)
(Produced by Jerrell Elliott, Scott Landin, & Clark Walter)
One last(?) lineup change, with Elliott and Walter joined by Scott Landin on lead guitar and steel... But by switching the group name to include "Band," rather than "Landin," they manage to keep the EWB acronym...


Zelda Ellison "I Know The Feelings" (Texas Soul Records, 1977) (LP)
(Produced by Don Caldwell & Lloyd Maines)
A Lone Star gal, singer-pianist Zelda Ellison was a member of the West Texas Opry, a loose-knit group that included Lloyd Maines and others in the late 1970s -- around that same time, she recorded this record at Maines's fabled Caldwell Studios in Lubbock, with a lot of high-powered pals to help out. The band includes Ponty Bone on accordion, Lloyd Maines playing banjo and steel, and several other local Texas pickers. The repertoire includes covers of Merle Haggard, Kris Kristofferson, Freddy Fender and Jessi Colter's "I'm Not Lisa," as well as the title track and one other by C. Bishop and "Lollypops And Candy Dreams," which was co-written by Maines.


Randy Elmore "Here Comes That Boy Again" (Blum Records, 1981) (LP)
A fiddler from Forth Worth, Texas, Randy Elmore digs into some tasty bluegrass and western swing... He's also known for his work with freewheeling steel guitarist Tom Morrell, who's not on this album, though they wound up playing together for years. The songs on this album come from a variety of sources, including covers of classics by Hank Williams and Bob Wills.



Joe Ely - see artist discography



Jon Emery - see artist discography


Everett & Arella "Now And Always" (19--?) (LP)
The husband-wife heartsong duo of Everett Hanvold (1951-2007) and Arella Mae Potter recorded several albums, though I think this one was the first, and possibly the only one that came out on vinyl. Originally they were from back East -- she was born in Kentucky and he was from Virginia, where they got married, though more recently Arella was living somewhere in Missouri. Everett Hanvold also recorded at least one solo album under his own name, called Pretty Words, which seems to have come out in the digital era.


Bill Ervin "Bill Ervin" (No Mountain Records, 198--?) (LP)
(Produced by Steve Fromholz & Nick Carlton)
Lone Star singer-songwriter Bill Ervin was pals with iconic Texas troubadours such as Steve Fromholz and Shake Russell, who both play on this album, along with Jimmie Fadden, all of whom Ervin performed with regularly over the years. The song on this album are by Ervin, Fromholtz and Russell, along with a version of Rodney Crowell's "Song For The Life." The No Mountain label was located in Midland, deep in the heart of Texas.


Randy Erwin " 'Til The Cows Come Home" (Four Dots Records, 1986)
(Produced by Carl Finch)
Originally issued on vinyl as a 45rpm 12", this six-song EP showcases Texan yodeler Randy Erwin in a no-muss, no-fuss set of nostalgic oldies, including several Jimmie Rodgers songs and a nice version of Tex Owens' "Cattle Call." Erwin takes a notably low-key approach, with stripped-down arrangements and unflashy vocals... Though harkening to the past, this disc belongs to the modern era, with contributions from members of the Brave Combo (who were also on Four Dots) providing musical backing. Not electrifying, but solid and sweet.


Randy Erwin "Cowboy Rhythm" (Four Dots Records, 1987)
(Produced by Randy Erwin & Carl Finch)
Upping his game musically, Erwin is again joined by members of the ever-eclectic Brave Combo, with production assistance from Carl Finch and horn arrangements by Jeffrey Barnes. The repertoire is pretty much the same, cowboy songs, Tin Pan Alley oldies and yodeling blues, though the album has a fuller, bouncier sound... Fun stuff! Fans of the Hot Club Of Cowtown might wanna check this one out.


Expression "Texas/Nevada Border" (Mediarts Records, 1971) (LP)
Previously known as the Expressions, this muttonchoppy quintet started out as a Kennedy-era teenpop/rock band working in the Dallas-Fort Worth area. The Expressions released a few singles on various labels, with lead singer/songwriter Jay Ramsay as the driving force, adding another Lone Star rocker, Kirby St. Romain, to the lineup in 1965. The band plugged away as a pop act with only modest regional success; by the late 'Sixties they'd shortened the name and moved to Reno, and began incorporating more country stuff into their act. While all this was going on, Jay Ramsey was making a name for himself as a professional songwriter, increasingly tilting more and more towards twang. In 1972, his song, "We Can Make The Morning," was the flipside of a Top 10 Elvis Presley single; another song, "Draggin' Chains," charted for Conway Twitty in '79. This was the first Expression album, released while they were working a gig at the Mint Lounge, in Las Vegas.


Expression "Expression" (Expression Records, 197-?) (LP)
This album was recorded live at the Riverside Hotel, in Reno, Nevada, although I'm not quite sure what year. Looks like it was mostly covers, and not just country stuff -- tunes like "Georgia On My Mind," "Country Roads" and "The Letter." So it was a mix of country and pop-soul, possibly with hints of a Christian folk-rock vibe on a few tracks. Around this time, Kirby St. Romain was also in a band called Kansas Rain, which also was working the casino and ski lodge scenes, and released an album around the same time.


Expression "Portrait" (Expression Records, 197-?) (LP)
(Produced by Bob Kelly & Expression)
A slicker-looking, slicker-sounding set which is more rock/funk oriented in some parts, but still pretty rootsy. Includes a zippy version of the Eagles' "Already Gone," along with "Take It Easy," "Delta Dawn," and other overtly twangy country/country-rock hits of the day. This was basically the same lineup as before, with Jerry Brown, Frank Cole, Bob Kelly, Jay Ramsay and Kirby St. Romain credited as the main members. Alas, still no indication when this came out, but I'm guessing 1976-78-ish. In 1982, Ramsey started a new group called the Jay Ramsey band, though over the years he continued to collaborate with Jerry Brown, one of the original members of the Expressions.


The Fabulous Backup Band "God, Guts And Guns" (Talon Records, 1984) (LP)
(Produced by Ron DiIulio)
A patriotic, pro-gun country album from the Lone Star State... Producer Ron DiIulio plays keyboards and sings lead on about half the tracks, with other lead vocalists including guitar player Gene Bell, bassist Keith Davis and vocalist Laurie Douglas, and steel guitar provided by Gary Carpenter. Recorded in Fort Worth, this is an odd record, possibly one of those tax dodges you hear about. It was commissioned by executive producer "E. Donzetta Talon," which as far as I can tell, was a fictional identity. Amid numerous cover songs is one original, called "Gun Control," written by "Fletcher" and published by Donzetta Talon, it is sung by DiIulio and is one of the more pointedly political numbers on the record... Other songs seem fairly tame considering the album's artwork and title -- stuff like Merle Haggard's "Fightin' Side Of Me," Johnny Cash's "Ragged Old Flag" and Barry Sadler's "Ballad Of The Green Beret," and even more innocuously, tunes like the T. Texas Tyler chestnut, "Deck Of Cards" and Mel Tillis's "Stateside." Bandleader Ron DiIulio definitely had an impressive career: he played piano in a fabled mid-1960s Denton, Texas garage band called the Chessmen, then moved through a series of other local bands before being tapped to train as a concert pianist, as a protege of international star Van Cliburn. He went on to work as an audio producer, jingle writer and film composer, and eventually, I believe, as an astrophysicist, among other pursuits running the planetarium in Fort Worth. Wow.


The Farewell Party Band "Country Plus" (BRW Records, 1982) (LP)
(Produced by Gene Watson, Larry Booth & Russ Reeder)
A shaggy band from Spring, Texas whose main claim to fame was backing honkytonk legend Gene Watson, which all things considered, ain't bad. Watson returned the favor by helming this "solo" album, which I think may be the only one they recorded. (Other than the ones with him, of course...) The band took its name from his 1979 hit single, "Farewell Party," a Lawton Williams composition that became known as Watson's signature song. The group grew out of the Larry Booth Band, an early 'Seventies outfit from centered around Tony Booth's brother Larry, who recruited a bunch of guys from the Southern California country-rock scene, including several pickers who played in the house band at the Palomino nightclub. In addition to Larry Booth on bass, the band included Doug Boggs on drums, Norm Cass (guitar), Joe Eddie Gough (piano), Tiny Olson (steel guitar), and Daniel T. Rainwater (guitar). This album includes several originals, such as "Beg For It" by Tiny Olson, "610 Bypass" by Daniel T. Rainwater, and "Sad Songs" by Doug Boggs.


Derrell Felts "Favorites From The Derrell Felts Television Show" (Felts Enterprises, 1974) (LP)
Best known as a one-and-a-half-hit wonder of the rockabilly era, Derrel Felts recorded the songs "Playmates" and "Lookie, Lookie, Lookie" in the late 1950s, and for a while was in the orbit of promoter/producer Norman Petty, who surreptitiously hooked Felts up with legendary rockers The Crickets, not long after Buddy Holly passed away. Felts recorded a couple of singles, then receded into obscurity as the '60s unfolded. Like many former rockabilly firebrands, Felts gravitated towards mainstream country, and by the early 'Seventies he was the host of The Derrell Felts Television Show, a TV show based in Dallas, Texas that beamed out over much of the Panhandle and Southwest. This album is an interesting set of covers and originals with songs including the 1974 single, "Calling Johnny Rodriguez," "He Ain't Country" and "I Can Feel The Leavin' Coming On" as well as covers of Bill Anderson, Conway Twitty and Porter Wagoner. (Note: as far as I know, this guy was no direct relation to country star Narvel Felts...)


Fence Walker "Feels Right" (Perdue Recording, Inc, 1987) (LP)
(Produced by Dean Elliott & Jim Perdue)
A modestly accomplished band from Amarillo, Texas who made this album just as the alt-country "Americana" scene was gathering steam, though they seem to have been totally outside the popular wave of college-rock twang... I think their real roots were in rock'n'roll, since they start each side of this LP out with more rock-oriented numbers -- the surf-garage tinged "Feels Right" and the bar-band boogie of "Dear John" -- but then they devote themselves to twang, though they don't seem to be as comfortable with country, and it sounds a little awkward. The vocals are also iffy -- if you've heard folks like Dusty Chaps or Chuck Wagon & The Wheels, then you'll know what territory I'm talking about... I wouldn't say these guys were as distinctive as those better-known bands, but it's a similar vibe. Possibly the most interesting tracks are a couple of songs about their experiences as an obscuro-band, Archie Young's rambling "Gone Again," and the more rockin' "Dream And Watch It Grow," which kind of reminds me of Seattle's fabled Young Fresh Fellows... These guys probably could have made a better rock record than twang, but it was nice of them to give the country thing a try. Apparently the band continued to jam together through the early '00s, though it looks like this was their only album.



Freddy Fender -- see artist profile


Clyde Ferrell "Clyde Ferrell" (Delta Record Company, 19--?) (LP)
(Produced by Clyde Ferrell)
Originally from Texas, songwriter Clyde Ferrell was holding down a gig at the Pinnacle Peak Patio, a steakhouse near Scottsdale, Arizona when he recorded this debut album. About half the songs on here are Ferrell originals, along with covers of contemporary hits like "Bad, Bad Leroy Brown," "I Can See Clearly" and "Help Me Make It Through The Night."


Clyde Ferrell "Brazos River Country" (Clyde Music Company, 1983) (LP)


Kent Findlay "Christmas Time In Luckenbach" (Delta Records, 1983) (LP)
(Produced by Kent Findley, Louis Jay Meyers & Darrell Staetler)
An acolyte of Luckenbach, Texas's "Sunday mayor," Hondo Crouch, barkeep Kent Findlay was co-owner of the Cheatham Street Station, a lively venue in nearby San Marcos, which he bought in 1974, soon becoming a champion of the shaggy hippie/outlaw twang oozing out of Austin. He was also a musician himself, and threw a little early 'Eighties holiday party with backing from a buncha Lone Star locals: Stan Ashlock (bass), Clark Cordell (fiddle), Larry Eisenberg (harmonica), Roy Garcia (bass and guitar), Lynn Gathright (drums), Wayne Gathright (bass), Bill Grace (drums), Jeff Heckler (bass), Chris Lawrence (dobro and steel guitar), Betty Lu (fiddle), Louis Jay Meyer (guitar, banjo and steel guitar), Roy Rushing (drums), and co-producer Darrell Staetler on guitar. The songs are a mix of Christmas chestnuts like "Blue Christmas," along with a hefty dose of newer compositions, including the title track, "Christmas Time In Luckenbach," which comes in both edited and explicit versions. [Worth noting: Kent Findley was around in the glory days of the outlaw era, but kept running the Cheatham Street bar well into the 21st Century, when he also help usher in the red dirt revival, notably boosting the career of singer Randy Rogers, who moved from regional fame into the national Back Forty.]


John Finnigan "Way Up The Sky" (Mid Ear Records, 1983) (LP)
(Produced by John Finnigan & Steve Cooper)
The duo of Maureen Finlon and John Finnigan -- who later renamed their act Silver Shoes -- were active on the Texas Americana scene 'way back when -- before the Americana genre even existed, as demonstrated by this disc. I'm not sure, but I think they came to Texas from Midwestern roots, and later relocated to Taos, New Mexico, sometime in the early '90s.


The Five Pennies "Joe Paul Nichols Presents..." (Bollman International Music) (LP)
(Produced by Joe Paul Nichols & Jerry Abbott)
Introduced in the liner notes as "one of the finest traveling bands in the South," this group from Dallas, Texas was an archetypal working-man's band. Bassist Roy Tunney was the group's lead singer; along with fiddler James Roberson, steel player Carroll Parham, guitar picker Teddy Johnson and Joe Wayne Campsey on drums. The record includes two vocal numbers with Tunney singing lead, Red Steagall's "Someone Cares For You" and Ray Price's "Release Me," with all the other tracks being instrumentals. The set list includes a lot of dancehall oldies, like "San Antonio Rose," "Westphalia Waltz" and "Cotton-Eyed Joe," with various bandmembers taking solos, including a version of "Orange Blossom Special" and an instrumental take on Merle Haggard's "Working Man Blues," spotlighting Teddy Johnson. I'm not sure if they backed any particular artists, or if they were just their own, self-contained band.



The Flatlanders - see artist discography



Blaze Foley - see artist discography


Rocky Bill Ford "Rocky Bill Ford" (Audiolab Records, 1961) (LP)
The lone album released by this little-known Texan: all these songs are included on the BACM CD listed below.


Rocky Bill Ford "His Complete Recordings" (BACM, 2007)
You'd be hard-pressed to find a country singer more rough-hewn and chunky-voiced than "Rocky" Bill Ford, who worked as a barber in Houston and recorded a couple dozen tracks between 1950-56. Ford had a pretty limited vocal range -- think Ernest Tubb with a slight hiccup -- but he sang with conviction, and carried these songs emotionally, particularly when sounding forlorn and forsaken was a plus. Ford had a couple of great (and surprisingly direct) drinking songs to his credit: "Beer Drinking Blues" and "Blowing The Suds Of My Beer," both of which were covered by the more robust and more successful fellow Texan, Big Bill Lister. Initially, Ford wrote a lot of his own material, later he did more cover tunes, and apparently he even took a stab at rockabilly in the late 'Fifties, although the only trace of these efforts seems to be a (very fun) single on Starday, with two thumping sizzlers, "Mad Dog In Town" and "Have You Seen Mabel." Although he wasn't the most dynamic singer, Ford still made some fun records... A nice retrospective of a very obscure hard-country old-timer.


Freda And The Firedogs "Freda And The Firedogs" (Plug Music, 2002)
(Produced by Jerry Wexler)
This beloved early '70s Austin band featured piano and vocals by Marcia Ball, a youngster from Louisiana who became a core member of the Texas indie scene, initially testing her chops in the hippie twang style, but eventually finding modern blues to be more her thing. This album was recorded in the early '70s as part of a tentative deal with Atlantic Records, but wound up getting shelved for over three decades. There are a lot of country and blues cover tunes, but also an original spark that would resurface in Ball's solo career, which wasn't long in coming. Sadly, this archival reissue album is, itself, many years out of print and not available in any other form. But what goes 'round, comes 'round. It'll be back.


Freddie & Ricky "Laredo To Houston" (Chalk Dog Records, 1981) (LP)
(Produced by Mark Holden)
Just a couple of guys from Houston, strumming tunes and having fun... They cover singalong oldies like "Bloody Mary Morning" and "Louisiana Saturday Night" from the country canon and "Diddy-Wah-Diddy," "Five Foot Two, Eyes Of Blue," and "Norwegian Wood" from the Leon Redbone-ish, pop-standards side of the spectrum. Freddie Matthews sings lead and also composed a couple of sweet, melodic folkish tunes for the album, "I Want To Lose Myself" and "You Can Find Her In Laredo," while Ricky Opersteny plays bass, fiddle and even a bit of sitar, with additional lead guitar added by Brian Kalinec. Nothing mind-blowing here, but a good example of "regular people" music -- some some dudes who liked to sing, and made a record -- they weren't exceptional, but they were sincere. Indeed, the album is perhaps best epitomized by their cover of Harry Chapin's bittersweet "Mister Tanner," all about a small-town guy who tries a career in music, but decides it's better just to sing for himself at home.


Kinky Friedman - see artist discography



Steven Fromholz - see artist discography


Frummox "Here To There" (ABC-Probe Records, 1969) (LP)
(Produced by Dick Weissman)
The legendary "lost" debut album from Texas singer-poet Steven Fromholz, recorded as a duo with Dan McCrimmon... This album predated and anticipated much of the Texas indie/outlaw music to come, showcasing an interesting variety of styles, with only a little outright country, balanced by a lot of the same kind of poetic musings that Townes Van Zandt championed around the same time. Side One opens with "The Man With The Big Hat," a latter-day cowboy story-song that anticipates songs like Guy Clark's "Desperadoes Waiting For A Train," albeit sung in an earnest-folkie hootenanny style reminiscent of the Kingston Trio, et. al. The album's centerpiece is "The Texas Trilogy," a series of keenly observed vignettes about a small Texas town in decline -- losing its younger residents to the lure of bigger cities, and no longer has scheduled train stops as it did year ago. Work, love affairs, pregnancies and retirements are examined with a forgiving eye, and a clarity and plainspokenness worthy of Studs Terkel. The Trilogy is a well-deserved landmark in Americana music... From there he shifts into the psychedelic "There You Go," which has a funky hillbilly rap vocal that reminds me of John Hartford; the album closes with a couple of softer folk numbers that are closer in feel to Tim Hardin or Tom Rush -- as a folk-and-country period piece, this album holds up well, with some songs clinging to the sound of the early '60s and other tracks, notably the Trilogy, that are remarkably forward-thinking. Guest musicians include Eric Weissberg and Artie Traum, with "Jeff Walker" (Jerry Jeff, I'm assuming?) pitching in with "head help," whatever that meant. An interesting record, definitely worth checking out.


Frummox "Frummox II" (Felicity Records, 1982) (LP)


Ray Frushay "Songs I Like To Sing For Those Who Will Listen" (Princess Records, 1966) (LP)
(Produced by Huey P. Meaux & Doyle Jones)
Originally from Dime Box, Texas -- a tiny place out near Austin-- honkytonker Ray Frushay started cutting singles for indie labels in Houston and San Antonio, way back in the early 'Sixties, including a few tracks for the Princess label, which put out this album. From 1968 to '75 he was a major-label artist, recording tunes for Dot and Paramount, although his first (and only) charting single was an independent release, "I Got Western Pride," which cracked the Billboard Top 100 in 1979, peaking at #93. Frushay became well-known on the Austin music scene, as is his daughter, Sheri Frushay, who adopted her own raspy, bluesy roadhouse style.


Ray Frushay "Ray Frushay" (Skill Records, 1967) (LP)


Ray Frushay "A Portrait Of Ray" (VMI Records, 1973) (LP)
(Produced by Ray Frushay)


Ray Frushay "Frushay Country" (Casino Records, 1976) (LP)
This was, I believe Ray Frushay's last full LP, although he continued to record singles for several years to come. For the first half of the 'Seventies, he was officially a major-label recording artist, but Dot/Paramount never green-lighted a full album, so Frushay kept chugging along a parallel course as an indie musician. His lone charting single, a private-press release called "I Got Western Pride," came out a few years after this, in 1979, but is not included on this album.


Clifford Fry "For The Players Of Nights Game" (1979) (LP)
Apparently, Dr. Clifford L. Fry, PhD was a professor of economics at the University of Texas who also led a country/rock bar band on the side... And, man, I bet his study groups were fun! His group eventually morphed into the long-lived Dr. Fry's Texas Medicine Band, a group which performed throughout the 1990s and 2000s.


The Fugitives "Wanted" (Custom Sound Studios, 1969) (LP)
(Produced by Curtis Kirk)
Some honest-to-god Texas good ol' boys, just singing honky tonk music and having a good, old time. A country covers band from Tyler, Texas, the Fugitives started out in 1964 with Joe Whittfield (lead vocals), Bill Glover (steel guitar), and Wayne Jones (mandolin). They recorded this album in December, 1968, covering Johnny Cash, Merle Haggard, Buck Owens, a couple by Harlan Howard and even a couple of rock'n'roll oldies. Merle Haggard's "Swinging Doors" was their most contemporary selection... Nothing new on here, but these guys sure seem like they were having fun. Just to add a little locals-only authenticity, the liner notes were written by a member of the Shriner's lodge where the six guys originally met one another, while they also stretch back a few decades to cover Jimmie Davis. They're about what you'd expect -- a good but not earthshaking local band: the best songs feature a deep, Ray Price-ish Texas shuffle sound, while the most distinctive track may be a rock/soul flavored rendition of the old hillbilly weeper, "You Are My Sunshine," with a semi-funky feel that I've dubbed "gogo-billy." A pleasant, obscure album that's certainly worth a spin.


Rudy Gaddis "Garden Of Roses" (Custom Sound Studios, 19--?) (LP)
Way back in 1955, Texas native Rudy Gaddis (1926-2006) recorded an Atomic Age hillbilly novelty single for the Starday label called "Uranium Fever." The arrangement was a rehash of Hank Williams' "Kawliga," with Gaddis' vocals strongly recalling those of Hank Snow, and the single was one of a handful he released over the years. This album seems to be his only full-length release... It's all original material recorded several years later (though I'm not quite sure when...) and the Rudy Gaddis pictured on the cover looks pretty durn middle aged... It looks early '70s to me, but the tracks may have been recorded much earlier.


Bob Geesling & The Country Travelers "Country Travelin', Texas Style" (Star Trail Records, 1984) (LP)
(Produced by Bill DeJarnatt)
A real country old-timer, Bob Geesling is probably best remembered as co-composer of the song "The Heart You Break May Be Your Own," which Patsy Cline recorded back in 1956. His own recording career goes back at least as early as 1955, when he cut a fabulously twangy gospel single; he was also known for his work in Tiny Colbert's band, a true-Texas outfit that cut several sizzling discs way back in the late 1940s and early '50s. This late-life album showcases a half-dozen originals by Geesling, including "The Last Generation," one of his fab 'Fifties gospel tunes, and "I Destroyed A Soul," which previously came out as a Star Trail single back in the late '70s. He also covers one of Tiny Colbert's postwar oldies, "Pretty Lady," a jaunty tune that dates back to 1949. Bob Geesling and his wife, drummer Nita Geesling, owned a music store in Denison, Texas, about an hour north of Dallas on the "Texoma" state border. The Geeslings are joined by several locals on this album, including Leon Elliot on banjo, bassist Jack Noth and Luther Thompson playing mandolin and steel guitar, as well as guest vocalist James Shelton, who does a darn good George Jones imitation. Lots of great material on here, one strong song after another, with Geesling's own "I'll Cry Tomorrow" being perhaps my favorite track on the album. Mr. Geesling seems to have been born in either 1931 or '32, and since passed away, although I couldn't find out exactly when.



The Geezinslaw Brothers -- see artist profile


Bobby Giles "Never Gonna Roam" (BG Records, 19--?) (LP)
(Produced by Jerry Abbott)
Contemporary Christian music, with a Texas country spin. This was recorded at Jerry Abbott's studio, Pantego Sound, in Arlington, Texas with a studio band that included Abbott on keyboards, pedal steel player Junior Knight, guitar picker Jerry Metheny and backup singer Sally Gardner, who also played on plenty of secular indie sessions. All the songs are originals written by Giles, though they seem to have primarily spiritual themes, and few nods towards country conventions.


Carroll Gilley "...And The Southern Comfort" (Teardrop Records, 1976) (LP)
(Produced by Foy Lee)
A relative of piano thumper and bar owner Mickey Gilley (and by extension, of Jerry Lee Lewis and evangelist Jimmy Swaggart), nephew Carroll Gilley also cut a few tracks way back in the early 'Sixties but is best known for leading his band Southern Comfort through much of the "Urban Cowboy" era. He frequently shared the bill or collaborated with Mickey Gilley, though much like how Mickey Gilley sounded a lot like Jerry Lee, Carroll Gilley was rather imitative of his uncle Mickey, covering many of the same songs and sharing a lot of the same vocal tone. He did write his own material as well: most of the songs on Side One of this album (his first?) are credited to Carroll Gilley, with one other, "Let Me Keep Your Love" composed by Jimmy Velvet, who also used producer Foy Lee's publishing company. There are no producer or musician credits on this album, though an autographed copy I found gave clues to at least some of the lineup -- Carroll Gilley played piano, of course, while the other three fellers, pictured on the back included a guy named Edward Allen, someone named Bill and another guy I think was called Mark. Additional info would be welcome.


Carroll Gilley "Carroll Gilley Is In Gilley's Country" (Astro Records, 1979) (LP)
This album was recorded on Mickey Gilley's own label, based in Pasadena, Texas... Alas, once again, no info about the backing band.


Carroll Gilley "The Terrace Presents Carroll Gilley" (Teardrop Records, 1980) (LP)


Carroll Gilley "Carroll Gilley" (Axbar Records, 1984) (LP)



Mickey Gilley - see artist discography



Johnny Gimble - see artist discography



Jimmie Dale Gilmore - see artist discography


Gladstone "...From Down Home In Tyler, Texas, USA" (ABC Records, 1972) (LP)
A soft-sounding Southern rock set, with a healthy undercurrent of twang. This band was a rainmaker project for producers Robin Hood Brians and Randy Fouts, whose Brians Studio was a focal point for local artists in and around Tyler, Texas. Apparently this record was released twice, the first time with the Tyler Texas title, and then again, with different album art as just plain old "Gladstone." They had an almost-Top 40 single with "A Piece Of Paper," but the mojo wasn't quite there for mainstream success... Apparently Mike Rabon, formerly of the pop band The Five Americans, was hooked up with this band, after his earlier country-rock efforts with the band Choctaw, though after this he bailed on the music business and went back to school.


Gladstone "Lookin' For A Smile" (ABC Records, 1973) (LP)
(Produced by Robin Hood Brians & Randy Fouts)
Nice mellow stuff, particularly the skillful pedal steel by Bobby Tuttle... Admittedly, this is a pretty uneven album, pulled in several directions stylistically, ranging from some pretty nice cosmic-cowboy stuff and mostly-mellow Southern rock, to more "epic" guitar rock (as on the album's closer, a lazy, hazy stoner anthem called "Here Comes That Feeling'," which also features some nice harmonica by Mickey Raphael...) There are a couple of Michael Rabon songs on here, including a remake of "Texas Sparrow," which was originally part of his Choctaw album. I don't think he was on this record, though, unless he was playing under some alias... There's only one really big, hard-edged Southern rock song on here, "Dixie Woman," which I didn't like, but I imagine is a cult favorite for the genre. Mostly, this is a pretty mellow album, and I enjoy the softer steel-drenched stuff. Worth a spin. (BTW: anyone know if the Tom Russell who sang backup on here is the same guy as the Texas singer-songwriter folkie, who was in Texas around this time? Just curious.)


Annie Golightly "The Many Faces Of Annie Golightly" (Injun Records, 1979) (LP)
(Produced by Smokey Montgomery)
Texas native Anna Mack Milford Smith, aka Annie Golightly (1931-2012) was a singer, author, club owner and real-deal cowgal who was famous for taking part in the six-month long Great American Cattle Drive, riding from Fort Worth Texas to Montana, back in 1995. Born in ultra-rural Dial, Texas -- north of Pecan Gap -- she migrated to Fort Worth where she became part of the local country scene, eventually opening a music club that she ran up until 1988, when she largely retired from the music business. Though I'm not entirely sure of her first nations heritage, Ms. Golightly had a Native American image, and was unfortunately nicknamed "the singing savage," in keeping with her equally uncomfortable label name. She worked with Texas twang old-timer Smokey Montgomery for many years, cutting at least one single with his help, 1971's "The Vanishing Breed," which also came out on Injun Records. She joined here by several Fort Worth country stalwarts -- steel player Maurice Anderson, Billy Grammer on harmonica, bassist Marc Jaco, with producer Smokey Montgomery chiming in on banjo. Though the album kicks off with a cover of "Grandma's Feather Bed," most of the songs are her own originals.


The Good, The Bad & The Ugly "The Good, The Bad & The Ugly" (Mercury Records, 1970) (LP)
(Produced by Huey P. Meaux & Inez Fox)
Not to be confused with the Canadian band of the same name, this bluesy Southeast Texas trio included Bubba Goode, Joe Pipps and Kenny Yetman, who came from around Beaumont and Port Arthur... The band's main songwriter, Joe Pipps, continued to work with producer Huey P. Meaux and later recorded an album with him on the Crazy Cajun label.


The Gore Brothers "...And Cool Water" (Gore Brother Records, 1978) (LP)
(Produced by Don Caldwell)
Lubbock, Texas siblings Gary and Ron Gore were veteran players on the Lone Star folk and bluegrass scene who formed their own band, Cool Water, in the 1970s. Their repertoire is what could be described as "progressive" bluegrass, though with distinct traces of outlaw country and old-school coffeehouse folk. This is a nice record, with strong performances by Ron Gore on mandolin and banjo plunking by Bruce McBee; the electric bass playing by Gary Gore feels like a poor fit, even lackluster at times, though I'm not sure if it's one of those "new to the studio" DIY things, or maybe he just wasn't that comfortable playing electric. Overall, this is a strong record for the '70s indiebilly scene, and definitely worth checking out. Includes covers of Dylan's "Knocking On Heaven's Door" and the newly-minted "Song For The Life," by Rodney Crowell, as well as a couple of Gary Gore originals, "Our Love Can't Be," and the hippie-ish "Hope In The Country," which sings the praises of the rural life.


Gottcha "Gottcha" (1983) (LP)
(Produced by Maurice Bittick)
This band, also known as Jim Ponder & Gottcha, was from Conroe, Texas, a northern suburb of Houston. Their music had a country base, but they added some questionable pop/lounge touches, with saxophones and keyboards, but no pedal steel and a little fiddle on just one song. In this case, the collision of styles could get a little torturous, but to their credit, the group did have a sound that was truly their own. Not necessarily my cup of tea, but they were distinctive.


Jim Gough & The Cosmopolitan Cowboys "There Ain't Another Place Like Texas" (Tophand Records, 1984) (LP)
(Produced by Jim Gough & Bill Holland)
Lone Star-themed country and western swing from an Austin-based actor who appeared in films such as Urban Cowboy and Places In The Heart, as well as multiple appearances on the TV show, Walker, Texas Ranger. Not surprisingly, with his rich Texas timbre, Jim Gough has found a lot of in commercials as well as reading audio books (Zane Grey, anyone?) and as a vocal coach for those wishing to pass as Texan. He led his western swing band, the Cosmopolitan Cowboys, for several decades and cut this album -- all songs about Texas -- with the twin fiddles of Ernie Hunter and Bob White, pedal steel legend Herb Remington, along with Bill Dessens (guitar, fiddle and steel guitar), Obie Jones (drums), and Pete Schotz on bass. As far as I know this was his only album, though he performed regionally for many years, including appearances as western-themed events such as recreations of historic cattle drives and the like.


Cuzzin Tom Graham "I Can Scratch Where You Can't When It Itches" (Cuzzin Records, 1983) (LP)
Songwriter Tom Graham carved a niche for himself in the early-1980's Austin scene performing kooky novelty songs delivered in a musically awkward style that I assume is half-intentional, playing up his own limitations as a vocalist, as a form of corn-pone humor. Like a lot of comedy, it may not appeal to everyone. The themes and the music can sound strained, but he does have some good gags. With songs like "Never Ask a Computer about Love," "I'm In Love With My Mother-In-Law," and "Put Back On Your Makeup Baby," this album has plenty to recommend it to fans of wacky comedy and hick-humor. He's backed on this album by a small band of Austin locals...


Cuzzin Tom Graham "Two Step Waltz" (Cuz Records, 1985) (LP)
More corn-pone humor, including tracks such as "When You Love An Ugly Person Everything Is Beautiful," "The They Done Took Away My Government Check Blues" and "The Two-Step Waltz."


Rudy Grayzell "Let's Get Wild" (Starday Records, 19--?) (LP)
This custom pressing seems to have been a reissue of 'Fifties-era material from Texas rockabilly pioneer Rudy Grayzell -- ne Rudolph Paiz Jimenez (1933-2019) -- whose sizzling singles have been reissued on Bear Family and other collector labels. I'm not sure if there were any more contemporary (1960s) tracks on here, but regardless, it's great stuff.


Greezy Wheels "Juz Loves Dem Ol' Greezy Wheels" (London Records, 1975) (LP)
(Produced by Garrison Leykam & Peter Hay)
The first album by this venerable Texas band... an admittedly iffy mix of hippiedelic boogie-rock with a hint of Grateful Dead-ish jam-band-ism, and lots and lots of conga drums. The opening track, "Get My Mind Together," features gruff, swampy vocals by bandleader Cleve Hattersley and has a weird kind of Jerry-Reed-meets-the-Grateful-Dead sound. The next few tracks add female vocals into the mix, provided by Hattersley's sister Lissa and by his wife, fiddler "Sweet" Mary Hattersley, giving the band a passing similarity to Dan Hicks & The Hot Licks. The Wheels enjoyed a long stint as the house band at Austin's fabled Armadillo World Headquarters concert hall, and as a result were lumped in with the indie/outlaw country scene. That connection was borne out more on their second album, but on this debut disc they were way more of a ragged hippie rock band, while taking a few dips into jazzy riffs and regional styles. Take for example the Spanish-Latin tinge of their cover of Willie Nelson's "I Never Cared For You," one of only a few cover tunes on this album. Lissa and Cleve Hattersley wrote most of the original material, with her "Standing In The Light" being an album highlight, particularly with her proto-Lucinda Williams-y vocals. This album is a good document of its times, though less twangy than one might hope... You really gotta be a fan of hippie grove music to get into this one.


Greezy Wheels "Radio Radials" (London Records, 1976) (LP)
(Produced by Garrison Leykam & Peter Hay)
Perhaps you can mark the moment when Texas country became cooler than Texas rock as falling somewhere between the first and second Greezy Wheels albums: Willie Nelson had ascended to full godhood, and these scruffy jammers went for full-on twang. The album opens with an odd, hybrid reggae-boogie funk tune, but it's track #2 that seals their fate in the outlaw country canon. "Country Music And Friends" is a stone cold classic, with its faux evangelical Christian lyrics paired with an awesome, irresistible chorus (cataloging the best things in life, circa 1976 Austin: "cocaine, country music, and good old Lone Star beer...") while Mary Hattersley's elegant fiddle break provides some truly classy twang. Deeper into the album, the band's Dan Hicks-ishness is cemented on acoustic jive tunes like "Feel Like A Devil," "Heartburn" and "Dirty Old Man" (all with Lissa Hattersley singing lead...) There are still a few clunkers on here, but this album is much smoother and less rock-oriented than their debut, and generally more fun. I don't like all the songs, but it's hard to imagine there ever coming a time in life when I wouldn't get a little jolt playing "Country Music And Friends" just one more time. That's really what makes this album a keeper.



Nanci Griffith -- see artist profile


Larry Groce "The Wheat Lies Low" (RCA-Daybreak Records, 1970)


Larry Groce "Crescentville" (RCA-Daybreak Records, 1972)


Larry Groce & The Currence Brothers "Larry Groce And The Currence Brothers" (Peaceable Records, 1975) (LP)
(Produced by Michael Lietz & C. Randolph Naurt)
Listeners and fans who want to get a sense of Groce's roots music origins might get a kick out of this pleasantly twangy, all-acoustic album... A nice, straightforward set of traditional-sounding bluegrass, with a repertoire that mixed in plenty of "progressive" material, such as Dylan's "You Ain't Going Nowhere," the Johnny Cash oldie, "I Still Miss Someone" and Rodney Dillard's "The Biggest Whatever." The Currance Brothers were a family band from Randolph County, West Virginia who provided solid though unflashy accompaniment for the equally unhurried lead singer... The Jimmie and Lorie Currance Brothers went on to record a few albums of their own, though I think this was their debut LP.


Larry Groce "Junkfood Junkie" (Warner Brothers, 1976) (LP)
It can be hard not to be considered a "one-hit wonder," especially when your big hit blows up as huge as the title track to this amiable folk-pop outing. The bouncy, deliciously delivered song was a good-natured spoof of the growing "natural foods" movement of the 'Seventies, and it became one of the biggest radio hits of the Bicentennial, as popular with the hippie-hating "straights" as with the longhairs and liberals who if nothing else proved that they could take a joke as well as the next guy. It's funny, though, it never occurred to me, until just now, that Larry Groce might have actually written -- hell, he might even have sung -- other songs besides "Junkfood Junkie," and that he might actually deserve a spot in the '70s hippie-country pantheon. That suspicion is borne out by a cursory Google search which reveals that Dallas-born Groce was the founder of the venerable "Mountain Stage" radio show, which helped give national exposure to many to some of the biggest stars of the budding Americana and Adult-Alt music genre in the 1980s and '90s. Go figure. Heck, maybe some day I'll have to check the rest of this record out!


Larry Groce "Please Take Me Back" (MC Records, 1977) (LP)
(Produced by Mike Curb)
On what amounted to his major-label swansong, Larry Groce hooked up with hotshot producer Mike Curb for a smooth set of flowery folk-and-twang, backed by an impressive roots music studio crew. Ry Cooder plays on a couple of tunes, along with pedal steel players J. D. Maness and Sneaky Pete Kleinow, fiddler Richard Greene, a couple of guys on loan from the Emmylou Harris Hot Band (Emory Gordy and Glen D. Hardin) with Nick De Caro slumming on accordion... Heck, they even got Melissa Manchester to sing harmony on a tune or two! For me, the most intriguing sideman was banjo picker and backup singer Rob Quist, a veteran of the regionally-based group, the Montana Band, who was probably playing with Groce at the time. Like Quist, Groce preferred the smalltown life, and sings of his happiness in a "Big White House In Indiana," along with other pastoral, rural inclinations. Most of this album is too wishy-washy for me, with pop-folk/singer-songwriter material reminiscent of Harry Chapin and Jim Croce, though the opening track, "Entertainment Nightly," is a satisfyingly twang-filled tune about "a great big star in a little beer joint," who doesn't mind pickin' and singin' far away from the LA and Nashville lights. Other tracks are mildly evocative, but that one's the real winner.


Jimmie Grokett "Country Lady" (Tamara Records, 1986) (LP)
(Produced by John Beland & Bernie Vaughn)
This album by Sherman, Texas singer and keyboardist Jimmie Grokett was a side project of erstwhile Flying Burrito brother John Beland, who had earlier produced a single for Grokett's band, Red Horse. There are several songs on here credited to Beland and several obscure cover songs, including a little-known Rodney Crowell song, "The Best I Can." The title track was co-written by Jimmie Grokett and Danny Batchelor of Red Horse, although that seems to be the only original on his part. The massive Flying Burrito Brothers website says this album was "unreleased," but it looks to me like it it went through the whole Nashville custom/indie label process, and was pressed with proper graphics and everything. It was recorded in Hendersonville, Tennessee with several Music City pickers as back-up, and the single, "Country Lady," got a plug in Billboard at the end of the year.


Dewey Groom & The Texas Longhorns "The Last Of The Big Bands" (Longhorn Ballroom, 1966-?) (LP)
(Produced by Dewey Groom)
The Texas Longhorns were a long-lived Texas dance band, led for several decades by producer Dewey Groom. The group's career dates back to the 78 era, when they recorded for Imperial Records and other labels, though most notably for Groom's own Longhorn label, which was a powerhouse for regionally-produced traditional country. This disc is notable for its wealth of original material, including a slew of tunes from singer Clay Allen, who is described on the back cover of Groom's "second in command," as well as one each credited to lead guitar picker George McCoy and steel player Bobby Garrett. The Longhorn label was also the mid-1960s home for hotshot guitarist Phil Baugh, and though he's not in this lineup of the band, this album also features two songs by Baugh's musical partner, Vern Stovall. The music's groovy, but maybe even better are the brisk bios of all eleven guys in the band at the time, telling us both about the family men and the guys who liked to chase after gals, as well as the guys who had careers outside of the band.


Dewey Groom & The Longhorn Band "Souvenir Album #1" (Longhorn Records, 1978) (LP)
(Produced by Dewey Groom & Jerry Abbott)
This album was made to be sold at Dewey Groom's dancehall, the Longhorn Ballroom, located in Dallas, Texas... This was a much smaller group than the old Longhorns band Groom led in the 1950s and '60s, just six guys who were the house band at the time, including steel player Junior Knight and lead singer Al Harvey, who gets equal billing on the front cover, and was probably the day-to-day leader of the band. Mostly covers tunes, fairly predictable stuff such as "Faded Love," "Jole Blon," "Six Days On The Road" and "Orange Blossom Special."


Dewey Groom/Various Artists "Longhorn 25th Anniversary Album" (Longhorn Records, 1983) (LP)
(Produced by Dewey Groom & Keith Rust)
Dallas, Texas nightclub owner and country promoter Dewey Groom leads a band of younger musicians on a set recorded in honor of the Longhorn Ballroom's twenty-fifth anniversary. The Longhorn was built in the late 1950s as a home for western swing legend Bob Wills, and Mr. Groom managed it for about a decade before becoming the full owner in 1967. The backing musicians were presumably the early '80s house band, younger dudes who included Buddy Brady on fiddle, bassist Van Crane, Donnie LaValley on steel guitar, piano plunker Kenny Martin, Shane McCauley on drums and lead guitarist Curt Ryle. While Mr. Groom croons on some oldies ("Faded Love," et. al.) he mostly lets the spotlight fall on the young'uns, and this album is packed with original material -- six songs written or co-written by Curt Ryle, including two co-composed with Kenny Martin. They all take turns on vocals, recorded in the studio at Crystal Clear Sounds in Dallas. Not long after this was recorded, Oklahoma-born Curt Ryle headed for Nashville, where he found success as a sideman, songwriter and producer; some of his most successful tunes include "Storm In The Heartland," a mid-1990s single by Billy Ray Cyrus, and several songs recorded by Clinton Gregory.


Jerry Haag "Chaparral Records Presents A Solid 10 With..." (Chapparal Records, 19--?) (LP)
(Produced by Johnny Gimble, Gary Shoemake & Bob Sullivan)
The professional square-dancing scene is a bit opaque to me -- to most country music fans, really, as few folks take square-dancing seriously, but rather as a kitschy, static offshoot of old-time mountain music that nonetheless has generated a sizeable chunk of records best avoided by puritanical twangfans. Nonetheless, it's slowly become clear that there's also a noteworthy overlap between the world of calling records and some real-deal country pickers. Square dance caller Jerry L. Haag (1934-2020) was originally from Cheyenne, Wyoming but he got the "calling" bug in the 1960s and devoted himself to square dance event as a full-time profession starting in the late 'Sixties. He traveled all across the United States and Canada for several years before settling down in Plano, Texas where he was living when he cut this album (as well as several singles) for Chapparal Records, a custom-press label based in Plano, Texas that recorded a fair number of records in the early 1980s, mostly "calling" records by local artists. Mr. Haag was one of the label's biggest artists: the liner notes tell us that his record, "Rockin' In Rosalie's Boat," was a million-selling single, apparently the biggest hit in square-dancing history. Particularly noteworthy is the label's studio crew, known as The Road Runner Band, whose members are largely unknown, although it was led by fabled fiddler Johnny Gimble, who seems to have played on all the Chapparal recordings. Many if not all of the tracks on this album were previously released as singles, and several different lineups may have been used at various points in the early 'Eighties. PS: this album is monophonic, too!


Carol Hall "Beads And Feathers" (Elektra Records, 1972) (LP)
(Produced by Gene Eichelberger, Marlin Greene, Tom Hummer & Russ Miller)
Best known as a songwriter, Carol Grisham Hall (1936-2018) was a Texas native though not necessarily a country gal... She recorded two albums for the post-folk Elektra Records and was considered an early 'Seventies singer-songwriter; her first album, 1971's If I Be Your Lady was more in the pop vocals came, with lots of brass and strings, though this one was more twangy, or at least more Nashville. An all-star cast backs her here, with Music City A-listers such as David Briggs on keyboards, Kenny Buttrey (drums), Eddie Hinton (guitar), Wayne Perkins (also guitar), Billy Sanford (more guitar), Norbert Putnam (bass) and Ms. Hall leading on piano and vocals. Also around this time she contributed three songs to the children's music classic, Free To Be... You And Me, including "Glad to Have a Friend Like You," "Parents Are People," and the immortal "It's All Right To Cry." Yes, that's impressive, but even moreso is that she wrote the music to the musical The Best Little Whorehouse In Texas, as well as its less well-known sequel, The Best Little Whorehouse Goes Public, which definitely gives her some country cred.


The Don Hall Show Band "Bright Lights" (International Records, 1976-?) (LP)
(Produced by Richard Harrow)
Oh. My. I mean, look... I'm not a big fan of the online hipster thing of making fun of "bad" records and scary-looking album art... But come on, I'm only human. I mean, wow: just look a those matching outfits. Sadly, though, the music matches the couture, and this is genuinely one of the most frightening musical messes I've encountered, and I've been at this for several decades. It's just so many things, all colliding at once -- bad, echo-y production, manic performances, weak vocals, unrelenting self-confidence and a fascinating mix of well-chosen cover songs and a handful of somewhat baffling originals. This family band hailed from Carrollton, Texas and was led by family patriarch Don Hall, a friendly-looking fellow who sings lead on three songs. I actually kind of like his vocals -- he's not great, but has the sort of almost-there, "real people" artistic vulnerability I admire, and he sticks to the classics -- "Folsom Prison Blues," "Good Hearted Woman," "Blues Eyes Crying In The Rain," -- which works in his favor as well. I think all the other band members are his kids, and what makes this album so, um, exceptional is the true, undeniable terribleness of his son, Donny Hall, who had a bizarrely squeeky, tremulous voice; it honestly sounds like it was auto-tuned into the mouse range. His tracks are the sort of thing that honestly deserve a place in the pantheon of weird-record mockery. Likewise, "multi-talented musical wizard" Cindy Hall struggles through several numbers, including the opening track, "Bright Lights," which is one of three songs she wrote for this album. She was genuinely talented: according to the liner notes she played ten different instruments, including banjo, bass, drums, fiddle, guitar, mandolin, organ, piano, and steel guitar... It's just that maybe singing wasn't her greatest strength. Again, I'm not out to pick on anybody, and I genuinely admire anyone who had the wherewithal to make a record; it's something I'll never be able to do. But if you're one of those big meanies who loves to make fun of awkward-sounding private-press records, this one's a doozy. (PS: "Special recognition goes to PEGGY HALL for creating and making the beautiful wardrobe the group wears, also for operation of lighting and sound at live performances." Amen.)


J. R. Hall (The Utah Cowboy) "Utah Sings Again" (Bluebonnet Records, 19--?) (LP)
Modern (1960s?) recordings by a fella from Grandbury, Texas who was a radio performer working at several stations starting in 1930 and throughout '40s. He performed mostly around Fort Worth, with stints in Little Rock, Arkansas and also over the border in Mexico on powerful AM channels such as XEPN and XELO, with signals that traveled across the globe. The nickname "Utah" came from one of his most popular western songs, but Mr. Hall was a Lone Star boy, through and through, and returned to Texas where he worked for a few years as a state patrol officer, and later in an office. Hall was persuaded to record these sessions for the Bluebonnet label; previously he had only recorded transcription discs for his various radio gigs.


Ham Brothers "Ham Brothers" (Ariola America, 1977) (LP)
(Produced by Huey P. Meaux & Mickey Moody)
This seems more of a Southern rock thing, what with the conga drums and keyboards, but Huey Meaux was involved, so it's probably worth tracking from a twang perspective as well... The brothers -- Bill Ham and Warren Ham -- came from a musical family, and sang in their parent's southern gospel group as kids. Bill is often confused with another Texan, ZZ Top's manager Bill Mack Ham, but they're two different guys... A talented saxophonist and multi-instrumentalist, Warren Ham worked with several 'Seventies pop stars, notably Cher, David Gates, the band Kansas and Donna Summers, and also worked in a series of Christian rock groups, which may make this disc seem a little odd, what with saucy, secular tunes such as "Chicken Dinner," "Party Down On The Bayou," "Hard Core Women" and "Virgin From The Virgin Islands." The Ham Brothers band dissolved not long after this album came out, and Warren Ham later joined ex-Kansas guitarist Kerry Livgren's Christian rock band, AD. Producer Mickey Moody, known for his work with countless independent country and bluegrass artists (and his own Moody Brothers band) plays steel guitar on several tracks.


John Hambrick "Windmill In A Jet-Filled Sky" (United Artists/Brown Bag, 1972) (LP)
(Produced by Terry Knight)
This is the lone album by Texas-born actor and journalist John Hambrick... He has a gruff, plainspoken storyteller style, sort of a mix of Tom T. Hall and Tony Joe White; it's appealing and the album has a big, clear production sound, though sometimes the cosmic-tinged tunes get a little too philosophical and far-flung -- the album opens on a strong note, with the rolling, reflective "Hard Faced Road," but quickly falls into a series of less-cohesive, stream-of-consciousness topical/contemplative songs, grandiose folk-ish material that anticipates the kind of stuff that Butch Hancock and Tom Russell would specialize in... Listeners who like that strain of prophetic-poetic Townes Van Zandt-ish singer-songwriter material will want to check this out, though other twangfans may feel a little nonplussed by the chunky, often blunt lyrics. Hambrick is backed by a crack studio crew, including Nashvillers Hargus Robbins and Charlie McCoy, as well as Dennis Linde and drummer Jim Isbell, and the "big" sound they generate helps carry listeners through an admittedly odd set of songs. It's not a record that I would want to come back to just for recreational purposes (though many of the songs would be great in a radio mix) but I imagine there are many who'd consider this a lost classic, emblematic of its time.


Dick Hammonds "Late Night Country Lovin' " (SCR/Sunshine Country Records, 1977) (LP)
An Arkansas native who moved to Texas in the mid-1950s, Dick Hammonds (1935-2021) found himself working for Ray Price for a while before starting his own band and working regionally around his home in Mesquite, TX, while holding down a steady day job in retail sales. He played local music halls and rodeos and started releasing a steady string of singles dating back to the mid-1960s. This seems to have been his first album, cut for a Dallas indie label associated with Billy Parker... The liner notes tell us he was backed by his own group, The Hammers, though unfortunately the guys in the band aren't identified by name. Mr. Hammonds also recorded a couple of CDs later in life, though those are pretty elusive as well.


Don Hamil "Two Of Many Moods In The Life Of Don Hamil" (American Recording Studios, 1972) (LP)
(Produced by Bill Holford)
Pop and country covers by a real-live country-pop lounge singer. From 1970-72, Houston-based singer-keyboardist Don Hamil led a band called the Don Hamil IV, which included a gal singer named Linda Raye, as well as guitarist Curt Blinhorn and drummer Frank Sudela, who helped arrange and produce this album. They played in a few local nightspots, mainly the Cork Club and Ten Fathoms West, a so-called "mermaid club," one of those places where buxom young women swim around in aquarium tanks in front of the mostly-male patrons... Ten Fathoms had two locations in Houston, and may also have had slightly shady management, seeing as how the owners were prosecuted in a fraud scheme and had their property seized later in the 'Seventies... Anyway, after Linda Raye left the band, Hamil and the boys kept plugging away, holding down a gig at a place called Kelley's at the time this album was recorded. The set list(s) are strictly covers of pop and country Top Forty hits, with versions of "Crazy Arms," "I Can't Stop Loving You" and "I'm So Lonesome I Could Cry" alongside "Funny Valentine" and "That's All." This was mostly recorded in the ARS label's Houston studio, with one live track, a version of "Folsom Prison," taken from a New Year's show at the Ten Fathoms West, which seems to have been Hamil's main stomping ground.


Conni Hancock & And The Supernatural Family Band "Split Personality" (Akashik, 1986) (LP)
(Produced by Lonnie Mack & Joe Gracey)
There are indeed a whole slew of Hancocks on this album -- songwriter, singer and steel guitarist Conni, along with mother Charlene and sister Traci (all three who were later in the commercial country band Texana Dames) as well as Joaquin and Tommy X. Hancock, along with a little guitar ooomph from producer Lonnie Mack. This is a very unassuming album, very indie and yes, maybe a little bit clunky and amateurish. Can't really say I'm a huge fan of her vocals, but she did sound like true Texas, from tip to toe, with a little hint of the same laconic Southern drawl as Lucinda Williams. All the songs are Conni Hancock originals -- a mix of country, folk and blues -- the same sort of mix that her family's group, the Supernatural Family Band, made popular in the '70s.


Happy's Bunch "Recorded Live In Austin" (ACR Records, 1975-?) (LP)
(Produced by Harold Herrman)
An Austin, Texas horn band led by trombonist Harold ("Happy") Herrman. These guys sure don't look very country, and there ain't no twangy instruments like fiddle or mandolin or steel guitar, but it was Austin, and they do play a bunch of country tunes, including several '70s Top 40 hits, as well as a few rock and soul oldies. But if you want to hear a trombone version of Rusty Weir's "Don't It Make You Wanna Dance," then friend, this disc is for you!


The Hard Travelers "The Hard Travelers" (LCC Records, 1972) (LP)
Obviously, not everyone from Texas plays country music, though these clean-cut lads from Lubbock Christian College were at least semi- twang-adjacent. The Hard Travelers band was a school-sponsored program that had a constantly shifting membership, sort of like the Whiffenpoofs at Yale, with new LCC students taking up the mantle and doing some concert touring and recording an album each year. This years's lineup included sophomore Ken Young on bass, guitarist Bobby Buckel, and Tim McKinzie on banjo, playing an eclectic set that had some country stuff in it, including covers of Hank Williams "Jambalaya," "Take It Easy" by the Eagles, and Tom T. Tall's coming-of-age tune, "Pamela Brown" (which is you ask me is a bit saucy for some kids at a Christian college to perform...) This appears to be the first Hard Travelers LP, with many more to follow...


The Hard Travelers "The Hard Travelers" (LCC Records, 1975-?) (LP)
(Produced by Don Caldwell)
Like the other Hard Travelers albums, this was probably recorded at the end of the calendar year and released the following spring. This edition of the group was a trio consisting of Robin Crawford on guitar, fiddle and mandolin, James Hobbs (bass) and Tim McKenzie (banjo) with all three guys singing, often in harmony vocal arrangements. Based on the set list (which is packed with hits from 1973 and '74) this was most likely recorded in late 1974 and released in 1975. Among the songs originally released in 1974 are Jimmy Buffet's "Come Monday," John Denver's "Annie," "I'm Leaving It All Up To You" (Donnie & Marie), "Midnight Flyer" (Eagles), and "Rock Me Gently" (Andy Kim) as well as the Hues Corporation's "Rock The Boat," from '73. There are also a bunch of 'Fifties/'Sixties rock oldies which seem to have been included out of obligation more than sincere interest -- it's hard to tell how sincere they were, though, as all three guys had pretty thin voices, with limited dynamic range, and even on the tracks where they sound most committed (like the soft pop ballads) they aren't all that persuasive. Also, the production values are pretty flat -- Lubbock's Don Caldwell seems to have been just punching the clock on this particular project. Nevertheless, in terms of the repertoire this is a relatively twangy Hard Travelers album -- their version of "Some Of Shelley's Blues" ain't bad, and the Eagles homage is a little groovy. Sorta. Not really that a great record, but still a nice snapshot of the times.


The Hard Travelers "The Hard Travelers" (LCC Records, 1977)
This youthful, feather-haired lineup included bass player Ken Young, along with Robert Spurlin and Bob Stevens, and one of the school administrators, Joey Cope, sitting in on drums. Not a lot of country material here, though: they strung together an Eagles country-rock medley amid covers of soft-rock/AOR hits like Dan Fogelberg's "Part Of The Plan," Gordon Lightfoot's "If You Could Read My Mind" (oddly transposed into "If I Could Read Your Mind" in the liner notes) and America's ever-dreadful "Today Is The Day." I'm not sure when Joey Cope started playing with the band, but he played on a few of their album and was probably the faculty advisor in charge of the recording program, having graduated LCC in 1974.


The Hard Travelers "1978" (LCC Records/Zamar Studios, 1978)
Though there was plenty of contemporary rock on this one -- the Doobie Brothers' "Black Water" and "China Grove," Paul McCartney's "Silly Love Songs," and an Elvis Presley medley -- the '78 edition of the Travelers definitely dipped into more explicitly country material, recording tunes like "Grandma's Feather Bed," the outlaw anthem, "Luckenbach, Texas," and a good old classic "Foggy Mountain Breakdown."


The Hard Travelers "Lubbock Christian College Presents..." (Lubbock Christian College, 1979)
Running on empty? Well, not quite, though the 1979 lineup did kick things off with their version of Jackson Brown's big hit of the same name. They covered another contemporary pop/rock single, Walter Egan's "Magnet And Steel," though mostly this album was country stuff, with tunes like "Good Hearted Woman," "White Lightnin'," "Rocky Mountain High," and Bobby Bare's dopey novelty number, "Marie LaVeau." The group included faculty supervisor Joey Cope once again on drums and Ty Cobb (no, not that one) on guitar, along with bassist Jerry Reeves and guitarist Kirk Williams.


The Hard Travelers "Wanted: The Hard Travelers" (LCC Records, 1980) (LP)
Looks like this disc was a memento of the 1979-80 school year, with covers of pop hits from '79 such as Robert John's "Sad Eyes," Little River Band's "Lonesome Loser" and "Just When I Needed You Most by Randy Vanwarmer. The country stuff is of a little older vintage, including versions of Jerry Reed's "Amos Moses," "Broken Lady" by Larry Gatlin, and Willon and Waylie's "Mamas Don't Let You're Babies Grow Up To Be Cowboys."


The Hard Travelers "The Hard Travelers" (LCC Records, 1981)
A little country stuff on here -- "All The Gold In California," "Drivin' My Life Away" -- along with stuff like "Surfin' USA" and a Beatles medley.


The Hard Travelers "HT: '82-'83" (LCC Records, 1983)
I guess things were winding down with this part of LCC's music program, as they combined two years worth of hard traveling on this one lone album. Plenty of bad early 'Eighties pop to choose from -- "Ebony And Ivory," "Eye Of The Tiger," "Rosanna" -- although they also cover "My Heroes Have Always Been Cowboys," so there was some twang in the mix. I have to confess I'd love to hear their version of Pure Prairie League's "Amie": I'm always a sucker for that song. This year's lineup included bass player Paul Graefe, Jeff Percival on keyboards, guitarist Mike Shaneberger, and drummer-guitarist Darrell Larson, who was a holdover from the 1981 album. Also pictured with the band was a somewhat shifty-looking old-timer, Jerry Stalkup, who is listed as their "manager": perhaps the attempt to professionalize an amateur school activity led to the program's demise?


Burton Harris "...Salutes Bob And Joe Shelton" (Sugar Hill Records, 1977-?) (LP)
A country guy from Texas, Burton Harris got into songwriting and record producing in the mid-1950s, and had set up his own independent label, Security Records, when the rockabilly wave came crashing through the Lone Star state... Harris recorded several artists, and this is a much later (late '70s?) outing, a tribute to the now-obscure hillbilly brother-act duo of the Shelton Brothers, who recorded prolifically during the 1930s and '40s.


Sherry Dell Harris "Dogs Unleashed" (A + R Records, 19--?) (LP)
(Produced by Jerry Abbott & Harvey Peyton)
A piano player/singer from Fort Worth, who recorded this album in Arlington, Texas. There's some religious material (her own song, "I See The Light") but also more secular "progressive country" such as "Down Home In Texas Again" and "Down Home Woman."


Dian Hart "A Girl For All Reasons" (Amaret Records, 1971) (LP)
(Produced by Joe Porter)
More of a '60s-style pop singer, Dian Hart hailed from Houston, Texas but did her time in Vegas and released a few indie-label singles before recording this album on the Hollywood-based Amaret label. As the title implies, it's meant to showcase her versatility and, yes, there is a little bit of country twang in the mix. The opening track, "To Love," shows great promise for country fans, though oddly enough it's on the following songs written by country-oriented composers such as Shelby Singleton, Johnny Russell and Ben Peters that the album tilts decisively towards pop music with an undercurrent of glossy white soul. The arrangements are, in the parlance of the era, a mixture of groovy and square, placing her roughly in the same band of the spectrum as Dusty Springfield or Petula Clark -- indeed she covers "Son Of A Preacher Man" as well as Bonnie Bramlett's "Told You For The Last Time," material that gives her a mildly funky feel. There's a palpable almost-but-not-quite feel to this record, and you can sense that getting her a spot on something like the Dean Martin Show was their highest aspiration at the time... But for twangfans, I guess this will serve as a warning only... You'll see this record listed as "country" from time to time, but there's really only one song that qualifies. Oh, well.


Cindy Hataway "Live At The Grapevine Opry" (Grapevine Opry Records, 1978-?) (LP)
(Produced by Phil York)
Singer Cindy Hataway was a cast member Johnny High's Grapevine Opry, a mom'n'pop operation near Dallas, Texas, and sang on several of their compilation records. Here on her solo album, she belts out a few gal-centric covers, such as Barbara Fairchild's hit, "Teddy Bear Song" and Lynn Anderson's "Ride, Ride, Ride," along with tunes from Moe Bandy, Hank Snow and Leroy Van Dyke. There's a bit of patriotic stuff and gospel, as well, though mostly what you'd expect to hear on a variety stage. I'm not sure how long Hataway was with the Grapevine Opry, or how long she stayed in the music business; it's possible she's the same Cindy Hataway who later worked the Texas oil industry.


Cindy Hataway "Cindy" (1981) (LP)
A mystery disc which seems to have come from her post-Grapevine career. There are a number of newspaper show notices from 1981 placing her at the Six Flags Texas amusement park, so perhaps she had already moved on before the Grapevine venue fell apart in '82.


"Little" George Havens "Circuit Ridin' Preacher" (Rainbow Records, 1969-?) (LP)
Nicknamed "Little" George, Mr. Havens (1920-1988) stood about four-foot-eleven, and was mainly famous for his stunt work on numerous cowboy movies, dating back to the 1940s. Havens left the film industry after a religious conversion, as well as from concern about the safety of his work: his widow, Lucy Havens says that during an accident while shooting a "Jungle Jim" action flick, Havens was worried that he'd almost broken another actor's neck, and decided his film career wasn't worth that kind of risk to others. Afterwards he largely devoted himself to evangelical efforts, including a music ministry which resulted in this album, as well as appearances on the Grand Ole Opry. In 1966, Havens founded the Cowboy Camp Meeting, an annual event complete with covered wagons and gospel music, hosted at his Flying H Acres ranch, near Santa Anna, Texas. The event continued for decades after Mr. Havens' death, at least as late as 2017. As far as I know, this was his only album, one of many, many gospel LPs produced by the prolific, Dallas-based Rainbow Sound label.


Ray Hawthorne "Ray Hawthorne" (Armadillo Records, 1976) (LP)
(Produced by Joe Bob Barnhill)
Hardcore indie Honkytonk from San Antonio, Texas... Recorded in Nashville with a crew that included Buddy Emmons and Dale Sellers...


Don Hayes & Country Heritage "Live At The Grapevine Opry" (Grapevine Opry Records, 1978-?) (LP)
A bluegrassy band doing mostly country covers, including tunes like Lefty Frizzell's "I Never Go Around Mirrors" and Merle Haggard's "Silver Wings," as well as a big, old rock oldies medley. The band was one of the late 'Seventies acts at the Johnny High's Grapevine Opry, down in Texas. The group included Don Hayes (lead vocals, mandolin and guitar), Steve Story (fiddle, steel guitar), Gary Ledford (lead guitar), Tom Carpenter (bass), Mike Ragland (drums). As far as I know, this was their only album.


Mack Hayes "Mack Hayes" (Paid Records, 19--?) (LP)
(Produced by Gerald Bennett & Jerrel Elliott)
Texan Mack Hayes went from his teenage garage band into a gig backing Liza Minnelli, then in the late '70s he had a regional hit with "The Twelve Days Of Oiler Christmas," a football-related novelty song that led to a series of similarly-themed singles, and eventually to this country album... and a lot of guest appearances at halftime!


Bill Hearne & Bonnie Hearne "Smilin' " (B. F. Deal Records, 1977) (LP)
(Produced by Steve Brogden & Mike White)
Longtime stalwarts of the Kerrville Folk Festival, Bill and Bonnie Hearne were originally from Texas, and lean heavily on local Lone Star talents such as Dee Moeller and Shake Russell, as well as Michael Martin Murphey, recording no few than three of his songs on this album. The title track was written by Bonnie Hearne, but otherwise, these are other people's songs... Backing the Hearnes are folks such as guitarist Larry Nye, bassist Dave Magill and pedal steel player Charlie Holman, as well as album producer/label owner Mike Williams, who adds some harmonies on a tune or two. Later, around 1979, the Hearnes moved to New Mexico, with several other Texas indie types migrating with them...


Tim Henderson "Waiting For The Naked Girl To Call" (B. F. Deal Records, 1978) (LP)
(Produced by Mike Williams)


Audie Henry & Gord Henry "By Request" (Broadland Records, 1975) (LP)
(Produced by Gary Buck)
Well, Ms. Henry certainly has a colorful and surprisingly cosmopolitan life story for a country singer... Originally named Aria Lanka, she was born in Brazil, the daughter of Latvian refugees who fled to South America at the start of World War Two, but soon moved to Canada when she was still a baby. As a young woman, she started singing in clubs around Ontario, and formed a duo with singer Gord Henry, who she eventually married. They recorded this album as well as a few singles, with some modest success on the Canadian country charts. The Henrys eventually moved to Bedford, Texas, with Audie Henry recording a couple of albums with Lone Star producer Bart Barton, although most of her promotional push (and chart action) was up in Canada.


Audie Henry "Audie Henry" (Canyon Creek Records, 1985) (LP)
(Produced by Bart Barton)
After a ten-year hiatus, Ms. Henry returned to the studio and made a stab at some would-be Top 40 material, with relatively glossy production... This includes the song, "You'll Never Find A Good Man Playing In A Country Band" -- apparently she had some success on the Canadian charts with this album and the one that followed, though on later recordings she pitched herself as a Texas artist...


Audie Henry "Heart Of The Country" (RCA-Canada, 1989) (LP)
(Produced by Bart Barton)


Gene Henslee "The Boy From Turkey Texas (As I Remember Him)" (Billiefran Records, 1975) (LP)
(Produced by Jerry Abbott)
A western swing tribute to Bob Wills from fellow fiddler Gene Henslee, an Oklahoma native who began his recording career in the early 1950s and had moved to Texas long before cutting this disc. The album includes several original songs, including "The Boy From Turkey Texas," "Nobody's Done It Like Bob" and "I Cut My Teeth On Good Old Western Swing," all written by Henslee, as well as covers of several Wills-related classics. Producer Jerry Abbott sits in on piano, along with Bobby Boltright and Tommy Camfield on fiddle, Gerry Hall playing steel, and a couple of Henslees in the band for good measure. This outlaw-era album has the added benefit of references in the lyrics to young'uns like Waylon and Willie, Asleep At The Wheel, and other contemporary Texas stars. Henslee was best known as a Forth Worth-area musician.


Monty Henson "Hawkeye" (Arrowhead Productions, 1987) (LP)
(Produced by Rick Harper & T. A. Hixson)
Since Henson was also on the "World's Champion Cowboy Band" compilation album, I'm gonna go out on a limb and guess that he was also a rodeo rider... A mix of cowboy songs and western swing oldies, this disc was recorded in San Antonio, Texas with a group called The Rebel Ridge Band, with Gig Wharton on pedal steel.


Robert Herridge "The Little Fiddler" (Astro Records, 1978) (LP)
(Produced by Sherwood Cryer, Mickey Gilley, Bert Frilot, Mike Taylor)
Not to be confused with the 1950's TV producer of the same name, Robert Herridge was a Texas fiddler who back in 1973 landed a spot in the Bayou City Beats, the house band at Gilley's nightclub, and was on the scene when they filmed Urban Cowboy at the club, and even appears in the film. This was his first solo album, released on Mickey Gilley's label, Astro Records. He's backed by a whole slew of Lone Star locals: bluegrass multi-instrumentalist Ron Rebstock, guitar picker Randy Prince, who played with Freddy Fender, steel player Bob Tuttle (formerly of the country-rock band Rio Grande) and several others. Herridge became heavily involved in promotion Texas fiddle competitions and worked in other locals bands over the years; this may have been his only solo album.


Ron Hester "Caprock Country Music" (Caprock Records, 1980-?) (LP)
(Produced by Lloyd Maines & Don Caldwell)
A West Texas local from Silverton who played in '60s frat-rock bands as a kid, Ron Hester went to nearby Lubbock to record this album at Lloyd Maines' Caldwell Studios. Backing him are members of the Maines Brothers band -- Donnie Maines on drums, Kenny Maines playing bass, Lloyd Maines on all kinds of stringed instruments, along with Monte Williams on piano and Richard Bowden on fiddle, and a few other dudes. Hester apparently led a band called Caprock Country, and this album seems packed with originals songs (and a few covers) including tunes like "Why Didn't I Say I Love You," "Two Dollars In The Jukebox," and "Country Music Losing Songs." Judging from the matrix number (#82880) it looks like this was recorded in the summer of 1980, and released either that year or maybe early in '81.


H.E.W. "Live" (Jam Records, 197-?) (LP)
(Produced by Jerrel Elliot)
Three guys from Houston, Texas -- Pat Hamilton, Jerrel Elliot, Clark Walter -- doing sort of a folkie, singer-songwriter thing, with some country touches. Elliott and Walter were later in the better-known trio of Elliott, Walter & Bennett, which had several albums in the late '70s, also on the Jam Records label. They also played on a few albums by other people, notably football fanatic Mack Hayes, on a couple of albums he cut in the early 'Eighties.


Hickory "Wahoo!" (Country Kitchen Records, 1976) (LP)
(Produced by Paul Eakin, Paul Mullins & Hickory)
A longhaired bar band from Houston, Texas, this group featured lead vocals by Peter Breaz and his wife, Marcia, who also played keyboards. A strong debut in terms of the diverse, adventurous repertoire, although in all honesty I gotta say the vocals are a little hard to take at times. Both Marcia and Peter had their weak spots as singers, although they also emanate great energy and enthusiasm, so it's kind of a mixed bag. The musicianship is otherwise rock-solid, with some swell banjo picking and pedal steel throughout, punching up a song selection that incorporates a nice mix of covers and new material... Hule Wyrick's mellotron keyboard riffs on the opening track are a real surprise as well, though the bands hews to a more traditional sound on the rest of the record. A noteworthy album from the heyday of the Texas outlaw scene... definitely worth a spin!



Hickory "Whiskey Woman" (Country Kitchen, 1978) (LP)
(Produced by Jeff Wells & Paul Eakin)
On the western swing-oriented songs they are very much in the style of Asleep At The Wheel, though admittedly not as musically accomplished, or as well-produced. Their stylistic range is pretty broad, though, and on Side Two of the album they include are folksongs such as Ian Tyson's "Someday Soon," as well as bluegrass standards like "Ruby" and the outlaw-cosmic twang of "The Weight" by The Band. On this last song in particular, there's a weird tendency to ham things up, which may have been a reflection of their stage show at the time, but it doesn't hold up on record. The real sizzle here comes on Side One of the album, which showcases a half-dozen originals written by bandleader Peter Breaz... Marcia Breaz also sings lead on some songs, and Chris Breaz (who later left the band) is on pedal steel.


Hickory "Truck Stop Annie" (Country Kitchen, 1980) (LP)
(Produced by Paul Eakin)


Hickory "Alive And Kickin' " (Country Kitchen Records, 1983) (LP)
(Produced by Paul Eakin & Hickory)
On this concert album, Hickory are captured in their natural state. To be honest, this album's a little clunky -- poorly recorded, mostly, but also with some awkward musical passages. But I think this record probably paints an honest picture of what these guys were like, an earnest band, joyful in their musicmaking, but unevenly talented. Pickers Peter Breaz (bass and banjo) and John Haas (dobro and pedal steel) were the band's anchors, with vocalist Marcia Breaz being perhaps their weakest link, with her bluesy leads reflecting the Texas roadhouse sound, reminiscent of gals such as Marcia Ball and Lou Ann Barton, but at a more amateurish level. This album is all cover tunes, rock, soul and country-rock classics such as "Desperado," "Glendale Train," "Pretty Woman," "Not Fade Away" and "When A Man Loves A Woman," as well as extended tracks at the end of each album side -- a cover of Pure Prairie League's "Amie" and a rock-oriented medley of old Buffalo Springfield hits. This ain't the greatest Texas outlaw album ever, but it's charming in its own way -- an authentic record of its time, and a nice echo of earlier bands like Greezy Wheels, or Frida and The Firedogs. Worth a spin, if you can track it down.


Hickory Hill "Coyote Night" (Hickory Hill, 1982) (LP)
(Produced by Curtis Kirk)
Founded in 1979, Hickory Hill has proven to be one of the the Lone Star State's most enduring bluegrass bands... A (moderately) longhair band hailing from Avinger, Texas, the group has held together for over thirty years, gaining national recognition over the years, with various changes of personnel and a repertoire that has mixed traditional and original material, as well as healthy doses of "outlaw" and "progressive" cover songs... This was their first album, with a lineup that included John Early on lead guitar, Don Eaves (banjo), Rolan Foster (guitar), Ronny Singley (mandolin) and Bob Stegall on bass. A lot of classics in the repertoire, as well as a cover of Peter Rowan's "Midnight Moonlight," and a few tunes that might have been original to this album, including the title track, "Coyote Night," which was written by John Early.


Hickory Hill "Special Historical Edition" (Hickory Hill, 1983) (LP)
(Produced by Hickory Hill & Jim Phillips)


Hickory Hill "It's About Time" (Hickory Hill Records, 1985) (LP)


Hickory Hill "Reminiscin' " (1990)


Hickory Hill "Good Times Again" (1998)


Hickory Hill "Thank You Lord" (2000) (LP)
An all-gospel bluegrass set...


Hickory Hill "The First Fifteen Years" (Turquoise Records, 1995)


Hickory Hill "Freedom" (Nashville InCorrect Records, 2002)


Hickory Hill "Old School" (2006)


Johnnie High "Texas High Country" (CMR, 1981) (LP)
The emcee of Fort Worth Texas's weekly "Country Music Revue" concert show, Johnnie High (1929-2010) was a champion of all kinds of country, but mostly the old stuff and mostly by locals... He started the Country Music Revue in 1974, in a partnership with promoter Chisai Childs (who would later become a major player in the Branson, Missouri country scene...) Johnny High and the Revue moved from venue to venue, with a long run at the Will Rogers Auditorium in Fort Worth, followed by relocations to the nearby towns of Haltom City and Arlington, Texas. Johnny High passed away in 2010, but the show apparently is still going strong... Here's a sample of what it sounded like in the goodle days.


Johnnie High & Susie Slaughter "Present: The Country Music Revue" (CMR Records, 1981) (LP)
Another big regional country music show promoter was the colorfully named "Aunt" Susie Slaughter, who helped get the Country Music Revue going, and who appears on this album alongside Johnny High. Also worth noting are bandmembers Maurice Anderson on pedal steel and Marc Jaco on bass, both stalwarts of the Dallas Texas country scene.


Ken Hightower & The Mavericks "Recorded Live At The South Texas Hoedown" (Mavericks Records, 1970-?) (LP)
(Produced by Ken Hightower)
A poorly recorded but totally authentic live album from a teen-ish Texas band led by Houston-born singer/rhythm guitarist Ken Hightower. The repertoire mixes country standards with a smidge of rock/pop material, given a surf-y feel by lead guitarist Ken Hutto, whose younger brother Randy plays drums, with a failed falsetto on "Bridge Over Troubled Water" amid all the Johnny Cash and Bob wills oldies. The sound mix is fairly terrible, and the album features two long, single takes with no track bands between songs... That's okay, though: it adds to the amateur-hour feel of the whole record. This record might not be any great shakes musically or production-wise, but it is charmingly unpretentious and reveals an interesting intersection between traditional, good ole boy Lone Star twang and the booming Texas garage band scene. I'm not sure if this is the same Ken Hightower who went into radio... Anyone know for sure?


Hill City "Live! At The Rodeo Exchange" (The Music Exchange, 198-?) (LP)
So far all I know about these fellas is that they were from Texas... any additional info is welcome!



Goldie Hill -- see artist profile


The Hi-Notes "The Hi-Notes" (Guide Records, 19--?) (LP)
(Produced by Ray Doggett)
A party band from La Grange, Texas, playing some country stuff and a few pop/frat rock covers as well... And of course, there are the inevitable '70s versions of "Proud Mary" and "Help Me Make It Through The Night." Now, to be honest, this was not a top-flight band, but they sure were earnest, and the performances are heartfelt, with the pickers and singers all performing at the edge of their capabilities. The lead singer -- possibly Weldon Von Minden? -- is particularly limited in his range and dynamics, with an old-man tone and sluggish delivery. But he feels it, and he's into it. Meanwhile the guitarists are most relaxed on the rock'n'roll oldies, tunes like "Pipeline" and "Wooley Bully," while on the more sincere country heartsongs, they seem to be champing at the bit and tend to noodle around under the vocals and get a little note-happy. Yeah, sure, there's a definite so-bad-it's-good quality to this album, but I prefer to latch on to the "good" part of that equation: it's a real record made by real people, and their sincerity oozes out from every track... Plus, there are moments when the lead vocals have sort of a Doug Sahm-type quality to them: Sahm "sang down" to sound like jes' plain folks, but the Hi-Notes were what he was aiming for. I'm not sure, but I think there might be one original song on here, "I'd Rather Be Gone," a heartwrenching breakup song sung by a guy who just doesn't want to be a dead weight in his partner's life anymore -- technically, it's a clumsy performance, but emotionally, it's a home run. Or at least a base hit. Once again, let's hear it for the little guys!


Chris Hirsch "Crazy Creek" (Hill Country Records, 1977) (LP)
(Produced by Bill Kirk & Steve Kirk)
Some swell bluegrass from Houston-born banjo picker Chris Hirsch. This album has a strong "progressive" edge: after kicking off with classics by Earl Scruggs and Bill Monroe, the set includes grassed-up covers of tunes by Merle Travis, Bob Wills and the Beatles, as well as classics such as "Me And My Uncle" (via the Dead, one would assume) and "Act Naturally," from the Buck Owens canon. Hirsch went on to work in a number of band, most notably in the early '80s, he joined The Lonestar Bluegrass Band, and also played in The Harry Fish String Band.


Chris Hirsch & Ann Hirsch "Pecos Wind" (Lonestar Records, 1991) (LP)


Gene Hofford "New Country City Beat Originals" (Banka Records, 1985) (LP)
(Produced by Charlie Booth)
Originally from Louisiana, country entrepreneur Gene Hofford became a fixture on the Houston, Texas music scene. He started out as a rocker, cutting a few surf-rock singles in the early '60s under the name Gene Gray, but he got back to his country roots and established himself as a Lone Star diehard and country true-believer. This is an album of all-original material, recorded with an uncredited band, but showing Hofford's affinity for Gene Watson-style hard country ballads. A few years later, in 1989, Hofford and his wife Sue established a semi-amateur variety show called the Alvin Opry, staging Bransonesque weekly shows in the Houston suburb of Alvin, Texas, with a house band that includes country music veterans Larry Booth and Tony Booth, and a rotating cast of aspiring locals, visiting professionals and various old-timers from Nashville and Texas glory days.


Adolph Hofner "Your Friend" (Sarg Records, 1973) (LP)
(Produced by Charlie Fitch)
Best known for his pioneering western swing recordings of the 1940s, Texas bandleader Adolph Hofner was still kicking around in the early '70s, and cut this indie album with a bunch of family members pitching in... A nice example of an old-timer still getting his licks in.


Lindy Holland "Dallas Dreamin' " (Texas Tunes, 197--?)
(Produced by "Texas Tunes")
Ms. Holland was a singer from -- one would assume -- Dallas, Texas... I couldn't find any onfo about her online, and also couldn't find a release date for this one, although the album includes an Elvis Presley tribute song, so maybe it was from 1976-77-ish?? It's also quite possible it was an early '80s recording, but late '70s is my best guess.


Doc Holliday "Salutes The Writers Of Country Music" (Vegas Records, 1979-?) (LP)
(Produced by Jerry Abbott & Doc Holliday)
As the title implies, this album is filled with covers of classic outlaw and honkytonk songs, although there are also a couple of originals co-written by "Doc" Holliday and Sam Bardin: "I Love You" and "Forgotten Lady." (They also co-wrote a 1979 single on the Vegas label, "Yes (I Love You)"/"Rebels & Devils" --- possibly "Yes" is the same song as on the album(?) Anyway, this was recorded in Texas with a local crew in the studio... a later edition of this LP had "As Seen On TV" branded on the front cover. Sam Bardin also released some stuff under his own name on the same label, though as far as I can tell, they were in fact two different guys.


Homer & Gene And The Westerners "Variety Country Style" (Sarg Records, 196--?) (LP)
(Produced by Charlei Fitch)
Two veteran honkytonkers from South Texas, Homer Bade and Eugene R. Drozd (1935-2011) were respectively from Cuero and Hallettsville, TX, and each had been in other bands before they teamed up in the late 1960s to form their group, The Westerners. Mr. Bade most famously backed 'fifties Texas twangster Arnold Parker, whose 1957 single, "Find A New Woman" became a legendary rockabilly hit; his band the Southernaires played local joints such as the Silver Spur Dance Hall while Mr. Bade also backed several different singers who cut singles for the Sarg label. Mr. Drozd started entertaining while stationed abroad in the US Army; after he was discharged he played in local groups such as Adolph Hofner's Pearl Ramblers before forming the Homer & Gene duo. They're backed here by Monte Hengst on bass, drummer Joe Svoboda, and daughters Karen and Yvonne Bade as backup singers, with Homer Bade on pedal steel and Gene Drozd playing lead guitar. They cover several classics, including Johnny Cash's "Folsom Prison Blues," Buck Owens' "Together Again," as well as "Tears Will Be The Chaser For Your Wine," "Fraulein," and even a Woody Guthrie song. Two songs are credited as Bade/Drozd originals, "Black Eyed Suzy Brown" and "Guess I'll Go Home," and they wrote and recorded several others that are not included here. Like many popular local bands, the Westerners wound up working as a house band and backed numerous country stars passing through the area. In 1972 Mr. Drozd opened his own appliance store in Hallettsville, though he continued to play music for years to come.


Rick & Dee Hooper "Live At The Belle Starr" (Belle Starr Records, 1980) (LP)
(Produced by Phil York)
The Hooper brothers were a popular duo in Texas during the 1970s, recording here with with a band called The R&D Express... I think in later life they both turned to singing gospel music, but were still singing secular stuff here, including covers of honkytonk classics such as "Pick Me Up On Your Way Down."


The Hooper Twins "Go Texan With Bud And Bud" (B&B Records, 19--?) (LP)
(Produced by Don Sapp)
Known professionally as Bud & Bud, these Texas twins -- George Aaron Hooper (1924-2020) and James Edward Hooper (1924-2012) -- shared the same nickname and the same long, difficult climb to regional fame. The Hoopers were the youngest of five kids in a cotton farming family in Joaquin, Texas. When they were little, they worked the fields but also discovered an affinity for playing music. At a very early age the siblings formed a country music duo and tried their luck in Houston and the surrounding towns, originally billing themselves as Bud & Bud, The Musical Buddies, and steadfastly refused to go by their given names. They tried various career paths, including working at a gas station and running a nightclub, but it took years of toil and hardship before they finally "made it" on the Texas music scene. It wasn't until they landed a gig at a Houston hole-in-the-wall called the Magnolia Cave that their show biz career really clicked; a talent scout from The Louisiana Hayride caught their show and got them on the radio and for several years they were Hayride regulars. Like a lot of regional musicians, they had a hard time parlaying their success into a full-time career, and eventually found permanent day jobs at the local power company. Their recording career dates way back to the early 1950s, though they recorded singles through the 'Sixties and early 'Seventies, including the 1970 novelty number, "Howard Hughes Is Alive And Well," which seems to have been a swan song of sorts. This album looks like it's of late '60s vintage, featuring several songs credited to Bud Hooper and a couple co-written with producer Don Sapp, many featuring publishing credits on Huey P. Meaux's Crazy Cajun company. (Thanks to the Houston Chronicle for filling out some biographical details in a long profile piece published in 2005...)


Diane Howard "High Rollin' Man" (Scott Music, 1984) (LP)
Dunno much about this Houston gal, but that is one heckuva great novelty album cover. Literally the only mention I could find of this album online was an old plug in some Houston LGBTQ magazine, though I have no indication of how that might fit into the arc of her career. Any info is welcome!



Ray Wiley Hubbard - see artist discography


Susan Hudson "Put On Your Dancing Shoes!" (Graceland Records, 19--?) (LP)
(Produced by Bob Pickering)
Originally from Gatesville, Texas, and later known as Susan Hudson Carman, this gal was a child performer and made several appearances on Hee Haw when she was young, and also did USO tours throughout Europe... She was also apparently a prolific songwriter, penning over half the tracks on this album, and she had good taste in cover tunes, including a version of "The Key Is In The Mailbox" and two by Delbert McClinton (which is always a good sign!) Backing musicians include Tommy Morrell plays steel and Johnny Gimble sitting in on fiddle... Also on this album is her version of Dave Dudley's "Six Days On The Road," a song she later re-recorded for Epic Records with Charlie Rich as producer. I guess that major-label windfall didn't gain much traction, though, and Hudson mostly wound up touring with older established artists such as Charlie Rich, Don Williams, and Conway Twitty. Years later, in 1988, she competed in a national talent competition and was dubbed Miss Country Music America; a few years later she permanently moved to Branson, Missouri and became part of the stable of artists managed by impresaria Chisai Childs. As far as I know, this was her only album.



The Cornell Hurd Band - see artist discography


George Husak & Anton Husak "George's Album: Country Western Folk Songs" (Windjammer Records, 1965-?) (LP)
(Produced by George W. Husak)
These two fellas -- who were brothers -- were originally from South Texas, near the Gulf, although George Husak was living in the San Francisco Bay Area whenever this album was recorded. (I'm guessing the mid-1960s from the looks of it...) Anyway, we might as well just come right out and say it -- they weren't really that good. I mean, I'm not trying to be catty or harsh, it's just that they really were unskilled amateurs, plunking out the guitar melodies note-by-note, playing off-chords, and singing with a range that strongly suggests Ernest Tubb's monotone, though throwing Tubb's vocals into a very flattering light, by comparison. It's an ambitious album, nonetheless, with three songs written by George Husak, and four by Anton, as well as a few oldies from Hank Williams, Bob Wills and Rex Griffin. This includes a re-recording of their earlier single, "I'm Surfing," a misshapen novelty song originally performed so weirdly out of tune, they actually sounded like a warped record... The single was once infamously singled out by Dr. Demento as the worst record ever made, as recounted on the archives of good old WFMU. And who am I to argue with those guys? Nonetheless, I will make the case that while George Husak clearly could not sing or play guitar in tune, the older, mandolin-strumming Anton Husak (1919-1977) was actually a pretty good old-old-old-school hillbilly singer, performing in the Jimmie Rodgers-Hank Snow-Ernest Tubb school of plangent, primeval, depression-era honkytonk. Anton's "Let's Have A Look At The Bottle," is a spooky suicide ballad, worthy of Porter Wagoner or perhaps even Nick Cave, and well within the norms of the genre... Indeed, I'd un-ironically call it a classic. (Also, why all the drama about the songs's ending? If it was good enough for Bill Withers, it's fine for these guys too.) Anyway, though I'm not that into snide commentary and musical mockery, I will admit that this album is probably best appreciated as kitsch, although some listeners may also be touched by their eagerness and sincerity, regardless of the musical calibre.


Carl Hutchens "Carl Hutchens" (Capitol City Records, 1982) (LP)
(Produced by Steve Mendell & Carl Hutchens)


Jerry Irby "Hotline To Heaven" (Bagatelle Records, 1975-?) (LP)
(Produced by Byron Benton)
A true-twang gospel album from a veteran of the 1950s hillbilly era... Originally a secular singer, Irby got swept up in the early 'Seventies wave of born-again evangelical Christianity, and seems to have penned all the songs on this self-released album. He plays rhythm guitar, backed by a local Houston, Texas crew that included Glenn Adams (piano), George Holsomback (drums), Dan Waters (lead guitar), John Wilbanks (bass) and backing vocals by Merlene Singers. Western swing old-timer Clyde Brewer (1930-2011) chimes in on violin; Irby may also have done some work with Brewer's band, the Original River Road Boys... anyone know for sure?


Dennis Ivey "Dennis Ivey" (Lakeview Records, 19--?) (LP)
Starting in the late 1960s and throughout the '70s, Dennis Ivey and The Waymen were the house band at the Lakeview Club, near College Station, Texas. While there, as Ivey fans like to point out, he frequently sang Terry Stafford's song, "Amarillo By Morning," which later became a Top Five hit for George Strait. As with many East Texas troubadours, fame eluded Ivey, but he did record a couple of great albums back in the day, where his Ray Price-like vocals were captured, riding atop classic Texas shuffle honkytonk.


Dennis Ivey "Texas Bound" (Lucky Day Records, 1983) (LP)
(Produced by Dennis Ivey & A. V. Middelstedt)


Dennis Ivey "Something Old, Nothing New" (IMG Records, 2008)


Jada (Vaughan) "Introducing... Jada" (Coyotee Records, 1978) (LP)
(Produced by Gary Beck)
Singer Jada Vaughan was born in Searcy, Arkansas but grew up in South Texas and was working in Corpus Christi, Texas when she cut this album. It features four songs written by Ms. Vaughan -- "Haven't Heard A Good Love Song," "I Want You To Know," "Never Been Alone," and "Where Are You Waylon" -- as well as several by producer-arranger Gary Beck: "I'm Trying," "I've Quit Hurting Over You," and "Tell Me Why Why Why," rounding things out with a Hank Williams medley. The band seems like they were all Lone Star locals including Gary Beck on keyboards, Richard Clover (fiddle), Allan Hunt (lead guitar), Richard Painter (bass), Randy Rolando (banjo), Johnny Rinehart (guitar) Tommy Roots (steel guitar), Ronnie Tanner (drums), and Jason Wakefield on guitar. They had a pretty rootsy sound for the times, particularly the tracks that spotlight Rich Clover's bright, brisk Texas fiddling. Ms. Vaughn had a pretty husky voice, with honkytonker Melba Montgomery as perhaps a close comparison... I'm not sure about the contours of her career or how much success she had outside of her local scene... She was still doing shows in and around Corpus Christi in the late '80s, but I'm not sure where she went from there.


Jada (Vaughan) "Long Road Home To Texas" (Coyotee Records, 1981) (LP)
(Produced by Gary Beck & Jack Gilmer)
Still working with producer Gary Beck, Ms. Vaughan stuck to her same basic sound -- modern-yet-rootsy Texas twang, with a liberal dose of fiddle and steel -- although the lineup of her backing band changed considerably. Recording this one in Nashville, Gary Beck took more of a backseat role, letting pianist Ray Cobb take over the keyboardist role, while the rest fo the studio crew included bassist Rod Helm, Cliff Parker (lead guitar), John Stacy (drums), Jim Vest (steel guitar), and Tommy Williams on fiddle, as well as Bobby Hardin and the Hardin Trio on backup vocals. The set list includes three repeats from Jada's previous album, presumably re-recordings: her outlaw anthem, "Where Are You Waylon," Beck's "I've Quit Hurting Over You" and Ronnie Tanner's "Night Feelings," with a couple of other Gary Beck originals and a couple of tunes penned by Merrill Lane, notably the album's saucy opener, "I Wanna Ride In Your Rodeo."


Daniel James "Country Music By Daniel James" (Allstar Records, 19--?) (LP)
A very cheaply-made, super-obscuro, no-art LP pressed in Houston, Texas... Not sure what year, though... Apparently "Allstar" was a song-poem label, which means a company where people would send lyrics for songs they had "written" into the label, which would then cook up an arrangement and make a quickie recording using their own in-house musicians. Apparently, Daniel James Mechura owned the label and recorded some of his own rockabilly and country songs under its banner, as well as releasing singles by honkytonkers such as Link Davis, Jerry Jericho and Eddie Noack, pressing actual singles by established artists as well as vanity singles for the song-poem clientele. This early-1960s(?) album was one of the few Allstar releases that was a full-length LP, otherwise the output was all singles. (Thanks to songpoemmusic.com for their wealth of info on this label...)


Johnny James "Not Jesse" (Para-Bank Records, 1980) (LP)
(Produced by Johnny James, Annie James & Cary Banks)
Okay, okay... I get it! It's Johnny, not Jesse... I get it already. (And did you say your last name was Cash? Or Paycheck?) Hah, hah. Anyway, this record has one of the most misleading album covers ever -- the lanky-dude-draped-over-the-bar pose on the front, along with the musicians listed on the back (several folks in the orbit of the Maines Brothers Band) would naturally lead one to believe that this was going to be Lubbock-or-leave-it Lone Star twangfest. But drop that needle on that very first track, and you'll soon discover that Mr. James was working in the same territory as louche pop-country baritones such as Mac Davis and B. J. Thomas. Now if you like that kind of thing, this is an okay album (though I found the songs to be uniformly amorphous and indistinct). But if you were expecting the second coming of Delbert McClinton, sorry for your loss. This was recorded at Don Caldwell's studio in Lubbock, Texas with assistance from the Maines Brothers band's extended network: Lloyd Maines adds his usual deft pedal steel licks, and a bunch of his compadres chime in as well. All but one song on this album was written or co-written by guitarist-producer Cary Banks, who also recorded with the Maines Brothers on several of their albums; bassist Jack Tyson is co-credited on three of these tracks.


Clifton Jansky "Country Music And Old-Fashioned Love" (CMU Records, 1982) (LP)
(Produced by Tommy Melder)
One of the last secular albums by Texas native Clifton Jansky, a regionally popular San Antonio-area performer who had a born-again conversion in 1984 and since became a popular Christian country artist. Jansky was one of several Lone Star musicians -- such as Dennis Ivey -- who were known for singing Terry Stafford's song, "Amarillo By Morning" several years before George Strait made it a national hit. The version on this album was cut three years before Strait's chart-topper came out... The album's title track was written by Jansky, one of three songs he penned for this record... Also noteworthy are a couple of tunes by Mundo Earwood, and among the locals backing him on this album are guitarist Randy Cornor and the record's producer Tommy Melder on steel guitar.


Jay & Vicki Plus Gary "On The Road With..." (Richards-Perdue Records, 1982-?) (LP)
(Produced by Danny Richards & Bettye West)
Honestly, this is a pretty dreadful set of low-rent lounge singing, with an outcropping of country stuff ("Country Roads," "Luckenbach, Texas," "Margaritaville," "Rhinestone Cowboy") growing over a bedrock of cheesy '70s AOR ballads -- stuff like the Rita Coolidge hit, "We're All Alone," Olivia Newton-John's uber-saccharine "I Honestly Love You" and Billy Joel's "Just The Way You Are," in just about the most blood-curdlingly subpar and sincere renditions you could imagine. None of the members of this Lone Star trio provided their last names, nor do we know about their hometowns, but I imagine the info is out there somewhere... This is one of those LPs where, although I'm really not into the whole making-fun-of-old-records internet tropes, I am kind of forced to admit, this album was maybe not so great. All three of them were pretty weak singers, although Jay(?) had a good baritone and could have plausibly filled in for William Golden if the Oak Ridge Boys needed a sub, except that he shamelessly hams it up whenever he gets a vocal solo... The tinkly keyboards don't help much either, indeed, they underscore how much the duo wanted to be the next Waylon Jennings & Jessi Colter, and how much Vicki would have been totally fine being the next Karen Carpenter. Still, I always like finding out who was out there in the trenches, keeping this music alive, and this is an interesting snapshot of a not-totally-twang lounge group from (somewhere in) Texas.


Jef & Valerie "Jef And Valerie" (Jef Mayes Music, 1981) (LP)
(Produced by Jef Mayes & A.V. Mittelstedt)
This is one of those post-hippie, swingin' Seventies style "naked together" covers where a musical couple makes a record together and then, to show the world just how deeply and sincerely in love they are, they pose for the album art with no clothes on. Ew. But at least the duo of Jef Mayes and Valerie Berry opted for the more demure, from-the-chest-up version of the sensitive-nude portrait, so no nippies are visible, or anything else. Still... TMI. On the other hand, what looks like a cheesy AOR outing is actually the lone(?) full LP by Texas dancehall stalwart Jef Mayes, a rice farmer and Lone Star country boy from East Bernard, Texas, a tiny town a few miles west of Houston. He led a regionally popular twang band called Jef & The Kickers, and later formed a duo with Ms. Berry. His own discography dates back to the early 'Seventies when he cut a single while still in college; Jef & Valerie also cut a few singles later in the decade for the Crazy Cajun label, and played gigs around Houston at a variety of venues, notably in local venues such as Eagles Hall, Fairchilds Hall, Riverside Hall, Vrazel Ballroom and for numerous fraternal orders scattered around the state. They're backed on this album by a bunch of locals in the orbit of producer A. V. Mittelstedt, including guitar picker Randy Cornor, Gene Kurtz (bass), Buzzy Smith (keyboards), Steve Snow (fiddle), Robby Springfield (steel guitar) and several others, including a few horn players. Notably, several of these musicians worked together on other local projects, in particular another indie-twang album by a guy named Terry Bullard. Mr. Mayes led some other bands later in the '80s and '90s; he may have passed away around 2019, though I haven't been able to confirm that information.


Chuck Jennings & The Travelers "Chuck Jennings" (Trace Records, 19--?) (LP)
(Produced by Chuck Jennings & Buddie Rabal)
Texas honkytonker Chuck Jennings was a 'Sixties old-timer who played in Eddie McDuff's band, along with Orville Couch, George Kent and others, including steel player Harland Powell, who later played in Jennings' band, The Travelers. Back in the day, Jennings wrote a bunch of tunes with Couch and McDuff, and continued to record their songs many years after McDuff's tragic early death in a 1968 plane crash. This album came out as a flexi-disc (date unknown) and never seems to have been issued on a regular LP... It features Chuck Jennings on lead vocals and guitar, along with the band: Jerry Abbott on piano, Wayne Bennett (drums), Tommy Pyle (steel guitar), Gary Woodall (bass), and flattop picker Donnie McDuff, who I assume was a relative of Eddie McDuff. In addition to covers of oldies by Don Gibson, Merle Haggard and Bill Phillips, there are several originals, including three from Couch & McDuff, a couple penned by Chuck Jennings -- "A Place To Take My Heart" and "The Grave" -- and one by bass player Gary Woodall, who penned several songs for the Travelers. Not sure when this album came out, although it shares the same label name as the old Eddie McDuff LP, an imprint that seems to have been run by co-producer Buddie Rabal (aka Buddie Hrabal, a country singer who also recorded under his original Czech surname).


Chuck Jennings & The Travelers "Under Your Spell" (Sandy Land Records, 1980) (LP)
(Produced by Bob Sullivan)
I'm not sure which of these albums from 1980 came first, though the lineup of the Travelers remains mostly the same, with the exception of a change of pianists... This disc features Chuck Jennings on lead vocals and rhythm guitar, along with Jimmy Belkins on fiddle, Wayne Bennett (drums), Junior Knight (lead guitar), Joy Newman (piano), Harland Powell (steel guitar), Gary Woodall (bass) and Larry Woodall (guitar). A lot of cover tunes on this one -- "Drinking Champagne," "I Don't Love You Anymore," "Under Your Spell Again" -- as well as several by Chuck Jennings himself, including collaborations with (and old songs by) the late Eddie McDuff, whose band Jennings was in back in the 'Sixties. The opening number, "His And Hers," was one of several songs Chuck Jennings penned for honkytonk crooner Tony Douglas, back in the early 1960s... Bass player Gary Woodall contributes a couple of tunes as well, as he seems to have done on all the Jennings albums.


Chuck Jennings & The Travelers "Look Out For Me 'Cause I'm Falling" (Sandy Land Records, 1980) (LP)
(Produced by Bob Sullivan)
This edition of the band featured Chuck Jennings on lead vocals, along with Jimmy Belkins on fiddle, Wayne Bennett (drums), Junior Knight (lead guitar), Harland Powell (steel guitar), David Tanner (piano), Gary Woodall (bass) and Larry Woodall (guitar). Most tracks feature Chuck Jennings on lead vocals, though Harland Powell, Gary Woodall and Larry Woodall each get their own showcase number, with the Woodalls writing their own tunes, as well as a couple sung by Mr. Jennings.


Tommy Jennings "Then There Was One" (Dimension Records, 1980) (LP)
Yes indeed, this fella was Waylon Jennings' younger brother, and he played in Waylon's band in the early 1960s when the future outlaw was gathering steam for his Nashville career. Tommy Jennings also tried to launch his own career, but met with only middling success -- in the late '70s he had a few songs scrape the back end of the Billboard charts, while this album produced his biggest hit, "Just Give Me What You Think Is Fair," which pegged out at #51.


Tommy Jennings "Equal Opportunity Lovin' Man" (Audiograph Records, 1982) (LP)
(Produced by Mike Daniels)
A distinctly commercially-oriented album from the urban cowboy era... On most tracks, Jennings aims for a semi-robust, Johnny Lee-ish early '80s sound, but he's better on the ballads, when he croons a little bit like Don Williams. He's not totally successful in either mode, though -- the truth of the matter is, he just doesn't have the chops and he tries to hit not-that-high high notes that were apparently out of his range. Regardless, this Nashville indie had him cut an album and like many Audiograph releases, it seems to have been a songwriters demo set. There are three tracks written by a guy named Doc Cole, one by a gal named Kim Cole (who also sings backup) and several other songwriters who I've never heard of, either. The studio crew are B- and C-List players who mostly don't ring a bell... I've seen steel player Jim Vest's name a time or two, but that's about it. So, in short, this is a fairly mediocre wannabee Top Forty set, though some of the songs are okay... I think my favorite track here is Byron Hill's novelty number, "Out Of Your Mind," which had been a hit for Joe Sun a few years earlier. Others, like "Lady's Man," "Fantasy Lady" and "Equal Opportunity Lovin' Man" have a little too desperate-for-a-hit feel to them, sensitive studly swagger and all. You can probably skip this one, though it could be worth a spin, depending on what you're looking for.



Waylon Jennings -- see artist profile


Jerry, Buddy & Zoomer "Volume One" (JBZ Records, 1982) (LP)
Longtime local scenesters, Jerry Boyer, Buddy Winson, and Zoomer Roberts were a trio from El Paso, Texas who were also involved in various bands, including Applejack and the Shade Tree Boys... I think this was the only album they recorded as a trio.


Robert JhawK "At Peace With Robert JhawK" (Toma Records, 19--?) (LP)
(Produced by R.W. Meadows & Smokey Montgomery)
A real mystery disc here, though the chatty liner notes do help pin it down a bit. Despite the evocative stage name, Mr. JhawK (and, yeah, that's how he spells it) was not from Kansas, but rather was born in Denver, Colorado, and had moved with his family to El Paso, Texas about fourteen years before cutting this album. It's a nice enough record, a real just-for-friends kinda set, with okay crooning and a deep, sincere love of the material. He sings oldies and standards from folks like Eddy Arnold, Jim Reeves and Ray Price -- "Make The World Go Away," "Four Walls," "For The Good Times," "Help Me Make It Through The Night" and perhaps inevitably, "Green, Green Grass Of Home." A Merle Haggard tune and a version of Webb Pierce's "There Stands The Glass" are also welcome. There's no date, but if I had to guess based on the repertoire and his groovy outfit, I'd place this from around 1972 or thereabouts... JhawK claims some Choctaw ancestry, so his appearance wearing a whole mess of turquoise jewelry and holding a peace pipe is not to be considered exploitative... it also explains the album title. Alas, no info on the musicians backing him, but since Smokey Montgomery did the arrangements, we can assume they were drawn from Montgomery's pool of Texas talent in the Dallas-Fort Worth area. Not a dazzling record, but honest, and sincere.


Jim 'N' Anne "Jim 'N' Anne" (Jim & Anne's, 1978)
(Produced by Marc Jaco)
A surprisingly strong offering by a decidedly amateur, jes'-plain-folks duo from Garland, Texas, in the Dallas-Fort Worth area... Jim and Anne Weaver poured their hearts into this one, which is mostly a set of cover songs, punctuated by two Weaver originals, "Here" and "Take That Truck And Jam It" (which was also released as a 7" single on the Derrick label). The cover tunes include Kris Kristofferson's "Stranger," Freddie Hart's "Easy Lovin'," Jesse Colter's "I'm Not Lisa" and a couple of Shel Silverstein songs: strangely enough they record the male chauvinist anthem, "Put Another Log On The Fire" as a duet, with Anne Weaver mostly murmuring her assent to the over-the-top lyrics until she finally chimes in with a few mild "Tramp"-style comebacks. Jim Weaver was clearly the stronger performer, as heard on his confident solo version of "Margaritaville," but the pickin' and singing is generally pretty good. For uber-indie country DIY, this is an album worth tracking down. My copy came with a xeroxed publicity photo with the Shotgun Sam's pizza parlor logo at the bottom; I'm guessing they had a regular gig there(?)


Jim 'N' Anne "Live... Featuring Kristi" (Jim & Anne Records & Tapes, 1981)
(Produced by Dazzlin' Dave Thomas)
Another self-financed album, recorded at the Judge Bean's Restaurant & Cantina, in Addison Texas... You can tell (for sure) this was a self-financed recording because they credit their loan officer at the Town North National Bank(!) and promise to pay him back on time... On this set, they handed over the female vocals to a gal named "Kristi," though I'm not sure who she was -- their daughter, possibly? Anyhoo, I haven't heard this one yet, but when I do, I'll give you a shout.


Larry Johnson "Crazy With The Heat" (Texas Soul Records, 1983) (LP)
(Produced by Harlan Caffey, Don Caldwell, Royce Glenn & Lloyd Maines)
I'm not sure if this is the same Larry Johnson who spent the early 'Seventies leading the house band at the Black Stallion nightclub in Colorado, though it seems kinda likely... His Discog bio just says "country singer who moved to Lubbock, Texas in 1980 and never left." Succinct, though not terribly informative. Anyway, from his perch in Austin, Mr. Johnson made his way over to Lubbock, where he got the full studio treatment from Lloyd Maines and his usual compliment of pickers from the Maines Brothers posse, including folks like sibling Kenny Maines on drums, pianist Cary Banks, Don Caldwell, the Angle Sisters providing vocal backup, etc. Most of the songs on Side One were penned by Mark Paden, a Lubbock local who had recently returned from a stint in Nashville, where he'd had some success as a Top Forty songwriter, and who recorded an album of his own for the Texas Soul label the following year, in 1984.


Avonne Jones "Avonne Jones" (Stop Records, 1972) (LP)
(Produced by Tommy Hill & Scotty Moore)


Claudia Jones "Where The Heck Is Marfa, Texas?" (Great American 1983) (LP)
Kind of an odd record... Claudia Jones was a commercial airline pilot by day, performance artist by night who was not actually from Marfa, Texas, but was commissioned to do an art piece on the tiny border town, and went on to make an album as well. An affectionate portrait of a small Texas town, dominated by ranching and agricultural concerns and home to "the friendliest and kindest people this side of heaven."


Jim Jones "Patches On My Jeans" (1982) (LP)
(Produced by Fred Baker Jr. & John Marshall)
Not a lot of info out there about this guy... This album of all-original material was recorded at Southwest Sound Studio in Garland, Texas, with songwriter Jim Jones on guitar and piano, along with Scott Blackwell (lead guitar and bass), Ann Fekety (harmony vocals), Bill Lockard (drums), Terry O'Reilly (harmonica), Glen Pearson (piano), and studio pro Larry White on pedal steel. All the songs were Jones originals, written between 1978-82, with the title track copyrighted in 1978 under his full name, James Madison Jones, which seemed like a good lead on more detailed info, though as it turns out, that's also a surprisingly common name. Anybody have more info about these folks?


Judy And Johnny "First Time All Over Again" (Gypsy Records, 1980) (LP)
(Produced by Tom Smith & Jerry Abbott)
A country set recorded in Dallas by the duo of Johnny Carroll and Judy Lindsey, from Arlington, Texas. Carroll was a former '50s rockabilly artist who was signed to Decca in 1955 and cut several singles... And like a lot of those early rockers, returned to his country roots as the years went by...


Junction "Miles And Miles Of Texas" (Brylen Records, 1982) (LP)


The Kalson Family "Young Country" (Bandolero Records, 19--?) (LP)
(Produced by Ron Knuth)
A family band from Peasall, Texas with Dad backing up four kids who range in age from seven-year old singer Mark Kalson to fourteen-year old Pam Kalson who sings and plays guitar. In his liner notes, Lone Star legend Johnny Bush says they were actually pretty talented and not just a cutesy gimmick band, so I guess I'll take his word for it. (Although there are a bunch of non-family adults pitching in on this one, playing steel guitar, banjo, fiddle and even a small string section... so maybe they had a little help.) Anyway, the repertoire includes some oldies from folks like like Harlan Howard, a version of "Rocky Top," a cover of Hoyt Axton's early '70s anthem, "Joy To The World," and a couple of songs by a guy named Claude Morgan, who I'm guessing was a Texas local.


Kansas Rain "Outlaw" (A&R Records, 1975) (LP)
(Produced by Bob Kelley)
This band really had trouble figuring out their image... First off there's their name, which presumably came from the John Stewart song... Although it implies they were from Sunflower State, they were actually from Texas, with former 'Sixties teen-popper Kirby St. Romain on percussion and a couple of his family members in the band as well -- Laura St. Romain and Richard St. Romain -- along with lead singer Brad Watson and banjo picker Bob Moore, and some pedal steel licks added by Jim Rice of the Brush Arbor band. Then there's the music. The album title and their overall shaggy-haired look say "outlaw," but the music is a mix of bright, perky group-vocals folk-pop (ala the Back Porch Majority) and more contemporary early-'70s AOR (including a straight-up cover of Jim Croce's "I Have To Say I Love You.") The vibe is very day-glo prefab hootenanny, and not at all what you'd expect if judging this book by its cover. The band was based in Texas, though they recorded their album in Las Vegas -- Kirby St. Romain was also connected to the Nevada band called Expression -- and they toured through the South and Midwest, playing campus gigs and whatnot. But, alas, Kansas cannot claim them as their own, nor can the outlaw movement.


Billy Keeble "Dy'in' One Shot At A Time" (Texas Pride Records, 1987-?) (LP)
(Produced by Billy Keeble, Mike McClain & Curt Ryle)
A more "private" private-label album than most... Honkytonker bandleader Billy Keeble moved to Texas in 1978 and took a quick liking to the Lone Star state, naming his band Texas Pride, just to get the locals' attention. This debut album was originally pressed in exceedingly small numbers -- according to Keeble's website, only about a hundred copies were made, though he did revisit it years later and reissued the ten tracks on CD. I ran across this one looking up info about Oklahoma-born neotrad honkytonker Curt Ryle, who plays lead guitar on here, and helped produce this and several other Keeble discs. They're joined here by steel player B.J. Barnett, Bobby Charles, Jr. (bass), Junior Knight (steel guitar) and Mike McClain on keyboards. Apparently Mr. Keeble's career was nearly ended in 1990 by an auto accident with knocked out his voice; he recuperated quickly, though Texas Pride disbanded later that same year. Keeble continued to perform and record for decades to come, frequently collaborating with Curt Ryle and recorded quite a bit of Ryle's music, including seven on the ten songs on here. This first album is certainly a long-lost holy grail for Texas twang fans.


George Kent "This Is George Kent" (Rice Records, 1971) (LP)
A native of Dallas, Texas, country singer George Kent had his biggest hit with his version of Tom T. Hall's "Hello, I'm A Jukebox," which peaked out in the Top 30 in 1970. He remained a minor chart artist for Mercury Records for much of the decade, then in 1980 he bought a Texas nightclub called the Cow Palace and used that as his base of operations.


George Kent "George Kent" (Shannon Records, 1974) (LP)


George Kent "Reflections" (ASI Records, 1978) (LP)
(Produced by Bud Logan & Jack Logan)


Charles Kirkley "Shade: The Music Of Charles Kirkley" (Panda Productions, 1984) (LP)
(Produced by Andy Murphey & Larry Seyer)
Surprisingly, I really couldn't find much info about this guy... Apparently Charles Kirkley (1954-1984) was a real up-and-comer on the Austin singer-songwriter scene, having played the Kerrville Folk Festival in the early '80s, around the same time that Lyle Lovett was struggling to break through. The liner notes inform us that this was a posthumously released collection of songs written by Kirkley, but although he died the same year this came out, there was no info out there about what happened to him. Kirkley was still playing local shows at venues such as the Waterloo Ice House as late as August, '84, so whatever happened must have been pretty sudden. At any rate, he had high-powered friends: this album includes LeeRoy Parnell on electric guitar and Lloyd Maines playing pedal steel, along with a slew of other locals I didn't recognize. His only album, alas.


Ray Krenek "Goes To Nashville" (Gold-Sun Records, 19--?) (LP)
(Produced by Ray Krenek, Alex Border & Cliff Parman)
Czech-American fiddler Raymond H. Krenek (1920-2008) hailed from Wallis, Texas, just west of Houston. Mr. Krenek was a prolific songwriter and multi-instrumentalist, playing the clarinet, dulcimer, piano and saxophone., though on this album he seems to have favored the violin. He was born into a musical family and took over his dad's polka band in the late 1940s and played regionally for several decades while also working as a rancher and realtor. He traveled to Nashville to record this album with his daughter, pianist-singer Cynthia Krenek, along with Gerrie Wilson, a vocalist and guitar player who used to tour with Archie Campbell. The songs are all credited as originals, including one track that was released as a single from the album, "The Nashville Paul Jones," along with a non-album track, "The Ballad Of Buttermilk Bill" which featured vocals by a guy named Billy Means. There's no date on the album, though I'd guess it was an early 'Seventies offering. The Nashville musicians are not credited, although another song on the album was sung by Victor Divin, a pal from Texas who I assume was also in Krenek's band back home. [Note: the Texas Polka News website posted a richly-detailed article on the Krenek family and the many offshoots of the original family band, which had its roots in the 1850s, when patriarch Michael Krenek emigrated to Galveston from the province of Moravia. Now them's some real Lone Star roots!]



Kris Kristofferson - see artist discography


The Kustoms "Electric Cowboy" (RR Records, 1972-?) (LP)
(Produced by Bob Reynolds)
Originally formed in the late 1960s, the Kustoms was an eclectic heavy rock band with a fair amount of twang and the kind of country roots you'd imagine from a bunch of kids growing up in South Texas. They hailed from tiny towns like Poth and Goliad, roughly between Corpus Christi and San Antonio, and played gigs throughout the region. They covered Merle Haggard on an early 7" single and Don Gibson's louche 1971 tune, "Woman Sensuous Woman" on this LP, but those country songs are sandwiched between a lot of thumping boogie, soul and acid rock riffs, including a cover of Santana's "Oye Como Va" and a weird freakout number called "Don't Eat The Children." The liner notes on this disc say they had been holding down a residency for the last two years at a place called Randy's Rodeo -- a San Antonio honky-tonk bar later made famous for a catastrophic appearance by the Sex Pistols during their lone American tour in 1978. One imagines things were simpler and perhaps more placid back in the days when the Kustoms played at Randy's every Thursday night, but if this disc is any indication, the music was probably pretty wild. There's no date on this disc (darn it) and also no musician credits, though apparently the lineup was pretty stable and was probably about the same here as on the subsequent album below.


The Kustoms "Nostalgia" (Kustoms Records, 1975-?) (LP)
(Produced by Bob Reynolds)
Like their first LP, this is a mix of heavy rock, pop oldies and a little bit of twang. The lineup on this mid(?) 'Seventies album included Dell Cherry on drums, John Haese (bass), Mark Hilbrich (lead guitar), Larry Horwedel (pedal steel), Rock Rakowitz (organ), Chuck Taylor (rhythm guitar), and Mike Zolkowski on unspecified horns. This one seems less specifically a country album, and more of a latter-day frat-rock outing, though the twang is still there, as heard in their covers of country classics like "Fraulein" and "Your Cheatin' Heart." The Kustoms apparently broke up around 1975 when some of the guys started a new, short-lived group called Wheatstraw, with lead guitarist Hilbrich later joining The Taylor Brothers Band, which became a South Texas party-band powerhouse.


Leonard LaFerney "Just Call Me Lonesome" (Cowpatty Records, 1972-?) (LP)
(Produced by L. D. Ready & Joe Avants, Jr.)
East Texas local Leonard Franklin LaFerney (1940-2019) spent six years in prison as a result of "a few wild and reckless years," and he used his time in the Texas correctional system working on this batch of music. The album includes "A Free Man Tomorrow," a song reflecting on his release from prison which was also released as a single. This was recorded in Slidell, Louisiana -- perhaps without his parole officer's knowledge? -- and features backing by some guys whose names seem familiar: guitar picker Jerry Webb, organist Wayne Youngblood, Chuck Pollard on piano and guitar, and others. Mr. Laferney passed away in Gilmer, Texas and his obituary didn't mention anything about prison or music, just that "Mr. Laferney served in the U. S. Navy," and that's about it. This was apparently his only recording, though he and Jerry Webb formed a group called the Fat Man's Band that played some local gigs listed in the late 1970s.



Jerry Max Lane -- see artist discography


Sara Lane "Texas Songbird" (Clark Country Records, 19--?) (LP)
(Produced by Little Richie Johnson)
"A personable blonde country singer" from Whitney, Texas, Sara Lane's main claim to fame was appearing on the "Cowboy Weaver" TV show, based in Las Vegas, and touring with some variety shows. She'd made one single before this album, which was largely a showcase for several songwriters signed to Richie Johnson's publishing house. There are three songs credited to Albert Young Eagle, one to Lori Wild and one by Ray Sanders, as well as "Leaving Would Be So Easy," written by Sara Lane herself. The studio crew are all Nashville pros: Johnny Gimble, Lloyd Green, Dave Kirby, Charlie McCoy... that calibre of player.


Sandy Lankford "Sandy's Country" (Total Eclipse Records, 1974) (LP)
(Produced by Charlie Callelo)
Wow, this is such a weird record. I mean, musically it's pretty pedestrian -- just how "country" it is, is pretty questionable. It's more like early '70s soft-pop/pop vocals lounge singing, more Vikki Carr than Anne Murray. Lots of cover tunes of mellow Top 40 hits like "Oh Happy Day," "For All We Know" and "Look What They've Done To My Song," delivered in perky yet low-key style, backed by a band that has a teeny bit of twang and a tiny dash of disco, very Vegas-y overall. What's most interesting, though, is the story behind it, and the weird vanity label that it's on, apparently a one-off imprint of RCA Records, which adds its Dynaflex logo and general art design, but not their corporate logo to the project. Hmmm. Then there are the liner notes, which describe Ms. Lankford's background as a Texas pageant winner and her being "discovered" singing at a Ford car dealers convention where they were launching a "Miss Ford Country" sales campaign, which she got hired to be the public face of... (Hey, there's even an old press kit for sale on eBay!) Anywayyyy... Well, I'd say as a country record this ain't no great shakes, but as a cultural artifact, it's rather intriguing. Along with all the pop covers there are a couple of original songs, the perky "A Texas Country Girl," and the very-'70s and semi-disco "You Don't Turn Me On Anymore." For some reason, I keep expecting to see Don Draper listed as an executive producer....


Larry & Roy "The Beginning Of Larry And Roy" (Popa Records, 196-?) (LP)
(Produced by Robert Gardiner & Skip Frazee)
Roy Dickerson and Larry Whitt seem to have been Lone Star boys -- their label was from Garland, Texas, a suburb of Dallas. They may have played a few live gigs -- the liner notes were by a guy named Bob Johnson, who's identified as owner of the Club Del Basque, where presumably they performed. Like Larry & Roy, though, Johnson left a pretty light footprint, which is to say there's pretty much no record of any of these guys online. Anyway, they sang country stuff, covers of "Folsom Prison," "Gentle On My Mind," "I Got A Tiger By The Tail," and "Together Again," as well as pop standards such as "Danny Boy" and "Impossible Dream" and "Liberty Valance" and maybe even a few originals(?) "With Pen In Hand," "Smellin' Like A Rose," "My Promise."


Rusty Lawrence "Salute To San Antonio" (Walk On Water Records, 1983) (LP)
(Produced by Rusty Lawrence & Brian Carr)
Let's rope ourselves another stray from Texas... I'm not sure what most of these songs have to do with San Antonio -- "San Antonio Rose," sure... but "For The Good Times"? "Green Green Grass Of Home"? "He'll Have To Go"? Well, whatever. Looks like he was having fun. It's an all-local band, with one dude, Paul McLaughlin, filling in on keyboards, guitar, bass and drums, and a couple of other guys playing on a tune or two. Rusty Lawrence apparently had a gig at a place called Carlos Kelly's, a now-defunct steakhouse that was a San Antonio landmark, and he contributes one original song, "No Daddy Lads."


Chubby Lee "Chubby Lee" (Two Rainbows Productions, 1974-?) (LP)
(Produced by Chubby Lee & David Kealey)
Houston local Donald C. Brorsen took on the outlaw country persona of "Chubby Lee" in the 1970s, playing gigs at roughneck bars and the like. I'm not sure if this album was ever really released, although a test pressing was made in (I think) 1974, when Lee was working with a group called the Western Electrik Band. Side One was recorded in the studio at Soundmasters in Houston, while Side Two is a live set recorded at a restaurant nightclub called Steak & Ale, in San Jacinto, Texas. Among the pickers was session pro Randy Cornor, as well as co-producer David Kealey, who both play lead guitar and/or rhythm on various tracks. The steel player was Robbie Springfield, while Lee plays bass. The set includes some covers, stuff like Ed Bruce's "When I Die," David Allan Coe's "Would You Be My Lady," and Buddy Holly's "Oh Boy." A couple of songs are credited to J. D. Meister, while Brorsen contributes his own "Friends Before Lovers" which is part of the studio set. As the liner notes make plain, he led a pretty wild life back in the day, and eventually married a barmaid named Lois who was pretty wild herself. In classic Texas style, they crashed and burned, with Chubby Lee eventually confronting his substance abuse problems, and in 1984 they got religion and turned away from the party life, towards gospel music and service to others. The Brorsens joined the Family Church of Houston and led services there, though back when this album was made they were still burning those candles at both ends. (Brorsen also wrote an autobiography that details their religious awakening, as well as their earlier wild life.)


Chubby Lee "...And Wild Country" (Wild Country Records, 197--?) (LP)
(Produced by Chubby Lee)


Laura Lee & The River Road Boys "Everything Changes But Laura Lee" (Footprint Records, 1971) (LP)
(Produced by Billy A. Carter & Deacon Anderson)


Laura Lee & The Western Playboys "Queen Of Western Swing" (Delta Records, 1984) (LP)
(Produced by Laura Lee & Leon McAuliffe)


Laura Lee "Stroll Over Heaven With Daddy" (19--?) (LP)


The Levee Singers "Take Me Home" (Levee Records, 1966-?) (LP)
(Produced by Bob Sullivan)
Originally known as "The Banjo Band From The Levee," this group featured Dallas, Texas old-timer Smokey Montgomery and, for much of the 1960s, rockabilly firebrand Ronnie Dawson, who gave the songs quite a kick. The band started out playing banjos-and-brass dixieland jazz, with Ed Bernet as the leader... In the early '60s Bernet decided it would be easier to run his own bar than to keep hustling for bookings, and opened the Levee nightclub in 1961. Smokey Montgomery, who was also in the fabled western swing band, the Light Crust Doughboys, joined early on, as did Dawson and the group quickly evolved into a volatile foursome, creating a cheerful mashup of dixieland, folk revival and good old Texas twang. They appeared on numerous national TV shows and held down a regular gig at the Levee, recording three albums with Dawson in the lineup. The band's lineup changed over the years, with Ed Bernet giving up the club in the early '70s, but keeping one version or another of the Levee Singers going throughout the decades. (Note: a similar lineup recorded at least one album under the name The Wagon Wheelers.)


The Levee Singers "Live At The Levee" (Levee Records, 1977-?) (LP)
Another fun live set giving a good idea of what their good-natured rockabilly hootenanny vibe was like... This is still the classic lineup featuring Smokey Montgomery and Ronnie Dawson, mixing country anthems such as "Sixpack To Go" with folk chestnuts and trad-jazz oldies... Dawson manages to impishly assert a hint of his wilder rock roots, building a fascinating combination of styles... (By the way, the first three Levee Singers albums were reissued digitally on a single CD called The Levee Singers -- The Early Years, which is available through Ed Bernet's website.)


The Levee Singers "The Levee Singers" (Levee Records, 1978-?) (LP)
(Produced by Bobby Dennis)
This post-Ronnie Dawson lineup includes Ed Bernet, Bob Christopher, Smokey Montgomery and Ralph Sanford... The material tilts further away from country twang and more towards dixieland and singalong hootenanny folk, though there is a "Texas Medley" and a "Lightcrust Doughboys Medley," alongside their versions of "Old Man River" and "Rock Island Line."


The (New) Levee Singers "Down At The Levee" (Levee Records, 19--?) (LP)


Henry Lewis "Inside Of Your Love" (Burgundy Records, 19--?) (LP)
Apparently a Texan, songwriter Henry Lewis recorded this one in Nashville, where he'd been plugging away for over seven years before cutting this album. The lineup features a full compliment of Music City pros, with Mr. Lewis on piano and rhythm guitar, backed by Stu Basore (steel guitar), Kenny Malone (drums), William Nelson (organ), Jerry Shook (guitar), Don Smith (bass), along with The Jordanaires and a modest string section directed by Bill Justis. All the songs were written by Lewis, with one cowritten along with Julian Jones. Not sure when this came out, but it looks like a mid-to-late 'Seventies release... As seen in the album below, Lewis had moved back to Texas sometime in the 'Eighties.


Henry Lewis "Almost Not In Love With You" (Burgundy Records, 1985) (LP)
An indie album on a label from Midland, Texas... Features the song, "Jalapeno Lips" and arrangements by Bill Justis...


Big Bill Lister "Tear In My Beer" (Bear Family Records, 1999)
Now THIS is for-real hick music... "Hick" as in back-woods, patched pants, oil-drilling, hard-timing, 'pea-pickin', tater patch tending HICK music. Sorry... I don't usually indulge in such stereotypes, but then again, rarely are they so accurate. This feller -- a good pal of Hank Williams' -- was a total hayseed, and it oozes from his every syllable in the most delectable way. The music, too, is not overly refined. If you want to hear something that is as verifiably "country" as country can be, then check out these great old recordings from 1949-1953... Some of it's on major label material, recorded for Capitol, but many of these tracks are from the teensy indie label, Everstate... Once again, a jaw-dropping archival effort by the folks at Bear Family that is worth every penny they request. Recommended!


Big Bill Lister "Sho' Nuff Country Stuff" (The Salt Lick Foundation, 1983)
(Produced by Lee Thomas & Michael Price)
A hardcore honkytonker with a soft spot for great novelty songs, Texan Big Bill Lister recorded a lot of great music in the early 1950s, music that's been given the Bear Family/Cattle Records reissue treatment a time or two... He dropped out of the professional music scene and became kind of an elder statesman of the Texas country scene, and in the early '80s recorded this freewheeling, lighthearted album with the help of his nephew Harris Kirby, who co-produced the album and played bass and mandolin. Also on board were Slim Richey (fiddle, banjo, mandolin), Buddy Hale (guitar, backing vocals), Ron Green (bass), Greg Jackson (dobro), Koichi Sakai (bass), Lee Thomas (banjo), and Michael H. Price on piano. The repertoire includes covers of Wayne Raney's "Why Don't You Haul Off And Love Me," Jimmie Rodgers' "Women Make A Fool Out Of Me," along with a bunch of tunes credited to Lister as well, including "What The Heck Is Going On." An obscure private album, this one's seen the light of day in the digital era as a CD-R... though for you vinyl fans, there's still the thrill of the hunt!


Bubba Littrell "Sings Tulsa County... And Ten More New And Old Favorites" (Joey Records, 1975) (LP)
(Produced by Joey Lopez)
Jon K. "Bubba" Littrell (1936-2011) was a local country stalwart from San Antonio, Texas... He used to back Leon Payne from time to time and led his own band, the Melody Mustangs for several decades, doing dance hall gigs all around Texas and the Panhandle... I'm not sure if this was his only album... Anyone have more info about this guy?


Bubba Littrell "Bubba Littrell" (Joey Records, 1978) (LP)
(Produced by Joey Lopez)


Bubba Littrell "Album Number 3: Something Very Special" (Joey Records, 1979) (LP)
(Produced by Bubba Perron)
Although he projects an outlaw-ish vibe, Littrell's music is an interesting, mellow mix of traditional Texas shuffles and more sedate ballads, with strong callbacks to country crooners like Hank Locklin and Don Williams, lovingly draped with plenty of Texas-style fiddle and steel guitar. Almost all the songs on here are originals written by Mr. Littrell... Good stuff!


Don Livingston "Just Easin' " (Asco Records, 197--?) (LP)
(Produced by John LaSalle)
Texas twangster Don Livingston grew up in Lubbock, Texas alongside iconic musicians such as Joe Ely and Gary P. Nunn. He played in bands and managed music venues, eventually making his way to Austin, where he became a mainstay of the 'Seventies outlaw scene, hanging out with Jerry Jeff Walker and playing bass for Michael Martin Murphey. He also became heavily involved in Texas's musical folklore and historical preservation, helping direct the Texas Music Museum and pitching in with the Kerrville Folk Festival. Although not quite the same sort of household name as many of his Lone Star compatriot's Livingston recorded several LP at the height of the outlaw scene, and continued to record and perform well into the digital era.


Don Livingston "Livingston's Gone To Texas" (Asco Records, 197--?) (LP)
(Produced by Allen Breneman)
This album was recorded in Hollywood, California, with a cover photo showing Livingston hitchhiking outside of Poway, CA, near San Diego. The musicians include Don Livingston on guitar, Robert Livingston on bass, Judd Sandison (pedal steel), Allen Breneman (percussion) and the group Don Diamond & The Demons back him on the album's closing number, a cover of the rock'n'roll oldie, "Teenager In Love." Most of the songs are Livingston originals, though he also covers stuff by George Jones, Gary P. Nunn, John Stewart's "July You're A Woman," and the title track, "Livingston's Gone To Texas," was one of Jimmy Buffett's early tunes.


Don Livingston "Solo" (Asco Records, 1975) (LP)
(Produced by Don Livingston & Gregg Eschench)
A live set, recorded at Reuben's Plankhouse, in San Diego. The set includes a mix of blues, folk, western oldies by the Sons Of The Pioneers, and several Livingston originals.


Ron Lloyd "New Moons 'N' Old Leather" (Deschutes Station Records, 19--?) (LP)
(Produced by Lanny Williamson & Priscilla Stanley)
An intriguing mix of old-fashioned western (cowboy) music, and a hazier sort of nature-and-the-frontier worship... Which I kind of mean literally. Ron Lloyd's earlier album from 1975 was an aquarian Christian outing, and he laces his 'Seventies style wonder and awe into this album as well. Sandwiched in with covers of old Sons Of The Pioneers classics are Lloyd originals such as "Desert Pete," "Garden Of The Gods" and "Prairie Dreamer." I believe Lloyd was from Texas and played on the Austin scene for at least part of his career. He's backed here by a compact band that included bluegrasser Larry McNeely on banjo, Rick Littlefield on guitar and mandolin, and others. Some of the guys, including drummer Bob Smith, and been playing with Lloyd for years and had also recorded with him in his more overtly religious phase... In addition to Lloyd's originals, there's one called "Old Leather" that was written by bassist Alan Reinoehl.


Laurie Loman "Sings Country Weepers" (Dobre Records, 19--?) (LP)
(Produced by Wallace Beinfeld & Stan Ross)
Texas-born Laurie Loman was an amiable also-ran in the proto-girl group pop-vocals scene of the late 1950s, cutting a few tracks for the mega-budget Tops label, as well as a couple of singles for ABC, working with pop producer Don Costa. Her best-known recording was cut in 1960, when she recorded an early version of "Johnny Angel," a couple of years ahead of the hit cut by Shelley Fabares in 1962. Loman quit the music business to have kids and raise a family, but decided to go back to the studio to cut this set of country material, which includes cover songs as well as some originals penned by pianist Stan Ecton, who backs her on these echo-heavy sessions. This is pretty campy and schmaltzy, but possibly not so exciting for most twangfans.


Lore & The Legends "One Step Ahead Of The Law" (Colt Records, 1986) (LP)
A later album by songwriter/graphic artist Lawrence Shoberg, aka Lore Orion (1949-2013), who led the country-rock group Bandera in the early '80s, and later formed his own band, Lore And The Legends, along with his longtime collaborator, Bobby E. Boyd (aka Bandera Bob). The next step would be their "heavy leather" hard-twang band, KATTL, which continues on today, on the edges of the red-dirt and bro-country scenes.


Lost Highway Band "Travelin' Light" (Texas Re-Cord Company, 1975) (LP)
(Produced by Augie Meyers & Joey Lopez)
An easygoing, longhaired hippie outlaw stringband from Montana, these guys trucked on down to Texas where they met Augie Meyers of the Sir Douglas Quintet, and recorded this album for Meyers' label. The group was formed in 1974, with Bob Dobbins on bass, Phil Hamilton (harmonica), Chojo Jacques (fiddle), Lewie Norton (drums), Michael Purington (guitar), and Phil Quenin on banjo and dobro. They hung out in Austin for a while, where Chojo Jacques recorded on a few other albums, though eventually they packed up their gear and headed back to big sky country. LHB played regionally until 1985, when they dissolved the band. This debut disc is remarkably coherent and clear in its purpose, mixing bluegrass and country rock with a wispy, mellow feel that would appeal to fans of Jonathan Edwards. Good musicianship all around.


Lost Highway Band "Play Somethin' We Can Dance To" (Bow Records, 1979) (LP)


The Lost Gonzo Band "Dead Armadillos" (Edsel Records, 1996)
This was Jerry Jeff Walker's old backup band, which, steeped in the mystique of their association with Jerry Jeff, managed to wrangle a couple of LPs out of their record label before getting shuffled quietly under the rug. This disc collects material from their first two LPs, the highlight track is, of course, the classic "London Homesick Blues," with the chorus: "I wanna go home with the armadilla/with country music from Amarilla to Abeline/the friendliest people and the purtiest women you ever seen..." It was the only time on record that Lost Gonzo songwriter Gary P. Nunn outshone Jerry Jeff as a performer... at least until he pursued a solo career on his own label. Nunn's solo records throughout the '80s and early '90s have been uniformly high-quality.


The Lost Gonzo Band "Rendezvous" (Amazing Records, 1991)


The Lost Gonzo Band "Hands Of Time" (Vireo, 1995)


Tommy Lucas "Marie" (Lucas & Clark Music Company, 197--?) (LP)
(Produced by Merle Baker & Royce Clark)
Genuine grassroots Texas outlaw stuff... According to the liner notes from his brother John, Tommy Lucas was born in Clute, Texas, 1944 and started out playing rock music in the late 'Fifties, including a long stint with a band called The Kounts. He "went country" in 1967 and worked in a series of bands, including a year with a country-rock group called Cheyenne and formed his own band, The Desperados, around 1975. The band's lineup on this album included Lee Halcolm on drums, bassist Howard Higgins, and guitar picker Ronnie Salmon (who previously toured with Jeannie C. Riley). They are augmented by several Dallas-area musicians working at the Crystal Clear Studio, in Dallas, most notably steel player Maurice Anderson. Tommy Lucas released a number of other albums later in life, including a CD called Raisin' Texas, which takes its name from one of the tracks on this record.


Lundy Country "Lundy Country" (Windmill Records, 1980) (LP)
(Produced by J. W. Daniel, Don Caldwell & Lloyd Maines)
Singer Fred Lundy was a country radio DJ and emcee on KTKO, San Angelo, Texas... He's backed on this record by the Maines Brothers band, with Lloyd Maines taking a lead role as co-engineer and guitarist. The album has plenty of originals, including songs by Lundy and producer J.W. Daniel, as well as some other guys sharing the same Hinges Publishing company rooftop. Previously, in '79, Lundy released a single with two songs heard on this album, J. W. Daniel's "All The Hurt He Left Behind" and Lundy's "All The Way To Texas." I'm not sure if they're the same versions, but it sure sounds like it -- although the single was credited to a band called the The Chapparal, like this album is was also recorded at Don Caldwell Studios, in Lubbock. Along with the Maines Brothers, this disc includes fiddling by Richard Bowden (of Pinkard & Bowden fame), steel guitar by D. J. Brown, and piano plunkin' by Bill Gammill and Monte Williams.


Janet Lynn "Promise Me Anything" (Nu-Country, 1976-?) (LP)
This solo album by Texas gal Janet Lynn showcases her rural vocals, placing her stylistically in with the likes of Donna Fargo and Loretta Lynn, truly twangy, although not as confident or forceful as those star-power Nashville gals. Still, it's a completely charming album, and definitely worth a spin if you get a chance. Lynn was inducted into the Texas Music Hall of Fame in the year 1999 -- listen to this a few times and you'll understand why! (See below for her earlier work with musical partner Johnny Lyon.)


Rebecca Lynn "Hold Me Tight" (Elka Records, 1976) (LP)
(Produced by Mike Borchetta, Eddie Martinez & Warren Roche)
Singer Rebecca Lynn was an also-ran country singer from Texas who recorded a few singles on the Ranwood label before releasing her first album, which was made up of a lot of the same material... She went on to release one other LP before going back to to singles-only releases, and eventually retired from the spotlight. There are plenty of A-list musicians backing her up, including guitarist James Burton, bassist Emory Gordy as well as Richard Bennett and J. D. Maness on pedal steel, though I think the songs were recorded over a period of several years and the lineup changes a lot from track to track. Who played on which songs isn't really clear. Anyway, it took me a while to warm up to this album since Lynn's vocals seem fairly flat (especially on the first side of the album) and her high-pitched tones seem better suited to "girl group" pop than to country. But a few songs stuck out on Side Two, such as "He's Too Busy Working To Cheat On Me" and "Cold Carolina Morning," and I was able to see her as working in the style of singers such as Skeeter Davis or Donna Fargo. What's most notable about this album is that it's the first country album produced by Mike Borchetta, who was married to Rebecca Lynn at the time, and his experiences working to promote Lynn led him to switch his career path from working with rock artists in LA to becoming one of the big names in Nashville. (Borchetta helped start Curb Records' Nashville office, and signed Tim McGraw while working there, and he later started several successful indie labels... and it all started here!) Not a great record, but it have a certain '70s sunshine-y charm.


Rebecca Lynn "Something Pretty Bad" (Calliope Records, 1976) (LP)
(Produced by Mike Borchetta, Eddie Martinez, Warren Roche, Joe Saraceno & Fred Vance)
Worst. Album title. Ever. I tried to warn them, but nobody ever listens to me... Oh, well.


Johnny Lyon & Janet Lynn "Makin' Country" (Nu-Country, 1976) (LP)
A consummate Texas country singer, Major Johnny Lyon (1937-2010) was a career military man who spent two decades in the Air Force, serving a tour of duty in Vietnam before being re-stationed in the Lone Star State, where he was able to pursue a parallel career as a country music bandleader. In 1970, Lyon partnered up with singer Janet Lynn -- creatively, not romantically -- and started the Nu-Country band, label and publishing company, leading their band across the state throughout the decade, and were stalwart members of the Austin music scene of the late 1970s. Lyon and Lynn made several records, and after Lyons left the Air Force in 1980, he opened the Texas Hall Of Fame, a popular music venue between Austin and Houston. (The Hall of Fame closed after Lyon passed away in 2010; the following year it was demolished to make way for a Walmart store...) I believe this was their first album on the Nu-Country label, although they may have cut some singles before this.


Johnny Lyon "Lyon Country" (Nu-Country, 1977)
(Produced by Frenchie Burke)
This album's mostly cover tunes, with a studio crew that included Randy Cornor on guitar and Frenchie Burke on fiddle...


Johnny Lyon & The Country Nu-Notes "The Austin Sessions" (www.johnnylyon.com, 1977)


Arlie Mac & Sundance "Po' Folks Music" (Cow Palace Records, 1977) (LP)
(Produced by Arlie MacCowan & Jerry Trammel)
A longhaired band from Lubbock, Texas band, featuring Arlie MacCowan playing bass, Brian Tidwell on guitar, Bobby Ferguson on fiddle, and Jim Adams playing steel. The album features original songs written by various bandmembers, and some nice cover tunes as well, and several tracks credited to Doyle Haggard, another Lubbock local who was in tight with folks like the Hancock Family Band, The Maines Brothers and singer Larry Trider.


Bruce Mahan "Cancel The Ransom... I Escaped" (PAS Productions, 1983) (LP)
(Produced by P. A. Summers & Mike De Leon)
An all-original set of alterna-twang from country-folkie Bruce Mahan, a songwriter originally from Columbus, Ohio who moved to Texas in the early '80s, first settling down in Houston, and finally in San Antonio. He's backed by The Walker Colt Band, which consisted of Bruce Mahan on vocals and guitar, Rick Schiller (drums), Herman D. Wilburn (guitar), Dave Wood (bass) and a whole slew of guest performers. All the songs are Bruce Mahan originals; he recorded a second album in 1990 which was also all-original material


Don Mahoney & Jeanna Clare "America From Deep In The Heart Of Texas" (Astro Records, 1980) (LP)
(Produced by Mark Charron)
This album features middle-aged couple singing western oldies, stuff like "Home On The Range," "Indian Love Call" and "There's An Empty Cot in The Bunkhouse," along with some country oldies and patriotic tunes.



The Maines Brothers - see artist discography



Barbara Mandrell - see artist discography


Irlene Mandrell "Texersize" (Panda Productions, 1983) (LP)
(Produced by Andy Murphy)
Geez, really? A Lone Star line-dancing aerobics album? Well, sure, why not? What the heck. And, yes, Irlene Mandrell is actually the younger sister of Barbara and Louise... She appears appropriately svelte on the front cover of this album, while the gatefold obligingly wraps around to display her pert heinie and well-toned gams on the back, as well as a pair of rad-looking red cowgal boots, complete with high heels and decorative spurs. (Lesson Three on Side Two tells you how to work out while wearing them...) And while you may laugh, this album is packed with top Texas talent, including steel player Jimmy Day, fiddler Danny Levin, Asleep At The Wheel's Ray Benson (doing some square dance calls!) and even indie twangster Kimmie Rhodes, singing in the chorus. So bust out your chaps, and feel the burn! Yee-haw!!



Louise Mandrell - see artist discography


Jim Martin "Renegade" (Sunbelt, 1984) (LP)
(Produced by Larry Lawrence & Jim Martin)
A 6-song EP from this Texas artist...


Michael J. Martin "Windmill" (MJM/Windmill Productions, 1980)
(Produced by Michael J. Martin, John Wilson & Phil York)
Rough-and-tumble Texas music from Vietnam veteran Michael J. Martin, who was mostly tackling regular old country music themes here, about girls and trucks, but who later recorded a number of albums dealing with war, military service, and the Vietnam War in particular. But if you just wanna pop the top on a cold one and hear a little twang, this would be the album for you. Includes numbers such as "Don't Dance With Darlene," "Inside Out Blues" and "Texas Truck Stop Cafe," all Michael J. Martin originals. Part of the album was recorded live at a joint in Dallas called Up Your Alley; the band on both the live and studio sessions included Gator Bailey on bass, Sleepy John Barker (steel guitar), D. C. Duncan (drums), Mark Easterling (lead guitar), Ron Mason (piano) and David Patton singing harmony.


Mason Dixon "Homegrown" (Premier Records, 1987) (LP)
(Produced by Dan Mitchell)
The Texas trio of Jerry Dengler, Frank Gilligan & Rick Henderson flipped the script on the increasingly corporatized world of 1980s Top Country, cracking into the Top 40 with a single off this indie album... They remained a presence on the charts throughout the decade, but even when they were signed to a major label, they ultimately failed to click on the national level...


Jan Mathews "This Little Texas Girl" (19--?) (LP)
(Produced by Kay Raper, J. L. Burgin, Jan Mathews & Mark Duvall)
An interesting album with a really long backstory... Jan Mathews was the daughter of Jay L. Burgin (1926-2011) and Sylvia Burgin (1927–2008) a fairly obscure country music duo from Denison, Texas who were fairly well known in the local music scene north of Dallas. They cut at least one single in the mid-1960s and gained national exposure when they nearly won the Ted Mack Amateur Hour TV talent show in 1968 (performing a novelty act with their dog Hortense, who yodeled...) Although Mr. Burgin was a working man, the couple managed to go on tour with several major Nashville artists, and were even booked on The Merv Griffin Show. The Burgins also put together a family band, with their daughter Jan playing steel guitar; her parents perform on this album (bass and vocals), and her sister, Aneita Kay Raper, was involved as well. Some of the songs were written by Mr. and Mrs. Burgin, including "I Wanna Sing Like They Do" and the title track, "This Little Texas Girl." Can't tell you much about Jan Mathews herself, though -- she plays keyboards on this disc instead of steel, and I believe she changed her name to Jan Pannell somewhere along the way. As far as I know, this was her only record.


Johnny Mauldin "Faithful Roots" (Acetone Records, 1979) (LP)
(Produced by Jerry Abbott & Johnny Mauldin)
Dunno much about this Lone Star songwriter, though he seems to have been from around Dallas, and had a long career spanning back to the early 1960s, when he and his band The Mississippi River Men cut a single or two and appeared onstage at "The Big D Jamboree." Around the time he made this record in the late 'Seventies, he'd formed a popular, long-running duo with twangster John Kirby, playing in joints such as the White Elephant Saloon, in Fort Worth. This seems to have been his first album, with Mauldin and Kirby backed by several studio pros from the Dallas-Fort Worth scene, notably pianist-producer Jerry Abbott, fiddler Jimmy Belken, Marc Jaco on bass, and J. R. Knight playing dobro. There are a few well-worn standards, as well as some tasty-sounding originals, such as "Last House On A Muddy Dead-End Street," "Reverse The Hearse," and "Texas Country," a tune he reprised on his second album, below.


Johnny Mauldin "Tall In The Saddle" (Column One Records, 1981) (LP)
(Produced by Jim Martin, Randy Kling & Harold Lee)
This album seems to have been cut in a few different sessions, mostly in Nashville with a little detour through Tulsa. There are a bunch of Music City sessionmen in the mix, notably Jimmy Capps, Ray Edenton, Terry McMillan and Billy Sanford. All the songs are Johnny Mauldin originals,



Delbert McClinton - see artist discography


Eddie McDuff "...Sings Suddenly" (Trace Records, 1966-?) (LP)
(Produced by Bob Sullivan)
Independent honkytonk from mid-1960s Texas... There's a reason you haven't heard of this guy, and that's because he died young... Edward Calvin ("Eddie") McDuff (1935-1968) had a civil service day job, but was also a longtime regular on the Dallas-based "Big D Jamboree" and composed prolifically with fellow locals George Kent and Orville Couch. Indeed, it was this album's lineup that grabbed my attention: backing McDuff are some high-powered pickers, including Orville Couch on rhythm guitar, Doyle Grisham (steel guitar), Chuck Jennings (lead guitar), George Kent (guitar), Harland Powell (bass) and Micky Williams on drums. The liner notes are by Groovy Joe Poovey, who at the time was the music director of radio station KPCN. Poovey tries to hype the local "Dallas Sound" as a Bakersfield-style anti-Nashville option, and in McDuff's case, there may have been some truth to that proposition: Couch and McDuff co-wrote the song "Hello Trouble," which was recorded by Buck Owens, Ernest Tubb and others, and is included on this album. He also placed songs with Frankie Miller ("Big Talk Of The Town"), Marty Robbins ("Fresh Out Of Tears"), Margie Singleton ("Forget Me Not") and was posthumously covered by some of the guys who back him here, such as Couch and Kent, and Joe Poovey himself. (There's also controversy as to whether McDuff composed the melody to the Jim Reeves hit, "Welcome To My World," as a work-for-hire job, but I'll leave that dispute to the experts...) At any rate, Eddie McDuff died tragically young on May 3, 1968 when his flight from Houston to Dallas crashed, killing everyone on board. [Note: There's no release date on this album, but PragueFrank places it as a 1966 release, so that's good enough for me...]


Roger McDuff "McDuff Country" (House Of McDuff Productions, 1972-?) (LP)
(Produced by Aaron Brown, James Goss & Pierce LeFevre)
Country-tinged southern gospel from a former member of the Stamps Quartet and part of the McDuff Brothers trio... The youngest of the three brothers, Roger McDuff (1936-2017) was a prolific recording artist, releasing several solo albums on top of the numerous records cut with his siblings; this was one of his more explicitly "country" records, though twangfans might want to take that label with a grain of salt, though some of the source material is pretty modern -- stuff by Dottie Rambo and the like. The album highlight is probably "He's More Than Just A Swear Word," which reminds listeners not to take the Lord's name in vain... Unfortunately the studio musicians aren't identified, though they were most likely house pickers for the LeFevre Sound studios, where this was recorded.


Jerry Dale McFadden "Stand And Cast A Shadow" (Reptile Records, 1986) (LP)
(Produced by Scott Tutt & Jon D'Amelio)
The solo debut of multi-instrumentalist Jerry Dale McFadden, a Texas roots-rocker who did session work playing keyboards and accordion on uncounted albums, playing on 1990s releases by alt-twang bands such as BR5-49, Jason And The Scorchers, and most notably with The Mavericks. McFadden was an unofficial member fo the Mavericks for about a decade before being dubbed a member around 2012, and has toured with the group ever since. On this twangy, robust set, McFadden plays accordion, guitar, harmonica and piano, joined by a mix of roots-rock and country pickers, including a couple of guys from the band Blue Monday, as well as guitarist Warner Hodges (of the Scorchers) and rockabilly legend Duane Eddy, playing bass and guitar. For most of his career, McFadden played supporting roles, though in addition to this disc he also recorded a solo album at the late 'Nineties height of the Americana/alt-country movement.


Jerry Dale McFadden "This Girl" (Plug Records, 1999) (LP)
(Produced by Brad Jones, Russ Long & Rick Will)



Wes McGhee - see artist discography


Scotty McKay "Tonight In Person" (Ace Records, 1962) (LP)
Vintage rockabilly and twangy pop from 1958-66, thoughtfully reissued on a German collector label. Originally from Dallas, Scotty McKay (aka Max K. Lipscomb, 1937-1991) was a member of Gene Vincent's band, The Blue Caps, back in his "Be-Bop A Lu-La" who went on to a solo career with dabbles of country twang, and later still became a record producer who worked with folks like Ike & Tina Turner and ZZ Top. This was McKay's first solo album, cut for the Ace Records label, in Jackson, Mississippi. The songs are mostly rock and R&B covers, with one Scotty McKay original, "Shattered Dreams," at the end of Side One. No musician credits, alas, though I'm sure some better-informed mega-collector has figured it all out by now...


Scotty McKay "God, Texas, Tennessee, And Me" (Masters Music, 1971-?) (LP)
(Produced by Joe Mills)
Although best known as a rockabilly artist, McKay was definitely in a country mood on this one, booking a session at Bradley's Barn in Nashville, with an all-star crew that included folks like Kenny Buttrey, Mac Gayden, John Harris, Charlie McCoy, Buddy Spicher and Weldon Myrick, and others. The songs come from a variety of sources, ranging from Mickey Newberry, Townes Van Zandt and Kenny ("Sauron") Rogers to James Taylor, CSN&Y and the Beatles, with a tune or two from McKay himself, and his patron, Oklahoma Bill Smith. No date on the disc, but with songs like "Fire And Rain" and "Carolina On My Mind," it's at least an early-to-mid '70s offering, probably made at the same time as his 1973 Masters Music single which included his (non-album) version of "Nashville Cats."


Brownie McNeil "Folk Songs" (Sonic Records, 1960-?) (LP)
Acoustic folk ballads from the cowboys of the Texas plains, and their Mexican and Mexican-American counterparts. According to the liner notes, Mr. McNeil taught literature at the College Of Arts And Industries, at Kingsville, Texas... There's no date on this disc, but it also mentions work he did in 1959, so 1960 or perhaps a little later in the decade seems about right.


Brownie McNeil "Songs Of The Chisholm Trail" (The Ex-Students' Association Of The University Of Texas, 1973) (LP)
Your basic set of old-school cowboy songs, including classics such as "Streets Of Laredo," "Jack O' Diamonds" and "Git Along Little Dogies." While the rest of Austin was gettin' high with Willon and Waylie, Brownie McNeil was hanging out with "Little Joe The Wrangler" and good old "Diamond Joe." Also, this has to be one of the all-time greatest label names, ever.


Mesa "Here To Stay" (Gizmo Records, 1984) (LP)
(Produced by Tom D. Atkins)
Novelty-oriented honky-tonk from Fort Worth, Texas... Original songs by Tom D. Atkins and Clark Reynolds, including songs such as "Asphalt Cowboy," "Condo In Paradise" and "I Hate To Shave."



Augie Meyers - see artist discography


Gene Meyers "Country Vibes" (Stoneway Records, 1973) (LP)
(Produced by R. M. Stone)
A multi-instrumentalist who specialized in the vibraphone, Gene Meyers was a Houston local who worked in the oil industry and cut a few records on the side, also doing some session work for the tight-knit Stoneway label. This is his most solidly country-based album, with covers of "Blue Eyes Crying In The Rain," "Making Believe," and "Tumbling Tumbleweeds," though also an eclectic assortment of standards and chestnuts such as "Summertime," "Suwannee River," and "I Walk Alone."


Gene Meyers "Vibes For Everybody" (Stoneway Records, 1974) (LP)
(Produced by R. M. Stone)
Another eclectic set, with some country and country-adjacent material, but also a preponderance of chestnuts from the Victrola era, which is kind of neat.


Gene Meyers "Mostly Gene" (Stoneway Records, 1975) (LP)
(Produced by R. M. Stone)
Meyers plays multiple instruments on this album, including "Hawaiian" (steel) guitar; the only other musicians on the sessions were bassist Buck Henson and drummer Joe Watson.


Midwest Railway Company "Country Style" (Austin Entertainment Enterprises, Inc., 1983) (LP)
A very-indie twangband from Austin, Texas with a brace of original material by Debi Francis, Len Francis, and Jim Hall, as well as a cover tune or two, including Tim Hardin's "Reason To Believe" and John Fogerty's "Proud Mary." I wasn't able to find any info about these folks online, alas.


Bob Miller "Jeanie, I'm Coming Home" (Blackbird Records, 19--?) (LP)
(Produced by Bob Massey)
A honkytonker from Dallas, Texas with four of his own original songs: "Jeanie, I'm Coming Home" and "Jealous Kind" (which were also released as a single), "Black Mark On My Name" and "Loneliest Star," as well as two that were penned by Texas fiddler Frank Zaruba: "Soap Box" and "Molly Come Go With Me." He also covers Harlan Howard, Merle Haggard, Hank Cochran and Kris Kristofferson, to give you a sense of where he was coming from.


Mary K. Miller "Mary K. Miller" (Inergi Records, 197--?) (LP)
(Produced by Vincent D. Kickerillo, Don Costa, Ron Reynolds & Joe Robb)


Mary K. Miller "Handcuffed To A Heartache" (Inergi Records, 1978) (LP)
(Produced by Vincent D. Kickerillo, Jerry Barnes & Charlie Tallent)
Independent country music from Texas, from a gal who had recorded in the early 'Seventies as Mary Miller, and who released a long string of singles on the Houston-based Inergi label. Inergi Records was a side project of her husband, Vincent D. Kickerillo, a prosperous real estate developer and banker who bought over twenty thousand lots and built nearly as many houses over the course of several decades. Most of the Inergi releases were by Mary K. Miller with a couple of singles by other local singers, as well as a highly sought-after "solo" album by the TCB Band -- James Burton, Emory Gordy (bass and guitar), Glen D. Hardin (piano), Jerry Scheff (bass) and Ronnie Tutt on drums -- who had been Elvis Presley's backing group and later formed the core of Emmylou Harris' Hot Band. This disc seems to have been recorded in separate sessions in Nashville and Hollywood, with Tallent and Barnes as the respective engineers, and features a lot of original songs, presumably provided by aspiring Houston locals. Mrs. Kickerillo also recorded under her married name, including a 1986 pop album that featured three duets with Paul Anka. The TCB Band also cut a full album for the Inergi label, presumably at the same time as this one, though apparently it was never officially released and became a sort of collector-nerd holy grail for Elvis fans.


Steve Mitchell "The Singing Cowboy" (STM Ranch Records. 1982) (LP)
Standard-issue cowboy tunes like "Back In The Saddle," "Buttons And Bows," "Don't Fence Me In," "Silver Haired Daddy Of Mine," and "You Are My Sunshine." It seems to me that there might have been one or two other range riders who could lay claim to the title of "the" singing cowboy -- like Gene Autry, who he covers here -- but I got no problems with this Mitchell guy from Texas. Apparently he's been at it for a while, and cut a big figure on the cowboy-poetry scene.


Mojave Green "Our First (Cheap) Album" (Rhyolite Records, 1976) (LP)
(Produced by Howard Dolan & Jerry McCord)


Marvin 'Smokey' Montgomery "Mostly Banjo" (Smoco Music, 1979) (LP)
(Produced by Barbara Cohen & John Mayfield)
One of the most hard-working and ubiquitous session players in the Dallas-Fort Worth area, multi-instrumentalist Marvin Wetter, akaSmokey Montgomery (1918-2001) was one of those guys whose name just keeps popping up all over the place, mostly playing country-oriented music, but in other genres as well. Back in the old days he played with several big-name western swing bands, most notably the Light Crust Doughboys, which he joined in 1935, fully taking the reins after WWII and keeping the band together for several decades to come. That meant he had a pretty wide musical range, with as much grounding in jazz as in twang, which can be heard on this album. He's joined by several other local players that he worked closely with, notably bassist Marc Jaco and guitarist Howard Reed, who also wrote the liner notes. This is not country record. Rather, the set list is heavy with what would have been considered "pop" music for the middle-aged set, back in the 'Seventies - show tunes, movie themes, old ballads like "Danny Boy," and stuff like that. But these guys were definitely deeply embedded in the regional country scene, and it's also a swell chance to hear some pretty flashy banjo pickin'.


The Moods "Live At Turner Hall" (ACR/Kno-Bel Records, 1969) (LP)


The Moods (Of Country Music) "Precision Guesswork" (Mood Records, 19--?) (LP)
(Produced by Bruce Nelson & A. V. Mittelstedt)
A hard-working show band from Taylor, Texas, a northern suburb of Austin... These guys had a surprisingly funky, swampy sound, particularly on tracks like their version of "Tulsa Turn Around," which was co-composed by Alex Harvey and Larry Collins (of Collins Kids fame) the same pair that wrote "Delta Dawn." The Moods billed themselves as a "progressive" county band and apparently mainly played gigs in Austin and Houston. The liner notes are by Bruce Nelson, music director of radio station KENR in Houston, who also produced the album and probably managed the band. He name drops some of the clubs they'd played and thanks steel player Robbie Springfield and the Bowen Sisters vocal trio, but unfortunately neglects to name the actual members of the band.


Jim Morrison "Songs For And About You" (Curley Q Records, 19--?) (LP)
A former rockabilly rebel from Miami, Florida, singer Jim "Curley" Morrison began recording back in the late 1950s, when he was in the Air Force, stationed at Homestead AFB, and started his own label, Curley Q Records, sometime in the early 'Sixties. He produced a steady stream of singles, material that seems to form the core of this LP, which was released while he was living in Fort Worth, Texas. Included is a version of his early hit, "Air Force Blues," as well as other originals such as "Ace In The Hole," and a version of the old folk standard, "Bill Bailey." Almost all the music is credited to Morrison, with one song by Jack Rhodes and another co-written with Eddie Manney. There are no musician credits, alas, though there is a shout-out to drummer Fred C. Albee. Assuming that many of these tracks are re-releases of Morrison's old singles, some blanks may be filled in by a long post on the Hillbilly Country blog which documents much of Morrison's career and mentions some of the musicians he may have played with.


Morrison-Williams "Morrison-Williams" (Palo Duro Records, 2005)
That's not Jim and Hank, but rather Shayne Morrison and Clint Williams, two Texas fellas who were previously in the band Perfect Stranger, which had a Top Ten hit with "You Have The Right To Remain Silent," back in 1995... Morrison was a founding member of that band, while Williams joined a few years later, and their creative partnership has continued over the years. I always kinda liked Perfect Stranger -- the band never seemed too stuffy or pretentious -- but I have to admit I found this album to be a little grating. Too much reliance on tin-toned, heroic electric guitar leads, and too much of a rock'n'roll feel for me... Then again, maybe it's just 'cause I was listening to the record before I'd had my morning cup of coffee... Anyway, even though this disc didn't wow me, I think that longtime fans of Perfect Stranger will not be disappointed... It's got the same classic country-rock sound as their albums, just a bit less of a twangy country feel, which is probably just fine for some of y'all... Worth checking out if you liked these guys the first time around.


Bud Mosley & The Whippoorwills "Bud Mosley Sings And Plays His Own Compositions" (Skylark Records, 196-?) (LP)
An uber-uber-indie homemade LP by a young piano plunker from Graham, Texas who wrote all eight songs and sang in a style that rang somewhere between Mickey Gilley and Moon Mullican, mixing blues and country. The audio production is pretty low-end, sounding echo-y and sparse, with the piano and vocals up-front and the backing instruments (including pedal steel and an organ) way in the background: I wouldn't be surprised to learn if this was actually recorded in someone's house with a reel-to-reel and a single microphone. To underscore the DIY-ishness of it all, the back cover is a white blank, with no info about Mosley or his musicians. Years later he resurfaced in Reno, Nevada, leading a band called Buffalo Country which also included his younger brother Jerry as the drummer.


Ed & Doris Mucklow "Country Dreamers" (Crystal Clear Sound, 1982) (LP)
(Produced by Ed Mucklow)
Independent country stuff, with most of the songs written by Doris Mucklow... This album includes pedal steel by Maurice Anderson, with Dallas, Texas indie stalwart Marc Jaco on bass...


Bob Murphey "Bob Murphey Country" (Lemon Records, 1972) (LP)
(Produced by Bud Andrews)
This is just a plain old, straight up weird record... unique, to be sure. Basically, this is a backporch recording of a grouchy old coot from Nacogdoches, Texas, bitching about everything from the Federal government and insurance companies to rattlesnakes and the price of snuff tobacco... He mutters crochetty bon mots in an old coot accent while young'uns nearby burst into laughter, and acoustic guitarist Cary Banks "accompanies" him, basically just strumming aimlessly while Murphey rambles on and on. I gather that rancher Bob Murphey, who was also a rural lawyer who had once served as the district attorney for Nacogdoches County, was quite a local character... I'm not sure how well his humor translates, though... I guess this is worth listing here, though maybe mostly as a warning to other gulls like myself who see the word "country" in the title and think there might actually be some music on here. There isn't. But at least you can be introduced to one of East Texas's more colorful characters.



Michael Martin Murphey - see artist discography


Weldon Myrick "Pedalman" (Mid-Land Records, 1979) (LP)
(Produced by DeWitt Scott & Jerry Shook)
One of the most ubiquitous Nashville session players, Texas-born pedal steel whiz Weldon Myrick (1938-2014) played on countless recordings, and made numerous recordings under his own name, ranging from random singles to this full LP. These instrumentals deliver plenty of fancy picking, although with covers of material such as Gerry Rafferty's "Right Down The Line," or "Send In The Clowns," you might be forgiven for questioning the overall taste level. But hey, it was the 'Seventies, man. Not surprisingly, the backup band included a lot of other heavyweight players that Myrick had jammed with over the years -- in addition to producer-guitarist Jerry Shook, this disc included pianist David Briggs and Hargus Robbins, and others.


Salvador Najera "Sal Goes Country - With The Four Cactus" (Discos S&R, 197--?) (LP)
Bilingual country -- or at least Spanish-language translations of old country hits -- sung here by Sal Najera, a Korean War vet who was born in El Paso, Texas back in 1933. Najera sang pop-rock and ranchero material on other albums, but here he goes whole hog into twang territory... Some songs are chestnuts such as "Frankie And Johnny" (rendered here as "Pancho Y Juanita"), "Mi Adorada Clementina" and "El Valle Rojo," although most are (relatively) modern country songs, including Bobby Bare's "Detroit City," Don Gibson's "Oh Lonesome Me," and "Wild Side Of Life." Hank Williams looms large, with covers of "Cold, Cold Heart," "Jambalaya," and "Your Cheating Heart." And, this being from the era, of course there's a version of "Green, Green Grass Of Home," rendered here simply as "Mi Regreso." He's backed by Fidel S. Najera on piano, Bob Trujillo (lead guitar), Ray Vaca (drums) and Ronnie Villa on bass -- I'm not sure if these are the same guys who backed him on an earlier album as "The Libertines," though it seems likely that they were. Apparently he later moved to California, first in Orange County, and later retiring near Fresno.


Bill Nash "Bill Nash" (A. V. Mittelstedt Productions, 1980) (LP)
(Produced by A. V. Mittelstedt)
Before setting out as a solo artist, singer Bill Nash was part of the Nash Family Trio, a gospel group which recorded a pair of albums on Columbia in the early 'Sixties. He was later briefly signed to Mercury Records, and claims credit as the first person to record Kris Kristofferson's "For The Good Times." This more-indie album was a straight-up secular country album, with weepers and cheating songs, recorded at A. V. Mittelstedt's studio in Houston, Texas, with a locals-only Lone Star crew that included Randy Cornor on guitar. Included are tracks such as "Two Drinks From Forgettin'," "Ready To Take My Chances" and "You're The Most I Ever Was In Love." In later years, Nash enjoyed success as a Top Forty songwriters, penning hits and album tracks recorded by artists such as Eddy Arnold, Diamond Rio, Highway 101 and Reba McEntire, who took his song, "They Asked About You" into the Top Ten in 1994.


Bill Nash "Country" (T Records, 1980-?) (LP)


Bill Neely "Texas Law And Justice" (Arhoolie Records, 1974)
One of the most unusual-sounding albums in the Arhoolie catalog (and that's saying a lot!) This CD is an expanded version of a 1974 LP made by an obscure white Texas country/blues picker who plays a basically acoustic style, though amplified in a rather remarkable way. The overall effect is spooky and unnerving, which, as it turns out, is perfectly suited to the intense, unsettling nature of the songs themselves. Neely, a lifelong devotee of the legendary Depression-era country pioneer, Jimmie Rodgers, dwells in the darker areas of the country blues tradition, with stream-of-consciousness tunes about jail time and street crimes. Particularly striking are the preachy-but-raw religious tune "Satan's Burning Hell" and the previously unreleased "Skid Row," which detailed the seaminess of life in the lower rungs of big city life. I thought this album was particularly compelling, and certainly worth checking out. Just the kind of record that only Arhoolie could put out.


Bill Neely "Austin's Original Singer-Songwriter" (Lost Art Records, 2002)



Sam Neely - see artist discography


Carla Neet & Jerry Blanton "Our Way" (Axbar Records, 1985) (LP)
(Produced by Joe Scates)
Yeesh. Well, it is indie... and it was under the radar... and I guess technically it was country... But this sure ain't my kinda twang. An uneven set of would-be Top Forty type stuff with tinkly keyboards, airy synths and generally bland musical backing, draped around the mismatched duo vocals of Blanton and Neet. And they are definitely mismatched: she overshadows him, in part because he's kind of a weak singer, and partly because she's a total showboater, sounding Cher-like at times, emoting powerfully whenever possible. It's possible that with more thoughtful production and more attention paid to "fixing" things in the studio this could have been a stronger record, though I suppose it's fine for what it is: '80s commercial country ballads done on a shoestring budget. Blanton is notable here as a songwriter, writing or co-writing over half the songs on the album, with Neet credited on two. Again, it's not my kinda country, but if I frame him as a Don Williams-y guy, I can see where he was coming from... and Blanton's originals are definitely better than the cover of "Wind Beneath My Wings" that closes out Side One of the record. Brr-r-r-rrr. No info on the backing musicians, though the liner notes claim that some Nashville pros were involved. The Axbar label was from San Antonio, Texas, although Neet later moved to Tennessee; her recording of "Here We Are Waltzing Again" (from this album) was also featured on a compilation of women artists who recorded for the Axbar label.


Gwinn Nelson "Sings About El Paso" (El Paso Records/Food For The Ears, 1981) (LP)



Willie Nelson -- see artist profile


Eddie Nesbitt "...Sings The Songs Of Bradley Kincaid" (Bluebonnet Records, 1963) (LP)
(Produced by Ed Manney, Eddie Nesbitt & Katherine Smith)
One of several fine sets of old-time country offered by the Texas-based Bluebonnet label... This homage to Depression-era hillbilly folklorist Bradley Kincaid is in keeping with the more general set of sentimental songs Mr. Nesbitt recorded on his second album (below), simple acoustic songs with an odd, otherworldly, resonant feel. Mr. Nesbitt was himself from that older era, a radio deejay originally from Washington, DC who was also a prolific songwriter and who recorded a number of folk tunes for the Library of Congress during a session back in 1943. Great stuff if you like the older, pre-honkytonk style.


Eddie Nesbitt "Album Number Two: Lost Treasures" (Bluebonnet Records, 1967) (LP)
(Produced by Ed Manney)



Michael Nesmith - see artist discography


Pete Nevin "Pete Nevin" (LPN Records, 19--?) (LP)
(Produced by Kerry Marx)
This off-the-radar indie set was recorded in Garland, Texas and has some true twang in it, but has perhaps more of a folkie tilt, in that Nevin explores personal, confessional themes and drifts into some rambling lyrics. He has a great, rural voice and the songs that are straight-up country are the best... There are also several songs on here that are a little too personal -- a trio of breakup songs that doubtless reflect his own upset, but don't translate that well for the rest of us -- as well as a few rock tunes and pop ballads that are musically pretty dreadful. On the plus side, this disc is packed not just with original material but also with locals musicians, none of whose names I recognize, which I personally find fun. Ultimately, this is one of those self-released records that are just too inwardly-directed and lack the universal touch: his that-chick-is-crazy songs are kind of embarrassing, though I guess most of us have been there a time or two ourselves, right? Nevin later moved to Nevada and became a real estate broker specializing in selling ranches and other rural spreads, and played music on the side, though as far as I know this was his only record.



Mickey Newbury -- see artist profile


Joe Paul Nichols "Big Country" (Custom Records, 1976-?)


Joe Paul Nichols "Texas Memories" (Custom Records, 1980-?)


Joe Paul Nichols "Country Gold" (Custom Records, 1981) (LP)
(Produced by Curtis Kirk)
Country veteran Joe Paul Nichols (1941-2011) was apparently a longtime member of the Hank Thompson band, though he recorded numerous indie albums of his own, as well as singles dating back to the mid-'60s. He also played in the same band with Ernie McDuff when they had a gig on the Dallas-based "Big D Jamboree" in the early 1960s, and covers McDuff's big hit, "Hello, Trouble" on this album. This disc is almost all covers of country classics -- oldies by Lefty Frizzell, Rex Griffin, George Morgan, Ernest Tubb and Hank Williams -- "Born To Lose," "Letters Have No Arms," "He'll Have To Go..." Stuff like that. though there is one original on here, "Hallelujah Jones," which was co-written by producer Curtis Kirk and originally released as a single in 1972. Nichols and Kirk worked together for nearly two decades, dating back at least to 1966. Nichols was living in Jacksboro, Texas at the time, but like his other albums on Custom, this was recorded in Tyler... Alas, no info on the musicians in the backing band.


Joe Paul Nichols "The Old Country Church" (Custom Records, 1984-?)


Joe Paul Nichols "Swinging Country" (Custom Records, 1985-?)


Joe Paul Nichols "These Old Eyes Have Seen It All" (Custom Records, 1989) (LP)
(Produced by Johnny Hawkins, Bill Foshee & David Mitchell)
This disc was recorded in Tyler, Texas with Lone Star stalwarts Tommy Morrell on steel guitar and Marc Jaco on bass... It's mostly country standards, but there are also a couple of new tunes written by Chuck Cusimano. Nichols seems to have self-released over two dozen albums, recording right up until he passed away in 2011. Pretty impressive!


The Noonday Express Band "At Last!" (Cowpatty Records, 1981) (LP)
(Produced by Dewayne Phillips & Rusty Matheny)
A modestly shaggy outlaw band from Hallsville, Texas, featuring Joe Dorsey (rhythm guitar and vocals), Larry Barker (lead guitar), Bob Bueche (bass) and David Gilbert (drums), with additional backing by Tony Harrell (piano) and Dewayne Phillips (percussion and backing vocals). Noonday Express (later shortened to Noonday) grew out of am early 'Sixties high school garage band called The Plain Facts, which Bueche and Dorsey started in '64, after watching the Beatles play The Ed Sullivan Show. That teen combo eventually broke up, but it being Texas, Bueche and Dorsey eventually "went country" and formed this group in 1979, playing local gigs through most of the '80s. The repertoire here is a mix of mainstream country hits, stuff like Hank Junior's "Eleven Roses" and Marshall Tucker Band's "Heard It In A Love Song" alongside more distinctly outlaw-identified material such as "Willie, Waylon And Me," "Good Hearted Woman," "London Homesick Blues," and perhaps most intriguingly, a cover of The Amazing Rhythm Aces' "The End Is Not In Sight." I'm not sure, but this might have been their only record.


North "Live" (Jaspir Records, 1978) (LP)
(Produced by Rick Trusty)
This Texas lounge band's lone album features both male and female vocals, and has been a longtime ironic favorite of kitsch devotees, with some describing it as "Caucasian funk," though that tagline may be a little too optimistic regarding the level of musical vigor involved. Anyway, they do play some country stuff -- yet another bar-band version of "Up Against The Wall Redneck Mother," along with "Blue Bayou," which was a hit for Linda Ronstadt around this time. But they also cover "Brickhouse," "Send In The Clowns" and "You Light Up My Life." So, they were very, um, of their times, as the saying goes. In 1976, North also released a single version of "Misty," so maybe they weren't as hardcore and funky as you might have imagined. But still, oh the delicious badness of it all!



Gary P. Nunn - see artist discography


Luanne Oakes "Luanne Oakes" (Live Oakes Music, 1980) (LP)
(Produced by Luanne Oakes & Pete Nevin)
I suppose this is more of a taking-one-for-the-team/just a warning review, at least far as twangfan purists go... Yes, this album was recorded in Dallas, Texas and does have a strong country component, notably in the flowery pedal steel by Jackie Thomson and the banjo and fiddle fills by Tim Paschall, but the overall vibe is more of a late-1970s-style country-rock/pop set, with strong echoes of gals such as Karla Bonoff, Wendy Waldman and Linda Ronstadt. It depends on which tracks you tune into, really -- some are twangier than others, notably "Always Love You" and "Texas," where Ms. Oakes (1953-2011) looks back wistfully at her California days, but concludes it way cooler to live in a state like Texas where you can drink and drive without getting hassled about it. So, yeah, she's kind of a country gal. (Also, she later moved back to California, but it was nice while it lasted...) Her pop aspirations dominate the album, while the twang tunes seem more like a remnant of earlier days. 'Seventies soft-pop fans might really dig this one, though!



Doye O'Dell - see artist discography


Bill Oliver "Texas Oasis: Environmental Songs For Texas And The World" (Live Oak Records, 1982) (LP)
(Produced by Bill Oliver)
More of a folkie thing, perhaps, though it's got Texas in the title... This musical eco extravaganza includes tunes like "If Cans Were Nickels" "Talking To Trees," "Shopping Maul" and one directed at the Reagan cabinet, "James Watt Won't Do." Among the artists backing Oliver's vision were fiddler Champ Hood (of Uncle Walt's Band), guitarist Don Sanders, Bobby Bridger, and several other people in the orbit of the Kerrville Folk Festival. This was mostly recorded in Austin, with some tracks produced in Berkeley, California (naturally!)


Lore Coyote Orion "Lore Coyote Orion" (PT Records, 198-?) (LP)
(Produced by Bandera Bob)
The lone solo album by the multi-talented songwriter/graphic artist/humorist Lawrence Shoberg, aka Lore Orion (1949-2013), who led the country-rock group Bandera in the early '80s, and later formed his own band, Lore And The Legends, as well as the "heavy leather" hard-twang band, KATTL, with his longtime collaborator, Bobby E. Boyd (aka Bandera Bob). Although originally from California, Orion was a full-time, all-in Texan by the time he made this album, actually living in Bandera, near the bright lights of San Antonio, where this album was recorded. Apparently, it was only released in Europe but it's definitely a Lone Star kinda thing, packed with original material such as "I Wish I Was In Texas," "Texas Ain't The Same," "Once You Cross The Line," and "She Likes To Drive Me Crazy." The band included Bandera Bob and Lore Orion, along with Rick Rawls, John Ludwick and others, some of whom helped form KATTL around this time.


David Owens "Sunshine Go Lightly" (Crazy Cajun Records, 1978) (LP)
(Produced by Huey P. Meaux & Mickey Moody)
Very much not what you'd expect from the Crazy Cajun swamp pop'n'twang label... I suppose this could be lumped in generally speaking with the 'Seventies country-rock scene, but mostly in a sideways manner -- keyboardist/composer David Owens was definitely a rock guy. Owens had a long history on the Dallas garage-psych scene, most notably as the primary songwriter of the late-'Sixties group Those Guys, who cut a few singles and demos, including an early version of this album's title track. I'm not sure what he did after Those Guys broke up, but he definitely seems to have let his musical vision percolate for a while, and came back with a very cohesive set of tunes for this solo album. The opening track, "The Greatest Thing," kicks in with a brash, almost confrontational white funk intro and quickly slides into a very Grateful Dead-like hippie-rock sound. But just when you think you've got a bead on where he's headed, Owens shifts decisively into an airier, cosmic-melodic rock mode reminiscent of Big Star or British bands such as Badfinger, with more than just an echo of George Harrison's harmonic sensibilities, and maybe even a hint of early Tom Petty. It's actually quite a good record, maybe a few years behind the times, but definitely a hidden gem waiting for 'Seventies rock fans to rediscover, though country fans might not dig it that much. No info on the backing musicians, unfortunately. At any rate, it's a pretty solid record... recommended!


Ray Pack & Halfbreed "Texas Honky-Tonk Album" (Telephone Records, 1975) (LP)
(Produced by Ray Pack & Don Caldwell)
Texas honkytonker Ray Pack sure had an interesting ride. Pack was going full-tilt boogie in the early 'Seventies, recording this album at the same Lubbock studio that nurtured the Maines Brothers Band, with Lloyd Maines sitting in on pedal steel, and several Pack family members filling out his band -- Duke Pack (lead guitar), Pee Wee Pack (bass), Rabbit Pack (drums), and Jim Ballard on fiddle. Ray's fate, though, was tied to his manager and patron, Audrey Williams, the former wife of country demigod Hank Williams, and when she died not long after this was recorded, his work got tied up in all kinds of weird legal issues surrounding the Williams estate. Things ground to a halt. Pack kept playing locals shows, but his brothers spun off into other bands, and after a while a steady day job started looking a lot more appealing. Specifically, law enforcement looked good, and Pack landed a job first with the Taylor County Sheriff's Department and then in 1978 took a position with the local PD in Merkel, Texas, becoming police chief in '79. So, while he wasn't in law enforcement when he made this album, he still deserves mention in the ranks of singing policemen, a fine country tradition.


The Mark Paden Band "Hot Biscuits" (Texas Soul Records, 1984) (LP)
A Lubbock, Texas, local, songwriter Mark Paden had done some time in Nashville before recording this solo set in '84, his biggest success being the song, "We Belong In Love Tonight" which was recorded separately by both John Conlee and T. G. Sheppard, and was released as a single by both stars in 1981. Paden includes his version on this album, and reveals other Nashville ties, notably recording four songs by Music City insider Alan Rhody, as well as one co-written with Kevin Welch. The band was made up of Mark Paden on vocals and guitar, Gary Hurt (bass), Brett James (lead guitar, dobro and steel), and Doug Mainous on drums... I'm not sure if this is the same Brett James who became a hotshot session player and producer, though it does seem possible. Paden eventually bailed on Nashville and moved back to Texas, where he landed a gig playing bass in the house band at the Cactus Theater, in Lubbock.


Los Paisanos "Border Country" (Border Country Productions, 1976) (LP)
(Produced by Emmit Brooks)
Five guys from El Paso, Texas playing a nice, mellow mix of Anglo country-folk and Spanish-language border ballads... This group formed in the early 1960s, and had its roots in the coffeehouse folk scene of the era, though they really reflect the cultural diversity of the Texas borderlands. There's a definite country spirit as well, heard in country songs such as Billy Joe Shaver's "Ride Me Down Easy" and Paul Craft's "Bottom Of The Glass," along with a few bluegrass tunes ("Fox On The Run") and even some 'Sixties-era folk faves, such as the Kingston Trio's "M.T.A." ("Did he ever return?/No, he never returned/And his fate is still unlearned...) This is a nice, understated set with a cheerful, joyous feel. Engaging and unpretentious, definitely worth a spin. Although they released this album on their own label, it was recorded at Emmit Brooks's regional powerhouse, Goldust Records.


Randy Palmer "Fighter By Nature" (Roro Records, 1975) (LP)
(Produced by Roger Hale & Randy Palmer)
An uber-indie set packed with original material, recorded in Hereford, Texas with steel guitar by Tex Rhodes...


Randy Palmer "Calling Me Home" (Heartland Productions, 1979) (LP)
(Produced by Charles F. Brown)


Knocky Parker "...And His Backwoods Boys" (Audiophile Records, 196--?) (LP)
Texas-born piano plunker John W. ("Knocky") Parker (1918-1986) was a pioneering figure in the birth of western swing music, notably playing in early groups such as The Wanderers and The Light Crust Doughboys. As it turned out, his interests tilted more towards the jazz side of the western swing equation, as seen in his many solo albums, though this disc is explicitly more of a rural-rootsy kinda deal. He's backed by longtime collaborator and fellow Doughboy, banjo picker Smokey Montgomery, though perhaps more notably for Americana and roots music fans, this record also includes harmonica tootling by a young Delbert McClinton who was working his way up through the ranks down in the Lone Star State. Jinkies!


Lucky Parker "The Singing Waiter" (Chateau Permian Records, 1980-?) (LP)
(Produced by D. M. Williams & Lillian Wallis)
Kind of an odd one here. Apparently Lucky Parker grew up in Brooklyn, New York, but he spent most of his life in Texas, moving to Midland in the late 1950s after a long stint in the Navy and a brief fling at restauranteering down in Florida. When he hit the Lone Star State in '57, Parker joined a local western swing band as their drummer, and played in various regional groups through the 'Sixties and 'Seventies, including one or two he led himself. At the time he cut this album, he was working at the Broken Spoke, where he was nicknamed "the singing waiter..." While most of this album is indeed country material, the song selection -- "After The Lovin'," "Drinking Champagne," "Green, Green Grass Of Home," "Welcome To My World" -- gives you a sense of Parker's low-key temperament, and penchant for sleepy countrypolitan crooning. Indeed, he settles into a distinctly Bing Crosby-esque sound, which is alright for a while, although a little bit goes a long way. Alas, no info on the backing musicians.


Pat & Ray "Pat And Ray" (Nashville Record Productions, 1978) (LP)
(Produced by Joe Mills)
A country covers set from Patricia and Raymond Guard, a Texan duo who made the pilgrimage to Nashville to record at Bradley's Barn, where they reveled in country hits such as "City Of New Orleans," "Let Me Be There," "Rocky Top" and "Top Of The World," as well as more pop-oriented Top Forty tunes like "Blue Bayou," "Love Will Keep Us Together" and (yikes) "The Way We Were." The album also includes one tune penned by Ray Guard, "And If You Will," though this seems to be the only original. Pat & Ray worked a multi-state lounge circuit before starting up their own venue, a restaurant (and wedding location) called The Veranda, in the Houston suburb of Kingston, Texas. The opened the Veranda in 1996 and have been the house band ever since, also operating a photography studio and a few other businesses in the space. As far as I know, this was their only album, but ya never know...


Patchwork "Patchwork" (RCA Victor, 1972) (LP)
(Produced by David Kershenbaum, Brian Christian & Don Holden)
A country-rock band from San Antonio, Texas formed in the early 'Seventies by the husband-wife duo pf Shane and Kitty Appling, along with guitarists Richard Silen and Ed Shook. Also on the sessions are Willie Nelson's harmonica player Mickey Raphael and fiddler John Frigo, who made a name for himself as a jazz player, but also had a background in down-home country, including a long stint on the "National Barn Dance" show. Most of the musicians in this group also worked with Texas pop/country star B. W. Stevenson on his first album. The repertoire is almost all originals, including three songs written by Lone Star folkie Mike Williams.


Jimmy Patton "Take 30 Minutes With Jimmy Patton" (Stereotone Records, 1962) (LP)
Before signing with the Sims record label, Jimmy Patton was a regular member of the Dallas, Texas Big D Jamboree... In the late 1950s, he recorded several singles for Sims, including some well-regarded rockabilly material.


Jimmy Patton "Blue Darlin' " (Sims Records, 1965) (LP)


Jimmy Patton "Make Room For The Blues" (Moon Records, 1967) (LP)
This album of mostly cover material was recorded while Patton and his band were doing a weekend residency at the Flower Drum Restaurant, a Chinese eatery at 145th & Division Street, in Portland, Oregon. ("The finest in Chinese-American food," the liner notes proclaim!) The group included Jimmy Patton on lead vocals and acoustic guitar, Lou Crenshaw (lead guitar), Donnie Marvin (steel) and Butch Simington on drums. They cover Johnny Horton, George Jones, Skeets McDonald, and Wynn Stewart, with versions of "Green Green Grass Of Home" and Hank Strzelecki's "Long Tall Texan." One song, "Eye For An Eye," credited to B. Kaye & S. Springer, may have been an original -- this is the only version of the song I've been able to track down.


Jimmy Patton "Just For You" (Moon Records, 1976) (LP)
(Produced by T. Toffalo, D. Brookens & Johnny Virgin)
On this "comeback" album, Patton is backed by members of Mel Tillis' band, the Statesiders, as well as the Gary Paxton Singers. He covers tunes like Merle Haggard's "Bottle Let Me Down," "Y'All Come," and "Red Necks, White Sox, Blue Ribbon Beer," as well as "Big Blue Diamonds" and "Brush Me From Your Shoes."


Richard Patureau & The Bayou Bandits "Still Trying" (Texas Breeze Records, 1986) (LP)
(Produced by John Logan & Larry Seyer)
A strong set of all original honky-tonk, with only one song not written by Patureau. This album was recorded in Austin, Texas... Though John Ely plays pedal steel on most tracks, hotshot guitarist Junior Brown guests on lap steel for one track, "Boudreaux's Daughter." Other musicians include producer John Logan on guitars and Gene Elders playing fiddle, with various others on piano, drums, etc.


The Payne Family "Out West" (Moon Records, 1967) (LP)
(Produced by Calvin Wills)
A white gospel family band from Abilene, Texas, going country on this album, which includes steel guitar from session player Junior Knight. The Payne Family included parents David Payne (bass) and Dorothy Payne (piano), along with their son Kenny and daughter Judy -- they recorded several albums, though I'm not sure if they were all as "country" as this one. The album art features the band posing at Broken Arrow Camp, a Christian-themed ranch near Sunsites, Arizona, though it gives their home address in Texas.


Leon Skeeter Petty "This Ain't My First Rodeo" (Leon Records, 19--?) (LP)
(Produced by Freddie Fletcher & Dave McNair)
Dunno much about this guy, but he sure had some high-powered friends... This album includes Jimmy Day on steel guitar, Chris Etheridge playing bass, and Bonnie Bramblett singing backup... and that's quite a lineup! Not sure where Mr. Petty was from though this album was recorded in Austin, Texas, so it's possible he was the same Leon (Thomas) Petty who passed away there in 2005. Any info is welcome.


Pioneer Jim "Pioneer Jim's Big Roundup" (Lemco Studios/Pioneer Records, 197--?) (LP)
(Produced by John Ireson)
A very odd, though not at all unpleasant country comedy set built around an old-timey cowboy character called Pioneer Jim, played by songwriter Jim Williams. A Texas native, he was living in Lexington, Kentucky when this album came out, though he claimed the fictional Dumbell Ranch as his home. There are no details provided on the cover to this souvenir album, but Williams had been working on this particular schtick for quite some time: originally from Amarillo, way back in 1963 he hooked up an old-fashioned wagon train -- pulled by his mules Patience and Tribulation -- and headed off for the 1964 World's Fair, being held in New York City. By 1966, he'd made it all the way up to Ontario, Canada, where a local paper was one of many that helpfully profiled him and his western-revival antics, a self-contained mythology that wove in plenty of old jokes and cornpone humor. Though his goal was to get back to Amarillo in '67, Mr. Williams apparently enjoyed life on the open road, especially the gaping stares of kids and other locals as he drove the wagon through town, and by 1975 seems to have moved to Kentucky, where he donned his buckskin coat and helped out in the city's bicentennial celebrations, sporting full Daniel Boone regalia. This album is a full distillation of the Pioneer Jim routine, with songs about his animal companions, including an Appaloosa horse named Faithful, Friendly the "prairie wolf," and of course, good old Patience and Tribulation, who did all the hard work. This album is a lot better, and a lot weirder, than I expected... The unidentified musicians (probably guys from the Lemco house band) provide solid, cheerful backing, which suits Jim's wheezy Gabby Hayes-ish vocals, an overall sound that's strongly reminiscent of < href "../../countryartists/feller_dick_01.html">'70s songwriter Dick Feller. True, the jokes do drift into Don Bowman-esque territory (not a compliment) but overall Williams manages to pull it off, largely due to his full commitment to the material. He claims songwriter credit on all the songs, though the jokes are obviously a pastiche of a long tradition of hillbilly humor, perhaps most notably in "Son Of A Gun Stew," which is a variation of the old don't-complain-about-the-cooking routine more famously heard on the Utah Phillips tall tale, "Mose Turd Pie." But if you're willing to go corny, this disc is a doozy. Jim Williams also wrote a book about his exploits, called Pioneer Jim's Roundup: Travelin' With Patience And Tribulation, which might do a better job explaining all this than I did.


Joe Pipps "Last Train Ride" (Crazy Cajun Records, 1978) (LP)
(Produced by Huey P. Meaux)
Southeast Texan Joe Pipps worked with producer Huey P. Meaux for a number of years, including a major label album in the early '70s with a band called The Good, The Bad & The Ugly, where he wrote or co-wrote almost all of the songs. He was most successful as composer, including a few tunes that were recorded by Roy Head and other artists.


Rodney Pirtle "Country Goes To Town" (19--?) (LP)
(Produced by Rodney Pirtle & Ron Dilulio)
A double-LP vanity set from Texas school administrator Rodney Pirtle, who worked in the Dallas area for many years before retiring in 1990 and devoting himself more full-time to his musical aspirations. This set has country stuff on the first disc and pop-vocal standards on the second, all of it in a pretty mellow, crooner-y mode. Mr. Pirtle is backed on some tracks by the Dallas Symphony Orchestra, and on others by a stripped-down edition of the Original Texas playboys, notably steel player Leon McAuliffe and guitar picker Eldon Shamblin.



The Plainsmen -- see artist profile


Robert L. Platt "Please Give Us One More Boom" (1987) (LP)
(Produced by Col. Jimmy Bowen)
An idiosyncratic, uber-indie album by a middle-aged Texas oilman who worked both in the field and as an executive starting out in the early 1960s... Platt sings songs and tells stories about the oil business, including some that tackle the up-and-down, boom-and-bust nature of the business... There's also some straight country material on here as well. Includes songs such as "One Lie Leads To Another," "Bean Counter," "Please Give Us One More Boom" and "Rinding The Crest Of The Slump."


Cheryl Poole "Cheryl" (Paula, 1969) (LP)
(Produced by Buddy Killen & Don Logan)
I hadn't really thought of the pop-oriented Paula label as being a haven for country music, but it turns out they had quite a nifty roster in the late '60s, including artists such as Mickey Gilley, Nat Stuckey, and this gal from Tyler, Texas. This proved to be her only album, but it sure was a doozy! Following a stint as a teen singer on the Louisiana Hayride, Ms. Poole released a handful of singles dating back to 1966, and with the success of "Three Playing Love," a minor hit that eked its way into the Top 40, she was given the chance to record this groovy, upbeat little album. Musically, it's a nice mix of punchy, Loretta Lynn-style honkytonk and slightly more gogo-delic pop-country, along the same lines as some of Jeannie C. Riley's more rock-oriented material; there's even a mild foreshadowing of Tanya Tucker's sassy-soulful sound in her vocals... all in all, a pretty alluring combination for folks digging into hillbilly fillies history. Poole wrote about half the songs on here (with several of her tunes being selected as singles) and also covers a few classics, tunes like "Kansas City" and Hank Williams' "I'm So Lonesome I Could Cry." Also worth noting is "The Skin's Getting Closer To The Bone," a rare composition credited to steel guitarist Weldon Myrick, one of Nashville's most prolific session players -- there aren't any musician credits on here, but I'm guessing that also meant he was on this album. I dunno if Cheryl Poole's career really merits a best-of collection, although I sure would love to hear one, especially if it included all her non-album singles... Anyway, if you get a chance to check this one out, you should definitely go for it.


Kenny Post "Hey Driver" (Volunteer Records, 1980) (LP)
(Produced by Tommy Melder)
Trucker tunes sung by a guy who drove a semi for over twenty years before cutting this disc. The set list looks like it's all cover tunes, ranging from oldies by Terry Fell and Jerry Irby to newer hits such as "Roll On, Big Mama," which was a hit in the mid-1970s. The label was from Houston, Texas, and presumably Mr. Post was as well... The musicians are listed, but not which instruments they played, alas.


Kenny Post "Kenny Post And Friends" (New Life Records, 1990)


Kenny Post "Coast To Coast With Kenny Post" (BSW Records, 1998-?)



Curtis Potter - see artist profile


Freddy Powers "Time Changes Everything" (In Orbit Records, 1979) (LP)
(Produced by Nate Greene)
Born in Oklahoma, raised in Texas, songwriter Freddy Dale Powers (1931-2016) came from a family band that specialized in dixieland and trad-jazz and originally considered himself a jazz player, although early associations with fellow jazz fan Willie Nelson slowly steered him towards success as a country musician. At one point Powers owned his own nightclub in the Fort Worth area, and as leader of the The Powerhouse IV, Powers recorded a couple of albums of dixieland-style jazz in the 'Sixties. During most of the 1960s he found lucrative work in Las Vegas and was playing the El Dorado casino in Reno, Nevada when he cut this debut album, which was a mix of country and jazz material. The musicians backing him were drawn from his club act, a jazzy combo including Jay Thomas (bass, keyboards and piano), Gary Church (coronet and trumpet) Tom Nehls (sp-?) (drums) Bill Allred (trombone), with fiddler Billy Armstrong chiming in as well. Along with some well-chosen covers ("Nagasaki," et.al.) there are numerous original tunes on here, and this disc was recorded while Powers was unknowingly on the precipice of much greater fame. Many years after their friendship began, Willie Nelson asked Powers to play on and co-produce his 1981 jazz-standards album Somewhere Over the Rainbow, and soon after that Merle Haggard hooked up with Powers in an enduring friendship that led to several of Haggard's biggest hits of the 'Eighties, including "Natural High," "Let’s Chase Each Other Around the Room," and a song Powers and Haggard co-wrote, "I Always Get Lucky With You," which became a chart-topper for George Jones in 1983. Though the Haggard connection was the strongest, Powers was linked to this country pantheon power trio for many years, playing in Willie's band and writing material for all three hard-country heroes to record. Quite a career!


Freddy Powers "The Country Jazz Singer" (Inorbit Records, 1987) (LP)
This was Powers at the full height of his powers, and his fame, cutting an album that was almost all originals, including two songs co-written with Merle Haggard, "I'm Free At Last" and "I Always Get Lucky With You," and Powers's own renditions of songs like "Natural High" and "A Friend In California," which Haggard too to the charts on his own albums. He covers the jazz standard "Nagasaki" again (a favorite, clearly). This was recorded out in California, where he hung out with Haggard for several years; later in life he retired to Florida.


Freddy Powers "My Great Escape" (Hag Records, 2004) (LP)
(Produced by Lou Bradley, Freddy Powers & Merle Haggard)
The Merle Haggard connection persists, with Merle co-producing this album on his own indie label while playing guitar and even singing on several tracks. Haggard sings on three tracks, "Old Country Singer," "Tom Sawyer And Huckleberry Finn" and "Wild Party Blues," while contemporary turn-of-the-millenium stars Kenny Alphin and John Rich (aka Big & Rich) add some vocals as well; the title track was a Big & Rich tune that apparently never made it onto one of their own albums. Other musicians include members of Merle Haggard's band the Strangers -- pianist Doug Colosio, fiddler Scott Joss, drummer Jeff Ingram and bassist Kevin Williams -- as well as lead guitarist Django Porter, of the Asylum Street Spankers.


Ty Prause "Something Special" (Chaparral Records, 19--?) (LP)
(Produced by Tommy Melder & Joe Wilson)
A set of early '80s neotrad honkytonk-pop by a guy from Columbus, Texas, the county seat of Colorado County, a little west of Houston. Decades later, singer Ty Prause became the county judge, though here he is in his youth, singin' tunes like "Barstool Mountain," "Before The Next Teardrop Falls" and "Tulsa Time." He was backed by a local band, Tabasco -- Lonnie Butler on saxophone, Lupe Reyes (drums), Eddie Schindler (bass), Shaler Vincenthaler (piano) and Danny Waddel on guitar -- though this seems to have been recorded in Nashville as well, with a slew of Music City studio cats. I dunno if either he or Tabasco played live -- couldn't find any trace of them online.


Chuck Price "Chuck Price" (Dome Records/Crazy Cajun, 1977/1978) (LP)
(Produced by Foy Lee)
Great album by this Texas country crooner... Chuck Price (1942-2015) lived and worked all over the place -- in Montgomery, Alabama, Nashville, San Diego, and most notably in Houston, Texas, where he was working when he hooked up with label head Huey P. Meaux. The album was actually produced by Foy Lee, but was later credited to Meaux, though I actually doubt if Meaux was in the booth for all of these sessions. The record seems to have been cobbled together from various eras and probably combines some earlier singles with some newer recordings from his Houston days. There's a wide variety of production quality and musical styles, though one constant is Price's sincere, committed performances. On the opening tracks he shows a strong debt to Merle Haggard, but he shifts into a deeper, more boozy feel for later songs, almost sounding a bit like Bobby Bare, for example, on his cover of the Hank Williams oldie, "Half As Much." Most of the songs are downtempo ballads, with a major exception being the bouncy, giddy "Just For The Heck Of It," which is more in line with the novelty feel of Roger Miller or Buck Owens (and has some sizzling pedal steel and guitar!) One footnote: Price, who passed away in Colorado, was a Vietnam-era Navy veteran who co-wrote the anthemic ballad, "The Unsung Heroes," which he performed annually at the Vietnam Wall memorial in Washington, DC, and which became the official song of the Memory Day event. (Note: This album was recorded in Houston and apparently first released as a private-label indie, then reissued the following year on Huey Meaux's larger Crazy Cajun Records.)


Chuck Price "Chuck Price" (Dome Records, 1977) (LP)


David Price "A Texas Songwriter" (BGM Records, 1984) (LP)



Ray Price -- see artist profile


Charlie Pruitt "Half-Live In Nashville, Tennessee" (1980) (LP)
After recording this album in Nashville, singer Charlie Pruitt returned home to Texas where he took a stab at managing and producing other local artists, a path that led him to starting his own country music variety show, in Beaumont, Texas. Though the show originally had mostly local children as performers, over the years it became more professional and played host to many up-and-coming country starts, including fellow Texans such as Tracy Byrd and Mark Chesnutt. I believe this was Pruitt's only album, and includes songs such as "Truck Driving Woman," "The Game Of Give And Take" and "It Takes All Kinds To Make A World."


Pulleybone "Pullin' Together" (Brylen Records, 1982) (LP)
(Produced by Brien Fisher)
Ken Smith's group, Pulleybone, was Bobby Bare's backing band in the early 1980s, letting their hair down on a hard-rocking "solo" set which includes a comer of the Merle Haggard oldie, "Swinging Doors," Chip Taylor's "Clean Your Own Table," a couple by Bob McDill and three songs written by Bobby Reed, who wasn't in the band, but must have been one of their buddies back in Texas. Definitely worth a spin, especially if you liked how the band sounded on Bobby Bare's classic "Drunk And Crazy" album.


Jimmy Rabbitt "...And Renegade" (Capitol Records, 1976) (LP)
(Produced by Waylon Jennings)
A decent Commander Cody-ish set, though nothing amazing, really. Jimmy Rabbit was a Texas-born radio deejay who had previously been a rocker, playing in Texas bands such as Mouse & The Traps and a short-lived psychedelic garage band called Positively 13 O'Clock. Switching gears, Rabbitt moved to California in 1969 and became an influential member of the "freeform" radio scene, notably with a long stint on KROQ in LA, where his sets mixed classic country with material bubbling up from the '70s country-rock scene. He also played music and is best known for co-writing "Long Haired Redneck" with David Allan Coe... He seems to have hooked up with Waylon Jennings as well -- ol' Waylon not only produced this album, playing geetar and whooping along on a tune or two -- and that's nothing to sneeze at. Rabbitt seems to have had his heart in the right place, covering folks like Delbert McClinton and Alice Stuart, as well as a version of Lee Clayton's "Ladies Love Outlaws," which chipped its way into the charts. It sounds like Rabbitt wasn't really able to cut loose on this album, playing it safe when he should've gotten a little wild. This is okay, but it ain't gonna make a big difference in your life... Worth a spin, though!


Jimmy Rabbitt "The Texas Album: Outlaw Country" (St. Roch Recordings, 2015) (LP)
(Produced by Jerry Wexler & Keith Olson)
Long-lost demo recordings, cut for Atlantic Records in 1973... Jerry Wexler helmed the sessions, with piano player James Booker backing Rabbitt's band.


Nova Rae "Love And Sunshine" (1976-?) (LP)
One of our more elusive artists, possibly because she didn't do many public performances... Although the liner notes of her similarly-titled Just Like Sunshine album (below) say that it was her first LP, I think actually this one came out earlier, and didn't "count" because it was a gospel record, while the other one is nominally secular. Not entirely sure about that, but it's a theory. Anyway, Nova Rae was the stage name for Ms. Nova Michaux (aka Nova Rae Harrison Michaux, 1944-2005) who hailed from a tiny town called Woodville, out in East Texas, kinda near Lufkin. She worked in the local schools as early as 1964, and on one of her singles billed herself as "the singing teacher," although I don't think she pursued music as a career. Ms. Michaux copyrighted a bunch of original religious songs early in 1976, tunes like "The Glory To Find," "Heaven Is Today," "The Leader" and "Settin' Around" and around the same time cut several secular country singles, including two on Chart Records, one on Brack Records, and another that came out under her real name, Nova Michaux, released on a micro-label from New Jersey. And yet, this seems to be the sum total of her online footprint, so some questions remain. If anyone has more info, I'm all ears!


Nova Rae "Just Like Sunshine" (Brack Records, 1977-?) (LP)
Though the back cover says this was her first album, I'm a little skeptical, though it's kind of a six-of-one, half-dozen-of-the-other situation, since all of her records seem to have been recorded and released around the same time, roughly 1976-77. This is a secular set, though there's a spiritual undercurrent to a few of the songs ("Love Power," for example...) About half the songs first came out as singles, including her cover of Neil Sedaka's "Love Will Keep Us Together," "Burning Bridges," and others. Alas, no musician or producer credits, so while this came out on a Nashville imprint, it's not clear if this was actually recorded in Music City... also, the songs were probably recorded using several different bands, some released as singles and others probably added later to fill out the album.


The Rainbow Boogie Band "The Rainbow Boogie Band" (Capital City Records, 1980) (LP)
(Produced by Pete Blanchard)
A Texas country-rock band from Abeline...


Jerry Rainwater "...Presents An Instant Replay" (Sound Systems, 1978) (LP)
(Produced by Hoot Gibson)
A mega-DIY album of rootsy folk-twang, recorded in Odessa, Texas, where Jerry Rainwater (1942-2011) had a long run leading the house band at a place called the Flamingo Bar in the mid-to-late 'Seventies. He was a lifelong Texan, born near Abilene in a tiny town called Snyder, and his band seems to have been all locals, including Doug Atwood on bass, Merle David (fiddle), Jay Hansborough (percussion), Terry Vincent (piano) and Jerry Rainwater playing all the guitars. All the songs are Rainwater originals, including the title track, "Instant Replay (Of A Time That’s Never Been)" and "Busted For Loving You." Not sure if he made any other records, though I think this one later came out on CD.


Kenny Raska "...And The Kickers" (Camelot Records, 1979) (LP)
(Produced by Charlie Booth, David McCumber, Anthony Puccio & L. W. Wright)
Some indie honky tonkers from Houston, Texas, with almost all original material, including six songs by Kenny Raska and one by George Svbovda, along with covers of oldies by Webb Pierce, Charlie Walker and a countryfied version of Neil Diamond's "Red Red Wine." Raska is kind of a croony singer, and the record has a distinctly 'Seventies production style, with keyboards and synths drifting around in the aether... But overall, nice stuff from the indie side of the mainstream country world. The guys in the band are listed by first name only: Kenny, Jerry, Jimmy, Larry, Tommy... anyone know their full names? And one more question: what exactly was it that they were kicking, anyway?


Rattlesnake Annie (Anne McGowan) "Rattlesnakes And Rusty Water" (Rattlesnake Records, 1980)
(Produced by Annie McGowan)
A self-produced album by Texas-based songwriter Anne McGowan (aka Rattlesnake Annie), This is a pretty stripped-down and unpretentious, bluesy set, as much influenced by Jimmie Rogers and the '60s folkies as by more modern country types. Not mindblowing, but kind of an interesting footnote to the whole "outlaw" scene... Sorta similar to Townes Van Zandt, I suppose.


The Red Horse Band "Borderland" (AMI Records, 1986) (LP)
(Produced by John Beland & Jerry Abbott)
A country-rock set by a red dirt band out of Sherman, Texas which worked as the road band the Flying Burrito Brothers in 1983-84. They get production assistance by erstwhile Burrito member John Beland, who had earlier produced a single for the group, as well as a solo album (also on AMI) with keyboard player Jimmie Grokett. For whatever reasons, Grokett was no longer part of the band by the time Red Horse made it to the studios in Hendersonville, Tennessee, although his album seems to have been recorded at basically the same time as this one. (That must have been a fun road trip for Beland, who produced both records...) About half the songs on here were written by John Beland, with additional material by Glenn Frey, Hugh Moffatt, Sonny Throckmorton, and others... The lineup for this album included Danny Batchelor on lead vocals and guitar, Benny Vincent on lead and two new guys, bassist Bob Campbell and Jeff Williams playing drums. No sign of Jimmie Grokett though... Red Horse previously released a single, back in Texas, and there's a mysterious comment in these liner notes about those two songs, "...master tape to WAITING ON A SOUTHERN TRAIN and WHISKEY TO ME was erased at Precision Audio in Dallas, Texas. THANKS, Rick." Hmmm. Maybe there's some connection here to Mr. Grokett leaving the band? At any rate, these guys seemed to know how to hold a grudge... Probably best that we don't know the whole story.


John Rex Reeves "Introducing..." (Soc-A-Gee Records, 1977-?) (LP)
(Produced by Al Gore & Johnny Elgin)
Why, yes, this was country crooner Jim Reeves' nephew -- son of Catherine and Buford Reeves -- singing a bunch of Jim Reeves covers, including "Mexican Joe," "He'll Have To Go," et. al. John Rex was, of course a Texan, hailing from the same East Texas terrain that gave us so many country great, including his uncle Jim. Although the Soc-A-Gee label was from Houston, these sessions were recorded in Nashville. Sadly, the backing musicians are not listed, and alas, neither was the release date. The Jim Reeves-cover-band act was pretty good for Mr., um, Reeves, and he continued to perform his uncle's repertoire -- and other country oldies -- at various venues for decades to come. Starting in 2005, John Rex was given a permanent berth for his family tribute show at one of Branson, Missouri's many country venues, and was still traveling and performing as recently as 2017.


John Rex Reeves "John Rex Reeves" (Soc-A-Gee Records, 1982) (LP)
(Produced by Johnny Elgin)


John Rex Reeves "After All These Years" (House Of Rex Records, 1991) (LP)
A later album... though, it should be noted that Reeves has self-released many, many other CDs since this one, mostly selling them through his own website...


Neely Reynolds "The Way You See Yourself" (JW Records, 1977) (LP)
(Produced by Joseph Wyndell Productions)
Songwriter Neely Reynolds was an early '70s sensation, or perhaps a flash in the pan, depending on your point of view. In 1974, he won a national competition called "In Search Of The Singing Cowboy," a TV talent contest sponsored by ABC's Wide World Of Entertainment. It was a prestigious win, but didn't have much teeth behind it -- the 24-year old Reynolds made the rounds of a few daytime talk shows but found few doors open to him as a result of the show, and had to retrench for several years while making his living singing in bars. This album came out during that period and was recorded in Dallas, Texas with a band featuring Chicken Hubbard on fiddle, bassist Marc Jaco, Maurice Anderson on pedal steel and some saxophone in the mix as well... This is an ambitious but uneven album: Reynolds seems to have wanted to break through as a Harry Nilsson-style pop auteur, with some airy, lightly orchestrated singer-songwriter musings, stuff that may be of lesser interest to twangfans, but could be catnip for fans of 'Seventies soft-pop. There are also a couple of nice, straightforward countrypolitan tunes; too bad he didn't do a whole record of that stuff! All the songs are originals, and overall this is solid stuff, particularly for someone working so far outside the NY/LA music business mainstream. The album ends on a low note, though, with one of the worst novelty songs I've ever heard, "The Pope And Louis," which imagines a summit meeting in Heaven between the Pope and jazz legend Louis Armstrong, where they sit down and puff on a big old doobie together -- it's hard to tell which is more embarrassing, the song's juvenile chorus of "the Pope smokes dope..." or Neely Reynolds' pale imitation of Armstrong's growling vocal style. Oh, well. It was the 'Seventies. We'll just assume he was super-high when he wrote the song, and unfortunately thought it was hilarious. Eventually, Reynolds got religion and started his own ministry as a singing evangelist, recording many albums, both secular and religious over the years.


Earl Richards "The Sun Is Shining (On Everybody But Me)" (Ace Of Hearts Records, 1973) (LP)


Earl Richards "Earl Richards" (RPA Productions, 1976) (LP)
(Produced by Less Ladd)
Songwriter Earl Richards (born Henry Earl Sinks) was a Texas native, born near Amarillo, who played with Bob Wills' Texas Playboys as a teen in the early 1950s, and years later was tapped by producer Norman Petty to replace Buddy Holly in the Crickets, after Holly left the band, singing on their 1960 album, In Style With The Crickets. After the Crickets gig ended, he headed to Nashville where he enjoyed success as a songwriter in the '60s and started his own label, Ace Of Hearts, establishing himself as a successful music producer along the way. As "Earl Richards," he placed several songs in Billboard country charts during the '70s, including his biggest hit, "Margie, Who's Watching The Baby," which peaked at #29 early in 1973. (A version of that song is included on this album, along with several other originals. This album seems to have been reissued several years later, as seen below. He also recorded an earlier album, The Sun Is Shining (On Everybody But Me), under the name Earl Sinks, and re-released some of that material as Earl Richards...)


Earl Richards "Margie, Who's Watching The Baby" (Berden Records, 1982) (LP)
This appears to be a reissue of the 1976 album above... Not sure if the version of "Margie, Who's Watching The Baby" is the same one as his 1973 hit.


Bartow Riley "Panhandle Fiddling" (Kanawha Records, 1971) (LP)
(Produced by Ken Davidson)
A television repairman by trade, old-timey fiddler Bartow Riley was from Oltan, Texas and is accompanied on this disc by guitarist V. C. "Zipp" Durrett from nearby Lakeview, TX, as well as Ollie Miller, a truck driver from Rotan, and Nolan Price, of Shamrock. Years earlier, Riley recorded for County Records, contributing several tracks to a collection called TEXAS HOEDOWN, which also featured his idol, Benny Thomasson.


Don Riley & The Coolie Hand Band "Live At Borrowed Money" (Kanawha Records, 1979) (LP)
(Produced by Don Caldwell)
A live album led by singer-guitarist Don Riley, along with Acton Brumley on bass, Charles Hughes and Jack Sykes on lead guitar, and Jessee York, playing a gig that was recorded live at a venue called the Borrowed Money, in San Angeleo, Texas... They seem to have been fairly joke-oriented, with pix of the guys wearing, variously, cowboy hats, turbans, jogger sweatbands, KISS makeup and greasepaint beards straight out of the old hillbilly comedy shows. The set list includes a lot of crowd-pleasers, a mix of old and new hits such as "Amarillo By Morning" (still kind of a new tune bubbling up on the Texas scene), "Lonesome Fugitive" and "Swinging Doors" (yay, Merle!), "San Antonio Rose," "Truck Driving Man," "Sweet Home Alabama," and the album closes -- of course! -- with yet another version of Ray Wylie Hubbard's "Up Against The Wall, Redneck Mother." Dunno much more about these fellas, though Don Riley may have worked revue gigs up around Branson, Missouri, earlier in the decade.



Jeannie C. Riley - see artist profile


Rio Grande "Rio Grande" (RCA-Victor, 1971) (LP)
(Produced by Dale Hawkins)
This pioneering but short-lived country-rock band was an offshoot of the Tyler, Texas rock group, Mouse & The Traps, and featured several members of that band, including lead singer Ronny Weiss, bassist David Stanley and drummer Ken Murray, along with producer Dale Hawkins, who had previously worked with Mouse & The Traps and had the band back him on his own late-'60s records. The trio was joined by pedal steel player Bobby Tuttle and bassist Tom Russell (though not the same Tom Russell known to Americana fans of the '80s and '90s...)


Rio Grande Band "Playin' For The Door" (Rounder Records, 1978) (LP)
(Produced by Craig Chambers & The Rio Grande Band)
A groovy set of longhaired western swing -- great music by a great band, right up there with the best by Asleep At The Wheel. Lead singer Craig Chambers was a native Texan who dug western swing and led this band for several years, notably as the "house band" for the original Broadway run of the play, The Best Little Whorehouse In Texas. Chambers and the band opened the play, with Chambers as narrator -- many years later, he joined the retrodelic Time Warp Tophands, with steel player Tom Morrell. Before all that, there was this record... and it's really a gem. There are several classic tracks on here, notably the illicit substance anthem, "Mean Old Alcohol," and rollicking renditions of oldies such as Spade Cooley's "Crazy 'Cause I Love You," "Four Five Times," several Hank Thompson tunes, including "Hillbilly Band From Mars" and "Total Strangers," as well as the uptempo "Blue Blue Bonnet Lady," all given plenty of instrumental kick from top-flight folks such as steel player Doug Jernigan, Bucky Meadows on piano, and the twin fiddles of Ernie Reed and Hoot Hester. These songs were all in heavy rotation on KFAT when I was a kid (sorry, do I talk about them too much?) and it's no wonder why... This is fun stuff! A couple of tracks are skippable, but that's why turntables have tone arms... All in all, a real '70s treasure.


(Clyde Brewer's Original) River Road Boys "Country Music High" (Longhorn Records, 1985) (LP)


Roanoke "Roanoke" (Ridge Runner Records, 1977) (LP)
(Produced by Roanoke)
Bluegrassy, but with definite country and rock-friendly "progressive" streaks, this Texas twang band had a pretty diverse repertoire and some tasty licks, too... The group featured Michael Anderson playing bass and singing lead, Joe Carr on mandolin, Dan Huckabee (of the Dickey Betts band) on dobro, and Mark Maniscalco strummin' on the old on banjo, with guest musicians that included pedal steel player Ray Austin and fiddler Dave Ferguson. They cover songs by Norman Blake, Delbert McClinton, Walter Hyatt, Elton John and others, as well as a few original tunes written by Anderson and Maniscalco.


Jim Robinson "Construction Man (Job #001)" (Cram-Itup Records, 1979) (LP)
(Produced by Bob Johnson, Jim Knight & Dan Meisner)
A not-quite-all-that-goofy collection of songs about the construction industry from a guy who really knew what he was talking about. Robinson was a skilled electrical engineer who supervised large projects across the United States and in several foreign countries, notably in Indonesia, as recounted on songs such as "Palembang." Robinson was apparently from Texas originally, and tips his hat to the Lone Star State and nearby Mexico on tunes like "Houston, Texas U.S. Of A" and "South Of War-Ez." It's not clear where this travelin' man was hanging his hardhat when he cut this disc, though several of the musicians were from Oklahoma, including steel guitar player Ira Caple (1933-2012) and harmonica player Larry Megill, who was a founding member of the band Oklahoma Thunder, which was active at the time. Also included are Billy Dozier on guitar, drummer Dwayne English, banjo picker Ronald Farrar, and bassist Leon McCormick. This album gets a lot of attention from the "don't all those country records look so goofy" patrol, but it's actually pretty solid, musically speaking.


Bob Rohan "Bad Bob" (1983) (LP)


Bad Bob (Rohan) "Bad Bob And His Good Friends" (Self-Released, 2001)
Good-timin' western swing and the local spirit of independent Texas music are alive and well, as heard in this fun album by fiddler and songwriter Bob Rohan. He pays dutiful homage to the spirit of Bob Wills in a rousing version of "Deep In The Heart Of Texas," and on his original tune, "When You Play The Fiddle In Texas (You Better Know All The Tunes!)" It was the charm of his original material that caught my attention -- especially on great novelty tunes like "She Took A Blowtorch To My Workbench" and the similarly-themed "Daddy's Pad (When Momma's Mad)," which extols the virtues of sleeping in the cab of your truck when domestic tension looms. Fans of humble, obscuro alt.country greats such as Deadly Earnest, Alvin Crow, Chuck Wagon & The Wheels, or Cornell Hurd will find a lot to celebrate in this album -- this ain't super-slick Nashville pop, it's just a guy with a friendly-sounding voice and a bunch of pals who can pick some nice country music, and it's pretty cool. This is the kind of independently-produced album you used to hear a lot more often; nice to know someone out there still has the magic formula.


Bad Bob (Rohan) "Bad To The Bow" (Self-Released, 19--?)


Bad Bob (Rohan) "Prairie Rose" (Self-Released, 2008)


Mimi Roman "I'm Ready If You're Willing" (Bear Family Records, 2012)
A fascinating set of obscuro country from the 1950s from a Jewish gal from Salinas, California who broke through on the Arthur Godfrey talent show and was signed to Decca Records as a pop singer, but who insisted on recording country material. Roman (nee Rothman) tackled rockabilly and uptempo honkytonk material as well as plenty of weepers, and she toured in the Philip Morris Caravan package show, along with many of the biggest stars of the era, but despite her best efforts she never broke through as a headliner or even as a national act. This is a nice selection of her country best country stuff, and a real goldmine for fans of hillbilly fillies -- she had kind of a rough voice, but in the country context, it'll win you over. There are a few more Mimi Roman songs out there to be heard... Perhaps someday Bear Family (or some other label) will issue a follow-up disc?


Lulu Roman "Now Let Me Sing" (Rainbow Sounds, Inc., 1974-?) (LP)
(Produced by Bob Cline & Jim Grier)
An admittedly painful album by Hee-Haw cast member Lulu Roman, was a Texas gal whose career dated back to the 1950s, when she cut a string of straight country singles, but failed to click as a headlining artist. Later in life, Roman -- who had a thyroid problem that contributed to her weight gain -- settled into a "fat gal" schtick and played that role for many years on Hee-Haw. Like Johnny Cash before her, Roman struggled with drug addiction and straightened out after she got religion, eventually moving into the Southern Gospel field. This is an all-gospel album, recorded in Dallas, Texas with a hometown studio band that included local luminaries such as Smokey Montgomery, Marc Jaco, and guitar picker Tom Morrell, along with the Bob Cline Singers. The title track and "Oh How He Loves Me" were both co-written by Lulu Roman, along with someone named Dearman. She also covers a couple of Andre Crouch songs, a version of Fanny Crosby's "Blessed Assurance," and a couple credited to someone named Wolfe, again, no first name given.


Lulu Roman "Hee-Haw's Lulu Sings For Her Friends" (Rainbow Sounds, Inc., 1979) (LP)
(Produced by Jim Grier, David Boothe & Larry Nix)
This disc is kind of a transitional effort, mixing secular country and pop covers with gospel songs... A Dallas native, Roman once again draws on local talent such as Smokey Montgomery, steel player Maurice Anderson, bassist Marc Jaco and drummer Perry Skidmore... They deliver a professional, if somewhat by-the-numbers backing, mainly in a soft-sounding post-countrypolitan mode which, if you ask me, doesn't support Roman's rather husky vocals as well as a more robust, uptempo style might have done. The inner gatefold features "scrapbook" backstage photos of a number of huge country stars that Roman had hung out with -- Roy Clark, George Jones, Jerry Reed, Connie Smith and others -- but several self-deprecating comments sprinkled throughout cast a shadow on the project. For example, a picture taken with Tennessee Ernie Ford reads, "Ernie...(and) 16 TONS!!" which strikes me as a little depressing... Overall, body issues aside, this is an okay album, although it didn't really wow me.


The Rompin' Stompin' Texans "Dance Time 'N Texas (Or Anyplace Else)" (Stoneway Records, 1977) (LP)
(Produced by R. M. Stone)
Well, hell yeah. Especially when this particular batch of Lone Star stompers includes steel player Herb Remington and fiddler Clyde Brewer, along with some of the fellas who played on various Stoneway label releases, such as vibesman Gene Meyers and guitar picker Danny Ross.


Rosewood Junction "Rosewood Junction" (Rosewood Junction, 1975) (LP)
(Produced by Bobby Dennis)
Although the trio of Sam Caster, Jim Underwood and Brad Watson are pictured on the cover of this album outside of an old train depot in Rosewood Junction, Colorado, they were actually from Dallas, Texas, where they worked most of the year. They also toured extensively in Colorado, Idaho and particularly in Nevada, where they had a regular gig at Harold's Club, a casino up in Reno. Rosewood Junction first formed in 1973, when Underwood and Bob Foreman, of the band Stonewater Edge, partnered with Rick and Cheryl Sparks, from another group called Young Country. That lineup fell through, and while Young Country went on to record an album of their own, Underwood put this band through a couple of change-ups before recording this set of bluegrass'n'country-rock. It's mostly cover songs, stuff like "Aime," "You Ain't Goin' Nowhere," and "Louisiana Man," as well as originals such as "Oh Damn The Bluegrass Band." The main trio is joined by Maurice Anderson on steel guitar, drummer Johnny Montagnese, and Alison Snyder on piano... As far as I know this was their only album, although Brad Watson released at least one record under his own name, with Rick Sparks playing steel guitars for him. [Note: some sources identify this album as "Railway Express," because that phrase appears on the front cover; it's not on vinyl labels, though, so I think this is actually a self-titled album, i.e. "Rosewood Junction."]


Danny Ross "Flattop Pickin' " (Stoneway Records, 1971) (LP)
(Produced by R. M. Stone)
Slick pickin' from a guitar slinger out of Houston, Texas. A flattop specialist, Danny Ross played in local clubs and on the radio; he also led his own band for many years, backed a few stars from Nashville and may have done some touring as well. Way back in 1956, honkytonk legend Johnny Bush worked as Danny Ross's sideman, playing drums in his Houston-based band. Around the same time, Danny's brother, Minor Robinson Ross (1923-2004), operated an influential Texas indie called Minor Records which helped launch the careers of national stars such as Mickey Gilley and Claude Gray. Minor Records also released several excellent late-'Fifties singles that showcased Danny Ross playing rock-solid honkytonk, picking and singing very much in the style of Faron Young. In later years, Mr. Ross became part of the Stoneway label's self-contained circle of artists, and did some session work backing other Lone Star locals on a few Stoneway albums.


Danny Ross "Flattop Guitar Man" (Stoneway Records, 1972) (LP)
(Produced by R. M. Stone)
A smooth, very professional set of guitar tunes... a little too refined for me, though fans of fancy picking will find plenty to enjoy here. Danny Ross still has down home roots, and while this is a fairly reserved set, it's less Chet Atkins, more Fred Carter, Jr., with maybe just a hint of Doc Watson in the mix. The set has several of his own tunes, including "I Love You So," "Me And Buck" and one called "Gumdrop." Good stuff.


Danny Ross "Danny On Nylon" (Stoneway Records, 1973-?) (LP)
(Produced by R. M. Stone)


Danny Ross "Still On The Flattop" (Stoneway Records, 1974) (LP)
(Produced by R. M. Stone)


Danny Ross "Flattop x Two" (Stoneway Records, 1978) (LP)
(Produced by R. M. Stone)
Coming full circle, in a sense, Danny Ross recorded this set at Gilley's Sound Studios in December, 1977, releasing it the following year as well as splitting off a few singles in '78 and '79. The lineup included Danny Ross playing lead guitar, Chubby Wise (rhythm guitar), Donny King (rhythm guitar), Terry Ontiberoze (drums) and Buck Henson on bass.


Dennis Ross & The Axberg Brothers Band "Dennis Ross And The Axberg Brothers Band" (197-?) (LP)
An iconic, hard-working roadhouse band from Lubbock, with a tough mix of rock, blues and twang. The three principal members -- bassist Jim Axberg, drummer John Claude Axberg and singer Dennis Ross -- have worked together for decades, including this album from the late '70s (or early '80s?). The disc is packed with original material -- although John Claude Axberg and Dennis Ross trade off on lead vocals, Ross takes the spotlight here as the primary songwriter, penning eight out of eleven tracks. Jim and John Axberg each contribute one song, with the last one coming from Wright Waldrop, who was not a member of the band. The group was rounded out, though, with lead and slide guitar player Daniel Elzner who is awkwardly given a side credit on the album cover and inner label. It's worth noting that the Axberg brothers had a long history on the Texas rock scene, originally forming in a 'Sixties garage band called The Only Ones, which recorded a few tunes that have been reissued elsewhere.


Charlie Russell "...And The Jones Hatband" (JHB Productions, 1975) (LP)
(Produced by Emmitt Brooks & Charlie Russell)
Bandleader Charlie Russell was a deejay at KHEY radio, in El Paso, Texas... He's backed by John Harding (on lead vocal, fiddle, who also contributed to some of the songwriting), Charlie Russell Jr. (bass), Wynn Pinkham (steel guitar), Conrad Morales (drum), Debbi Russell (on "guest" vocals). This mid-'Seventies album is notable for including an early version of Terry Stafford's "Amarillo By Morning," which was later a hit for fellow Texan George Strait.


David Ruthstrom "Moonshine Dreamer" (Goldust Records, 1980) (LP)
(Produced by Emmit Brooks & David Ruthstrom)
Although he traveled to the Emmit Brooks studio in Las Cruces to record this album, songwriter David Ruthstrom hailed from West Texas -- when he performed at the 1975 Kerrville Folk Festival, he was listed as a Lubbock lad. He seems to have been a protege of Lone Star folk guru Allan Wayne Damron, who he thanks in the liner notes... The set list includes a couple of Ruthstrom's originals, "In My Lady's Eyes" and "Moonshine Dreamer," though he also covers Bob McDill, Michael Martin Murphy and John Stewart, as well as a version of John Phillips' "Me And My Uncle," which is probably best known to many as a staple of the Grateful Dead's 'Seventies shows. Although this seems to have been Ruthstrom's only solo album, be later formed a musical partnership with Jeannie Robertson.


Curt Ryle/Various Artists "Longhorn 25th Anniversary Album" (Longhorn Ballroom, 1983) (LP)
(Produced by Dewey Groom & Keith Rust)
Oklahoma-born multi-instrumentalist Curt Ryle anchored the band for this set recorded in honor of the Longhorn Ballroom's twenty-fifth anniversary. A gigantic music hall, the Longhorn was a fixture of the Dallas, Texas country scene, built in the late 1950s as a homebase for western swing legend Bob Wills. Music promote Dewey Groom managed the Longhorn for about a decade before becoming the full owner in 1967, and commissioned this anniversary album, which showcased Curt Ryle as a guitarist and songwriter. The backing musicians were presumably the early '80s house band, younger dudes who included Buddy Brady on fiddle, bassist Van Crane, Donnie LaValley on steel guitar, piano plunker Kenny Martin, Shane McCauley on drums and of course Curt Ryle. While Mr. Groom croons on some oldies ("Faded Love," et. al.) he mostly lets the spotlight fall on the young'uns, and this album is packed with original material -- six songs written or co-written by Curt Ryle, including two co-composed with Kenny Martin. Not long after this was recorded, Ryle headed for Nashville, where he found success as a sideman, songwriter and producer; some of his most successful tunes include "Storm In The Heartland," a mid-1990s single by Billy Ray Cyrus, and several songs recorded by Clinton Gregory. Although Ryle's "first" album wasn't released until 1999, I think we can plug him here as well.


Bob Ryman "Hot Licks Fiddlin', Foot Stompin' Music" (Chumley Records, 197-?) (LP)
(Produced by Russ Hicks)
Originally from Texas, fiddler Bob Ryman hoofed it over to Nashville to cut this album, joined by Russ Hicks on pedal steel, Wayne Moss on bass, pianist Ray Cobb, Buddie Blackmon on banjo and guitar, with a little bit of drum thumpin' by Sy Edwards. The repertoire is mostly what you'd expect -- showcase fiddle tunes like "Old Joe Clark," "Orange Blossom Special," and "Soldier's Joy," as well as originals by Ryman, including "Inflation Blues" and "A Little Bit Of Country." Ryman has recorded several albums since this one, branching out into various styles, including his own original compositions, though this early album is pretty firmly anchored in bluegrass and country roots traditions.



Doug Sahm (and The Sir Douglas Quintet) -- see artist profile


Salt Lick "Rural Lust & Urban Rust" (Tex Brass Records, 1980) (LP)
This twangy acoustic crew from Fort Worth, Texas had a sly, satiric bent wed to a slightly slurred stringband sound, landing them somewhere between the Red Clay Ramblers and the Asylum Street Spankers, stylewise.


Salt Lick "Daynce Of The Peckerwoods" (Tex Brass Records, 1982) (LP)


Salt Lick "Salt Lick Sockeroos" (Tex Brass Records, 1985) (LP)


Don Sanders "Don Sanders" (Mean & Low Records, 1972) (LP)
This is really more of a folkie thing, but definitely deserves a place in the annals of Texas indie-twang. Don Sanders was a Houston-area folkie who helped co-found the noncommercial KPFT radio station (part of the Pacifica network) and was one of its original cadre of DJs. He's released a bunch of albums over the years, but this was his first, and is a sterling example of uber-DIY musicmaking, originally released in basically a generic white jacket, with a die-cut center hole that reveals the simple geometric design on the disc itself. Good record, though -- a bit grittier and wittier than your standard-issue folkie fare. Some extra tracks from the same session were later released as the Mean & Low (EP) in 1973...


Saratoga Red "The Album" (Blanco Records, 1982) (LP)
"Saratoga Red" was the nom de twang of Texas country singer James Daniel ("Dan") Blanchard, who was formerly in the Pettigrew & Blanchard Band, a duo that played regionally around Dallas in the late '70s...


Ronnie Satterfield "All Alone" (JJ Records, 1985) (LP)
(Produced by James Tuttle & Stephen J. Mendell)
A demo album by singer-guitarist Ronnie Satterfield, whose day job was as an entertainer on Carnival Cruise Line ship... This set, which was recorded at Cedar Creek Studios, in Austin, Texas, is standard lounge fare, mostly covers of AOR and country-ish hits that were doubtless crowd pleasers: "Margaritaville," Don McLean's "American Pie," Lee Greenwood's "God Bless America," as well as stuff by Dan Fogelberg and Kenny Loggins... There are also three songs written by Satterfield: "All Alone," "Back To Carolina" and "If I Only Had A Girl Like You" and another original, Chris Kingley's "Who'da Believe," using the same publisher (Texas Crude Publishing). The studio crew include musicians such as steel guitarist Jimmy Day, fiddler Johnny Gimble, Stephen Mendell on bass, as well as Lonnie Mack and Ronnie Satterfield playing guitar.


Shane Sawyer "Send Me All Your Coors" (C.A.S. Records, 19--?) (LP)
(Produced by B. J. Cornwell)
Songwriter Shane Sawyer did some time in Nashville, moving there in the late 1960s before decamping to Texas, where he established himself in the Dallas country scene. Sawyer had some kind of deal with Mel Tillis' production company and was pitching himself as an outlaw at the time this album came out. According to his Facebook page, Sawyer wrote over three hundred songs, with several recorded by noteworthy artists, including Merle Haggard, Alan Jackson, Floyd Tillman and Whitney Houston(!). He also seems to have dipped his toes into the southern gospel scene, working with artists such as The Blackwood Brothers, Lulu Roman and Naomi Sego... (I haven't tracked down any of these song credits, so for now we'll just have to take his word for it... A Coors-themed single was also released from this album, though I'm not sure what other records Sawyer has to his name...


R. W. (Jim) Senseney "To Whom It May Concern In Nashville" (Nashville Recording Factory, 1982) (LP)
A real mystery figure. According to the liner notes, Mr. Senseney was born in Mississippi, lived in Biloxi, and later lived and worked in Texas, moving to a small town near Galveston. He first came to Texas in 1942, when the Galveston Daily News social register noted him visiting some relatives; the only other mention of him I could find in the Daily News were a couple of brief plugs for a few shows he did in late 1972. It's possible he was Robert W. Senseney (1923-2012) and may have also been the country artist called "Jimmy" Senseney, who recorded a few tunes with a guy named Lee Leissner, back around 1949, though I was unable to establish a firm connection, especially since his sparse obituary made no mention of music, suggesting his professional career was pretty brief. Jim Senseney recorded for FBC Records -- in the Houston suburb of Rosenberg, TX -- and performed live on KTLW radio (Texas City, TX) and KGBC, Galveston. Anyway, this record is super-obscure, even by my standards, and appears to have been his only album -- he described his music as "cajun flavored," though I haven't had a chance to hear it yet. Mr. Senseney thanks a couple of the musicians backing him, Bill Johnson and Ray Wix, though those are the only two named on the album; guitarist Ray Wix was a former Opry regular who toured in Dottie West's band, The Heartaches, and later worked in Branson, Missouri, and was probably doing work-for-hire on this album.


The Shady Grove Ramblers "Ramblin' With The Shady Grove Ramblers" (Grove Records, 1974) (LP)
A straight-up bluegrass band from the Dallas-Forth Worth area, led by guitar picker Tom Uhr. Nice stuff, which both retains the rough edges and yet has a distinctive melodic feel. These guys recorded several LPs, stretching well into the 1980s.


Pappy Selph "Orange Blossom Special" (Blue Ridge Playboy Records, 198--?) (LP)
(Produced by Jim Goode)
Texas fiddler Leon "Pappy" Selph (1914-1999) was a Houston native who was an early architect of Lone Star western swing. He started playing country and writing music in his teens and was in an early edition of the Light Crust Doughboys along with Bob Wills, before starting his own band, the Blue Ridge Playboys, around 1935. Selph led his Playboys in one form or another for more than five decades, including extensive European tours as musical ambassadors for the US State Department. As with many of the great, classic western swing bands, tons of talented, influential artists moved through the band, perhaps most notably hard-rockin' piano player Moon Mullican and pioneering honkytonk vocalist Floyd Tillman. Among the many hot, bluesy tunes Selph composed, "Give Me My Dime Back" is an enduring favorite, though alas it didn't make the cut for this disc, which is oriented towards more sentimental material and fiddle tunes like "Cotton Eyed Joe" and "Orange Blossom Special." The group backing Selph on this are younger fellers, including the core group of guitar picker W. C. Averitt, Rufus Mazingo, and banjo plunker Ron Rebstock, along with guest performers such as steel player Bill Dessens. This album was a souvenir of the Goode Company Barbeque, a Houston venue where Selph had a monthly gig -- the restaurant sold this album at the original store, and later named one of its drink wells the Orange Blossom Bar in his honor. (Pappy Selph was one of several fiddlers who claim to have written the classic instrumental, "Orange Blossom Special," which was copyrighted by Ervin T. Rouse in 1938. Selph said he composed the tune in 1931, though Chubby Wise also claimed ownership for many years after -- Johnny Cash sided with Mr. Rouse, so make of that what you will.) Pappy Selph recorded a number of singles, dating back to the era of 78s, though as far as I know, this was his only full album.



Billy Joe Shaver - see artist discography


Shiloh "Shiloh" (Amos Records, 1970) (LP)
(Produced by Kenny Rogers)
Another missing link in the Southern California country-rock saga... This group grew out of a series of early-'Sixties Texas garage bands, including a group called Felicity, which featured a pre-Eagles Don Henley, future Nashville honcho Jim Ed Norman, and Al Perkins on pedal steel guitar. With a boost from Kenny ("Sauron") Rogers, Shiloh got signed by a label in California, and though the group dissolved right after making this album, the trek to LA brought three of the most important figures in the 1970s country scene into the industry mainstream. Henley co-founded the Eagles; Perkins joined the Flying Burrito Brothers and became a ubiquitous session musician (as well as a key figure in the West Coast country-gospel scene), and Jim Ed Norman built a career as a major Top Forty country producer. Oh! I almost forgot: bassist-guitar picker Richard Bowden scored several hits as a country songwriter, while also finding fame as part of the parodic country comedy duo of Pinkard & Bowden. Jinkies.


Robby Shipley "In All Sincerity" (D Records, 1972) (LP)
(Produced by Earl Scruggs)
A dobro picker from Houston, Texas, Shipley started out playing banjo but was going to give up on music after he injured his hand in the late 1950s. Around that time he met bluegrass star Earl Scruggs, who steered him towards the dobro, which Shipley found much easier to play. He's backed here by Scruggs' sons, Gary and Randy, as well as their pal Jody Maphis (Merle's kid) as well as Vassar Clements (fiddle), Art Bain (piano), and Buck Trent on dobro. Nice lineup!


Ron Shipman "Let Me Down Easy" (Jango Records, 1972) (LP)
(Produced by Phil York)
A Dallas, Texas songwriter who was a sideman in Rusty Draper's band and had a couple of his songs recorded by Draper. All the songs on here are originals, except for a cover of Johnny Cash's "I Still Miss Someone."


Gary Shoemake "Cooked Up Texas Style" (Chapparal Records, 1983) (LP)
(Produced by Johnny Gimble, Gary Shoemake & Bob Sullivan)
A country and square dance set recorded by Oklahoma-born, Texas-proud Gary Shoemake and his wife Sue, who at the time were holding dance sessions at a couple of trailer park venues near their home in Pharr, Texas. The set list includes some oldies such as "Sugarfoot Rag" "King Of The Road" along with relatively newer material like "The Devil Went Down To Georgia" and JJ Cale's "Tulsa Time." No info on the musicians involved, though it seems likely producer Johnny Gimble played fiddle, while the rest fo the band is simply called "the Roadrunners," while three vocalists are credited: Gary Shoemake, Cynthia McMurtry, and Libba Weeks.


Side Of The Road Gang "Side Of The Road Gang" (Capitol Records, 1976)
(Produced by Mike Leech)
Although this major-label record always had the air of a prefab faux-outlaw product, the Side Of The Road Band were an actual working group from Dallas, Texas, led by songwriter David Patton. He's joined here by several other locals such as Billy Joe Howard and Radar Watkins, with a few studio pros such as fiddler Johnny Gimble brought in to fill out their sound. One notable bandmember was Hiroshi ("Mike") Ito, a Japanese-born multi-instrumentalist who had started out playing country and bluegrass up in Colorado, landed this gig for a few years, and then in 1979 started a decades-long tenure playing at the Baldknobbers mini-opry "jamboree" in Branson, Missouri. On their debut disc (and only one, as far as I know...) they covered some fairly hip outlaw-ish stuff like Michael Murphey's "What Am I Doin' Hangin' Round" and Guy Clark's "Broken Hearted People," as well as more questionable pop material such as David Gates's "Yours For Life." The Side Of The Road Gang apparently played local Texas shows at places such as Gilley's at least into the early 'Eighties, though info is surprisingly scarce online.


Silver Moon Bluegrass Band "Midnight In Mexia" (Omega Audio, 1975) (LP)
(Produced by Paul A. Christensen & Darrel Henke)
A longhair/progressive bluegrass band from Forth Worth, Texas with a mostly-traditional repertoire ("Bill Cheatum," "Footprints In The Snow," "Orange Blossom Special," "Roll In My Sweet Baby's Arms") punctuated with songs such as Elton John's "Country Comfort" and "Amie," by the Pure Prairie League. The group included Martin Massinger on bass, John McDonald (guitar), Bobby Porter (banjo) and Ernie Taft on fiddle; the album was recorded live at the Steak & Ale Restaurant, in Dallas, Texas on September 26-27, 1975.



The Sir Douglas Quintet -- see artist profile


Tiny Skaggs "...And His Pop Country Big Band" (Crazy Cajun Records, 1978) (LP)
(Produced by Tiny Skaggs & Huey P. Meaux)
Houston, Texas local Tiny Skaggs led a roots-oriented, multi-genre ensemble that ranged in size from a handful of players (as on this album) to nearly two dozen musicians for his live shows... One of his main gigs was at the Houston Rodeo, although he apparently played the Superbowl one year, and got national TV coverage. On this album, Skaggs conducts a smaller group, with Charles H. Wood Sr. on banjo, Charles H. Wood Jr. playing lead guitar, Bill Dessens on pedal steel, Warren L. Skaggs on keyboards and additional musicians on saxophone, drums and bass.


Bobby Earl Smith "Muleshoe Dry Creek Inn" (Jackalope Records, 1980) (LP)
Austin local Bobby Earl Smith was a member of Marcia Ball's old band, Freda And The Firedogs, whose near-miss early-'70s grab at the brass ring of fame was part of the outlaw scene's legend for years and years. Atlantic Records honcho Jerry Wexler came to Texas to cut an album with them, but left it in the can for whatever reasons -- Ball went on to cut one more country record, but turned towards the blues instead, while her Firedogs cohorts went on to projects of their own. Smith was a criminal law attorney (even back in the '70s) so he had a real day job, though he obviously kept up playing music, too. On this privately released album, Smith called in an all-star cast of Texican buddies, including Marcia Ball, along with Alvin Crow, Joe Ely, Jimmie Dale Gilmore, and even the elusive Milton Carroll, for a groovy, rootsy down-home set. Good luck trying to track this one down, though some of the songs resurfaced a couple of decades later on his Rearview Mirror album, seen below.


Bobby Earl Smith "Rear View Mirror" (Muleshoe Records, 2000)


Gary Smith "We Had Love" (JOHNdANNA Records, 1977) (LP)
(Produced by Gary Smith, A. V. Mittelstedt & David McCumber)
The trick to this record is that you just have to skip Side One, where all the goopy stuff is frontloaded, in a misguided attempt to catch the last lingering vapors of the then-dead countrypolitan sound. Side Two shows more promise: Houston, Texas songwriter Gary Smith kicks off the second half of his album with "Put A Nipple On A Bottle Of Ripple," a robust novelty number that earns its place in the booze-bottle-as-pacifier country subgenre. Nothing else on this album is quite as good, although his version of Dallas Frazier's "Elvira" is okay, and the twang on this side is a welcome relief after the drippy songs on Side One. The slow stuff is way too gooey and croony-countrypolitan for me -- Smith sounds a lot like Roger Miller when he's in ballad mode, but sings even slower, if you can imagine. Most of this album is overly self-serious and lethargically paced -- a country quaalude on vinyl. But fans of mega-mellow countrypolitan might want to check it out. Maybe. Included in the local, Lone Star backing band are guitarist Randy Cornor and Robby Springfield on steel guitar, as well as Russell Cooper on bass and harmony vocals. Not the greatest record, for sure, but it has its moments. Also worth noting that this is almost all-original material.


Harmie Smith "Songs From The Heart And Soul" (Custom Records, 196-?) (LP)
(Produced by Kirk Curtis)
Old-school country and gospel from Tyler, Texas. The liner notes are from Hal Evans, GM of country radio station KCIJ, Shreveport, Louisiana, who says Smith was originally from Shreveport, and had a show on KWKH in the late '40s through early 1955. He moved to Texas in '55, and left his music career behind. He moved back around 1967, and Mr. Evans offered him a job as a deejay, then helped get this album made. The first side is secular, the second side is gospel, with most of the songs credited to either Mr. Smith, or his wife Billie, while four of the gospel songs were written by Bill Permenter, who also used Tyler Publishing Co., along with the Smiths.



Sammi Smith -- see artist profile


Shauna Smith "Treasures" (Buckboard Records, 19--?) (LP)
(Produced by Ron Diulio)
A ten-year old gal from Mansfield, Texas, singing mostly secular country hits, although about a third of the album was gospel material. The sparse liner notes don't give much information about Shauna Smith, though I wouldn't be surprised to find that she was in the cast of some local mini-opry or another. Producer Ron Diulio worked on some odd, slightly off-brand country projects, particularly in the early 1980s, which is probably when this (undated) album came out... Also of note is the unusual mix of musicians, including Ron Diulio (piano and synthesizer), Karen Glover (backing vocals), Larry Gordy (bass), Carroll Hubbard (violin), Ora Mae Hubbard (violin), Monte Knutson (cello), Kenny McCarty (guitar), Joe Spivey (violin) -- if there was any pedal steel in the mix, the liner notes don't mention it. Shauna Smith also released a few singles on the Buckboard label, including some 1984 releases that featured material not included on this album -- I'm not sure which came first, though, the LP or the singles.


Doak Snead "Think Of Me Sometime" (Crazy Cajun Records, 1977) (LP)
(Produced by Huey P. Meaux & Danny Epp)
Texas native Doak Snead was a notable member of the early '70s Austin scene, and later enjoyed some modest success as a mainstream songwriter in Nashville... This was his first album recorded under his own name...


Doak Snead "Powderhorn" (Hear-Say Records, 1979) (LP)
(Produced by Lloyd Maines & Doke Snead)
Idiosyncratic, far-flung country-folk twang with a few forays into semi-acoustic soft rock... A lot of this reads like truly eccentric oddball-local stuff -- real naif-art stuff -- although there are several songs that will resonate with fans of Texas singer-songwriter material. The best track on here is Snead's autobiographical, heartfelt "A Family Portrait," where he remembers growing up dirt poor, with one of the most vivid images being his father wearing two pairs of socks to hide the holes, but telling his kids it was because the weather was cold ("Perhaps the most honest song I ever wrote," he observes in the liner notes... Certainly it's the track that stood out the most for me.) Other songs have a distinctly Guy Clark-ian feel, such as "Tribute To Dorothy Thomas" and "The Ballad Of Dogger Lee," a weeper about his childhood pooch. Some songs ramble musically and are a little too dorky for me, but others hit home, and as he usually does, steel guitarist Lloyd Maines adds a lot of oomph to the proceedings. Not a classic album, but worth checking out if you're diving deep into obscuro Lone Star twang.


South Plains College "The Golden Years Of Country Music" (1979) (LP)
(Produced by Lloyd Maines, Don Caldwell & Tim McCasland)
A bunch of Lone Star locals host a tour through the history of country music, from western cowboy tunes and the Carter Family to Hank Williams, Johnny Cash and a little bit of the early Nashville Sound. This band actually was from the South Plains College, located in Levelland, Texas, near Lubbock, and was the performing group for the school's music department, which boasted a strong country music curriculum, teaching country, bluegrass and western swing. (With Ernest Tubb's cousin, Nathan Tubb, as the school's academic dean!) This LP was an outgrowth of the a traveling show that displayed a variety of styles; the college also sponsored a monthly revue called the Sandyland Opry. Recorded in Lubbock, this is one of many indie albums produced by Lloyd Maines, though he doesn't play pedal steel on this one -- that honor is left to multi-instrumentalist Tim McCasland. Other musicians include singers Joe Alger, Lonnie Joe Howell, Natalie Berryhill, Randy Ellis and others. It's all very down-home and relaxed... a real-deal set of old-school twang, from the dusty Texas plains.


Star Dust "Yellow Jacket" (Stardust Records, 1979) (LP)
A country-rock band from San Antonio, Texas that really played both country and rock... This was their first album and was definitely on the twangier side, including songs such as "Hee Haw," "Loose Louise" and "Some Longnecks Are Rednecks." A heavy Eagles influence, including a gal vocalist who sounds quite bit like Linda Ronstadt.


Star Dust "Live" (Stardust Records, 19--?) (LP)
This time around they got more bar-bandy conservative, and less twang-auteur, playing things like medleys of the Beach Boys, Beatles and Kinks along with rock-solid oldies like "Kansas City" and "Great Balls Of Fire," and even a cover of the Pointer Sisters' "Yes We Can, Can."


The Starlights "Dancing To The Music Of The Starlights" (Rambler Productions, 1980-?) (LP)
A fairly humble polka/dance band from Shiner, Texas with a decent amount of country material in their repertoire... The group was led by Edwin Hoepfl (drums and lead vocals) and Eugene Heidaker (saxophone and trumpet), along with Kennis Lockstedt on guitar, Elroy J. Sternadel (trumpet, saxophone, bass and organ), and Leon Zissa playing accordion... They were, in all honesty, a pretty sluggish-sounding group, slow even on the polka tunes, which is a bit unusual. Not a lot to see here. The copy I found had stickers covering up the text on the cover and inner labels, apparently due to a typo in the band's name, though not a full name change. No date on the disc, but this appears to be an early 'Eighties offering with a mid-'Sixties vibe.



Red Steagall - see artist discography


Bonnie & John Steele "John And Bonnie" (Ram Records, 1975-?) (LP)
(Produced by Gerald Bennett)
This Texas duo covered a bunch of 'Seventies country-rock and AOR staples -- along with Kris Kristofferson standards such as "Help Me Make It Through The Night" and "Me And Bobby McGee," you get renditions of "Desperado" and "Best Of My Love" by the Eagles, Michael Murphey's "Wildfire," and a couple of oldies like "Since I Fell For You" (from the pop side) and "She Thinks I Still Care" (from country). Although the repertoire definitely tilts towards country, the instruments are limited to keyboards and acoustic guitar, so don't look for a lot of pedal steel or twang on this one.


Jim Stricklan "Whereabouts Unknown" (Skinny Man Records, 1980) (LP)
(Produced by Bill Wade & Bobby Ginsburg)
Originally from Colorado, songwriter Jim Stricklan had already established himself as a major figure in the Denver coffeehouse/folk scene of the late 1970s before trucking down to Houston to cut this debut disc. Eventually, about a decade later, he moved to Texas permanently, setting up shop in Austin just in time to ride the Americana wave of the 1990s... Stricklan has notably been in control of his own music, using his own Front Room Music as both publishing company and record label for each of his dozens of albums.


Jim Stricklan & Steve Fulton "Honky Tonk Fantasies" (Skinny Man Records, 1983) (LP)


Jim Stricklan "Tails Out" (Skinny Man Records, 1987) (LP)


Brother Al Stricklin "Now" (Texas Re-cord Company, 1977) (LP)
Late vintage recordings by Texas jazz pianist Brother Al Stricklin ,aka Alton Meeks Stricklin (1908-1986), a western swing legend who first met Bob Wills way back in 1930, and recorded with the original Texas Playboys from 1935-41, then retired from his musical career following America's entry into World War Two. In 1973 he was asked to play on the historic Texas Playboys reunion album, which proved to be Bob Wills' last sessions and was later asked to help anchor a revived lineup of the Texas Playboys. This album was released to coincide with the publication of his 1976 autobiography, My Years With Bob Wills, and features pretty standard material, but all performed with Stricklin's unique jazzy flair. The album was also reissued on CD by the British collector's label, Edsel Records.


John Stuckey "A Little Exposure" (Texas Re-Cord, 1974-?) (LP)
(Produced by Huey P. Meaux)
A weird, cool, swampy Southern album that should appeal to fans of Tony Joe White and Larry Jon Wilson. A country DJ from Houston, John Stuckey had a slight local hit with the stoner anthem, "Seeds & Stems," and he released a couple of singles in addition to this album. He seems to have been tight with Jerry Jeff Walker, thanking him in the liner notes and having him as a guest on one track. Apparently he later became a well-known tattoo artist, or so they say...


Pete Sullivan "Where The Wind Pumps The Water... And The Cows Chop The Wood" (Pawn Shop Publishing, 1976) (LP)
(Produced by Pete Sullivan & Gene Huddleston)
A West Texas native, twang auteur Pete Sullivan grew up on a hardscrabble farm near Lubbock, listened to country and western swing as a kid, and toured with various bands, playing bass for stars such as Tommy Duncan, Lefty Frizzell and a pre-countrypolitan Freddie Hart. When he settled down, music became more of a sideline, and Sullivan made his living running pawn shops in Lubbock and Garland, Texas. This album is filled with his own songs, including a tribute to the king of western swing, "I've Shook The Great Bob Wills Hand," along with some more idiosyncratic tunes such as "Sometimes I Wish I Could Turn My Life Around," "Rome Wasn't Built In A Day," and "Matamoros-Reynosa-Villa Acuna-Juarez-Blues." The band also seems to be mostly local, with Sullivan paying bass, backed by pickers such as Buddy Brady on fiddle, Ray Hargrove (lead guitar), Paul Ivey (steel guitar), Joe Jett (drums), Junior Knight (guitar, dobro and steel) Stuart Lamb on piano and Jim Shanks playing saxophone and trumpet. I'm not sure, but I think this was his only album...


The Sunshine Boys "On The Right Track" (1983-?) (LP)
(Produced by Jerry Abbott)
A youthful band from Dallas, Texas working their way through a bunch of covers, though no originals of their own. There are some real oldies ("Hey Good Looking," "Make The World Go Away," "This Old House"); newer tunes ("Family Reunion," "Tulsa Time") and some good old-fashioned rock'n'roll ("Tutti Frutti" and "You Can Have Her"). The group, which included Kent Calvin on lead guitar, Steve Chapman (piano), Kelly Helm (bass?), David Floyd (drums), Bryan Sandlin (rhythm guitar) and lead singer Gene Stroman, seems to have been connected with the Grapevine Opry, or at least played there for a while.



The Supernatural Family Band -- see discography page



Doug Supernaw - see artist discography


Carl Swanson "Mandolino - Texas Country" (Texas Country Records, 1978) (LP)
(Produced by Juliana Guernsey & Mickey Moody)
Norwegian-born mandolin whiz Carl Swanson emigrated to the United States while he was pretty young -- he played in Bradley Kincaid's band back in 1935 and was working in a duo act when World War Two broke out and he joined the Air Force. After the war he and his wife formed an act, Jane and Carl, aka "Mr. & Mrs. Sunshine." They cut a string of singles for MGM; also during the early 'Fifties Mr. Swanson was working as a popular radio deejay. Fast forward a couple of decades, and Mr. Swanson seems to have been living in Texas when he finally cut this album -- his first -- taped at a studio in Houston, when he was all of 69 years old. The set list is heavy on real-deal oldies, tunes like "No Letter Today," "In A Little Spanish Town," "Nobody's Darling But Mine," and Rex Griffin's "The Last Letter," as well as one original by Mr. Swanson, "Mellow Music," and closes with one by Hilsen Fra Oss, who I'm just guessing was somebody from the Old Country. The lineup was Carl Swanson on mandolin, with Jerry Holloway (piano), Donnie King (bass), Dahryl Norris (drums), and steel player Bob Tuttle. Swanson also put out a single on Texas Country a couple years later, with two of his own songs, "Overworked And Underpaid" and "Dancing Mandolins," which was apparently used in a regional TV ad. a couple of singes were also broken off of this LP, with all the songs from the album.


Isaac Payton Sweat "Cotton Eyed Joe, Shottish, Jole Blon and Other Bandstand Favorites" (Bellaire Records, 1980) (LP)
(Produced by Don Janicek & Bert Filot)
A tragic figure, Texas twangster Isaac Payton Sweat (1945-1990) had deep musical roots. He started his career moving from casual, semi-professional family stringbands into the explosive Lone Star garage rock scene of the early 1960s. While enrolled at Lamar College, he met blues-rock legend Johnny Winter, and followed Winter through a variety of bands, eventually peeling off into a more "psychedelic" direction before getting back into country music towards the end of the Seventies. (He rejoined Winter briefly and played bass on Winter's 1978 album, White, Hot & Blue.) Sweat found fame with his version of "Cotton Eyed Joe," a dancehall favorite popularized by Al Dean, but even though he had a hit, Sweat didn't make any money off it, and found himself at the mercy of the music business, cycling through labels, managers and band while unable to transcend the regional Texas market. Parts of this album were recorded at Gilley's Club in Pasadena, TX; Sweat apparently recorded it without a real contract, and received very little money for the release. His next LP, below, was basically a do-over where he was able to get royalties for his work, though he wasn't able to maintain the momentum of the original album's success, and his third album from 1987 also failed to boost him nationally. Sweat died in 1990 from a gunshot wound; whether he was murdered or shot himself remained a subject of debate around Houston for years, but either way it was a terrible loss for Texas.


Isaac Payton Sweat "Cotton Eyed Joe And Other Dancehall Favorites" (Paid Records, 1980) (LP)
(Produced by Roy C. Ames)


Isaac Payton Sweat "Crawdust" (Tex-Lou Records, 1987) (LP)
(Produced by Derek Powers)


Sweet Daddy Siki "Squares Off With Country Music" (Arc Records, 197--?) (LP)
Professional wrestler Reginald "Sweet Daddy" Siki (aka "Mr. Irresistible") was born in Texas and started his career in the American Southwest, but moved to Toronto, Canada, where he became a local and national celebrity. He was a major figure in professional wrestling during the 1960s and '70s and somewhere along the line he diversified into singing country music, as heard on this album,


Sweet Daddy Siki "Sweet Daddy Siki" (Periwinkle Records, 1972) (LP)
This album is heavy on Merle Haggard songs and honkytonk oldies and early '70s hits such as "Is Anyone Going To San Antone" and "Kiss An Angel Good Morning." No info on the backing musicians, etc. Alas.


Talty Road "Talty Road" (Royal T Music, 1976) (LP)
(Produced by Bill Howard & Michael Echart)
A Dallas, Texas band who recorded in Nashville, ala the Flatlanders... The group included lead singer and guitarist Bill Howard, bassist Ron Bass, drummer Dave Bilderback and Al Sparkman on pedal steel, and some additional banjo picking by Archie Shearer. The album includes all-original material written by the various bandmembers, and was recorded in Nashville though released locally in Dallas. As far as I could determine the group's name refers to a small side road in suburban Terrell, Texas, on the east side of Dallas; there may have also been a nightclub nearby back when this was recorded.


David Tanner "The David Tanner Album" (Royal T Music, 1976) (LP)
(Produced by Phil York & David Tanner)


Eric Taylor "Shameless Love" (Featherbed Records, 1981) (LP)
(Produced by John Hill, Laurie Hill & Eric Taylor)
The first album by Texas folkie Eric Taylor (1949-2020) who won the Kerrville Folk Festival's "new folk" contest back in 1977. For several years, Taylor was married to Americana doyenne Nanci Griffith, who sings backup on about half this album; guitar pickin' polymath Gurf Morlix also plays on several tracks.


Susan Taylor "Finally Getting Home" (JMI Records, 1972) (LP)
(Produced by Allen Reynolds & Ronnie Dean)
Highly recommended. An outstanding, truly twangy solo set by multi-instrumentalist and vocalist Susan Taylor, a Jacksonville gal who was a founding member of Don Williams's old band, the Pozo-Seco Singers. Although a couple of tracks drift into iffy territory, in general this is a really striking album, which in all honesty seems criminally neglected by country fans. Taylor indulges a deeply rural and completely convincing vocal style, with backing by a rock-solid, all-pro studio group, including primary songwriters Bob McDill and Allen Reynolds, as well as Charles Cochran (piano and organ), steel player Lloyd Green, Jimmy Isbell (drums), Ken Lauber (piano), Billy Sanford (guitar and dobro) and Henry Strzelecki playing bass and guitar. Despite all this firepower, the record is admirably laid-back and restrained, with a funky feel that conjures up the more eclectic side of the Muscle Shoals scene, combined with a country-based blues-mama style that anticipates the sound the Judds would pursue a decade later. Although she later became known as a successful Nashville songwriter, Taylor only wrote a couple of tracks on this album; most are McDill and Reynolds creations, though covers of the Delmore Brothers, Dolly Parton, Delbert McClinton show just how right-on and down-home this gal really was. [Note: Ms. Taylor later changed her professional name to Taylor Pie, and recorded and published prolifically under that name, including a reissue of this album with both names on the cover...]


Lynn Teeter "Good Morning Beautiful Lady" (Uniworld Records, 1976-?) (LP)
(Produced by Harold Bradley & Bill Vandevort)
A bit of a mystery disc here... Mr. Teeter seems to have been from Texas, or at least living there when he cut this album. Mostly it was recorded in Nashville, though some of it was made in Don Caldwell's studio in Lubbock, Texas, home of the Maines Brothers band. There are no musician credits on this album, though there are a few clues in the songwriting credits -- the title track as written by Fancy Woodring (aka Fancy Gibson) who also wrote a song later recorded by bluegrass patriarch Jimmy Martin. The album features four songs penned by Austin native David Prather, a local bluegrasser who also played in a number of country and roots bands; it seems likely Prather played on this album, but I haven't pinned that down yet.


Charles Terry "Honkin' " (EKM Records, 1980)
(Produced by Lloyd Maines)
A tight set of hard-rockin' Texas bar-band country, a smoothly-produced but still gritty album with major assistance from the Maines Brothers band. Donnie, Kenny and Lloyd Maines are all over this album, adding plenty of thump and twang, particularly Lloyd's ever-stellar pedal steel, while the album art shows Mr. Terry riding the mechanical bull at Cold Water Country, a bar in Lubbock that the Maines Brothers Band called home base. It's sort of a Mickey Gilley-meets-Moe Bandy vibe, good stuff with a blusey backbeat. This is a very earthy album, with several carnally-themed hard-country songs such as "I Can't Keep My Hands Off You" and "Cravin' Your Body" that really don't mince words... I couldn't find any other info about Mr. Terry, but whoever he was, he sure had friends in the right places. He also had a set of songwriters providing him original material -- Garland Arnold, Jess Demaine, David House and Travis Williams -- although none of them seemed to be playing on this album.


Steve Terry "Wine Women And Sorrow" (Melwood Music, 1980)
(Produced by Steve Terry & Phil York)
An uber-indie DIY release from Rowlett, Texas... All but one of the songs are credited to Steve Terry.


Jack & Debi Tewalt "Special Delivery" (Pure Love Records, 1978) (LP)
(Produced by Don Caldwell & Lloyd Maines)
Late '70s Christian country from Texas... Jack Tewalt (1948-2013) was a divinity student who graduated from a Baptist divinity school in Fort Worth and went on to become a music minister in Texas and Georgia (with a day job in real estate...) This album was produced by Lloyd Maines and features a hefty chunk of the Maines Brothers band, including some tasty guitar and pedal steel from Lloyd Maines.


Texana Dames "Texana Dames" (Sonet Records, 1989)
This all-female trio was a spinoff of the fabled West Texas group, the Supernatural Family Band, which included mother Charlene Hancock, and siblings Traci and Conni Hancock. The album had a big, muscular production sound and a resolutely uptempo feel... (Maybe with a bit of the Blasters brand of retro twang?) The vocals, though, might strike some folks as a bit iffy, a bit thick and rural and maybe not with the most supple phrasing... But in retrospect, their Texas-gal twang bears a striking similarity to Lucinda Williams' own rural intonations. Besides, anyone who covers "Why Baby Why" is okay by me. Plus, what a great cast of guest performers: Marcia Ball on piano, Doug Sahm and Ponty Bone, steel guitar from Jimmy Day and producer Lloyd Maines.


Texas Lone Star "Desperados Waiting For The Train" (Bear Family, 1977/1992)
(Produced by Detlef Wiedecke)
A trans-Atlantic collaboration between Texas hippiebillies Rich Helt and Bryan Seegers and several German country enthusiasts known as the Emsland Hillbillies, which included singer Ulli Mohring, drummer Heini Surken, and singer/steel guitarist Herman Lammers-Meyer, who went on to a long solo career as a honky tonk traditionalist. This album is largely an indiebilly jam session, with covers of country-rock and outlaw classics such as "Good Hearted Woman," "Me And My Uncle," "Wild Horses," "Friend Of The Devil," and "Luckenbach, Texas." There's also one original, "Here I Am Again," by Rich Helt, and an intriguing cover of "In My Own Way," by the Marshall Tucker Band's Toy Cardwell. I guess this came out on vinyl back in Germany, and was later reissued on CD. The Emsland Hillbillies, it should be noted, also recorded several albums and singles, with the first two LPs reissued as a twofer CD on Bear Family.


Texas Lone Star "In The Desert" (JA Records, 1981) (LP)
(Produced by Ali Alterbaum)
Apparently Rich Helt made an annual tradition of his trips from Houston to West Germany, and recorded a second album with Ulli Mohring and a new lineup of Texas Lone Star that brought in songwriter-guitarist Steve Reynolds, who at the time was deeply ensconced in the Austin indie scene. It's an odd album. There's an uneasy mix of '70s-style soft-rock and old-school alterna-twang... Four of the songs are by Reynolds, and they have a more overt rock feel, reflecting his blues/electric rock background, while Helt contributes the breezy, anthemic "Arizona" and "Never Find My Way Back Home," while the twangiest tunes come from the kraut contingent: Ulli Mohring adds two songs that embrace hillbilly iconography, including the shambling, unruly "Stumbling Out Of The Stumble Inn," a song paying homage to Tempe, Arizona's legendary cowboy bar, and even namechecks Chuck Wagon & The Wheels. (His second song, "In The Desert," is a gooey country-rock number reminiscent of America or Firefall, complete with soprano sax... ewwww.) Also, Herman Lammers-Meyer pitches in again with some nice steel guitar licks on three of the tracks. I wouldn't call this a twangcore classic, but soft-rock enthusiasts might get a kick out of it, and the Stumble Inn tribute is worth keeping on the radar.


Texas Old Timers "Playing And Singing The Old Hits" (Bluebonnet Records, 19--?) (LP)
When these guys say "old timers," they mean it. This hyper-local stringband hailed from small towns clustered around Fort Worth and environs, and had musical careers that spanned back decades, from playing local square dances to cutting 78rpm singles back in the Great Depression. Fiddler Joe Deering, for example, played alongside Jimmie Rodgers for a while in 1928, and was the Texas state championship fiddler in '38. The rest of the band included Charlie Grey on banjo and mandolin, Huitt C. Laird (lead guitar), Calvin Mohon (bass), Johnny M. Northcutt (vocals and guitar), David R. Watson (guitar) and the band's leader, William Earl Wright, on guitar and vocals. The repertoire is heavy on old-timey stuff, fiddle tunes and sentimental songs, but it's also from Texas, so there's a hint of western swing in there as well. One of several interesting albums on this short-lived label.


(Joe Deering And) The Texas Old Timers "Let's Waltz" (Bluebonnet Records, 19--?) (LP)
(Produced by Earl Wright)
Spotlighting fiddler Joe Deering, the band zeroes in on waltzes keeps things mellow. It's worth noting they also released several singles, dating back to the early 'Sixties, including a few that gave Earl Wright top billing.


The Texas Rangers "The Best Of Western Swing" (Cumberland Records, 1963) (LP)
(Produced by Shelby Singleton)
Your guess is as good as mine. One of the many anonymous bands playing on generic, cheapo albums, in this case one of the first releases in Smash Records' budget label Cumberland Records, which was launched in 1963, with this disc as one of their initial offerings... Not sure how genuinely Texas these guys may have been: at the time, Smash Records claimed these were all-new recordings made in Nashville, although, of course, none of the musicians are identified by name, and this may have been reissued material from an earlier era. It's also possible this was a later edition of the Kansas City-based, western-themed radio band that featured Bob Crawford, Ed Cronenbold, Dave May, and cowboy actor Francis Mahaney... Anyone out there know for sure?


Texas Renegade "Texas Renegade" (Texas Records, 1983) (LP)
(Produced by Stacy Browning, Rick Sheppard & Phil York)
These fellas look like they were going for a straight-up wannabee Top Forty vibe, albeit with a strong hard-country influence, cutting some relatively rough-edged numbers such as "Texas Honky Tonk" and "You're Givin' It To The Wrong Man," among the many original songs on this album. Side Two of the album was recorded live at the Texas State Fair, while the tracks on Side One were cut at a couple of different studios in Dallas-Forth Worth. The band's main quintet included David Fox (keyboards), Dennis Milligan (bass), Deick Mitchell (guitar), Steve Nerren (drums) and guitarist Carles Varner, with additional backing by a slew of studio musicians, notably fiddler Jim Chancellor, Jerrell Jones on banjo and steel players Junior Knight and Gary Hogee. The guys who were officially in the band together split up the lead vocals fairly evenly, so I'm not sure if anyone was meant to be the star of the show... Also not sure how much these guys kept at with musically, although David Fox and Carles Varner had previously been in an earlier edition of the band, when it was called Jim Carruthers & Renegade, and played on that lineup's 1980 LP.


Texas Trilogy "No Refund" (Trilogy Productions, 1981) (LP)
A trio from Grand Prairie, Texas who offer three original songs along with covers of tunes by Larry Gatlin, Michael Martin Murphey and Ian Tyson, as well as a version of Craig Fuller's "Amie." Nice, singalong, folkie country-rock stuff... Their original songs include "Dee-Vor-Cee" and "Mid-Cities Madman" by singer-bassist Jerry Johnson and "Small Town Lady," by guitarist/banjo picker Bob Moore.



B. J. Thomas -- see artist discography


Dave Thomas "Comin' Out" (Marque Music, 1977) (LP)
(Produced by Dave Thomas, Jerry Berman & Dave Gardner)
An all-original set recorded in Denton, Texas. All but one of the songs were written by Dave Thomas, with the title track, "Comin' Out," penned by Don Pettigrew, a songwriter who I believe was from nearby Gainesville, Texas. This may have been more of a folkish, singer-songwriter-y affair, but with a fair amount of Lone Star twang in the mix... Thomas is backed by Kim Platko on electric guitar, Kerry Vance (electric guitar and vocals), Dick Woodling (bass), Rick Woodul (drums), and Jack Wright, also on bass.


Tex Thomas & The Danglin' Wranglers "Dare To Dangle" (Pennies From Heaven, 1980) (LP)
(Produced by Vince McGarry)
An Austin artist... This isn't all country (more blues and big band, but with a bit of twang here and there...) Nonetheless, Lucky Oceans plays steel as part of the Danglin' Wranglers...


Bobby Thompson "Sings Blues 100 Proof" (Tom Paul Jones Productions, 1973) (LP)
(Produced by Allene Randall)
A swinging set from hillbilly honkytonker Bobby Thompson, who was originally from El Paso, Texas but living near Oklahoma City when he cut this solo set. Many of the tracks on here have minimal instrumentation, with a slightly clunky guitarist who gets a little jazzy while Thompson settles into a crooning mode, though other songs have a more robust, hardcore country sound, including the title track (which was also released as a single). It's likely that the picker was Thompson himself: earlier in the '70s, Thompson had been working as the guitarist in the Sonny James band, but he went solo around '72. There's some fun stuff on here, particularly "Blues 100 Proof," which opens with the couplet, "I'm a loner/an alcoholic wreck... which seems worthy of comparison to Merle Haggard or Dale Watson and other honkytonk giants. He also covers songs by Merle, Ned Miller and others... Dunno if he cut any other records after this, but this one's kind of nice and heartfelt.


Kenneth Threadgill "Yesterday And Today" (PSG Recording Studios, 1974) (LP)
(Produced by Rod Kennedy)
Known as "the father of Austin country music," old-timer Kenneth Threadgill (1909-1987) was an iconic figure and an important early patron of the Texas music scene. In his youth, Threadgill was a devotee of blues yodeler Jimmie Rodgers, and worked as a regional musician during the Great Depression before opening his own bar in the 1930s. For the next several decades, Threadgill's Tavern became a nurturing ground for local talent, hosting open-mic nights and touring acts, as well as Threadgill himself singing in his own old-school style. This album, which was created with the help of the Kerrville Folk Festival, compiles music recorded over the span of a decade or so, including mid-'60s demo tapes, a song from Threadgill's first seven-inch single, and live recordings from Kerrville and other, less formal venues. Throughout these tracks, Threadgill stays true to his roots, singing plenty of Jimmie Rodgers oldies and other songs of a similar vintage and hue, all with an admirable roughness, though also with a sense of unrushed authority. The year this album came out, Threadgill retired from ownership of the bar, selling it to the hippiefolk running the Armadillo World Headquarters, though he continued to host shows and perform at the soon re-opened Threadgill's restaurant.


Kenneth Threadgill "Silver Haired Daddy" (Armadillo Records, 1980-?) (LP)
(Produced by Henry Alrich)
This later album features Texas folkie locals Bill and Bonnie Hearne backing Threadgill and singing harmony, with Johnny Gimble on fiddle... The record was made with the help of the folks at Armadillo World Headquarters in the waning days of the venue, and like his first album features bluesy oldies from a bygone era.


Three Faces West "Three Faces West" (Outpost Records, 1969) (LP)
(Produced by Lynn Calloway)
The first album by Texas songwriter Ray Wylie Hubbard. This was his highschool band, formed with Wayne Kidd and Rick Fowler, with George Sanders on drums... More of a rock'n'roll thing, but still worth tracking down if you're a fan. They were, I believe, named after an old John Wayne film...


Tim Tisdale "...And The Texas Reunion Band" (197--?) (LP)
Okay, I tried, but I really couldn't track down any info about this guy outside of what's seen on the albums themselves... I'm guessing Tim Tisdale could be the same guy who was an early-'60s football star Arlington High School, though maybe not... But he was a prolific songwriter, though, penning all the tunes on this independently-released album. Not sure perzackly when this came out, either -- guesstimates vary widely in the Interwebs, so any guidance would be appreciated.


Tim Tisdale "Best Of The Texas Reunion Band" (Earth & Sky Studios, 197--?) (LP)


Tim Tisdale "Edge Of Town" (RMT, 1985) (LP)


Mitch Torok & Ramona Redd "Ballads Of Texas" (Texas Specialty Records, 1972) (LP)
(Produced by Bill Holford, Mitch Torok & Ramona Redd)
This is one of those late-life indie albums recorded by a country star of yesteryear... Best known for writing the Jim Reeves hit, "Mexican Joe," Mitchell Torok had his heyday in the 1950s, touring with Reeves and placing a few singles in the charts before mostly fading from sight in the late 'Sixties. With solo success proving elusive, Torok focussed on songwriting and placed his tunes with a number of Nashville regulars, notably with Hank Snow and Kitty Wells. (A surprising entry into his ouvre was "The Redneck National Anthem," a solid-gold novelty number recorded by Vernon Oxford in the late 'Seventies...) Ramona Redd was the stage-name of his wife and songwriting partner, Gayle Redd, who also recorded as Gayle Jones... This Texas-oriented album pays homage to Torok's early years in the Lone Star state, and is echoed later by another regionally-themed album celebrating the city of Nashville's centennial, in 1980.


Mitch Torok & Ramona Redd "Nashville: 1780-1980" (Cedarwood Records, 1980) (LP)
An homage to the Tennessee town that became the home of the country music industry... It's a centennial celebration that's only a little confusing, since Nashville was actually founded in 1779. But maybe there's some weird thing where the first year doesn't really count, or maybe Tennessee years are different than regular years, or maybe the Toroks know something I don't know. Also features narrations by Dan Miller.


Johnny Travis "Songs I Wish I'd Written..." (Tip Records, 1979) (LP)
(Produced by Glenn Ray)
A tribute to Tom T. Hall, with ten of Hall's best known songs... Travis got a top-flight Nashville crew to back him, including Leo Jackson, Weldon Myrick, Willie Rainsford and Buddy Spicher. The album was recorded in Nashville, though Travis seems to have been from Texas, putting this out on an Austin label... And Tom T. even wrote the liner notes!



Justin Trevino -- see artist profile


Larry Trider "Country Soul Man" (Ranwood Records, 1974) (LP)
Great record by an old-school Texas rocker who settled into a country mode. Larry Trider worked for a while in Rick Tucker's late-'50s band before going solo and cutting a series of singles in the early '60s -- he had a regular gig at the Golden Nugget casino in Las Vegas when he recorded this album, backed by his own, local Lone Star band. I guess this was his shot at making it big, and although the record failed to chart, it's still a nice legacy for this little-known artist, a rock-solid twang-and-tears record from a time (and on a label) not known for true-country grit. Trider remained a regional artist for the rest of his musical career, spending a hefty chunk of the '70s leading the house band at the Red Raider nightclub in Lubbock, Texas before retiring to a non-musical career in Vegas. There are a lot of cover tunes on here, including some straight-up hippie stuff ("Teach Your Children," "Train Leaves Here") and an opening track that was no doubt a bit of an anthem for Mr. Trider back when he sang it, "Barroom Star."


Trout Fishing In America "You Bore Me To Death!" (Trout Records, 1979) (LP)
(Produced by Keith Grimwood, Ezra Idlet & Ram Rosenblum)
This is the debut album by this eclectic, long-lived Texas band, which later became a popular children's music group, but here are more of a nutty folk-country-cana kinda thing. Named after a Richard Brautigan novel, the band started out as a trio, with Keith Grimwood and Ezra Idlet (who previously played together in the Texan folk-rock group Wheatfield) along with piano player Ram Rosenblum, who shared equal billing with them on this record. The repertoire includes a couple of originals, but is mostly notable for the variety of cover tunes -- stuff from the Beatles, the Byrds, Ray Charles, Little Feat, Randy Newman and Stephen Stills... even a version of Tom Lehrer's "Masochism Tango." On later albums, the band was mainly the duo of Grimwood and Idlet.


Nowlin Tubbs "Texas Road House Prince" (Texas Soul Records, 1976) (LP)
(Produced by Don Caldwell)


Nowlin Tubbs "Honky Tonk Junkie" (Texas Soul Records, 1983) (LP)
(Produced by Don Caldwell & Lloyd Maines)


The Tumbleweed Band "Hear To Stay" (Hacienda Records, 1982) (LP)
(Produced by Al Garcia & Casey Cantu)
A mostly Spanish-language album from a long-lived country band out of Corpus Christi, Texas, and not the group from New Mexico that's just called "Tumbleweed." This band included Casey Cantu (bass), Blas Casteneda (lead vocals and rhythm guitar), Pablo Cavazos (drums), James DeButtry (fiddle) and Reuben Rodriguez (lead guitar). Additional musicians included steel guitarist Tommy Elrod and piano player Mike Gregory...


Dean Turner "...And His Guitar" (Bluebonnet Records, 1963-?) (LP)


Dean Turner "The Different Sides Of Dean Turner" (Richards Perdue Recording Studios, 1979) (LP)
(Produced by Danny Richards & Dean Turner)
This one's pretty iffy. Recorded at the Perdue studios in Borger, Texas, north of Amarillo, it features the country side, the pop side and the classical side of guitarist Dean Turner, who was the son of "Big Dean" Turner, a popular country DJ from Fort Worth. It's not clear if Dean, Jr. ever played with any bands, or did anything more strictly country. He's joined on this disc by keyboardist Jerry Dixon, Jimmy Everett on rhythm guitar, Danny Richards playing bass, and Vic Richardson on drums, while countrypolitan/honkytonk songwriter Lawton Williams contributes laudatory liner notes.


Vicki Turner "Lily White" (Texas Soul Records, 1977) (LP)
(Produced by Don Caldwell & Lloyd Maines)
Another 'Seventies-era project from the Lubbock-area enclave swirling around the Don Caldwell Studio, though it's also a record with a super-depressing back-story. This rootsy album featured a handful of the Maines Brothers Band's core members, including producer Don Caldwell on piano and saxophone, Kenny Maines (bass), Lloyd Maines (guitar and pedal steel), and Linda Rhyne on drums. There's not a lot of information online about Vicki Turner Logan (1953-2006) though she was apparently active on the regional West Texas music scene for several years in the late 'Seventies and early 'Eighties, and even moved to Nashville for a while before moving back home to care for her mother. Sadly, her musical career was overshadowed by a tragic, violent death -- she and her mother were murdered by her emotionally troubled teenage son, who flew into a rage one day and beat them both to death, leading to his arrest and lifetime conviction for double homicide. As far as I know this was Vicki Turner's only full album, though it's possible she may have sung backup on some other records, or made a single or two.


Roger V. "The Roger V Show" (Variety Records, 197--?) (LP)
(Produced by Paul B. English)
An ambitious lounge singer mixing pop and countrypolitan material... The "V" stands for "Vazquez," and this robust young fella was a protege of golfer Lee Trevino who helped him along his career... This isn't really a "country" record, per se, though he was from Texas and he covers "I'm So Lonesome I Could Cry" and "San Antonio Rose," so you get a few twang points for that. This set was recorded at ACA studios in Houston with a band that was heavy on brass -- tubas, trombones and whatnot -- along with one guy playing steel guitar. Covering all the bases, right? I guess it worked, because Vazquez landed a gig playing at the Opryland Hotel in Nashville, which is where his next album was recorded.


Roger V. "Live From Nashville" (Variety Records, 1978-?) (LP)
(Produced by Johnny Rosen & Bill Harris)
This album memorialized Mr. V's stint at the Opryland Hotel, backed by a band of guys who were largely unknown to me. Although most of his repertoire was pop-oriented, Vazquez made a big effort to ingratiate himself with country fans: the back cover features snapshots taken with several members of country royalty -- Bill Anderson, Roy Clark, Barbara Mandrell, Ronnie Milsap, Kenny Rogers and even old Ernest Tubb, though those celebs don't entirely reflect his act, other than a "Salute To The Grand Old Opry Stars" imitation routine and a cover of Milsap's 1977 hit, "It Was Almost Like A Song," as well as "Malaguena," which was one of Roy Clark's showcase numbers. Meanwhile, there's a big-band oldies medley, and a ten-minute "Tribute To America" tacked on at the end as the big finale. The disc also includes a couple of Vazquez originals, "Don't Fool Around With Me" and "Please Don't Promise Me Forever," which was recorded at RCA Studios (and may have been released as a single?).


Roger V. "Andrea" (Variety Records, 1983-?) (LP)
(Produced by Bob Moore & Roger Vazquez)
Mr. Vazquez had returned to Houston, Texas by the time he cut this LP, though he still had connections in Music City... This set includes eight songs written by Vazquez, with some tracks recorded at Willie Nelson's Pedernales, Texas studio and others in Nashville... The Texas sessions seem to have included his own band, though I'm not sure about the Music City set...


Jeff Valdez "Jeff Valdez" (Teardrop Records, 1979) (LP)
(Produced by Jeff Valdez)
Can't tell you much about this one... It was recorded in Dallas, and is all country covers, and all pretty well known hits and oldies. No info about any backing musicians or technical stuff either...


Gary Van & The Western Caravan "Meet Gary Van" (Justice Records, 1966-?) (LP)
(Produced by Leo Teel)
Gary Van (ne Gary Vanlandingham, 1939-1980) was a late-'50 rockabilly rebel and '60s/'70s honkytonk bandleader from Dallas, Texas who exemplified the hard-working, below-the-radar Texas twang artists of the pre-outlaw era. Gary Van crisscrossed the Lone Star State, toured regionally and nationally, did county fairs, prison shows, NCO tours and the like, while also starting his own label (Justice Records) and hosting a syndicated TV show. His band on this album was packed with East Texas locals, including Billy Braddy, Al Posey, Tommy Hargrove and Mac McRae. They play mostly cover tunes of old heart songs and honkytonk classics, with just one original song, co-written by Gary Van, the timely and topical "Never From Viet Nam," which is basically a patriotic recitation song. Van can be an iffy singer, getting a little "jazzy" while singing along with the electric guitar riffs and not always nailing the rhythm correctly. But still, it's a charming and undeniably authentic real-folks country record. I haven't been able to determine exactly when this album came out, but I think the most recent song on it was Dottie West's "What's Come Over My Baby," which came out in 1966, so I'd guess '66 or '67 on this one.


Gary Van "My Favorites" (Justice Records, 19--?) (LP)


Gary Van "Country Feeling" (Justice Records, 1966) (LP)


Gary Van "Gary Van" (Justice Records, 1971-?) (LP)
(Produced by Artie Glenn, Leo Teel & Gary Van)
According to the liner notes, this was the Western Caravan's sixth album and the second one released that year. Alas, no actual date is provided, but some of the songs they chose provide a few clues: the set list highlights late 'Sixties/early 'Seventies standards such as "For The Good Times," a Ray Price hit in 1970, along with Ray Stevens' "Everything Is Beautiful" and Merle Haggard's "Today I Started Loving You Again," both released the same year. Gary Van dips into some pretty poppy material, including covers of "Games People Play," "Raindrops Keep Falling On My Head," late 'Sixties gems which were still very much on the radio at the time. The bandmembers aren't called out by name, though co-producers Artie Glenn (1915-1994) and Leo Teel (1924-2010) were Texas old-timers who worked with a lot of independent artists on the Dallas scene.


Virel Vance "Country? Jazz?" (Custom Records, 1969-?) (LP)
(Produced by Curtis Kirk)
A swing-twang thang from guitar picker Virel Lee Vance (1919-2010). A longtime resident of of Palestine, Texas, Mr. Vance is backed by O. B. Davis on drums, Dick Gimble thumping the bass, Texas legend Johnny Gimble on violin and James Taylor playing piano. Along with some standards like "Perdido" and "Sweet Georgia Brown," there are several original compositions by Virel Vance, as well as one called "Headin' For The Barn," credited as a Johnny Gimble tune. As far as I know this was Vance's only album, probably recorded in the late 1960s, perhaps around 1968 or '69.


The Velvets "Velvet Country" (Vel Records, 197-?) (LP)
(Produced by The Velvets)
An early-1970s frat rock/vocal group from San Antonio, Texas whose repertoire included covers of hippie-era pop songs such as "Born On The Bayou," "Work Together" and "Let It Be," as well as some R&B oldies ("Got My Mojo Working") and some country stuff too, like "The Kind Of Love I Can't Forget" and "I Thought I Heard You Calling My Name." The group included James Farek, Don Florus, Tony Florus, Abel Rodriguez, David Simper, and Joe Woods -- this same lineup remained stable through several albums self-released on the Vel label.


The Velvets "Volume Two" (Vel Records, 197-?) (LP)
(Produced by The Velvets)


The Velvets "Volume Three" (Vel Records, 1972-?) (LP)
(Produced by The Velvets)
The same original lineup cruises through country songs including Hoyt Axton's "Never Been To Spain," "By The Time I Get To Phoenix," "Kiss An Angel Good Morning," and "Release Me," as well as rock tunes like "Brown Sugar," "Tupelo Honey" and Neil Diamond's "Red Red Wine." As with their other albums, there's no date on this disc, but several of the songs were hits in 1971, so I'd guess late '71 or '72.


The Velvets "Kickin' 'N' Rockin' " (Vel Records, 197-?) (LP)


J. C. "Tex" Walker "Cowboy Country" (Cowboy Country Records, 1977) (LP)
(Produced by Chet Himes, John Ingle & Wink Tyler)
Way back in the early 1940s, Lone Star troubadour Thurman Walker (1910-1998) found himself at a crossroads familiar to many young artists: keep pickin' guitar and living fancy free, or go find a steady day job. He'd been playing professionally since the early 'Thirties and enjoyed regional success, but eventually he hung up his frets and went into the lumber industry around Huntsville, where he worked until retirement. Through it all he kept his affection for the old blue yodels of Jimmie Rodgers and western material by groups such as the Sons Of The Pioneers, so much so that decades later he decided to cut an album of some of his favorite tunes. They're mostly country chestnuts, stuff like "Cool Water," "Red River Valley" "Streets Of Laredo" and "Tumbling Tumbleweeds," with Mr. Walker backed by a house band that included Thomas Byrd on rhythm guitar, Randy Cade (drums), Bill Ginn (piano), Bert Rivers (steel guitar), Hugh Sparks (bass) and producer Wink Tyler on lead guitar. There are also several originals written by Walker, including a few that he wrote back in 1931: "My Juanita," "Little Cowboy Lullaby," "Old Sandman Of The Prairie" and "Song Of The Lariat,"as well as one other original, "Taking It Easy" by Sandra Fitzgerald, which was featured on one of at least two singles released in 1977 off this album.


Leslie Walker "Official Miss Rodeo Texas, 1980" (Americana Records, 1980) (LP)
(Produced by Pat Martin)
A souvenir of a statewide beauty pageant -- "Miss Rodeo Texas "-- a contest won by Ms. Walker over a field of twenty other gals (who were all pictured on the back cover). Apparently part of the prize was getting to make a record, in this case a country album with backing by Texas honkytonker Bubba Litrell and his band the Melody Mustangs -- Jesse Fritz (drums), Denny Mathis (steel guitar), Junior Mitchan (bass), Tony Pickens (fiddle), Don Reineke (lead guitar), and Bobby Trevino on piano. Litrell wrote one of the songs on this album, "Miss Rodeo Texas," while guitarist Don Reineke contributed another, "Bullrider's Waltz," alongside other rodeo-themed songs such as "All Around Cowboy Of 1964," "Bad Brahma Bull," "Bandy The Rodeo Clown," "Mamas, Don't Let Your Babies Grow Up To Be Cowboys" and because it was Texas in 1980, a version of "Cotton Eyed Joe." I'm not sure if all the guys on this album regularly backed Littrell, though Tony Pickens anchored his band from 1973 until 1988, when he took a job with Johnny Bush's Bandoleros, and Junior Mitchan used to play for Bob Wills. Anyway, congratulations Ms. Walker... and good luck in those national finals over in Oklahoma!


Walt Junior & The Country Division "No Place Like Texas" (Capatone Records, 1980) (LP)
(Produced by Charlie Field)
That would be Walt Schulze, Jr. (1942-2018), a Houston native who formed his band The Country Division back in 1969, and plugged away for years, notably headlining the Golden Stallion dancehall in San Antonio frequently during the 'Seventies. He recorded this LP at Mickey Gilley's studio during the height of the "urban cowboy" craze; he also released several singles, including some of the same songs as on this album. This edition of the band included Schulze playing lead guitar, along with Travis Cherry on drums, Chuck Friday (vocals), Richard Moreland (piano) and bassist Larry Rasberry (who's not be confused with Larry Raspberry, of the Gentrys...) They kick things off with Ed Bruce's "Texas When I Die," also slipping in a Cindy Walker song, a classic outlaw anthem by Waylon Jennings ("Bob Wills Is Still The King") and a couple of tunes from Justin Tubb which maybe makes me think they were pals of his. About half the album is original material, with Richard Moreland looking like the driving force on this album: he contributes four songs -- "All Out Of Trying," "Raining In Dallas," "Sweet Creation" and "Yesterday Still On My Mind" -- while Walt Jr. rounds things out with a tune of his own, "No More Bright Lights."


Brad Watson "Brad Watson" (197-?) (LP)
(Produced by John Mayfield)
In the mid-1970s, singer-picker Brad Watson really threw himself into the country-rock scene in Dallas, Texas, playing in and recording with several local bands... He sang lead for the group Kansas Rain, helped form Rosewood Junction with Jim Underwood, and may have done gigs with friends in the Dallas band called Young Country. These guys all played together up at Harold's Club, in Reno, Nevada, and intersected with each other for several years -- the husband-wife duo of guitarist Rick Sparks and singer Cheryl Sparks (of Young Country) helped anchor this album, along with bassist Jim Thiele. The set includes covers of country-rock and country-pop radio hits such as "Tequila Sunrise," "Old '55," "The Gambler" and "Me And My Uncle," along with some original material. In addition to this album and the bands mentioned above, Watson also apparently played with the Kansas City-area country-grass group, the O'Rourk Brothers, on one of their later albums.


Lloyd Watts "Leaving Caroline" (Adonda Records, 197-?) (LP)
(Produced by Don Fowler & Jack Logan)
A singer from Plainview, Texas, Lloyd Watts booked a session in Nashville, with A-list backing that included guys like Stu Basore on steel guitar, DJ Fontana (drums), Joe Edwards (banjo), Bunky Keels on piano and Dale Sellers playing lead guitar... This may have been a bit of a songwriter's session as well, with a couple songs each by Joe Bob Barnhill and a guy named Bobby Fischer, as well as several writers represented by the Central Songs publishing company. Watts doesn't seem to have written anything, though, unless it was under another name... One track, "Leaving Caroline," was also released as a single.


Alvis Wayne "Swing Bop Boogie" (Pink'N'Black Records, 1994) (LP)
A reissue set of West Texas rockabilly, country, and hillbilly bop, originally issued on singles by an independent Kansas City-based label... Alvis Wayne Samford (1937-2013) was a Lone Star lad, but he landed a contract with Westport Records in the late 'Fifties, an arrangement that both allowed him to pursue a rough-rugged musical style, but also limited his potential to break through out of the regional markets in the South and Midwest. Wayne never scored a national hit, but he played gigs throughout the South well into the 1960s, and was rediscovered by rockabilly collectors in the reissue/revival era of the 1970s. Good thing, too, because this is some sizzling stuff! (For a more thorough profile of Mr. Wayne and his career, check out this article in Deep Roots Magazine.)


Cowboy Weaver/Various Artists "Volume One" (Freestate Records, 197--?) (LP)
Lloyd "Cowboy" Weaver was a long-running local television host on station KTVT-11, in Dallas/Fort Worth who comes off as a clunky but authentic vocalist, showing a heavy debt to fellow Texan Ernest Tubb -- in my book, you could certainly do worse. This delightfully low-rent "live" album is structured as a stitched-together faux concert, complete with super-fake canned applause and painfully abrupt editing. It features Lloyd Weaver's grown-up son(?) and business manager Tommy Weaver, along with a slew of side performers, many of whom I'd imagine were pay-to-play guests of the Weavers. Their Sunset Ranch show ran on local television from the 1960s through the early '90s and had some affiliation with country promoter Dewey Groom, who sponsored a regular segment on the program. Lloyd Weaver had deep roots in the Lone Star honkytonk scene, recording a handful of singles in the late 1940s and early '50s, though his roughly-assembled TV show seems to be remembered mostly as a kitschy local phenomenon, and this album may give give a glimpse into that history. Not all the vocals that great, though the picking by the Pals Of The Saddle house band are pretty solid and consistently twangy, particularly steel player Gary Hogue, who brings a lot of ooompf to the production. There's a mystery track by the Callahan Brothers, an old-timey vocal duo whose best work dated back to the 1930s and '40s; it's a vintage recording of "Maple On The Hill" with tape hiss that clearly dates it to an earlier era, probably something Dewey Groom had laying around in the can. There are also several novelty-tinged songs featuring off-key teen and pre-teen kiddie singers, which would seem just kind of negligible if it weren't for the grotesque coda of Mr. Weaver's career: he was arrested in 1997 on child molestation charges, following an investigation of allegations that Cowboy Weaver had promised some young boy that he'd make him a star someday and, well, you know the rest. Ew. Still, the music on this album ain't bad, even if the man behind it was.


Western Union "Branding Iron" (1982) (LP)
(Produced by Steve Anderson, Charles Eichelberger & Steve Crunk)
The Branding Iron Saloon was a country bar opened in 1981 by veteran country/rockabilly star Roy Head down in Porter, Texas, on the northern edge of Houston. Western Union was the club's first house band, led by songwriter and lead guitar picker Steve Crunk, along with Steve Anderson on bass, David Farenthold (steel guitar), Gerald LeBeau (drums) and Charlie Moore on steel guitar. Although I'm sure they played plenty of oldies and standards, this disc is packed with original material, including eight songs written by Steve Crunk, with about half of these also crediting various bandmembers. There's only one cover song, "Are You Sincere," written by '50s honkytonk legend Wayne P. Walker, a selection that speaks well of these guy's taste in twang. Not sure if this band made any other records together although around the same time this album came out, Crunk and Anderson also backed a guy named Mark Grant, on a rock EP called For You My Love. Originally from Alabama, Mr. Crunk seems to have been kicking around for a long time, including a stint with the rock band The Chessmen, who recorded a couple of his songs in 1971 for the Muscle Shoals-based Paradox label, where he also produced a few singles. I think moved back to Alabama and may have passed away in 2006, at fifty-six years of age. [Note: this Western Union should not be confused with the German country group of the same name, which recorded quite a few records in the 1980s and '90s.]


Lawton Williams "Between Truck Stops" (Mega Records, 1971) (LP)
(Produced by Brad McEuen & Bill Vandevort)
A honkytonker with a career spanning back to the early 1950s, Lawton Williams (1922-2007) is perhaps best known as a songwriter, having penned classics such as Bobby Helm's #1 hit, "Fraulein" -- a song about a relationship between a local gal and an American serviceman abroad -- and the similarly-themed "Geisha Girl," which Hank Locklin took into the Top Five. Perhaps even groovier was "Blue Must Be The Color Of The Blues," one of the great George Jones songs of the late 'Sixties. Williams had a flair for novelty material, and wrote numerous less successful songs, including quite a few album cuts; his own career as a performer was only modestly successful, with a couple of charting singles and this lone LP. Lawton was originally from rural Tennessee, but migrated to Texas where his brand of old-school twang remained popular despite the ongoing pop-ifcation of Nashville.


Carolyn Wonderland "Miss Understood" (Bismeaux Records, 2007)
(Produced by Ray Benson)
A really nice surprise here, with a powerful blast of raw, soulful blues from this throaty, rough-hewn Texas powerhouse. A Houstonite who used to front the Imperial Monkeys roots-blues band, Wonderland has made Austin her home for a while now, and is one of the finest blues singers in the area. The slashing steel guitar on this album's opening track should be enough to get your attention, and once you get to the mournful "Bad Girl Blues," a couple of songs later, this gal will have you in the palm of her hands. Sidestepping the same-old raspy-Janis and sassy-mama Koko Taylor stereotypes, Wonderland taps into the more soulful tradition of gals such as Tracy Nelson, Marcia Ball and Lou Ann Barton. Asleep At The Wheel's Ray Benson produced this disc, and although he sneaks a teensy bit of twang in on a tune or two, he mostly plays to Wonderland's strengths and keeps it bluesy and brash. Her instincts aren't always right (a jarring rap interlude on "I Found The Lions" is just horrible, but it doesn't last long...) but raw power like this doesn't come around often and this is definitely an artist to keep our eyes on!


Deb Wood "With You In My Heart" (Valence Records, 1972) (LP)
(Produced by Jerry Abbott)
A Fort Worth local, honkytonker Delbert "Deb" Wood (1931-2009) was the longtime emcee of a country music TV show called Cow Town Boogie, which broadcast from Panther Hall in the 1960s. He also played locals gigs with his band, The Debonaires, and ultimately opened his own nightclub, Deb's Danceland, in Grand Prairie. He was something of an auteur, penning all the songs on this album, as well as several other originals released on indie label singles, songs that, alas, are not included here. The Valence label was based in Arlington, and released a few singles by other artists, though this seems to have been the imprint's only full LP , and may have been Mr. Wood's only album as well. Unfortunately the musicians backing him aren't identified -- they may have been his own band, or studio musicians working in Jerry Abbott's studio. The songs include tunes like "Sweet And Sexy," "Sugar Daddy's Gettin' Bitter," "Everybody's Gone Crazy," and the tribute tune, "The Unforgettable Bob Wills."


Windy Wood & The Sons Of The West "Kings' Row: A Gallery Of Western Swing Masterpieces From The Reigns Of Bob Wills And Spade Cooley" (Rimstone Records, 1981) (LP)
Wow... there's an album title for you!! R. T. "Windy" Wood (1920-2004) was a Texas-born western swing bandleader who played and recorded extensively over the decades, including a couple of singles way back in the 1950s, and several tape-only albums during the 'Seventies era of 8-tracks and cassettes. Wood, who passed away in 2004 at the age of eighty, was just a kid when guys like Milton Brown, Bob Wills, Leon McAuliffe and Spade Cooley were defining the western swing genre, but he learned fast and took up the baton, working with a number of veterans of old Bob Wills bands, as well as welcoming revivalists such as Ray Benson and Asleep At The Wheel. He recorded over a dozen albums, though only a handful originally came out on vinyl. Wood lived in Claude, Texas near the Panhandle until finally retiring to nearby Amarillo when he needed to move into town... But he was playing music right up to the end, mostly free shows for old-timers in rest homes and retirement communities who still enjoyed the old-time sounds.


Windy Wood "The Bob Wills Connection" (Rimstone Records, 1981) (LP)


Windy Wood "Classic Sound Of Western Swing" (Rimstone Records, 1983) (LP)
(Produced by Chet Calcote & Windy Wood)
A latter-day western swing set that's very typical of the revival genre -- loyal to the style, faithfully reproducing classic material from the canon, but hardly as wild as the music that inspired it. Windy Wood leads a band that includes lead singer Weldon Allard, steel player Vic Ashmead, Jim Benjamin (drums), Chet Calcote (bass and lead vocals), Larry Capranice (trumpet), Tiny Duncan (piano and lead vocals), Maggie Scales (fiddle), Kenny Williamson (guitar), and Jimmy Young on second fiddle. The repertoire is split between Bob Wills songs and those made famous by Spade Cooley, though as noted in the liners, Windy Wood grew up slightly more partial to Cooley's streamlined, pop-oriented approach, which may explain the light tone and stylistic similarities from song to song. Standout tracks include a few vocal tunes where singer Tiny Duncan, though not actually related to Tommy Duncan of Texas Playboys fame, musters a striking vocal similarity. Cheerful, brisk performances all around, though not a terribly surprising album.


Windy Wood "West Texas Swing" (Sundown Records, 1986) (LP)


Smokey Wood "The Houston Hipster" (Rambler Records, 1991)
A classic country ne'er-do-well and legendary screw-up, western swingster Smokey Wood had the distinction of singing about his pastimes -- having sex and smoking pot -- and making a living at it, too... Well, kind of. Apparently Wood had a hard time holding it together financially, although he was fun to hang out with, even when he was down and out. This eternally out-of-print LP appears to still be the only Smokey Wood album around. What a shame, 'cause this is really great stuff, and deserves a wider audience! If you see this album, don't hesitate to snap it up.


Steve Woods & The Slingshot Band "Highway Bound" (Mercury Records, 1981) (LP)
(Produced by Larry Butler & Billy Sherrill)
A pretty dull album that never came close to the charts, although I'm not sure why -- it's not that different than other stuff that did well at the time. Sort of a Johnny Lee-meets-The Oak Ridge Boys vibe here, with uninspired though competent backing by a band that included fiddler/guitarist Steve Hill, a talented veteran of the Texas twang scene who later went on to work with Chris Hillman and the Desert Rose Band. This album's a dud, though, mostly because of the singer. My guess is once they had it in the can and realized it was a stiff, the label just 86-ed the promotions and let it die a quiet death. If you really, really are into the mellower end of the early '80s country sound, you could check this out, but there's certainly better stuff out there.


The Wynne Unit Band "The Texas Prison Rodeo Presents: Behind The Walls" (1980) (LP)
(Produced by Dale Mullins & Tom Miller)


Young Country "Young Country" (USR, 1975) (LP)
(Produced by Larry Wallace & Young Country)
This album was a souvenir of a Dallas, Texas folk-country band that featured singer Randy Brooks, who is probably best remembered as the guy who wrote the novelty classic, "Grandma Got Run Over By A Reindeer." That song, which is not included here, became a fixture of the Young Country act after Brooks wrote the song in 1977... Of course, it also became a national hit after Elmo Shropshire (of Elmo & Patsy fame) heard them play it at a lounge gig in Lake Tahoe... I'm not sure if the Young Country band ever recorded "Grandma" themselves -- this album may have been their only recording. It mostly includes covers of then-current singer-songwriter/outlaw/folk-country songs such as Paul Craft's "Midnight Flyer," "Think About The Mountains" by Steve Fromholz, "Geronimo's Cadillac" and a couple of other songs by Michael Martin Murphey, along with oldies like Hank Williams' "I Saw The Light" and "Silver Threads And Golden Needles," as well as a mandolin-led cover of "I Don't Know How To Love Him," featuring Ronstadt-ish vocals by band member Cheryl Sparks. The only original song on here is a good novelty number by Randy Brooks, "Will You Be Ready At The Plate When Jesus Throws The Ball?" Even though it's mostly cover tunes, this is a pretty strong album by a better-than-average country lounge band... The production values are modest, but the musicianship is pretty high. Worth a spin, for sure. [Side note: While working in Reno in '73, Young Country's husband-wife duo of Rick Sparks and Cheryl Sparks tried forming a new group with some other Texans who were doing shows at the same club. While they ultimately stuck with their original band (and recorded this album), the new group, Rosewood Junction, cut an album around the same time.]


Roger Young "...And The Reason Why" (Reason Why Records, 1969) (LP)
(Produced by Bob Sullivan)
Bandleader Roger Young (1946-2010) lived all over the Southwest and Panhandle regions -- born in Yuma, Arizona, he grew up in Oklahoma and Texas, ping-ponging all over the region throughout his life, first with his family and then with various bands. He started his professional career in the mid-1960s while he was still in high school in Midland, Texas and led several different bands, though his best-known group was the Reason Why, which was named after a song he released as a single a few years before. Although this album looks like it would be the ultimate country-rock hippiebilly set, with the band decked out in fringe-leather spaghetti western duds, it's actually a pretty straightforward set of folk-country/countrypolitan style music, with solid but understated backing by a Dallas, Texas studio crew that included superpicker Phil Baugh on dobro and guitar, Maurice Anderson on steel, old-timer Smokey Montgomery providing arrangements and Mickey Raphael on harmonica, several years before he hooked up with Willie Nelson. Roger Young had a fairly thin, unusual voice, cut from the same cloth as fellas like Bill Anderson or Dick Feller... He keeps things simple and sings his songs without much fuss or bother, but gets the lyrics to resonate nonetheless. All in all, a pretty groovy record and certainly worth tracking down, particularly if you're interested in the intersection of Nashville pop and outlaw twang.


Various Artists "AUGIE MEYERS PRESENTS SAN ANTONIO SATURDAY NIGHT" (Sonet Records, 1985) (LP)
(Produced by Augie Meyers)
Flaco Jimenez, Los Paisanos, Los Hermanos Barron and Los Formales get three tracks each on this Latin-oriented Tex-Mex set...


Various Artists "THE BEST OF SAN ANTONIO, TEXAS" (Kevin Kat Music, 19--?) (LP)
Augie Meyers and Doug Sahm are on here, though I think the rest of the artists aren't all necessarily "country" musicians...


Various Artists "COUNTRYPOLITAN" (Pompeii Records, 1969) (LP)
(Produced by Pat Morgan)
An odd but appealing collection from the Dallas-based Pompeii Records, which is probably best known as a soul label that released several LPs and singles by Ike & Tina Turner. This country(politan!) set partly draws on some singles by several obscure artists... The marquee singer is Dale McBride a Texas honkytonker who'd been kicking around since the late '50s and later had a few modest hits in the early '70s. His contributions here are two lackluster country-pop ballads (oh well) but there are some fun tracks by other artists on here, such as Eddie Downs ("What Ever Happened To Me"), Linda Gayle ("The One That Stands By Me"), Eddy Lynn ("The Best Friends Money Can Buy") and Darrell Glenn, whose "Older Man, Younger Girl" has a slightly creepy vibe. Other artists include Bobby George, Dick Hammonds and Lee Wright. As far as I known, none of these artists ever really went anywhere (other than McBride, who cracked into the Billboard Top 40 a couple of times...) Nonetheless, this is a pretty ambitious album, smoothly produced and clearly intended as a serious effort to break into the country market... A few good tunes, though overall a bit snoozy.


Various Artists "THE COWTOWN JAMBOREE" (Old Cowtown Jamboree Records, 1975-?) (LP)
(Produced by Marvin Montgomery, Howard Reed & Bob Sullivan)
A souvenir album of a 1970s Fort Worth mini-opry... This was actually an attempt to revive an older venue, the opry-esque Cowtown Jamboree which was originally held at Bill Kuykendall's fabled Panther Hall, and was also broadcast Saturday nights on local TV station KTVT. The Jamboree show was a hot ticket in the 1960s, though the Kuykendalls sold Panther Hall in '73, and things soon ground to a halt, with the venue closing entirely in 1978. (The building was sold to and later demolished by Texas Wesleyan University.) This edition of the Jamboree seems to have been connected to a renovation and reboot of Panther Hall, circa 1975 and features a cast of largely unknown locals. The album open and closes with performances by the house band, Howard Reed & The Country Sounds, and notably includes a couple of tracks by a mid-'Seventies edition of the venerable western swing group The Light Crust Doughboys, which was led at times by album co-producer Marvin "Smokey" Montgomery. The new recruits included several obscure gal singers -- Barbara Bowlin, Taysha, Trenda RoMell, and the duo of Don And Gay Lynn (who also recorded at least one single a few years earlier.) Other than the Doughboys, perhaps the most accomplished musicians were The Shady Grove Ramblers, a long-running bluegrass band that recorded around a dozen albums and whose single track here, "Sweet Carolina Women," stands out for its solid production and musical sophistication. There were a few dudes in the mix as well, including emcee Parker Willson, Jr., whose father was connected to the original Cowtown show, as well as a plangent fellow named Sam Gafford who plows through a cover of "Louisiana Man," and Jake Jacobs, who croons a nice version of "Daydreams About Night Things." The real wow factors for this album, though, are the songs by the gals, which though amateurish are more individual-sounding performances and showcase more interesting material. I'm not sure if many of these folks persisted in the music business, though this is a nice snapshot of some Lone Star musical history... A bit forlorn, perhaps, but scrappy, and ambitious as well as authentic.


Various Artists "FOR THE RECORD -- AUSTIN COUNTRY: 1973-1978" (Maverick Records, 1980) (LP)
A look back at the mid-'70s Austin scene, featuring tracks by stalwarts such as Marcia Ball, Jon Emery, Joe Gracey, The Reynolds Sisters, Bobbie Earl Smith, and of course good old Doug Sahm and Augie Meyers...


Various Artists "THE GREAT TEXAS PICK-OFF" (Palace Records, 1981) (LP)
(Produced by Shelley Ford, Parks Hudnell & Phil Williams)
A souvenir of a country music contest co-sponsored by radio station KYKR-FM93 and the Palace Steakhouse Disco Theater, in Beaumont, Texas, back in March of 1981. This disc showcases the finalists, all Texas locals, including Carol and Simone Benoit, Robert Bolch, Robyn and Debbie Bunyard, Country Moonlight Express, Bris Crider, Terry Daily, Sondra Early, Jeff Goodwin, Mark Hagenau, Boyd McMain, and the Wiernot Brothers. Most of the tracks are cover songs, though a couple are credited as originals -- "Daddy, Why Does Mommy Cry" by the Benoits and Robert Bolch's "New Orleans Trip." The (oh, I get it now) Wiernot Brothers were the contest winners, getting not one but two tracks on the LP, as well as the big cash prize.


Various Artists "GREETINGS FROM TEXAS -- THE LONE STAR STATE" (Bear Family Records, 2004)
Well, it's true, they don't do things small in Texas, and one of the things they do "big" is recording jovial, regionally-themed novelty songs. This disc is packed with 'em, and if you're a Texas fan, you'll definitely want to pick this one up. Asleep At The Wheel, Willie Nelson, Ernest Tubb, Bob Wills, Tex Williams and a slew of other legitimately legendary country stars are included here, and the songs are all really fun. Recommended!


Various Artists "HEARTWORN HIGHWAYS" (Shout Factory, 2006)
Meanwhile, back in Austin... and over in Nashville... things were really starting to cook! This is an amazing historical document, capturing the early years of the Americana scene as we know it. This disc is the soundtrack to a 1975 documentary film that caught giants such as Guy Clark, Rodney Crowell, Steve Earle and John Haitt at the beginnings of their careers, compadres who formed the nexus of a scruffy singer-songwriter contingent that took its cues from the "outlaw" scene, as well as folkie friends like Townes Van Zandt and Steve Young, who had been kicking around a few years earlier. This actually includes the first recordings of Clark, Crowell, Haitt and Earle -- Guy being the most raspy and least eager to please, but each showing their own unique style, even this early on... (Amazing to think that Earle actually carried a tune like "Mercenary Song" around for more than a decade before putting it on wax!) Townes Van Zandt also adds a tune or two, and his densely-crafted, painfully earnest approach casts a long shadow on the others -- particularly on Earle. We're also treated to a few tunes from David Allen Coe, who was apparently slumming with the unsigned set, trying to build up his indie cred... Fans of any of these singers will want to check this album out and, more importantly, will want to see the film as well... Recommended.


Various Artists "HUNTSVILLE T.D.C.: BEHIND THE WALLS - ORIGINAL COUNTRY AND WESTERN MUSIC" (Huntsville Educational Records, 1974) (LP)
(Produced by Paul Comstock, Steve Gates, Tom Miller & Dr. Harley Rex)
There are (or were) a lot of these "behind the walls" albums made back in the day, featuring incarcerated musicians, mostly in southern penitentiaries, and they usually feature a mix of country, rock, and blues-based music, often broken down on color lines. This album from the Huntsville, Texas penitentiary stands out for its singular focus on country twang... Also, though there are several featured singers, this is more of less one cohesive band, with a handful of guys writing the all-original material. Most of the songs were penned either by guitarist/bandleader John D. Thomas or singer Paul Bailey, with additional tunes from Jack Collins and Jack Sims, each of whom also sing on a song or two, with backing by Jimmy Cikalo on drums, Billy Huckaby (bass), Claude Reneau (guitar), Jack Sims (bass) and John D. Thomas handling lead guitar and the lion's share of the vocals. (A musical highlight is the steel guitar; though no one is identified as the steel player, I suppose most likely it was Mr. Thomas.) The first thing to point out is that a bunch of these songs are legitimately heartbreaking, truly forlorn lyrics delivered with crushing understatement by old-timers doing a hitch for God knows what -- on the songs that directly talk them doing time, they sound pretty regretful about whatever it was that got them stuck in Huntsville. These were guys who were resigned to their fate, and you can hear it in their voices. The prison-related tracks include "Wait For Me," "Huntsville, TDC," and a tune called "Here Comes Warden Walker," which -- rather strategically -- was an instrumental. (Though one wonders if it had a few secret lyrics, discretely left off the album...) Equally engaging are the plain, old country songs, which again are all originals. Although they follow familiar paths for honkytonk fans, there's an extra layer of pathos to a cheatin' song or a she-left-me novelty number when the guy that's singing it is serving twenty to life. The project's "consultant," Dr. Harley Rex, worked on a string of similar albums tied to the Texas Prison Rodeo, including some from the 1980s, reviewed below. For my money, this disc's a winner.


Various Artists "JIMMY COPELAND PRESENTS..." (Tonka Records, 1974) (LP)
(Produced by Jim Duff)
A sampler of the Houston-based Tonka Records label, which seems to have had its own publishing house, Tata Grande-BMI, which furnished songs for several other Tonka releases including many penned by some of the performers on here, such as Bill Bramlett, Jimmy Copeland and Sonny Hall. Other performers include Neal Hart and Mary McCoy, a gal who recorded an album of her own a few years later on the more prestigious Crazy Cajun label. I'm not sure exactly what the deal was with Tonka Records, though several of the performers and composers seem to have been old-timers who had been active regionally for years, including several who cut discs back as far as the early 1950s.


Various Artists "JOHNNY HIGH'S YOUNG COUNTRY REVUE" (CMR Records, 1983-?) (LP)
(Produced by Gary Scott)
A showcase of some of the younger talents at Johnny High's Country Music Revue in Grapevine, Texas. This set featured several teen singers and pickers, including Danny Cooksey, Jill Floyd and Joey Floyd (who performed both solo and as a duet), Britt Goodwin, Ramzie Redd, Karen Rhodes, Lisa Rice, Jeff Roach, Marvin Short, Eric Tull and Julie Walters, backed by Lone Star session players such as steel player Maurice Anderson, bass player Marc Jaco, and fiddler Bob Zelner; notably Joey Floyd also plays lead guitar in this group. I'm not sure if any of these kids played in other bands or at other venues: it's possible that Joey Floyd was the same lead guitarist who played in the excellent Louisiana garage-rock group The Castaways (although that would have been a decade before this record came out) and Danny Cooksey could have been the actor/singer who fronted the Oklahoma-based teen metal band, Bad 4 Good in the early 'Nineties, but both of those connections seem like stretches... It's also a little unclear when this album came out... The Jack Davis-y cover art looks very 'Sixties and most of the songs are country standards, although a couple of covers point to a more modern release: "Hank Williams You Wrote My Life" was a hit for Moe Bandy in 1975, while the Oak Ridge Boys didn't record "Bobby Sue" until 1982. Any info is welcome.


Various Artists "KERRVILLE FOLK FESTIVAL: 1973" (PSG Recordings, 1973) (LP)
Way back to the primordial roots of this fabled Texas music fest come vintage performances by Willie Nelson, Steve Fromholz, The Threadgills, Timberline Rose, Bobby Bridger and -- just so you could accuse the Kerrville folks of selling out from the very start -- B. W. Stevenson, singing his Top Forty hit, "Shambala." A nice snapshot of the Texas outlaw scene in its glory years.


Various Artists "KERRVILLE FOLK FESTIVAL: 1974" (PSG Recordings, 1974) (LP)
This volume included performances by a bunch of folks, including some outlaw country and western-swing acts, in addition to more mainstream folkies like Bill & Bonnie Hearne... Among them are Asleep At The Wheel, Flaco Jimenez, Plum Nelly, Ray Wiley Hubbard, and Hubbard's old band, Three Faces West...


Various Artists "KERRVILLE FOLK FESTIVAL: 1975" (PSG Recordings, 1975) (LP)
With Ray Wiley Hubbard, Kenneth Threadgill, Augie Meyers, Don Sanders, John Vandiver, Dee Moeller and Red River Dave, along with several twangbands such as Hickory, Wheatfield, T&M Express, bluesman Juke Boy Bonner, old-timey auteur Mike Seeger and others.


Various Artists "KERRVILLE FOLK FESTIVAL: 1976" (PSG Recordings, 1976) (LP)
The Bicentennial participants included Lone Star locals like Bobby Bridger, Bill Neely, Tom Russell and Don Sanders... Not to mention Hondo Crouch, Kurt Van Sickle, Milton Carroll, Mark McKinnon and Dee Moeller, as well as folkies emerita Carolyn Hester and Peter Yarrow.


Various Artists "KERRVILLE FOLK FESTIVAL: 1977" (PSG Recordings, 1977) (LP)
(Produced by Rod Kennedy & Pedro Gutierrez)
A live album of folk and country performances captured at the Outdoor Theater, at Quiet Valley Ranch in Kerrville, Texas, between May 26-29, 1977. Old-school folkies Tom Paxton and Carolyn Hester play a couple of old-school folk songs, while the real zip and bang comes from the Texans, with locals like Steven Fromholz, Butch Hancock, Townes Van Zandt along with newcomer Mike Williams, whose BF Deal label would record several notable young artists, including Nanci Griffith's first album in 1978. Also featured are Milton Carroll, Bill & Bonnie Hearne, Tom Russell, Dan McCrimmon, and blues picker John Vandiver, who plays solo and also backs B. W. Stevenson on a version of Shake Russell's "Temper, Temper." Nice lineup!


Various Artists "KERRVILLE FOLK FESTIVAL: 1978" (PSG Recordings, 1978) (LP)


Various Artists "KERRVILLE FOLK FESTIVAL: 1979" (PSG Recordings, 1979) (LP)


Various Artists "KERRVILLE FOLK FESTIVAL: 1980" (PSG Recordings, 1980) (LP)


Various Artists "KOKE COUNTRY SHOWDOWN '81" (KOKE, Inc., 1981) (LP)


Various Artists "MERRY TEXAS CHRISTMAS, YOU ALL!" (Aunt Susie Records, 1976) (LP)
(Produced by Grant Pittard)
An early souvenir of the Grapevine Opry, a mom'n'pop variety show near Dallas, Texas whose original incarnation started in 1975 and lasted until 1982. This holiday record includes the opry's founders, Chisai Childs and Johnnie High, as well as their patron, "Aunt" Susie Slaughter, an oil heiress who bought and renovated their first theater. Other participants include multi-instrumentalist Jess Hudson, pianist Joy Newman, steel guitarist Maurice Anderson and Bud Carter, and various singers, including a child performer called Anna Marie.


Various Artists "A PARTY WITH CHAPPARAL" (Chapparal Records, 19--?) (LP)
The professional square-dancing scene is a bit opaque to me -- to most country music fans, really, as few folks take square-dancing seriously, but more as a kitschy mountain music offshoot of goofy music we all hated in primary school, but that's nonetheless generated a sizeable chunk of records thought best avoided by puritanical twangfans. Nonetheless, it's slowly becoming clear that there's also a noteworthy overlap between the world of calling records and some real-deal country pickers. Chapparal Records was a custom-press label based in Plano, Texas that recorded a fair number of discs in the early 1980s, mostly singles and mostly "calling" records by local artists. Included among them were the people on this collection: Ken Bower, Jerry Haag, Beryl Main, John Winter and Wanda Winter, and well-known caller Gary Shoemake, who made several albums for Chapparal. Perhaps most notable is the label's studio crew, known as The Road Runner Band, whose members are largely unknown, though it was led by fabled fiddler Johnny Gimble, who seems to have played on all the Chapparal recordings. Many if not all of the tracks on this album were previously released as singles, and several different lineups may have been used at various points in the early 'Eighties. It's all monophonic, too!


Various Artists "SIX-PAK, VOLUME ONE" (Lone Star Records, 1976) (LP)
(Various producers)
Back in the mid-1970s, when Willie Nelson finally achieved superstar status, he was briefly given charge over his own vanity label, Lone Star Records, which he had creative control over, but with major-label backing and distribution. The label was populated with friends of Willie and several obscure artists he chose to champion, including many from the Texas outlaw scene... Some were relatively well-known -- Willie Nelson, for example, and newcomer Ray Wylie Hubbard, as well as some artists who had been around for a while, like Don Bowman, but were finding an indie pathway more appealing than sticking with the diminished returns of slackening major-label deals. This is a great promotional sampler for the short-lived label, with some really fun material on it. One highlight is the old KFAT classic "Swingin' With The Armadillo," by the band Cooder Browne, an irresistible, fiddle-based novelty number that bizarrely didn't make it onto their album, and can't be found elsewhere. Other winners include Bowman's profane "DJ Song" and the stunning "Willon And Waylee," in which he makes fun of the superstar status of the fabled kings of outlaw country, and laments his own obscurity. Bowman dreams of getting Willie and Waylon to sing backup on one of his records -- surely that would make him famous! -- and the punchline comes when they actually do join him on the song's last chorus. Great stuff. Also a couple of tracks each by Steve Fromholz, The Geezinslaw Brothers, and a couple of ancient tracks by Willie himself, stuff he recorded way back in 1961(!). If you see this album, snap it up.


Various Artists "TEXAS DANCE HALL MUSIC" (Hillside Records, 1980)
These three legendary Texas honkytonkers -- Darrell McCall, Curtis Potter and Ray Sanders -- were each briefly on the national stage in the early 1970s but never really broke through nationally. Returning to Texas, they became hometown heroes, playing bars and dance halls such as the one pictured on the cover of this album. The Lone Star country scene was having a certain renaissance around the time, maybe they weren't storming the charts via Nashville, but they sure were having fun and making some great music.


Various Artists "TEXAS FOLK AND OUTLAW MUSIC: AT THE KERRVILLE FESTIVAL: 1972-76" (Adelphi Records, 1976) (LP)
This double LP compilation harvests the best tracks from the biggest stars of the early years of the Kerrville festival -- marquee artists such as Milton Carroll, Guy Clark, Steve Fromholz, Bill & Bonnie Hearne, Augie Meyer, Willie Nelson, Townes Van Zandt, and Jerry Jeff Walker. Also on board are local legends such as Bobby Bridger, Hondo Crouch and Kenneth Threadgill, as well as local-gone-bigtime B. W. Stevenson, who belts out a nice live version of his national hit, "Shambala." Though the original individual Kerrville albums may feel a little hit-or-miss for country fans, this set is a very strong selection, a high-proof distillation of the Texas scene at its peak.


Various Artists "TEXAS SUMMER NIGHTS" (Potato Satellite Records, 1983) (LP)
(Produced by Tracie Ferguson)
It's strictly locals on this Lone Star folkie outing, with artists from the San Marcos, Texas area... I don't recognize any of the musicians, which in my book can be a very good thing. Included are: 556, The Ash Family, The Beacon City Band, Les Moore, Rob Watkins, Mickie Merkins, the duo of Kelvin and Randy, and others. If you're into the pre-"Americana" Texas folkie scene, this album is a nice look at some folks a little more off the beaten track.


Various Artists "TEXAS TALENT, v.1" (Axbar Records, 1983) (LP)
(Produced by Joe Scates)
The best-known of these artists was George Chambers, who led his Country Gentlemen band from the 1960s onward -- he sings two tracks, "Irvin Leather's Truck" and "Marie." The other artists include a family band called The Davenports, along with Lynn Barclay, J. Pat Beck, Dale Friederich, Carroll Gilley, Steve Kendrick, Juni Moon, Bill Smallwood, Hank Stone, J'Anna Tebbs. The Davenports -- featuring Bob Davenport -- accompany other artists on a track or two; while fiddler Ron Knuth plays on one track.


Various Artists "TEXAS TALENT, v.2" (Axbar Records, 1984)
(Produced by Joe Scates)


Various Artists "TEXAS TALENT, v.3" (Axbar Records, 198-?)
(Produced by Joe Scates)


Various Artists "TEXAS TALENT, v.4" (Axbar Records, 198-?)
(Produced by Joe Scates)


Various Artists "TITLE RECORDS PRESENTS..." (Title Records, 1975) (LP)
(Produced by Jim Buchanan)
This Texas compilation features three aspiring hard-country singers: Jess DeMaine, Benny McArthur and Billy Don Pester. Mostly this is good stuff, with McArthur and Pester singing in sort of a robust, mid-'70s neotrad style similar to Moe Bandy... DeMaine, however, is more of a country crooner, ala Joe Stampley, which may be less satisfying to some twangfans, though his last track, "Another Piece Of Clay," is pretty darn good. The album is packed with original material, including a few songs credited to Title Publishing, which we'll assume was related to the Title Records label. The musical backing is reasonably twangy and solid, played by an unidentified Nashville studio crew -- possibly Pete Drake and his cohorts, since this was recorded at Pete's Place as well as Bradley's Barn. Not bad!




Hick Music Index


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