Nathan "Jimson Weed" (Nettwerk Records, 2004)
A very nice, very pretty record, with an enchantingly twee mix of melodic country-folk and soft indiepop... Fans of Hem, Jolie Holland or the Be Good Tanyas should love this album as well... I have no idea what any of the songs are about, but I sure like listening to them. If you're looking, perhaps, for a rootsy album that you can put on when folks who "don't like country" are around, this is a mighty fine option. Recommended!

Nathan "Key Principles" (Nettwerk Records, 2006)

Carmen Neal "A Tribute To Patsy Cline" (Sutton Records, 1963-?) (LP)
A mystery disc: what you see is what you get. The mega-budget label Sutton Records opened shop in 1963 with scores of cheapo knockoff albums of dubious provenance, including this Patsy Cline tribute set. The complete absence of online biographical information about Ms. Neal suggests she was a fictitious persona, and possibly these tracks were repackaged from elsewhere. This disc was also issued on the equally sketchy "Shield" label. Other than that, no info to go on.

Kay Neal & Sam Neal "The Best Of Sam And Kay Neal" (Blake Records, 1971-?) (LP)
I can't tell you much about this duo who presumably were husband and wife, and who also released a string of singles for the Memphis-based Blake label around 1971-74. They frequently recorded as a duo, although Sam Neal also cut a bunch of tracks under just his own name, including an earlier single from 1966 ("I'd Rather Say Hello"/"I Won't Be Disappointed") on the equally obscure Allendale label. I couldn't find any biographical info on these two, but any leads would be welcome...

Teresa Neal "Teresa Neal" (Playboy Records, 1977) (LP)
(Produced by Eddie Killroy)
This gal seems like one of those rootsy types who got caught in the Nashville system and had it change their work... Teresa Neal recorded this lone album of wispy-voiced countrypolitan, recording mostly of her own material, but the studio crew failed to light a spark under any of these songs. Partly it's due to milky, strings-heavy countrypolitan stylings of the time, though she also didn't seem able to rise above the mix... Russ Hicks throws in some nice pedal steel and songwriter Dave Kirby was moonlighting as a session picker on here as well. Although this was her only album as lead artist for almost two decades, Neal decamped to Austin and joined the scene there, as well as touring with and backing a number of artists over the years. This album's kind f underwhelming, but worth checking out I suppose... Haven't heard her later indie albums yet...

Teresa Neal "Green Light" (Madre Music, 2003)
(Produced by Teresa Neal)

Teresa Neal "Who I Am" (2013)
(Produced by Will Sexton & Bryan Cumming)

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.

Bonnie Nelson "Meet Bonnie Nelson: International Truck's Sweetheart Rose" (Squire Records, 1976) (LP)
(Produced by Kelso Herston)
A local performer from Colorado Springs, Ms. Nelson worked steadily through a procession of smalltime gigs in Colorado and Nevada, including several albums as part of the F.A.B. folk-pop trio. She methodically built up a regional fan base and work resume that is minutely (and charmingly) detailed in the liner notes, then apparently in 1972 Nelson won a contest sponsored by radio station KPIK, and was signed to a five-year deal offered by producer Kelso Herston, who more or less took over her career. She went to Nashville to cut a few singles for United Artists in 1973-74, and later recorded this album, with some studio pros backing her up on a set heavily populated with covers of hits from "lady" country stars. There are a couple of Patsy Cline classics, "Top Of The World," stuff like that, along with a few new tunes. Oddly enough, nothing she did made a dent on the charts... not until over a decade later, when she cracked into the Back Forty with a couple of singles in the late 1980s. (Thanks to Kim Sloan's blog for helping piece this info together...)

Bonnie Nelson "Good Nights Make Good Mornings" (Hop-A-Long Records, 1977) (LP)
(Produced by Travis Turk & Kelso Herston)

Bonnie Nelson "Live At The Country Palace" (Hop-A-Long Records, 1977) (LP)
(Produced by Travis Turk & Kent Hopper)
A concert show with some tracks spotlighting Speedy Haworth and his band, Stateside Express, as well as Bob Britton, and even Terry McMillan in there, playing the harmonica. This was recorded at The Country Palace nightclub, in Littleton, Colorado ... It's mostly a predictable set of cover tunes, though one standout is "Love From A Woman's Point Of View."

Bonnie Nelson "Meet Bonnie Nelson" (Door Knob Records, 1987) (LP)

Paula Nelson "Coming Home" (Luck Records, 1998)
I hate to say it, but this set by Austin local Paula Nelson, daughter of Willie Nelson, is pretty underwhelming. Maybe most of my reaction is due to my disinterest in bluesy, white-girl soul, but the meandering musicianship and rambling songwriting also take their toll. All songs were written by Nelson herself, but the only one that stood out as having a memorable chorus is "No Uncertain Terms"; otherwise there just wasn't much for me to focus on. Willie plays acoustic on a few tunes, but his contributions don't really stand out, either. If you like bluesy gals like Sue Foley, Angela Strehli and Rory Block -- or even Tanya Tucker -- then this might be of interest... But I really wouldn't go out of my way to track it down. (Sorry!)

Paula Nelson "Fireflies"

Tracy Nelson - see artist discography

Tara Nevins "Mule To Ride" (Sugar Hill Records, 1999)
Can't say as I've been much of a fan of fiddler Tara Nevin's Dead-ish stoner-billy band, Donna The Buffalo, but this solo album is rock solid from beginning to end. It's heavy on traditional bluegrass for the first half, and then she starts sneaking in some great country tunes, most of which she wrote herself. Guest include Ralph Stanley (of course), Mike Seeger, Don Rigsby, and some soulful vocals by Jim Miller, her bandmate from Donna The Buffalo. Nice record! Recommended.

Tara Nevins "Wood And Stone" (Sugar Hill Records, 2011)
(Produced by Larry Campbell)
An exceptionally bouncy, really fun Americana set featuring singer Tara Nevins of the jam-band, Donna The Buffalo. These songs are more focussed and solidly twangy than the more loose-limbed music of the Buffalo band... and man, are they catchy! The album opens strong with the rollicking title track, "Wood And Stone," and gets more intricate and mysterious as it goes along... But consistently, this disc is a real earbender, the kind of record that stays in rotation at my place for a long time. Recommended!

The New Coon Creek Girls "So I'll Ride" (Turquoise Records, 19--?)

The New Coon Creek Girls "Playing Our Respect" (Turquoise Records, 19--?) (LP)

The New Coon Creek Girls "Pictures" (Turquoise Records, 19--?) (LP)

The New Coon Creek Girls "The L&N Don't Stop Here Anymore" (Pinecastle Records, 1994)

The New Coon Creek Girls "Ain't Love A Good Thing" (Pinecastle Records, 1995)
(Produced by Sonny Osborne)
One of their most solid albums, with singer Dale Ann Bradley taking the lead vocals... Nice picking, and a very firm sense of the sound they wanted -- a pleasant, cohesive, modern melodic bluegrass set. Recommended!

The New Coon Creek Girls "Everything You Do" (Pinecastle Records)
(Produced by Sonny Osborne)
A sweet all-gospel album, gets a little gooey in places, but mostly it's pretty solid. The repertoire includes several distinctive songs as well as standards... If you enjoyed Dolly Parton's classic country gospel recordings, this album has a very similar feel.

The New Coon Creek Girls "In Concert At Renfro Valley" (Pinecastle Records)

The New Coon Creek Girls "Our Point Of View" (Pinecastle Records, 1998)
(Produced by Sonny Osborne)
Dale Ann Bradley is the lead vocalist here, although Ramona Church Taylor sings lead on one of her own original compositions, "Heaven's The Way To Go," one of several gospel songs that are standouts on this album. Actually, most of the secular songs are a bit syrupy for me, hinting at the Alison Krauss-ization of Bradley's sound as a solo artist. It's all okay, reasonably traditional sounding but a little slick overall. Worth checking out... and as ever, the all-gal vocal harmonies are mighty, mighty sweet.

Heidi Newfield "What Am I Waiting For " (Curb Records, 2008)
Twangier-than-average modern Nashville stuff from the former lead singer of Trick Pony. She still goes over the top pop, but she makes some nice nods to tradition along the way... I like that she opens the album with a Lucinda Williams cover ("Can't Let Go") and while she may be a little more Tammy Wynette-meets-Shania Twain that truly twangy, it's still better than a lot of the other stuff you'll hear on the radio these days.

Juice Newton - see artist discography

Mark Newton/Various Artists "Follow Me Back To The Fold" (Rebel Records, 2000)
Bluegrasser Mark Newton has been carving out a reputation as a champion of straightforward, country-tinged bluegrass singing -- the melodic mid-'70s style that derived from Jimmy Martin and Larry Sparks, then eventually -- sadly -- gave way to the overly ornate, saccharine, "adult-oriented" pop-fusion of Alison Krauss and her ilk. This new album is a picturebook sampler of all that's best in bluegrass balladry; and, as a tribute to women in bluegrass, includes stellar contributions from some of the best wimmin singers and pickers in the business today. Lynn Morris, Claire Lynch, Rhonda Vincent and a slew of other gals all chip in, and the results are lovely. With no-nonsense arrangements that emphasize the melody and sidestep the pseudo-countrypolitan ornateness which plagues bluegrass today, this record is a delight from start to finish. Highly recommended!

Chris Nielsen - see artist discography

Suzanne Niles "Suzanne Niles" (Key International Records, 1983) (LP)
(Produced by Robby Adcock, C. Peter Leggetts & David Vaught)
A very "Nashville" album, even though it was recorded in LA. Not sure if Ms. Niles was originally from California, but these sessions were recorded in Hollywood and Van Nuys, with musicians who were definitely not country insiders. Although Niles was clearly being pitched as a potential early '80s country diva, with big hair and a Flashdance-era, new wave-ish look, similar to that of established stars such as Barbara Mandrell and Lynn Anderson. (Just dig those spandex tights with the bluejeans "pockets" printed on the back!) This mostly seems to have been a songwriters demo set, with four songs by composer Chuck Rains (who did make it in Nashville), a couple more by Bob Morrison, and one original by Niles, "He Only Comes Callin' In Her Mind." Most of the musicians don't ring a bell, though just in case I'll mention a few names: producer David Vaught plays bass and synthesizer, along with Randy Mitchell and Josh Leo on guitar, steel player Gary Morse, and Bruce Windham doing double duty on lead guitar and fiddle. Among the many backup singers a couple are worth noting -- Susie Allanson and Carol Chase both made a few waves as solo performers around this time. Not sure what the story was on Ms. Niles herself... in the liner notes she thanks some old-time country dudes, notably Ferlin Husky and Billy Walker, so I suppose she may have worked as a backup singer at some point... Also possible that she later moved into singing Christian music, though I couldn't confirm it was the same person.

Lynn Nilles - see: Lane Brody

The Nite Capps "The Nite Capps" (American Heritage Music Corporation, 197-?) (LP)
(Produced by Gene Capps & Dean Narramore)
A family band from Idaho, led by patriarch Gene Capps, along with his wife Darlene and daughters Carla and Darla... In his liner notes Mr. Capps explains that actually the band's history stretched back to the Depression, when his parents toured around the Southwest and in California as the Capps Family. He joined the band as a kid in 1940(!) was was still plugging away when this record was made more than three decades later, and didn't retire the band until 1999. Most of the tunes are country standards, many from the bygone era of the 1940s, although there are covers of a couple of more contemporary hits, such as Mac Davis' "I Believe In Music" and Tanya Tucker's "Delta Dawn." Gene Capps claims arranger credits on many of the oldies, although there is one original song on here, Darla Capps' "Lonely." Not sure when this LP was released, but it was either late, late '70s or early, early '80s -- sideman Bobby Allen joined the band in 1978.

Michelle Nixon & Drive "It's My Turn" (Pinecastle Records, 2003)
Her turn, indeed. Hope it comes again soon. This is a fine, unpretentious truegrass album, with a few nice cover tunes, a couple of good gospel tunes, and some mighty fine vocals by Virginia native Michelle Nixon. She also shares the mic with bass player Jim Green, who, while he doesn't consistently match her vibrancy on his own solo numbers, still has a pleasantly sincere delivery, and sounds great when they sing harmony. Nice album -- recommended!

Michelle Nixon & Drive "What More Should I Say?" (Pinecastle Records, 2005)
Aw, shucks... you don't have to say anything... just keep singing and pickin' and making such great records. Another winner from Ms. Nixon and her crew... Modern, traditionally-oriented bluegrass performed with great energy and heart. Recommended!

Michelle Nixon & Drive "By Request" (Pinecastle Records, 2005)

Candy Noe & Roy Ferguson "Roy Ferguson & Candy Noe" (Benson Sound, 19--?) (LP)
The husband-wife duo of Roy and Candy Ferguson met in the 1960s when they were working in the Tulsa music scene -- Roy played guitar for Johnny Lee Wills for over twenty years, and also fronted his own group, Roy Ferguson and The Royals, which often backed big-name country stars on tour through Oklahoma. Singer Candy Noe originally came from Ohio, where as a teen she sang in the Marion Jamboree -- moving to Tulsa, she landed a job on country deejay Billy Parker's local TV show. Noe and Ferguson met in '65, got married in '66, released an album together, and opened Roy & Candy's music store in the 1970s, which for three decades was a fixture of the Tulsa, Oklahoma arts scene. The Fergusons played with the Wills band until 1984, when Johnny Lee Wills died, and continued to perform locally right up until Roy passed away in 2015. As far as I know, this was their only album as a duo, although Roy Ferguson played guitar on a bunch of albums over the years...

Candy Noe "Candy Noe" (Branch International, 1978-?) (LP)
A solid solo set from sooner songbird Candy Noe... Most of these tracks originally were released as single, including "Before Charlie Gets Home" and "In Between Honky Tonks," which were on a single back in '76, and "Drive It On Home To Me," from 1975, et. al.

Bonnie Lou Nolan "Bonnie Lou Nolan" (RCA-Camden, 1971) (LP)
Bonnie Lou was the daughter of Canadian country singer Dick Nolan,

Bonnie Lou Nolan "Your Little Deeds Of Kindness" (RCA-Camden, 1974) (LP)

Inger Nordstrom & Rhinestone Band "Hey Conductor" (Rhinestone Records, 1997)

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!

The North Brook Gang "Saddle Sore And Busted" (NBG Records, 1981) (LP)
(Produced by Glen Heffner, Tim Berry & The North Brook Gang)
Kind of a mystery disc here from North Carolina... This album is packed with original material, mostly written by lead singer Ronnie Gantt or lead guitarist Randy Johnson, along with three songs composed by female lead singer Pam Gantt. I couldn't find any mention of this group outside of the record itself, though the Gantts seem to have settled down in Vale, NC; the album was recorded at the Fantasy Sound studios in nearby Granite Falls, not too far away from Charlotte, NC.

Bobbi Northrup & Reid Northrup "Sunday Afternoon" (Tarot Records, 19--?) (LP)
(Produced by Tony Balunas)
A charmingly rough-edged (yet ambitious) set of regional twang by a husband-wife duo who were active in the Northwestern country music scene. The Northrups were from East Berne, New York (near Schenectady) and performed with various backing bands for many years in the late '60s and early '70s, most notably this group, the New Arkansas Travelers. The Northrups also acted as officers in Eastern States Country Music, Inc., a boosterism group that also included Doc Williams, and were in the general orbit of the WVVA Wheeling Jamboree. By the early 'Eighties, Mr. Northrup had retired from the stage and moved into a top position with the Altamont Fair, managing the three-county venue up through the 1990s, when an economic downturn led to a falling out with the fair's board of directors. As tensions mounted, Mr. Northrup retired and moved to Florida, where he passed away in December, 2000. As far as I know, this was their only album, but it's a doozy. It opens with a gloriously flawed rendition of "Jackson," where both singers flub their delivery, and seem to forget the lyrics while their hotshot guitarist keeps the hot licks coming. There are nods to Johnny Cash, hints of Dave Dudley, covers of Merle Haggard, Hank Williams and Mickey Newbury, as well as a slew of original tunes. The album includes two songs credited to Reid Northrup (the death-row dirge, "13 Steps" and "Knock Knock") and a couple by guitarist Dick Spensley ("Jody," "Restless Kind"), as well as one other possible original, "Short And Sweet," by B. Slater. All in all, a fine example of "real people" regional twang, with some lively, committed performances, particularly my Bobbi Northrup, who combined a mousy little voice with a wicked, Wanda Jackson-style snarl. Fun stuff!

Marie Norway "Marie Norway" (Foxfire Records, 1976) (LP)
(Produced by Jerry Fox & Peter Troisi)
Originally from Massachusetts, singer Marie Norway cut this album with the help of several Boston-area and regional bands, including members of Wheatstraw, The Mission Band, Them Fargo Brothers, and The Estes Boys. She also played clubs like the Hillbilly Ranch and toured throughout New England with various pickup bands. This album is mostly packed with cover songs, though she also plays several locally crafted songs, including "For A Song" which was co-written by producer Jerry Fox, and "Calvin Cole," written by Allen Estes, as well as her own "Green Eyed Monster." Eventually, Norway made a go of it in Nashville, moving there a couple of years after cutting this album. She stayed there, plugging away for years doing commercial work for TV and jingles, as well as some songwriting and whatnot... After returning to New England, she briefly hosted a local country music TV show up in Norfolk, MA, after which she left show business and moved, decisively, to North Carolina. Decades later she digitized her recordings and reissued this album (with some bonus materials) on the collection below. Norway also wrote a show business memoir called "It Started With A Dare," which talks about her career in the 1970s and '80s.

Marie Norway "Country Dreams: Marie Norway's Greatest Hits" (Third Rock Records, 2007)
Originally out on CD, this album mostly gathers tracks off of her self-titled 'Seventies LP, along with some stuff from her later singles...

Toy Norwood "Live! At Village Creek State Park, Arkansas" (1981) (LP)
This album was more of an old-timey folkloric/outsider art kind of thing... Ms. Norwood was an older resident of Parkin, Arkansas who played folk music at the Village Creek State Park, on the state's Eastern border. She's backed here by two younger guys, songwriter Bill Haymes (who lived in Little Rock) and Terry Mitchell, who was from nearby Memphis.

Alecia Nugent "Alecia Nugent" (Rounder Records, 2004)
(Produced by Carl Jackson)
Carl Jackson produced this fine album by talented newcomer Alecia Nugent, who is pretty much the only bluegrass artist I can think of offhand who doesn't play an instrument on her album (!) but just lets her voice do the talking for her. And hey, when you've got Larry Cordle, Carl Jackson, Ronny McCoury and Ben Isaacs backing you up, then "just" singing seems a whole lot easier! The album kicks off with a sweet, hot fiddle riff from Aubrey Haynie, establishing some solid truegrass cred, and while Nugent moves between 'grassy numbers and country-ish heartsongs, she does so with a sense of absolute calm and authenticity... This is a for-real, rural country singer, a roots singer on par with Patty Loveless or Lee Ann Womack, and while you can imagine her easily cracking into the Nashville network, it's pretty darn nice hearing her go the traditional route for now. There are a ton of fine, fine performances on here, with songs by Cordle and Jackson, and several well-chosen oldies. One highlight is Cordle's "You Don't Have To Go Home," a gentle gospel tune featuring a gorgeous three-way harmony between Nugent and guest vocalists Sonya Isaacs and Rhonda Vincent, who have both skirted along the boundaries of the bluegrass and commercial country worlds. With a debut like this, Alecia Nugent is definitely a talent to keep an eye on... Highly recommended!

Alecia Nugent "A Little Girl... A Big Four Lane" (Rounder Records, 2006)
(Produced by Carl Jackson)
Ever think to yourself, "gosh, bluegrass music's going nowhere"? Well, don't worry too much -- not with talented young'uns like this coming along! On her second album, bluegrass vocalist Alecia Nugent commits herself more fully to a modernist, crossover approach, but unlike Alison Krauss (who she's inevitably compared to), Nugent crosses over towards country, rather than adult pop. You could easily see her making the leap into the Nashville mainstream, but for now, let's enjoy the contributions she's making to the bluegrass world. There's a bit less bounce and twang this time around, and most of the songs don't have choruses or hooks that really leap out at you, but this is an album that'll grown on you and has multiple layers of texture and tone to offer attentive listeners. Plus, she's got one heckuva nice voice. Add producer/banjo plunker Carl Jackson into the mix, and a stable of usual-suspect superpickers (notably, Rob Ickes and Jim Van Cleve...) and guest vocals from Rebecca Lynn Howard, Doyle Lawson, Bradley Walker and Alison Krauss herself, and you've got one heckuva nice record. Keep you eye on this gal, and your ears on this album... they're both gonna be around for a long, long while.

Alecia Nugent "Hillbilly Goddess" (Rounder Records, 2009)
(Produced by Carl Jackson)
A powerful performer, Alecia Nugent has perfected her blend of traditional bluegrass and Top Forty country... This album tilts further towards the poppier end of the spectrum, with a bunch of well-crafted, high-concept ballads, that are just the sort of stuff that Nashville loves. Gushy romantic weepers like "Don't Tell Me (To Stop Loving You)" and "Dyin' To Hold Her Again" are pretty powerful, as are the more overtly chick-oriented self-discovery songs, "The Last Greyhound" and "Just Another Alice." Honestly, I don't know why Nugent isn't a huge Top Forty star by now; she's certainly got the formula down right... But I guess if you're a Top 40 fan who also likes to have an insider edge, you could consider Nugent a hidden secret, an artist whose albums you could give to your friends and have them go, "holy cow!" and wonder why they hadn't heard of her before. There's stuff for more twang-oriented listeners to enjoy, too, including "The Nugent Family Band," a sweet, nostalgic look back at Alecia's days on the traditional bluegrass circuit. There's also the album's gleeful title track, a celebration of low-rent, blue collar life that's sort of like an extended remix of George & Tammy's "We're Not The Jet Set," as well as "The Writing's On The Wall," a stellar hard-country duet with Bradley Walker. It should also be mentioned that the album's producer, Carl Jackson, sings harmony throughout, adding an extra layer of sweetness and authenticity... Whether you're a country fan or a bluegrasser, this disc has a lot to offer. Recommended!

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

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