Jack & Jacki "Better Times A Comin' " (C&W Incorporated, 1983) (LP)
(Produced by Frank Evans & Ron Jeffreys)
This bluegrass-meets-country duo hails from Dewitt, Michigan, a northern suburb of Lansing... Bandleaders Jack Clarkson (lead guitar, mandolin and fiddle) and Jacki VanBecelaere (guitar and piano) headed to Nashville to cut these tracks, taking band members drummer Bee Metros and bassist Jim Pearson. Their sound was augmented by a bunch of studio cats, notably steel player Chuck Bartlett, James McKinney on banjo fiddler Vassar Clements, whose studio they were recording at. [Note: Jack Clarkson continues to record and perform for many years, and has this album available on his website.]

Mary Jackson & The Nashville Heir "Live At Tabor Opera House" (Kowgirl Records, 1981) (LP)
(Produced by Chris Hayden & Jill Hayden)
A country show recorded live at the Tabor Opera House, a historic music hall in Leadville, Colorado... Along with Mary Jackson on vocals, the band included Randy Norton (bass), Ronnie Ray (lead guitar), Rob Reamon (drums), and Tsutomu ("Slim") Yamaguchi on fiddle and pedal steel. The set list ranged from oldies to originals, with a smidge of outlaw material as well, such as "The Devil Went Down To Georgia," Rusty Weir's "Don't It Make You Wanna Dance" and Hank Junior's "South Is Gonna Do It Again." (Of historical note is Slim Yamaguchi's subsequent decades-long stint as the steel guitarist in Top Forty star Mark Chesnutt's band, having joined around 1990. Originally from Japan, he settled into the West Colorado twang scene sometime in the late '70s, and played with Cedar Creek and other local bands...)

Wanda Jackson - see artist discography

J'Anna Jacoby "Little Girl With Her Hair All Down Behind" (Paradise Productions, 1976) (LP)
A teenage prodigy who swept the junior division of California State Oldtime Fiddling Championship two years running in 1975 and '76, J'Anna Jacoby recorded these solo albums and later formed a partnership with banjo picker Mark Petteys, recording as the duo of "J'Anna & Mark" in the early 'Eighties, and in the early 1990s turned towards rock and pop music, joining the indie band The Black Watch.

J'Anna Jacoby "J'Anna Blossoms" (Paradise Productions, 1978) (LP)

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."

Jana Jae -- see artist profile

Jake & Fennie "Have You Lost Your Way?" (Dominion Records, 19--?) (LP)
This would be the husband-wife duo of flat-top picker Jacob D. Willard (d. 2011) and Glenda "Fennie" Willard (1931-2010) of Roanoke, Virginia, backed on this early 'Seventies album by a group called The Hearts Of Gold: Burk Barbour (fiddle), Troy Brammer (banjo), Carl Mannix (bass), Larry Robinson (bass, and flat-top guitar) and Jerry Wood on mandolin. Some great down-home bluegrass gospel that nonetheless has a layer of cleancut 'Sixties folk revival to it, a little bit of The Kingston Trio, perhaps, but it gives their music a distinctive feel amid the normally brisk trad-grass scene, and also doesn't resemble the rock-influenced progressive hippie pickers. In a way it reminds me of John Hartford, who enjoyed a similar crossover of styles, conscious of an older, squarer show-business world while deeply rooted in the music of the hills. There are some classic songs by Albert Brumley, three by William York, and two Jake Willard originals, "Have You Lost Your Way" and "Wheels Going Home." For her part, Fennie had a great rural voice with a hint of Kitty Wells to it -- it sure would be nice to hear more of her work! She's credited as playing drums on this disc, though apparently she was a pretty good bass player, too.

Jake & Fennie "Golden Sounds Of Bluegrass" (Dominion Records, 1973) (LP)

Elana James "Elana James" (Snarf Records, 2006)
An absolutely captivating and lively record from fiddler Elana James (nee Elana Fremerman), formerly of the Hot Club Of Cowtown. Given her illustrious swing-string pedigree, the mix of western swing and jazz standards is no surprise, but what's a delight is the album's focus and cohesion, and how gosh-darn well-produced it sounds. It just sounds like a pure, unfettered expression of what she wants to do, and with an artist this talented, that's a pretty cool thing. Throughout the album, James is clearly channeling the spirit of Bob Wills, but with a lively snap of the bow that's all her own; the vocals are also nice, as are the nods to Duke Ellington, Billy Strayhorn and Eubie Blake. If you liked the Hot Club, you're gonna want to pick this one up... pronto! (Available through www.elanajames.com)

The James Family "Country Favorites" (JNS Records, 1981) (LP) (Produced by Jim Bartholemew & Iain Burgess)
This was a super-private, custom-label recording by the James family of Englewood, Colorado, backed by local musicians. The repertoire is largely covers of country hits, presumably family favorites: "Rose Garden," "Top Of The The World," "Silver Threads And Golden," "San Antonio Rose," several by Kristofferson, a couple by The Carpenters... There's one song that seems to be an original, "Reach For The Light," which is credited to two family members and a friend.

Jessie James "Jessie James" (Mercury Records, 2009)
A mostly-pop outing, with mild "country" undertones (a little bit of lackadaisical banjo plunking, amid the synthy drum machines...) I suppose this is meant to be a have-your-cake-and-eat-it-too marketing effort, that'd maybe play on country radio as well as pop. But who cares? Whatever style she sings in, James isn't that memorable.

Mary Kay James "Sweet Lovin' Time" (Avco Records, 1975) (LP)
(Produced by Allen Reynolds & Garth Fundis)
A very nice, very understated set of country heartsong ballads... This appears to be the only full LP by Ms. James, a fine singer from Atlanta, Georgia who bore a strong vocal likeness to Loretta Lynn, and was a very confident and compelling performer. The band and studio crew is basically the same cadre that backed Don Williams on his first few albums, including producers Garth Fundis and Allen Reynolds, who would go on to be dominant figures in the country-pop sound of the 1990s, but here were plugging away as young'uns at the Jack Clements studios in Nashville. They also sing backup and play on some of the tracks, along with guys like Danny Flowers and Jimmy Colvard, as well as seasoned A-list studio pros such as Lloyd Green and Buddy Spicher... This record was at least partly a songwriter showcase: Allen Reynolds wrote or co-wrote over half the songs, including one composed with Don Williams; there are also a couple of penned by Williams' longtime collaborator Bob McDill, and the album as a whole feels similar to Williams's own gentle, unhurried folkish-country sound. And that's high praise in my book: this is the kind of record I delight in discovering, nice from start to finish. Mary Kay James also released a fair number of singles on various labels, including some off this album with non-album B-sides. James didn't click as a solo star -- she sang at the Opry, and moved briefly to Columbia Records, then over to Gusto by the decade's end, and seems to have quit show biz around 1980. Later she performed and recorded with some gospel and contemporary Christian bands. This old album is a nice memento of her secular career, though!

Mickie James "Strangers & Angels" (Country Showcase Records, 2010)
(Produced by Kent Wells)
A champion pro wrestler goes Nashville, with a couple of songs that make nods to her rowdy past ("Dumb B*itch" and "I Call The Fight...") Can't say that this did much for me: the music is more generic rock-blues than it is twang, and if I wasn't so afraid that she'd kick my ass for saying so, I'd point out that her vocals ain't that great, either. She's definitely not much of a country singer, but I guess the idea was to be some sort of Gretchen Wilson wannabee... I'll stick with Wilson, though... thanks.

Anna Jane "Love/Life" (K-Ark Records, 1971-?) (LP)
(Produced by John Capps)
Hailing from Mount Pleasant, Pennsylvania, Anna Jane Hresko was an accountant by profession, though she found time to perform regionally in Pennsylvania, Ohio and West Virginia, making appearances on WWVA's "Jamboree" program, the Dickie Shock show in Sandusky, Ohio and the "Country Junction" TV program. She wrote much of her own material, and recorded several singles for K-Ark before cutting this disc, around 1971. Her band, the Westernaires, included Chuck Rhodes on steel guitar, Lou Rega (lead guitar), Greg Reynolds (drums) and her husband, Andy Hresko, on bass. He was a well-known musician playing in several polka bands, and the Hreskos co-wrote country songs together starting in the late 'Fifties. For several decades they also performed in a multi-generational ensemble called the Anna Jane Allen Family Band. In the late '60s she played local gigs as a solo artist, mainly around Connellsville, PA, and she cut a string of singles. I'm not totally sure when this album came out, but it includes a version of "Stand By Your Man," which was a hit for Tammy Wynette in 1969, and some folks tag her single version with a 1971 release date... so who knows?

Bobbi Jane "Bobbi Jane" (Pentagon Records, 1981) (LP)
(Produced by Alan L. Dote)
The Pentagon label was an ambitious, if minor, indie out of Millbrae, California (near San Jose) which seems to have issued a few LPs (and presumably singles) in the late 1970s and early '80s... Singer Bobbi Jane was decidedly a back-bencher, really not a very good vocalist, although she threw herself into it with great gusto, and a few songs work as rudimentary country thumpers, albeit with a strong whiff of so-bad-it's-good kitschiness. The more straightforward country numbers are best, though a disco-era hangover is present throughout, in the persistent presence of a cheesy keyboard-synth. The keyboards are unleashed in a bombastic solo on "Gone Too Long," a straight disco pop song that's kind of jarring in comparison to the rest of the record. Most of the songs are credited to producer Alan L. Dote, although a couple were written by Bobbi Jane... Overall, I have to admit there's not a lot to recommend this record, although obscuro-twang fans (like me) may enjoy it for its very DIY-ishness.

The Jane Dear Girls "The Jane Dear Girls" (Warner-Reprise, 2011)
Faux-roots country with antiseptic modern production; the slick studio sound I can handle, but what really bugs me are their vocals -- the flat, phony sneer of contemporary teenybopper pop infects their harmonies, and shrieks out the blandness of their product. Yeah, I "get" that commercial country has cross-pollinated with post-Miley Cyrus pop, and I get that this is a valid stylistic choice... I just personally find it terribly empty and uninvolving. Oh, well. Can't win 'em all.

Lois Jane (Neal) "One Of God's Sheep" (Lois Jane Neal Records, 1966) (LP)

Lois Jane "Across The Bridge" (Big Gospel Records, 1968-?) (LP)
(Produced by Wally Fowler & Rick Shea)
A teenage country gospel prodigy from Kentucky, Lois Jane Neal sounded a little like her fellow Kentuckian Loretta Lynn, uptempo and very rural, with legitimately twangy backing. Still in high school when this late-'Sixties album came out, she was a featured performer on Wally Fowler's syndicated TV show. Although this wasn't her first LP, she had been recording singles for several years, at least back as far as 1962, when she would have been about eleven or twelve years old. She built up a loyal following in the regional gospel scene in the 1970's and '80s, and continued her musical ministry online in years to come.

Lois Jane "Come Along With Me" (Praise Song Records, 197--?) (LP)
This mid-Seventies album had a not of pop-country twang to it, a nice post-countrypolitan sound.

Lois Jane "Lois Jane" (QCA Records, 1979) (LP)
(Produced by Vic Clay, Charles Novell & Chuck Seitz)

Janice "Janice" (Benson Sound, 197-?) (LP)
(Produced by Larry Benson)
Country gospel singer Janice Stevens made the trip from Antioch, California back east to Oklahoma City, where the Benson studios gave her some pretty decent backing... The album opens with a rollicking, pure country arrangement of "Oh, What A Happy Day," and even on some of the sleepier tracks there's plenty of satisfying pedal steel, courtesy of Doug Campbell, and lead guitar by Charlie Arthur. Sometimes the backing has a lax, indifferent feel, and it has to be admitted that even with her Donna Fargo-esque country influences, Ms. Stevens wasn't always in top form as a vocalist -- keeping the beat was a particular challenge -- but there are hints of a stronger potential. Certainly if given more studio time, she could have held her own as a secular country singer. Not dazzling, by any means, but there are some nice moments.

J'Anna & Mark "Double Barrel Bluegrass" (Paradise Arts Publishers, 1980) (LP)
(Produced by Bill Jacoby & Dave Houston)
A fiddle-and-banjo duo from Redding, California, J'Anna Jacoby and Mark Petteys tackled a wide repertoire, ranging from country and bluegrass tunes from the likes of Vassar Clements, Carl Jackson and Earl Scruggs to more esoteric material such as Benny Goodman's "Slipped Disc" and Bob Dylan's "Nashville Skyline Rag." They're joined by guitar picker Lee Brushett and mandolinist Ted Smith of the local, Sacramento-area bluegrass group, South Loomis Quickstep Band. Jacoby later moved into pop and rock music, including one album with the indiepop band The Black Watch, and a longtime position in Rod Stewart's road band.

Sarah Jarosz "Song Up In Her Head" (Sugar Hill, 2009)
(Produced by Gary Paczosa & Sarah Jarosz)
On her opening track, "Song Up In Her Head," newcomer Sarah Jarosz namechecks the mighty Gillian Welch and then moves through a series of songs that easily put her on a par with her Americana-indie icon. While that track may seem imitative, the next, "Edge Of A Dream," is revelatory -- a moody, mystical tune with a drifting melody that can get stuck in your head for days on end. Jarosz, a multi-instrumentalist who is equally at home on clawhammer banjo, piano or mandolin, performs with immense confidence, which is all the more remarkable given that she was only seventeen years old when this record was made. For several years she had been performing onstage with some of the biggest names in bluegrass, including spacegrass elder David Grisman. Grisman's son Samson is in Jarosz's posse, playing bass on this album, alongside studio pros such as Jerry Douglas and Stuart Duncan, and former Nickel Creek-er Chris Thile. She clearly has an affinity for a wide range of bluegrass and other acoustic styles, from traditional/old-timey sounding songs in the David Rawlings-Gillian Welch mold to more exploratory, poetic songwriting, ala Nickel Creek and Alison Krauss. As a songwriter and performer, Jarosz is a marvel, penning "Broussard's Lament," one of the most powerful of the recent crop of modern topical folk songs about Hurricane Katrina, while tapping deep into the blues-gospel spirituality of "Come On Up To The House," and the Joni Mitchellesque melancholy of "Long Journey." On these songs, as on others, she sings with an emotional depth and level of understanding that belies her youth. Only on a couple of tunes, the goofy-gothy "Shankill Butchers" and the sprightly but amorphous "Left Home," is there the tiniest hint of her as a teenager learning her craft; otherwise, she reveals herself as one of the most powerful performers in her field, newcomer or otherwise. This is one of the best Americana albums of the year, and Ms. Jarosz is an artist to keep close track of, a real gem.

Sarah Jarosz "Follow Me Down" (Sugar Hill, 2011)
(Produced by Gary Paczosa & Sarah Jarosz)
I am a big fan of Sarah Jarosz -- she has a penetrating, timeless voice; her debut album of a couple of years ago had a revelatory feel, and I do believe that she is a major talent on the bluegrass(y) acoustic music scene. That being said, I had a hard time getting into this album, where the delicate balance between exploration and tradition has been pretty thoroughly upended in favor of the singer-songwriter pop-folk crossovers pioneered by Nickel Creek, Alison Krauss and company. That's okay, I guess, but I really feel Jarosz's sublime side shows better in more traditional, old-timey flavored songs, and that is borne out on this album in her adaptation of Edgar Allan Poe's ghost story ballad, "Annabelle Lee," a mix of folk and electric that sounds, for all the world, like an old Steeleye Span song. The rest of the record is largely taken up with her own compositions, which lean heavily on what I would call spiral-bound notebook lyrics, the kind of teenager poetry that Taylor Swift, Fiona Apple and others have taken to the top of the charts and which thousands of budding bedroom poets pen every day... But heartfelt and talented though Jarosz may be, these songs -- particularly self-involved, emotionally baroque anthems such as "My Muse" and "Floating In The Balance" -- needed more self-editing and paring down, and seem too complicated and thematically on-the-nose to resonate as much as the musicianship that accompanies them. Maybe it's just that I'm too old or too square or too into traditional music to hear this as anything but juvenilia, and I'm sure there is an enthusiastic audience to be found, but still I found myself disappointed, especially in comparison to her first record, which knocked me flat. The good news is that Jarosz is young, immensely talented, and working in an indie environment that can foster niche music-making and stylistic experimentation... Her future looks bright, no matter what grumpy old farts like me have to say. If you're looking for forward-thinking folk/grass, you might wanna check this one out -- but if you haven't heard her first album, it is an absolute must-have.

Sarah Jarosz "Live At The Troubadour" (Self-Released, 2013)
Apparently this disc was available through her website, though I've also seen it at my local record hut... More genre-bending Americana brilliance from this wildly creative fiddlin' gal...

The Jaye Sisters "On Tour With The Jaye Sisters" (Parthenon Productions, 19--?) (LP)
(Produced by Jack Boles)
The credits list the sisters as Pattie and Darlene Jaye, who I think may have been singer Darlene Battles, wife of roots/country/R&B singer Jerry Jaye... I couldn't find any definitive info about when this one came out. It seems to have been recorded in Nashville, at least as late as 1968, since they cover Tammy Wynette's "D-I-V-O-R-C-E," along with a bunch of 1950s and '60s hits, including "Love Of The Common People" "Act Naturally" and others. The Jaye Sisters may have originally been pitched as a pop duo -- they seem to have also recorded a couple of singles for Atlantic in the early '60s. (See also: Darlene Battles' solo stuff.)

Carol Jean "The Carol Jean Show" (New Pioneer Productions, 198-?) (LP)
(Produced by Lyndon Bartell)
This Minneapolis-area band included lead singer Carol Jean, along with Wayne Danberry (guitar, vocals), Roger Carson (vocals, alto and tenor saxophones, grand piano, electric piano... and... anything else you'd like to add, Mr. Carson? Ah. Okay, sure... also "orchestrator" and "bells." Got it. Drummer Gary Foley sings lead vocals on covers of Marty Robbins' "Lord You Gave Me A Mountain" and "House Of The Rising Sun." Bassist Wayne Danberry sings lead on three oldies -- "Johnny B. Goode," "Out Behind The Barn" and Melvin Endsley's "Singin' The Blues." Ms. Jean solos on four songs, including one she co-wrote called "Whispering Sweet Stories," while musical polymath Roger Carson sings on three songs he co-wrote with a guy named Erik West, who apparently wasn't on this record -- "Daybreak," "Renegade Angel" and "The Winner." Perhaps one day the story of Erik West will be told again as well!

Loretta Jean "Broken Dreams And Memories" (Birch Street Records, 1989) (LP)
(Produced by R. J. James & Dave Kling)

Pamela Jean "A New Star In The Western Sky" (New Pioneer Productions, 1985) (LP)
(Produced by Thomas Griep)
La Puente, California's Pamela Jean was about eighteen years old when she cut this album, which seems to be full of original material, including songs such as "City Outlaw," "Outlaw Ladies" and the intriguing "Fallen Little Sister." Looks pretty mainstream, but when I track down an affordable copy and give it a whirl, I'll give you some more info...

Norma Jean - see artist discography

Jeanine & The Country Swingers "Nuthin' Sounds Better" (SyDee Records, 1977) (LP)
This is a very odd and decidedly idiosyncratic album, recorded by Dolores and Willie Monington along with their three grown-up children and a few musician friends from the San Francisco Bay Area. The Moningtons lived in Martinez, California and Dolores was known in the '70s as a motorcycle enthusiast -- on the back cover she's pictured wearing her vest for the Wedded Wheels MC -- and the Jeanine of the band name was one of their daughters. Ms. Monington wrote all the songs on here, though everybody takes turns singing them... And it's a weird mix of styles -- old-timey stuff, country gospel, true twang and some nice, straightforward hillbilly stuff. It's hard to get a handle on exactly where they were coming from, but they did seem to have a lot of fun making this album. The band includes Mark Newsom on drums, Don Paul playing steel guitar, and Doc Quam on fiddle and mandolin -- I believe Quam was also in a band called the Comstock Cowboys.

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.

Russ And Becky Jeffers "...And Smokey Mountain Sunshine" (Royal American Records, 19--?) (LP)
(Produced by Russ Jeffers & Louis Owens)
In 1974, this husband-wife duo started a regular gig playing at the Opryland Hotel, and worked on the road playing concerts at crafts fairs and the like... But Mr. Jeffers wasn't just doing cover tunes -- on this album he includes three of his own original songs -- "Smokey Mountain Sunshine," "When The Blue In My Grass Turns Green" and the rather mopey-sounding, "Does Anybody Want To Sing My Song," as well as "Headed South" by Bill McCallie, who used Jeffers' publishing company. Pete Kirby, Roy Huskey and Buck White are among the studio musicians brought in to back them, while future famous bluegrass fiddler Craig Duncan and banjo picker James McKinney were in their regular Opryland band.

Russ And Becky Jeffers "At Opryland" (Lee Ann Records, 19--?) (LP)
The Jefferses continued their tenure at Opryland for several years, also working the county fair circuit and other gigs as they came along, including work at Busch Gardens and Dollywood. In addition to these 1970s albums, they have self-released a bunch of stuff, well into the digital era.

Karen Jeglum & Gene Kennedy "Door Knob Records Presents..." (Door Knob Records, 1981-?) (LP)
(Produced by Gene Kennedy)
A duets set featuring Gene Kennedy, owner of the Door Knob label, and Karen Jeglum, a professional backup singer in Nashville, who started out as part of Christy Lane's road show, then moved into studio work. Door Knob was one of the last real notable indies to crack into the Country charts, fielding singles as late as the early '80s... The liner notes to this album say that Kennedy and Jeglum had a couple of singles chart before recording this album, but if so, it wasn't nationally; no mention of it in Billboard, at least. Anyway, they had a hand-selected Nashville studio crew that included Stu Basore and Russ Hicks on steel guitars, Benny Kennerson playing piano, and Arlene Harden and Bobby Harden singing backup

Betty Ann Jennette "Tootsie Sings Country" (Harvester Records, 19--?) (LP)
(Produced by Jeff Newman)
An obscure private-press album, featuring mystery gal Betty Ann Jennette... So far the only clue about her career comes from the album's back cover, which features liner notes by appliance store owner Bill Myers, who also hosted the Goodlettsville, Tennessee TV show, "Country Junction," which Jennette performed on. Although the cover photo shows her sporting a hairdo reminiscent of Norma Jean, circa 1965, this disc appears to be of a later vintage, with several covers songs from around 1966-67 (Lynn Anderson's "Ride, Ride, Ride," Loretta Lynn's "You Ain't Woman Enough" and Dolly Parton's "Put It Off Til Tomorrow") capped off by Merle Haggard's, "Today I Started Loving You Again," which started life as a single B-side in early 1968 and finally charted in '69. If I had to guess -- and apparently I do - I'd tag this as a 1969 release, possibly late '68. Funny album title: if anyone knows about a connection between this gal and bar owner Hattie Louise Bess, please feel free to let me know.

Jennifer "Just Jennifer" (BOC/Audioloft Records, 197--?) (LP)
(Produced by B. J. Carnahan)
Yes, that's "just Jennifer," like "just Cher," although a quick scan of the back cover will reveal this Missouri gal's full name to be Jennifer Wise (nee Jennifer Vogel). Although she's pals with producer B. J. Carnahan -- who was pals with Johnny Cash -- this album has far less twang to it than you'd expect from inside the orbit of the Macks Creek, Missouri mom-n-pop indie scene... Basically, this is a fairly generic, low-energy set of wispy folk-pop, crooned by Ms. Wise in a Karen Carpenter-esque milkiness. She wrote most of the songs on here, including two co-written with Carnahan. She also covers "Welcome To My World," David Mallett's "Garden Song" (aka "Inch By Inch," most famously recorded by Pete Seeger) and the Hank Williams oldie, "I'm So Lonesome I Could Cry," which is the most country-sounding track on the record. The album was arranged by Brad Edwards, who presumably also plays on the sessions (no musician credits, alas...) Not much to get worked up about on this one, though I did like the pedal steel on the Hank song.

Sherri Jerrico "County Heartaches" (Crazy Cajun Records, 1978) (LP)

Eilen Jewell "Boundary County" (2006)

Eilen Jewell "Letters From Sinners And Strangers" (Signature Sounds, 2007)

Eilen Jewell "Heartache Boulevard" (EP) (Signature Sounds, 2008)

Eilen Jewell "Sea Of Tears" (Signature Sounds, 2009)

Eilen Jewell "Butcher Holler: A Tribute To Loretta Lynn" (Signature Sounds, 2010)

Eilen Jewell "Queen Of The Minor Key" (Signature Sounds, 2011)

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.

Jim & Jennie "I'm Free From Sin" (Jessup Records, 1970) (LP)
(Produced by Kearney Barton)
Straight-up old-fashioned bluegrass gospel, featuring lead vocals by the husband-wife duo of Jim Hall and Jenny Hall, along with assorted friends and relations as The Dixie Mountain Ramblers... Their son, Lynn Hall, plays bass while Tommy T. Hunter chimes in on banjo; Mr. Ed Patrick saws a bit on the fiddle and sings lead on one track, as does the group's bass vocalist, Ernest Welch. Lastly, there's Mr. Welch's son, David Welch on mandolin. Jennie Hall also recorded an album under her own name a few years later, also on Jessup Records.

Jim & Jennie "...And The Pine Barons" (1999)
A different band than the gospel duo above, this alt-country bluegrass crew featured bandleaders Jim Krewson and Jennie Benford, who were based in Philadelphia. There's also an unrelated band called the Pine Barons, just in case anyone is keeping track.

Jim & Jennie And The Pinetops "Little Birdie" (Overcoat Records, 2000)
This clattersome, Philadelphia-based quartet brings back some of the rowdy rambunctiousness of the old-timey stringbands... Their original material, about half of this album, is pretty strong, though it's also nice to hear them pay homage to their inspirations -- among them, the Carter Family, Flatt & Scruggs and the Delmore Brothers. I have to confess that although he's a very strong songwriter, Jim Krewson's vocals irritate me in that he's too strained and exaggeratedly twangsome, a little too schtick-y, if you see what I mean. His partner Jennie Benford mostly sounds pretty nice, though, and the two harmonize in a pleasantly unruly fashion. Benford reminds me quite a bit of Hazel Dickens, and it's quite appropriate that she pays Hazel homage, in a version of "Won't You Come Sing For Me." Nice record, definitely worth checking out.

Jim & Jennie And The Pinetops "One More In The Cabin" (Overcoat Records, 2002)
This is the first J&J album that's composed of all-original material, and it's a real doozy. Kinda hard to believe that these perfectly-crafted old-time-ish tunes were not in fact written by some mistily-remembered contemporary of the Carter Family or Grandpa Jones, but rather by a bunch of modern urban hipsters who just happen to have an uncanny grasp of the oddball mountain music of the early 20th Century. They get the constrained emotionality and matter-of-fact narrative tone just right, as well as the subject matter -- song after song starts with a familiar set-up, and it's really only until you open the CD booklet that you can be sure that these songs were actually written by the band. These folks aren't hotshot superpickers, and they purposefully sing all raspy and off-key, yet unlike oh, so many of their twangcore contemporaries, the Pinetops don't come off as pretentious dilettantes. Rather, this is a band that is respectful and utterly in command of the genre they've adopted, and their material is emotionally resonant and entirely convincing. In fact, I'd say that if at least some of these songs don't work their way into the official bluegrass canon, something is seriously wrong in the world. Highly recommended!

Jim & Jennie And The Pinetops "Rivers Roll On By" (Bloodshot Records, 2005)
It was definitely worth the three-year wait for fans to get this new Jim & Jennie album... They've rosined up the bow and spun another enchanting set of bluegrass and old-timey stringband music. Oddly enough, even though they've moved from the artsy Overcoat label onto the ostentatiously altie Bloodshot, the Pinetops have actually inched away from the clattersome anarchy of their previous albums towards something closer to straight-up bluegrass and folk. The softer, more professional approach gives their work a more authoritative feel, yet just as they seem to be settling into a more mainstream bluegrass mode, they gently drift into space-rockish terrain on a couple of tunes towards the end of the album, which helps keep things a little freaky. There's something compelling about this band -- the group has a singular presence, exuding a freshness and enthusiasm unlike that of many mainstream bluegrass crews -- Jim & Jennie take respectful advantage of the mountain music style without subsuming themselves to tradition and, as always, they dazzle us with a remarkable blend of naifish simplicity and canny innovation. Recommended!

Jim & Jody (Pearson) "We Have This Moment Today" (Sword & Shield Records, 1982) (LP)
A charming country gospel set by an evangelical husband-wife duo who were also owners of the Double J Ranch in Stamford, Nebraska. They went to Texas to record this at the Sword & Shield studio in Arlington, with a very country-sounding backing band, including Junior Knight on steel guitar and banjo. There are two originals on this album, Jim Curry's "Jesus Feet," and Janet Potter's "You And Me And The Lord," though most of the material comes from established gospel artists such as the Gaithers and the Stamphills, as well as a version of Hank Williams's "I Saw The Light." Plenty of twang (yay!) and although neither one of them can stay in tune, they're so enthusiastic it's pretty hard not to like 'em.

Jim & Shirley "Night Time In Seattle" (Topaz Records, 1973-?) (LP)
(Produced by Kearney Barton)
This disc from Seattle, Washington is the very epitome of a custom-printed vanity album, with married couple Jim and Shirley Taylor singing a few of their favorite contemporary songs, as well as their own composition, "Night Time In Seattle," which doubtless they hoped would become known as a hometown anthem. This disc may be a bit questionable from a twangfan's perspective, with a dash of country amid more soft-pop/lounge-y vocals. Still, along with covers of Kui Lee, James Taylor and the Bee Gees, they play some Kris Kristofferson and Hoyt Axton, along with Billy Craddock's "Rub It In," so they can join the country club. There's no date on the disc, but the autographed copy I've seen had a handwritten date of June 20, 1973, so at least we know it precedes the one below. Anyone out there know more about these folks? I'd love to hear their story.

Jim & Shirley "Sea Of Love" (Tareco Records, 1974) (LP)
As with their previous album, this is the very epitome of a custom-printed vanity album, with married couple Jim and Shirley Taylor singing a few of their favorite contemporary songs. It was clearly kind of a family Christmas card kind of album, with photos on the back of her horseback riding and him golfing... The repertoire includes some country-ish stuff, like "Country Roads," "Horse With No Name," "Snowbird" and "Tie A Yellow Ribbon," while on the poppier end of the spectrum, there's more dubious soft-pop material such as David Gates' "If," Neil Diamond's "Sweet Caroline" and "Killing Me Softly." I dunno if I'd call this one a "good" record, but it's definitely very, very Seventies!

JJ White "Janice & Jayne" (Capitol Records, 1991)
Janice and Jayne White were a sister-act duo who wrote a lot of their own material... Their voices are twangy and rural, but the music is both slick and lethargic, monotonous, even. I suppose fans of the Judds or the Forresters might appreciate the family harmonies, but this isn't a very fun record.

Erika Jo "Erika Jo" (Universal South, 2005)
(Produced by Tim DuBois, Rick Giles & Steve Mandile)
A winner in the cable TV talent show, Nashville Star, teenager Erika Jo stood a good chance at becoming one of Nashville's new elite. Her major-label debut is a little too rock-pop at times, which is probably a hangover from an American Idol-y TV tilt towards perky, generic pop. But the album's opener, "I Break Things," is a great, upbeat honkytonkish tune that has a bit of Tanya Tucker sass to it, and hopefully it's a sign of good things to come. Like many younger singers, Jo doesn't quite sound like she has the real-life emotional experience to feel convincing on songs of heavy heartbreak and regret... But give her some time -- we all get kicked around a little, and when you're a country singer, that can come in handy. For fans of the current mix of ornate Nashville twang and fluffy, teenybopper pop (ala Lindsey Lohan), this disc might make for a little summer fun... I'll be interested to hear where she goes from here.

Joanie & The Frontiersmen "America's No. 1 Entertaining Western Vocal Group" (Mira Records, 1966) (LP)
(Produced by M. W. Grimm)
Hanging out in Texas, the trio of Hi Busse and Hal Southern and Billy Armstrong backed a gal identified only mononymically as Joanie on a set of country and cowboy standards, mostly oldies from the '40s and 50s. Joanie also cut several singles with the Frontiersmen, so she was probably part of their regular road show. Although this album was recorded at Tommy Allsup's studio in Odessa, it came out on a short-lived label in LA. The liner notes reflect the band's Hollywood roots, with testimonials by Gunsmoke actors Ken Curtis and Milburn Stone. Their comments are strangely informative, however, with Stone recalling appearances he made with the Frontiersmen at rodeos and county fairs; their performances on various TV variety shows such as the Joey Bishop Show are also mentioned.

Joey + Rory - see artist discography

Sarah Johns "Big Love In A Small Town" (BNA Records, 2007)
(Produced by Joe Scaife)
One of the finer examples of the back-to-basics neo-trad country sound of the post-Gretchen '00s... There's lots of egregious twang with tons of fiddle and pedal steel, but unlike the trailblazing Gretchen Wilson, Kentucky-born Sarah Johns doesn't get stuck in macho-chick posturing. This is an album of country love songs, with a minimal use of novelty-song gimmicks and no references to shotguns, booze, tailgate parties or trucks. Thank God. There's only one track -- the milky, heavily-orchestrated "It's Hard To Be A Girl (In A Young Man's World)" -- that dips into the kind of gooey soul-ish pop that '90s femme-stars like Martina McBride and Sara Evans, et. al., made the dominant sound for Nashville women. Nonetheless, Johns keeps herself remarkably true to her country core, and the rest of the album, though tightly sculpted still has some real twang. It's particularly impressive to note that she wrote or co-wrote all the songs on here, making her a bit of a country auteur. Unfortunately, Nashville didn't reward her for her classiness: the album's two singles only made it to the outer edges of the Top 40, and that wasn't enough of a splash to earn her a second album. Pity. It's been a while, but I keep hoping she'll resurface, because modern country sure could use a few more artists with depth like this.

Carolyn Dawn Johnson "Room With A View" (Arista Records, 2001)
(Produced by Paul Worley & Carolyn Dawn Johnson)
Although she dabbles in the glossy, poppy, overwritten style that defines post-millennial Nashville, Johnson still has a lightness of touch that makes some of these songs, like "Georgia" and "I'll Think Of You That Way," kind of compelling. The singles are kind of a mixed bag -- "Complicated" is a glossy, dreary bore, "One Day Closer To You" and "I Don't Want You To Go" both try and infuse more bounce into the formula, but they fall flat -- Johnson's sincere, bright vocals swathed in antiseptic, too-perfect studio production. It's too bad, really; she's an artist I have a natural sympathy for, but her records are simply more of the same mediocre, Martina McBride-ish pop-country "girl" stuff that crowded the radiowaves at the turn of the millennium... You can see why her career has kind of stalled, which is really kind of a shame, but honestly, there's no there there.

Carolyn Dawn Johnson "Dress Rehearsal" (Arista Records, 2004)
(Produced by Dan Huff)
As aggressively "pop" a country album as has been produced in the last five years or so... pretty lavish and heavy on the chiming electric guitars, compact rhythmic hooks and treble-tilting EQ, but also pretty effective at what it's trying to do. To their credit, the label picked two of the more demure, more country-sounding songs as the initial singles, "Simple Life," with it's pert little banjo riff, and "Die Of A Broken Heart," which is a rather nice little weeper... I would have picked those songs, too. The rest of the album, though, is a little bit busy for my tastes, and a few tunes are actually rather jarring -- the cloying pop-gospel of "God Doesn't Make Mistakes," the Stones-y Sheryl Crow-isms of "My Little Secret," the sheer shrillness of "Squeezin' The Love Right Out Of You," the awkward meter of the otherwise sweet "Life As We Know It," etc. Johnson's following the prefab pop diva path of Shania and them other 1990s gals, and while that style is a turnoff for me, more mainstream modern pop-country fans should find this album pretty satisfying. But really... why call it "country"??

Carolyn Dawn Johnson "Love And Negotiation" (Universal/Dancing Lily, 2009)

Carolyn Dawn Johnson "Love Rules" (Universal/Dancing Lily Records, 2010)

Connie Johnson "Love Is What You Make It" (Century VII Records, 1980-?) (LP)
(Produced by David Heavener & Bill Vorndick)
Recorded in Nashville, this would-be Top 40 country-pop outing seems to have mostly been a demo set for executive producer David Heavener, who is credited as composer of six out of ten songs. He doesn't seem to have been in Ms. Johnson's band though two other tracks, "Bits And Pieces" and "Whisper Goodbye," were co-written by Rich Dettman and Tom Hendrickson, who were. No info about Connie Johnson, alas, though she may have been from a small town in northern Kentucky, near the Indiana border: David Heavener also produced some records for radio station WAMZ, Louisville, and she may have been in the orbit of the Lemon Tree Lounge, where he performed. This seems to have been her only album.

Lois Johnson - see artist discography

Nancy Johnson "Mellow Lady" (Tree Frog Records, 1973) (LP)
A private-label folk-acoustic set, with bluegrasser Sam Bush sitting in on banjo, fiddle and mandolin, and fellow New Grass Revivalist Curtis Burch playing dobro...

Polly Johnson "...Sings Songs From The Old Country Church" (Gospel Records, 1962-?) (LP)
A nice, understated, and very well-performed set of gospel standards, along with a little new stuff by composers such as Herb Kallman. This is, relatively speaking, a country set, though perhaps in the same sense as -- oh, I dunno, Eddy Arnold's tribute to Fanny Crosby, or all of those Jimmie Davis albums. Mostly the arrangements hinge on a lightly-tinkled piano, although some spotlight a little bit of guitar and steel... though only a little. Her voice is quite good: it's more in the perfect-intonation style of pop singers like Connie Francis, et.al. though also very much like Skeeter Davis, if she were willing to give it a little more ooompf. No hillbilly stuff here. Originally a farmgirl from South Dakota, Polly Johnson (1940-1964) was probably best known for her part in the booming West Coast country-gospel scene of California's Great Central Valley, most notably her collaborations with Contemporary Christian star Mary Jayne Gaither, who was her duet partner in the early 1960s when they both worked up around Sacramento, including co-hosting a local TV show. Before Johnson moved to California in 1962, she had a fairly dynamic career as a secular country gal. Back home around Rapid City, she appeared on radio and TV and even did a brief tour entertaining US troops in Puerto Rico. Although this album's liner notes make it sound like she got born again after moving out West, research done by hillbilly-music.com makes it clear she was getting active in Christian enterprise before then, having already met Mary Jayne in Minnesota, forming a strong friendship with the young religiously-oriented gal before they both headed out West. Polly Johnson's life ended in a spectacularly tragic fashion when she took a flight to Stockton that crashed after a mentally disturbed hijacker shot the pilots and himself, causing the deaths of all on board. Johnson's death was said to have caused singer Sue Brown, another friend from the Valley, to abandon secular country in favor of evangelical gospel music. As far as I know, this was her first album; no info on who was backing her, though the label identifies itself as a "Don Smith Enterprise."

Polly Johnson "I Found The Answer" (Word Records, 1964-?) (LP)

Polly (Johnson) & Mary Jayne "Singing Together... Like We Did Back Home" (Word Records, 1965-?) (LP)
(Produced by Kurt Kaiser)

Jolie & The Wanted "Jolie & The Wanted" (Dreamworks Records, 2001)
(Produced by Dann Huff)
Very generic, very poppy stuff, with a few glimmers of life, but not much twang. Lead singer Jolie Edwards is perky, for sure, but the bright, bland production doesn't give her much room to do anything interesting. Includes a cover of Paul Davis' '70s AOR hit, "I Go Crazy." Jinkies.

Ann Jones - see artist discography

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

Claudia Jones "Where The Heck Is Marfa, Texas?" (Great American Records, 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."

Diana Jones "My Remembrance Of You" (Newsong Records, 2006)
(Produced by Diana Jones & Mark Thayer)
A rambling, discursive, folkie set, with many songs that take a languid, repetitive approach, like "Pony," and "A Hold On Me." The jingling, blues-inflected guitar work strongly recalls Gillian Welch and David Rawlings, while the introspective, off-kilter lyrics are closer to Kate Campbell's difficult, unusual poetical style. Jones was a winner at the Kerrville Folk Festival, and the contemporary folk sound is pretty dominant in her work, though in a rather challenging form, full of odd time signatures and uneven, angular vocals. Worth checking out, though it's not quite my cup of tea.

The Jones Family "Sunnyland Records Presents The Singing Jones Family" (Sunnyland Records, 197--?) (LP)
(Produced by D. L. Hardin)
Nothing flashy here, just a family band singing their little hearts out amid unpretentious, enthusiastic amateur picking and plunking. Sadly, the liner notes to this budget-issue private press album neglect to tell us where the Jones Family was from, though it does list them by name, with mom'n'dad Dot Jones (rhythm guitar) and D. A. Jones (bass) along with their teenage daughters, Linda (piano) and Rose (drums) all pictured together on the back cover smiling in front of their big mobile home/tour bus with "The Singing Jones Family" emblazoned on the side. This is one of the "beach label" private albums, one of dozens that use the same prefab stock photo on the front, along with a Nashville address for the label. Musically, it's a little more old-school than many indie gospel LPs; not so much southern gospel and slightly more country. It's charming.

Georgette Jones "A Slightly Used Woman" (Heart Of Texas Records, 2009)
The daughter of country superstars Tammy Wynette and George Jones, Tamala Georgette Jones cut her teeth touring and recording with both her parents, especially as a member of her mother's road show. Vocally, she takes after her mom, although she likes to dip into rougher honkytonk themes as well as more romantic material. She's recorded several records for the Heart Of Texas label, as well as some self-released material that's available through her own website.

Georgette Jones "Strong Enough to Cry" (Heart Of Texas Records, 2011)

Georgette Jones " 'Til I Can Make It On My Own" (Heart Of Texas Records, 2013)

Kacey Jones "Men Are Some Of My Favorite People" (Curb Records, 1997)
The solo debut of Kacey Jones, the country comedy grand dame who started out as the lead singer for Ethel & The Shameless Hussies... Jones first came to fame as the co-composer of Mickey Newbury's hit, "I'm The One Mama Warned You About," and after a couple of major label albums, she went indie, founding her own IGO record label.

Kacey Jones "Every Man I Love Is Either Married, Gay Or Dead" (Igo Records, 2000)

Kacey Jones "Never Wear Panties To A Party" (Igo Records, 2001)

Kacey Jones "The Sweet Potato Queens' Big-Ass Box Of Music" (Igo Records, 2003)

Kacey Jones "Every Man I Love Is Either Married, Gay Or Dead – Live" (Igo Records, 2005)

Kacey Jones "Kacey Jones Sings Mickey Newbury" (Image Records, 2006)

Kacey Jones "Nipples To The Wind" (Igo Records, 2007)

Kacey Jones "Kaceyoke, v.1" (Igo Records, 2008)

Kacey Jones "Donald Trump's Hair" (Igo, 2009)

Kim Jones "Leave Him Alone" (Bowen-Arrow Records, 1977) (LP)
(Produced by Jimmy Bowen)
Pretty funky stuff from this Floridian vocalist... She doesn't seem to have composed any of the material on this album, but the song selection is pretty interesting, with a mix of pop and Muscle Shoals-style soul, as well as a hefty dose of modern-day, 'Seventies country-pop. There are songs by Bobby Braddock, Alex Harvey, Dianne Davidson and Jackson Browne, alongside a Holland-Dozier-Holland oldie and some pretty soul-drenched, Memphis-y material. There's kind of a Dusty Springfield-ish, white soul vibe overall, though it's still definitely country.

Lynn Jones "Roses And Candy" (Arpeggio Records, 1972) (LP)
(Produced by Gary Buck & Happy Wilson)
The first LP by Canadian singer Lynn Jones who had recorded three chart-topping country singles and performed on the "Countrytime" and "The Tommy Hunter Show" TV programs... This album includes songs by Harlan Howard, Curly Putman, "I've Been Down This Road Before" by Gary Buck, as well as a couple written by Neil Merritt, with Lynn Jones credited on one track, "Moods Of My Man," which was co-written with Arlene Gordon. This may have been her only album.

Norah Jones - see artist discography

Ramona Jones "Back Porch Fiddlin', Vol. 1" (Happy Valley, 1974) (LP)
Multi-instrumentalist Ramona Jones (1924-2015) was the wife of country music legend Grandpa Jones, and was herself a tireless champion of the Ozarks cultural heritage. On this back to basics set, she plays fiddle, backed by her son, banjo picker Mark Jones, along with bluegrass legend Red Rector on fiddle, hotshot guitarist Ray Edenton, and Joe Zinkan on bass.

Ramona Jones "Stone County Fiddlin' " (Happy Valley Records, 1975-?) (LP)
(Produced by Aubrey Richardson)
As a cultural activist, Ramona Jones worked with like-minded preservationists such as Billy Edd Wheeler and the Simmons Family -- who back her on this album, along with Grandpa Jones and their kids Mark Jones (on banjo and guitar) and Alisa Jones (on dulcimer) as well as Cathy Barton, who picked some mean banjo herself. As advertised, this is a set of fiddle tunes, heavy on old standards such as "Cluck Old Hen," "Devlish Mary," "Eighth Of January" and "Bonapart's Retreat." Ms. Jones recorded prolifically, both under her own name and on various compilations and other projects... It might take a while to track it all down!

Ramona Jones "Family And Friends -- Live" (History Records, 1983) (LP)

Ramona Jones "Lady's Fancy" (County Records, 1984) (LP)

Ramona Jones "Old Time Christmas" (Grandpa Jones Records, 1987) (LP)

Reesa Kay Jones "Simply For You" (Kacountry Records, 1978-?) (LP)
A native of Ottumwa, Iowa, Reesa Kay Jones (1949-2012) performed with various musical groups and stars such as George Hamilton IV, Jack Reno and Tex Ritter and performed on the Opry stage, also making a few records as a solo artist, including this disc, which was her only LP. More than half of the album was cut in Nashville, with the remaining four tracks recorded back home in Ottumwa, and it appears to be of late-'70s vintage, although there's no date on the record itself. Many of the songs are standard country-covers fare, including "gal singer" classics such as "Blue Bayou," "Crazy" and "Don't Touch Me," as well as a version of Chris Smither's "Love Me Like A Man," which indicates she was a fan of Bonnie Raitt's early 'Seventies glory days... Perhaps more intriguing are four songs by Hugo J. Huck -- "A Loser Either Way," "Cheating Side Of You," "I Sing Everybody's Lovesong" and "I'm Putting Back Together -- and though Mr. Huck remains something of a mystery, I believe he was from Frankfort, Michigan, although that may have been a different person altogether. Still, these songs help us date this disc, as Hugo Huck registered several songs with the Library of Congress between 1976-78, including a 1977 version of one on this record, previously titled "You're A Loser After All." Another song, "Sunday Go To Cheating Clothes," is credited to David Heaurener -- this may be a typo spelling of country songwriter David Heavener, though as far as I can tell this is the only recorded version of this song. Unfortunately there's also no information about any of the musicians who backed Ms. Jones, either in Nashville or in Iowa, although she does thank some folks by name, and several of them -- Tony Blew, Doug Ducey, Dale Kerr and Phil Richardson -- also worked with her on a 1980 7" EP, where they were credited simply as "musicians." (Tony Blew is an established blues guitarist who ran a commercial audio production company with Richardson; he also was in a band called TCB that backed several other local artists.)

Lorraine Jordan "Mandolin Rose" (West Station Records, 2002)
A tribute to bluegrass mandolinist John Duffy, co-founder of the Country Gentlemen...

Lorraine Jordan "Road Trip For The Lord" (Self-Released, 2005)

Lorraine Jordan "A Stop In South Port Towne" (Blue Circle Records, 2006)

Lorraine Jordan "Why Don't You Give Jesus A Try" (Blue Circle Records, 2008)

Lorraine Jordan "Christmas In Carolina" (Blue Circle Records, 2008)

Lorraine Jordan "Carolina Road" (Blue Circle Records, 2008)

Lorraine Jordan "Carolina Hurricane" (Rural Rhythm, 2010)

Lorraine Jordan "...And Carolina Road" (Pinecastle Records, 2012)
(Produced by Josh Goforth)
A slam-bang, super-pure set of traditionally-oriented bluegrass, with picture perfect harmonies and solid picking throughout. Mandolinist Lorraine Jordan makes a funny kind of bandleader: she has a great voice, but only sings on a few tunes, letting guitarist Tommy Long sing lead on all but one track, and she's not big on taking solos, either, happy to give the spotlight to the guys in her band. And, hey: whatever works. This is a great record, these are great musicians, and I'm not one to argue with success. There are a couple of well-chosen cover songs, as well as several excellent originals written by Jordan and by various members of her band, including a nice gospel tune, "I Saw The Golden Stairs," which is a fine showcase for their group harmonies. If you like old-school bluegrass, don't miss this one!

Tresa Jordan "3D" (South River Road, 2005)
Pretty darn good. Jordan clearly has commercial aspirations and I'll bet she can make it, if she plays her cards right. This album shows her adept at a variety of Top Country styles, from the relatively rootsy to the sappy and poetic, reaching into the Sara Evans/Martina McBride side of pop-country, while still keeping sight of some good, old gravel-road grit. I didn't expect much from this record, but I was pleasantly surprised... You might be, too.

Sarah Jory "Sarah's Steel Line" (Crow Records, 1981) (LP)
(Produced by P. Richardson)
A child prodigy from Berkshire, United Kingdom, steel player Sarah Jory started her professional career when she was only nine years old, playing live on the BBC backed by the English country-rock group Poacher, who back her on this album. She soon joined the lineup of Colorado Country, and established UK twangband from the 1970s, and went on to start her own band and later worked in the road bands of stars such as Van Morrison and Eric Clapton.

Sarah Jory "Sarah On Steel" (Sarah Records, 1984) (LP)
(Produced by Sarah Jory & John O'Boyle)

Sarah Jory "Cross Country" (Sarah Records, 1985) (LP)
(Produced by Sarah Jory & Nick Smith)

Sarah Jory "The Way To Survive" (Sarah Records, 1987) (LP)
(Produced by Sarah Jory & Colin Bainbridge)

Joy And Allan "Sing Real Country Music" (Western District Recordings, 1981) (LP)
(Produced by Ray Batten)
A husband-wife duo from Australia with deep country roots... According to the liner notes by Tex Banes, singer Joy Pertzel started her musical career back in 1944, performing in the Pertzel Sisters, a family act formed with her sister Dawn. The Pertzels were a popular duo throughout the 'Forties and 'Fifties, and when Joy later married Allan (last name still a mystery...) she formed a new duo with her husband. This album is mostly traditional country, including a fair chunk of western cowboy material, along with a few nods to the modern era, such as a cover of Donna Fargo's hit, "Funny Face," and Shel Silverstein's sexist anthem, "Put Another Log On The Fire." There's some yodeling, a bit of Hank Williams, some Stephen Foster, and a couple of Aussie-specific tunes, "Shearers Jamboree" and Slim Dusty's "When The Rain Tumbles Down In July." The liners indicate that Joy & Allan were planning a second album of original material, although I'm not sure if that one got recorded as well.

Clyde Joy & Willie-Mae Joy "25 Joy-ous Years" (Soundcraft Associates, 1963) (LP)
(Produced by Daniel N. Flickenger)
New England-based bandleader Clyde Joy started his career in 1938 and built up a regional following for his band, the Country Folks. He married his wife, Willie-Mae, in 1945 and brought her into the band as the bassist... This edition of the Country Folks included fiddler Curly King, a veteran of the Canadian country scene, and picker Mike Longworth from Tennessee, joining Joy's own Maine-based band.

Clyde Joy & Willie-Mae Joy "Remembering The Old Time Songs" (Sioux Records, 19--?) (LP)

Clyde Joy & Willie-Mae Joy "Country Folk Jamboree" (Sioux Records, 19--?) (LP)

Clyde Joy & Willie-Mae Joy/Various Artists "Most Requested Songs" (Raycraft Records, 19--?) (LP)
This untitled LP sported a blank white cover and apparently came with a booklet entitled Clyde And Willie-Mae Joy's Book Of Most Requested Songs, Poems, Pictures, which one assumes was sold at their live shows. The Joys sing both duets and solos, and share the spotlight on Side One with singer Mike Longsworth, who solos on a song called "Swampwater," while fiddler Curley King plays "Camptown Races" and "Casey Jones" on Side Two. About as "private" and DIY as it gets!

Mary Joyce "Country Monday" (Safari Records, 1977) (LP)
(Produced by Charlie Fields & Johnny Howard)

Mary Joyce "Country Gospel" (Meadowlark Records, 1978) (LP)
(Produced by Bernie Vaughn & Bob Angel)
A country-flavored gospel album featuring nine original songs composed by Bob Angel... The Meadowlark label was from Grand Forks, North Dakota, though Ms. Joyce went to Nashville to cut this disc at Doc's Place studio, and had a top-flight band behind her, old pros such as Sonny Garrish, Bunky Keels, and Greg Galbraith on lead guitar, with vocal backing by the Allen More Singers. Producer Bernie Vaughn plays violin and arranged the songs.

Mary Joyce "North Dakota Country" (Meadowlark Records, 1989) (LP)
(Produced by Bob Angel, George Hastings & Wayne Edmonton)
Ten years later Ms. Joyce, a Fargo native, went back to Nashville to cut this centennial tribute to her home state. She reunited with several of the Nashville cats who backed her a decade earlier, including Grega Galbraith and Sonny Garrish. Bob Angel once again provided a lot of the original material, as did other locals from Grand Rapids and environs, such as Johnny Bass, George Hastings, Brent Hermans, Verena Sattler, and Bruce Stewart. Although there is some gospel material, most of the songs are regional pride numbers such as "My Heart's In North Dakota," "North Dakota Woman," and "You, And North Dakota Nights," as well as a historical number called "Ballad Of Teddy Roosevelt."

Teri Joyce "Kitchen Radio" (Self-Released, 2009)
(Produced by Teri Joyce & Justin Trevino)
More great indie twang from Texas. This is one of those records that I find myself listening to over and over, and liking more and more... And there's a lot to enjoy. Backed by Americana stalwarts such as guitarist Dave Biller and pianist T. Jarrod Bonta, Joyce brings a pure DIY, indie-twang sensibility to this record, full of earnest feeling and pleasantly human imperfections. Best of all is her grasp of old-school country, although old-school of a certain variety... On the opening tracks, particularly on "Don't Look For Me 'Til You See Me Comin'," and "Belly Up," she magically captures the feel of the twangier end of the early '70s commercial country scene, the buoyant novelty songs you'd hear on the radio, circa 1972, sandwiched between the syrupy countrypolitan hits... Indeed, the album's title track is an ode to the old days, when country radio was less tragically prefab and predictable; she's also got an anthem to Austin and aching ballads, like the evocative "Bluebonnets For My Baby." Roger Wallace provides some fine, Haggard-esque harmonies and duet vocals on several tunes... All in all, a fine record from an artist worth keeping on your radar.

The Judds - see artist discography

Wynonna Judd - see artist discography

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 many other early rockers, returned to his country roots as the years went by...

Judy & Whitey "Pioneer Valley Jamboree" (Jay-Vac Records, 1968-?) (LP)
The Pioneer Valley Jamboree was a country variety show hosted weekends on radio station WREB, in Holyoke, Massachusetts... It was started in 1963 by a guy named Lee Roberts, and showcased numerous regional artists, including the husband and wife duo of Judy Ann Reed and Vernon A. ("Whitey") Carrier (1919-1976.) They were featured performers in the late '60s, professionally nicknamed "The Bluegrass Sweethearts." This album featured mostly bluegrass-y/traditionally oriented material, tunes like "Nine Pound Hammer," "Ashes Of Love," and "Blue Kentucky Girl," with a hefty dose of sentimental mountain songs and gospel tunes such as "Where The Soul Of Man Never Dies." The original Pioneer Valley Jamboree fell apart at some point, but the name was revived in the early 1980s for a local folk/bluegrass festival. Whitey Carrier passed away in 1976, in his late 'fifties; several years later, Judy Carrier released at least one album under her own name.

Julienne "Ten Songs From Small Town Band" (1981) (LP)
(Produced by Bob Berry & Russell Brutsche)
You owe me one. I mean, seriously, I took a bullet for you guys on this one. Okay, so it's my own fault I got all excited when I saw pedal steel player Bobby Black had signed up on this rather iffy-looking album, and covers of "The Gambler" and "Don't It Make My Brown Eyes Blue" seemed to confirm the relative country-ness of the project, even if that's not the particular brand of country or country-pop that I prefer. However, this Northern California offering is more in the AOR "pop" camp, with Side One of the disc devoted to original songs by singer-pianist Russell Brutsche, while Side Two is mostly cover songs, with Brutsche singing lead on a few tracks. None of it thrilled me. Julienne Chaillaux was one of those Joan Baez/Judy Collins-influenced '70s gals who come off a little stilted and affected, in an almost art-song kind of way... Her nod towards Crystal Gayle is kind of telling, as there's a similar feel. I don't think this album was really her "fault," though; she seems mostly to have been a vessel for Russell Brutsche's own pop ambitions, but a lot of his work seems overwritten and in need of a little paring down. I suppose it's possible they had a lounge act as well -- the liner notes mention gigs at venues such as Digger Dan's in Gilroy, California, and other up in Canada. The record itself was recorded in San Jose.

Julie & The Electric Rangers "Front Burner Country" (Lehua Records, 1982) (LP)
(Produced by Charles Bud Dant & Herb Ono)
Recorded in Honolulu, Hawaii, this album captures a band led by itinerant twangsters Julia Gudmundson Shultz (1954-1989) and her husband, drummer-vocalist "Uncle Roy" Schultz (1951-2019) who were originally from Washington state and Minnesota, respectively. The Schultzes both had long musical backgrounds -- she was a multi-instrumentalist who started out in a Bellingham, WA band called Mossy Rock, which played regionally along the west coast of Canada and the US. In 1978 she moved out to Hawaii and was playing in a group called The Foundry when she and Roy met, later forming the Electric Rangers, which became one of the go-to country groups on Oahu. They're backed here Andrew DeVelschow on banjo and steel guitar, lead guitarist J. W. Lathrop and John Schatt on bass. The repertoire is basically that of an Emmylou Harris cover band, a bunch of well-chosen "girl" songs from the country-rock era, including a slew of tunes from various Emmylou albums -- "Amarillo," "Even Cowgirls Get The Blues," "Feelin' Single, Seein' Double," "I'll Go Steppin' Too" and "Two More Bottles Of Wine" -- along with Lacy J. Dalton's "Hillbilly Girl With The Blues," Dolly Parton's "Jolene" and Tammy Wynette's "Your Good Girl's Gonna Go Bad," and even a version of "Jackson." There are two original tracks on here, "Seven Years In Prison (Seven More To Go)," and Julia Schultz's "So Lonely," though mostly this seems to be a set of songs that were just plain fun to sing. The Rangers played a lot of gigs on the islands and probably acted as a house band for numerous touring stars (Loretta Lynn seems to have been a friend of theirs). They also toured on the mainland, mostly in their old Pacific Northwest stomping grounds. In the late 'Eighties the Schultzes were thinking of winding things down and settling down after the birth of their son Jonas; in 1987 Julia fell ill while working in Nashville and was eventually diagnosed with cancer; she succumbed in 1989 after a two-year struggle. Roy Schultz later moved south, to Texas and to Alabama, where he formed a new group and continued to record as the Uncle Roy Band. (Thanks to the Icelandic heritage newsletter Logberg-Heimskringla for their extensive obituary of Ms. Gudmundson Shultz.)

Junie Lou "...Sings For You" (Process Record Company, 1961-?) (LP)
A mix of secular country and gospel from a gal who was born in Pennsylvania hill country and sang on local radio stations and in regional jamboree shows, starting out in a duo with her sister, Bonnie Jo, while still a kid. She formed her own band, the Pine Hedge Ranch Hands, and worked with regional country empresario Howard Vokes on a radio show led by a fella named Uncle Early. At the time of this album, Junie Lou was working a gig at a venue called the Shady Lake Jamboree, backed by a vocal trio apparently made up of three of her younger sisters -- Linda, Nancy and Sue -- who were billed as the Jamboree Sweethearts. There's no release date on here, but the liner notes mention that the song "Caroline" was penned in honor of Caroline Kennedy's fourth birthday, so that would place this session sometime in '61. The disc was pressed by Rite records, for those of you who keep track of such things.

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Hick Music Index
Sisters Who Swung: Women In Jazz & Blues

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