Arum Rae "Arum Rae" (Hyperreallist Records, 2008)
(Produced by Michael Bongiorno)
Gritty electric blues, seen through an indie-rock/folk filter. Originally released in '06 under the title Too Young To Sing The Blues, this disc features songwriter Arum Rae Valkonen, backed by a solid band of guys that've played with pros such as Ani Difranco, Paul Simon and Tom Waits. The songs range widely, from a robust opening number, "Lookin' For Love," which echoes Lucinda Williams in her more Delta-y moments to more diffuse, spacey material that pulls us further from roots-music turf and more deeply into the orbit of indiedom and its cultural reappropriation committee. It's a strong record with a singular vision; might not be for everyone, but those who are game will really dig it. (Note: this reissue has a different sequencing and fewer songs than the original edition.)

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

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

The Rainbow Valley Boys & Sweetheart "Authentic Blue Grass Music" (Diplomat Records, 196-?) (LP)
Fairly straight-up bluegrass, notable from my end of things for the gal singer referred to only as "Sweetheart" (though I sure wish I knew her real name!) This album has was issued under a few different budget-line labels, with different album art as well. The pressings were pretty cheap, though, and the sound quality was also pretty poor. Oh, well.

Missy Raines & Jim Hurst "Two" (Pinecastle Records, 2000)

Missy Raines "My Place In The Sun" (Mr. Records, 2008)

Missy Raines & The New Hip "Inside Out" (Compass Records, 2009)
(Produced by Missy Raines & Ben Surratt)
Not surprisingly, bluegrass bassist Missy Raines tilts towards the funky and melodic as a bandleader: there's probably no way to avoid it, since every bassist in America just has to learn the "Barney Miller" theme song when they start out, and that's a hard template to shake. This disc alternates between vocal numbers (which are very sweet; Raines has a lovely, inviting voice) and muzak-y instrumental numbers... The too-cute fusion instrumentals don't do much for me (I'd rather hear a few straight-ahead bluegrass breakdowns...) but fans of Bela Fleck, et. al. will dig it. The tracks where she sings are great, though, and fit in nicely with a wide variety of folk/Americana styles. Worth checking out.

Tina Rainford "Silver Bird" (Epic Records, 1977) (LP)
(Produced by Sonny Limbo, Marty Buckins & Drafi Deutscher)
Only marginally country (or marginally successful...) German songwriter Tina Rainford scored a Top 30 hit with the title track, and then dropped out of sight, at least as a recording artist. Several of her songs were recorded by other artists in the 1970s, but her solo career never really took off. You can kind of see why -- this album sounds more like Olivia Newton-John than Tammy Wynette or Loretta Lynn, and the production is vaguely disco-y and 'Seventies-style scary. Then again, once you realize she wasn't a native English speaker, her American accent is pretty impressive. You can skip this album, though.

Bonnie Raitt - see artist discography

Ramblin' "Ramblin' " (Self-Released, 1982-?) (LP)
(Produced by Tom Renfro)
Not to be confused with the Louisiana group above, this cover band from Ponca, Nebraska was formed in the late 1970s and had a sweet tooth for melodic hits and harmony vocals, stuff like "All The Gold In California" by the Gatlins, "Fancy Free" by the Oak Ridge Boys and Johnny Lee's big hit, "Lookin' For Love." They also dug more country-rock type stuff such as "Lyin' Eyes" by the Eagles, and "Third Rate Romance," the 1975 hit by the Amazing Rhythm Aces. The group included lead guitar Mark Brewer, bassist Dan Frohberg, drummer Craig Kleinberg and lead singer Jeff Taylor (1954-2010) as well as his wife, Joan Taylor, on vocals (even though they didn't include her in the band photo...) Although eventually the band broke up, the Taylors continued to perform together at weddings and other local events well into the 1990s and 2000s; Mr. Taylor passed away in 2010 at the age of 55.

Ramblin' Lou & Joanie Marshall's Family Band "...Featuring The Waltz Of New York" (Harmony Records, 1980-?) (LP)
(Produced by Paul David, Murray Hunt & Louis A. Schriver)
Wanna know where the folks from Hee-Haw got all their swell showbiz ideas? Well, it might not have been specifically from this family band from upstate New York, but certainly from countless country revue shows just like theirs. Don't believe me? How about Buck Owens, then? He wrote the liner notes praising these folks, and giving an outline of their decade's-long careers playing old-fashion country both onstage and on the radio. Ramblin' Lou Schriver was a deejay on radio station WXRL in Lancaster, New York and presumably worked on the hillbilly vaudeville circuit as well, or in one of the many echoes of that scene. His wife Joanie was the daughter of another hillbilly performer, Bashful Eddie Marshall, who's joined her by his pal, comedian Armand ("Accordion Zeke") Cory... and check out Joanie Marshall pictured with her badass double-neck guitar, her name inlaid in pearl and everything! There are also several Schriver sprats playing various instruments, and a couple of ringers as well, notably Al Brisco on pedal steel. The songs are mostly covers of bandshell standards such as "Games People Play," "Green, Green Grass Of Home" and "Rocky Top," as well as a few backwoods oldies and gospel tunes -- the title track was written by Louis A. Schriver (not to be confused for his son Louis E. Schriver, who plays the drums). These folks were the real deal, an old-time family band with old-time country roots. Just ask Buck!

Ranch Romance "Western Dream" (Ranch Hand Records, 1989)
(Produced by Ranch Romance & Michael Lord)
A fun, swinging set from this lively all-gal band. Fiddler Barbara Lamb and singer Jo Miller are the best known members of this short-lived Seattle quartet; Lamb went on to do studio work in Nashville and has released a few progressive bluegrass albums as a solo artist, while Jo Miller has been solo ever since Ranch Romance broke up in the 1990s. Here on their debut, they were a force to be reckoned with, updating Patsy Montana's cowgirl swing, with a mix of bouncy hillbilly bop, western swing and some sweet sentimental tunes, all filtered through a distinctly un-grungey rock sensibility... The choice of material is faultless, with a couple of swinged-up Hank Williams covers, some old-fashioned cowboy tunes, a pair of W.C. Handy blues standards and a pair of sublime ballads -- Otis Watkins' "Cowboys & Indians" and the achingly beautiful "Ain't No Ash Will Burn," which Miller later recorded along with Laura Love. This is a fine record, a self-released gem well worth searching for!

Ranch Romance "Blue Blazes" (Sugar Hill Records, 1993)

Ranch Romance "Flip City" (Sugar Hill Records, 1993)
The band's mix of twang and swing takes a tilt towards the hyperactive... There's a definite nod towards Dan Hicks, and his mix of retro styles, but unfortunately, the mood is way too manic on this album -- there's never a moment's pause for listeners to catch their breath, or a quiet moment for any of the songs to sink in beyond the surface level. Guess they were trying to establish their bona fides as a funky-twang party band, but I wish they'd reined it in a little. Also, I can't say I'm wild about Jo Miller's vocals, either... But hey -- is that a boy in the band?? Why, yes, it is! David Keenan pitches in on a slick (but again, overly forceful) guitar... He even sings lead on one song! Producer Tim O'Brien also sits in on a couple of tunes; and Barbara Lamb's fiddle work is a highlight... Overall, though, not much that resonates with me.

Rand And Betty "Crisp Country Mornin' " (Oreana Enterprises, 1977) (LP)
(Produced by Betty Hillman & Rand Hillman)
An album of all-original material written, performed and produced by the Boise, Idaho couple of Betty and Rand Hillman. They both grew up in the rural region along the Snake River and started performing in public at an early age, him working the rodeo circuit and her playing in her family's country band. According to her bio, Betty initially set out on her own and played in bands down in Missouri, presumably in the late 1960s, returning home to meet and marry Rand. They started writing together several years before this album came out: some songs were copyrighted as early as 1971, with her name listed as Betty A. Hillman. The liner notes here only list their own musical contributions -- basically she writes lyrics, sings and plays drums, he sings, writes and plays several instruments. It's not clear, though, if there were other musicians involved: we're informed that another album was in the works, and that they were currently on tour with their "all-girl" band, Wild Honey. Rand and Betty seem to switch off on songwriting and led vocals, though two tracks feature lyrics by Helen M. Nanney, a local religious author who may have been a family member. Rand Hillman got deep into the whole cowboy poet/western music scene, performing at various shindigs and also contributing to the music on Buckaroo Bard, a 1988 documentary about cowboy poet Waddie Mitchell. Mrs. Hillman went back to her musical roots and self-released a CD full of yodeling songs and other western material, billed as Betty Adel, which may have been her maiden name. (No idea whether that second album came out... though I sure am curious about the Wild Honey band!)

Lynda Rask "Lynda Rask" (Stop Records, 1972) (LP)
(Produced by Tommy Hill)
Born in Battle Creek, Michigan, Lynda Rask made her professional debut at age eleven when she took the stage at the Green Valley Jamboree, a local venue hosted by hillbilly singer Rem Wall. She seems to have regularly performed as a teen, opening locally for numerous national stars before moving to Nashville around 1970 and recording this album while still in her teens. Ms. Rask also released a string of singles in the early 'Seventies, although an upcoming second album mentioned in a 1973 newspaper article may not have materialized.

Rattlesnake Annie (Anne McGowan) "Rattlesnakes And Rusty Water" (Rattlesnake Records, 1980)
(Produced by Annie McGowan)
A self-produced album by Texas-based songwriter Anne McGowan (aka Rattlesnake Annie), This is a pretty stripped-down and unpretentious, bluesy set, as much influenced by Jimmie Rogers and the '60s folkies as by more modern country types. Not mind blowing, but kind of an interesting footnote to the whole "outlaw" scene... Sorta similar to Townes Van Zandt, I suppose. After recording this disc, McGowan set up shop as a "true country" heroine for the adoring twangfans in Europe; it could be argued that country listeners back here in the States were a little more discerning.

Rattlesnake Annie "Country Livin' " (1986)

Rattlesnake Annie "Rattlesnake Annie" (CBS Records, 1987) (LP)
(Produced by Buddy Blackmon & Rattlesnake Annie)
An all-star cast backs McGowan on this sleek major-label offering... Recorded both at Willie Nelson's maverick Pedernales Recording Studio and at several Nashville locales, this disc reprises a couple of the tracks on her independently released Country Livin' album, with Willie himself duetting on "Long Black Limosine" and folks like Vassar Clements, Jerry Douglas, Johnny Gimble, Lonnie Mach and Charlie McCoy pitching in to buoy Annie's vocals. It's an iffy triumph of DIY indie-osity: the material is good, but her limitations as a vocalist are inescapable. Worth checking out, I suppose, though it didn't wow me.

Rattlesnake Annie "Indian Dream" (Rattlesnake Records, 1993)

Susan Raye - see artist discography

Red Meat "Meet Red Meat" (Ranchero Records, 1997)
Well, I guess this is probably the one record most likely to cement my reputation as a too-serious country music curmudgeon. Red Meat were Oakland, California's premiere honkytonk novelty band, and though a lot of folks love these guys, I found this first album to be a bit of a disappointment, particularly since I'm such a big fan of one of the main Meat grinders, bassist and harmony singer Jill Olson. Mostly, I just don't like the endless novelty song quality, in particular the low-key redneck/trailer trash stereotypes, which aren't as vulgar here as most rock-oriented twangcore albums, but they still drag the material down. Great picking and playing, but the songs don't have enough of an emotional core to reach me as a listener.

Red Meat "13" (Ranchero Records, 1998)
Again, the band's musical skill is readily apparent, but both the playing and the songwriting seem too broadly drawn, and too into kitschy novelty-isms (chicken pickin' rhythms galore, twangy songs about S&M, job layoffs and going on the wagon...) Produced by Dave Alvin, the record sounds clean as a whistle, and the instruments are all given room to breathe. It's not bad, by any means, but thematically speaking, it does seem to under-utilize depth that the band actually has at its disposal.

Red Meat "Alameda County Line" (Ranchero Records, 2001)
On another outing with Dave Alvin, the Meaties decide to emphasize their musical chops a bit more, with plenty of solidly delivered, fat-toned Buck Owens riffs -- less twang, more rhythm, producing what I think is their strongest album to date. This album emphasizes the band's considerable musical chops, with plenty of solidly delivered, fat-toned Buck Owens riffs -- less twang, more rhythm. Also, the lyrical attack is less overtly novelty oriented than on previous albums, which tended to bog down in exaggerated humor and WTS gags. There are still several funny songs, like Scott Young's genuinely hilarious car repair ballad, "Under The Wrench", but here the goal is more one of humorous wordplay, rather than rigorously enforced dopiness. There are also some timely tunes, such as Jill Olson's "Midwest Blues", and the title track, "Alameda County Line", which both reflect a growing local sense of disillusionment with a Bay Area that's shifted from a haven of alternative culture into a traffic-jammed, wildly overpriced consumerist war zone. The album also features a couple of nice live tracks, tucked away at the end of the CD, that highlight the band's charming live presence. Plus, what a treat to hear Jill Olson singing lead once again! Recommended!

Red Meat "We Never Close" (Ranchero Records, 2007)

Redmon & Vale "Redmon & Vale" (Dreamworks Records, 1999)
A duo featuring Allison Redmon and Tina Vale...

Red, White & Blue(Grass) "Red White & Blue(Grass)" (GRC Records, 1973)
Ginger and Grant Boatwright originally hailed from Birmingham, Alabama, but when they moved up North to join the folk scene in Chicago, they morphed into RW&BG, one of the most experimental and commercially successful of the progressive 'grass bands in the early '70s. Their first album featured stellar picking by banjoist Dale Whitcomb and multi-instrumental whiz kid Norman Blake, who contributed plenty of hot licks and some sweet original songs as well, including his own "Ginseng Sullivan" (later recorded, in a much more satisfying version, by guitarist Tony Rice). Along with a few dazzling instrumentals, the album's musical highlight is a perky rendition of John Stewart's classic, "July, You're A Woman." More controversial were the band's stabs at a grass-classical fusion, heard in the oceanic orchestral prelude to the otherwise rootsy "Linda Ann," which features some fine vocals by Blake (despite an overall goopiness which makes the song seem a bit sluggish...) The CD reissue (also called Guaranteed) includes several bonus tracks which are listed as "previously unreleased," although I'm pretty sure I remember some of them, such as their lavish rendition of Stephen Stills' "Love The One You're With" coming from the band's second album, which I also owned as a kid... This album has its odd moments, but is definitely an honest document of its time, and has a lot of real charm to it. (See also: Ginger Boatwright.)

Red, White & Blue(Grass) "Pickin' Up" (GRC Records, 1973)

Julie Reeves "It's About Time" (Virgin Records, 1999)
(Produced by Scott Hendricks & Trey Bruce)
Looking at the flashy album art, I thought, "oh jeez -- it's another Shania Twain wannabee..." but was pleasantly surprised to hear the disc's opening salvo of upbeat, semi-rowdy, rompy-stompy tunes like "Trouble Is A Woman" and "Party Down," songs that stand out like chunks of Kentucky coal amid the increasingly glossy pop fare that was passing for "country" in Nashville at the time. She's got a Tanya Tucker/Trick Pony rocker-gal thing going on, and for the most part it works pretty well. I mean, this isn't my kinda music -- I wouldn't put it on for fun at home -- but I'd still rather hear twangy stuff like this on the radio than pretty much anything Martina McBride or Garth Brooks has to offer. Midway through, Reeves changes focus and slows down to croon a few ballads, and again, while it's not completely perfect honkytonk heaven, it's still way better than average. Pity Reeves hasn't made an album since this one: she was clearly one of the most promising new artists of her day. (And, no, as far as I can tell, she was not related to Jim Reeves...)

Ronna Reeves "Only The Heart" (Mercury Records, 1991)

Ronna Reeves "The More I Learn" (Mercury Records, 1992)

Ronna Reeves "What Comes Naturally" (Mercury Records, 1994)

Ronna Reeves "After The Dance" (River North Records, 1995)

Ronna Reeves "Day 14" (River North Records, 1998)

Regina Regina "Regina Regina" (Warner Brothers, 1997)

Rita Remington "Sounds Like Songs Of Loretta Lynn" (Pickwick Records, 1974) (LP)
(Produced by Shelby Singleton)
Though she also cut a few original-material singles, Rita Remington was primarily known as a "soundalike singer," one of those talented few who were elevated from anonymous studio work and given a chance to cut a few albums under their own name, but still mostly budget-label releases where she covered the hit material of star artists. I'd always assumed that hers was a stage name, although it turns out several women really are (or were) named Rita Remington... Unfortunately I couldn't find much biographical info about this particular country singin' gal... Originally from McPherson, Kansas, her birth name was Rita Unruh, and she seems to have married and moved back to near Wichita after about a decade trying to make it in Nashville. Ms. Remington first seems to have been tried out as a chart artist, scoring a minor Back Forty hit with an "answer song" that mirrored one of Conway Twitty's hits back in 1973; her highest charting song was a 1982 single called "The Flame," which peaked at #76. This initial LP includes cover versions of nine Loretta Lynn classics, with Remington doing a remarkably good job of imitating Lynn's voice on some (though not all) the tracks, although the unidentified backing band sounds a little lackluster. This album was reissued with all the same tracks in 1980 as Sounds Like Songs Of Loretta Lynn with "FEATURING COALMINER'S DAUGHTER" emblazoned across the cover in order to capitalize on the popularity of the Loretta Lynn biopic of the same name. Three other albums followed, and Remington also appeared in actress Carol Channing's 1978 country music revue, although she completely dropped off the radar in the early 1980s. In later years she does seem to have done a few low-profile local appearances at small venues around McPherson -- I guess it's just another cautionary tale of how Music City can chew up even the most talented artists. Still, she did get the chance to make several albums, which is a lot more than most folks can say!

Rita Remington "Country Girl Gold" (Plantation Records, 1977) (LP)

Rita Remington & The Smokey Valley Symphony "My Melody Of Love" (Plantation Records, 1977) (LP)

Rita Remington "Magical Musical Memories" (Plantation Records, 1978) (LP)

Rita Remington "The Country Collection" (Sun Records, 2012)

Kimmie Rhodes - see artist discography

Sandy & Donna Rhodes "The Lonesome Rhodes" (RCA Victor, 1967) (LP)
(Produced by Felton Jarvis)
A completely charming folk-country outing, sort of like the Kimberlys or Gale Garnett, but better. Great backstory on this one, as well: hailing from Memphis, the Rhodes sisters were daughters of regional celebrities Dusty Rhodes and Dot Rhodes, singers who recorded for Sun Records in the old days, and who hosted a local TV show that the whole family performed on. Skeeter Davis caught wind of them and championed the gals at RCA, recording some of their original material and urging Chet Atkins to sign off on this album. It's a great record, simple, charming, with the gals singing sassy pop-country crossovers that mix light go-go stylings with a mod-country vibe that reminds me of Waylon Jennings. You can sense that the RCA studio crew weren't quite as hip or as funky as they wanted to be, but if you like the girl-group tinged '60s stuff by Skeeter Davis and Connie Smith, you'll want to check this out. Sandy and Donna went on to forge a truly remarkable career as backup singers singing with some of the best Southern soul and pop artists of the 70s, notably Al Green and O.V. Wright. They sang backup and recorded their own material as RCR, or the Rhodes Chalmers Rhodes trio, with Sandra's husband Charlie Chalmers as the third voice. In addition, both Sandra and Donna recorded their own solo albums, though more solidly in a soul and pop style. This early Nashville folk-pop album, at the beginning of their careers, is a winner... Give it a spin, if you get a chance!

Debbie Rich & Dave Sear "Friends" (Steamboat Records, 1983) (LP)

Sue Richards "A Girl Named Sue" (ABC-Dot Records, 1974) (LP)

Sue Richards "Sweet Sensuous Feeling" (ABC-Dot Records, 1976) (LP)

Kim Richey -- see artist profile

Amy Rigby " 'Til The Wheels Fall Off" (Signature Sounds, 2003)
A longtime fixture on the New York indie-altie/power-pop scene, songwriter Amy Rigby has given the world another little gem with this fine, episodic album. It's not an entirely cohesive work, as she shifts from somewhat dense, introspective rock songs to folkie acoustic numbers and back again... Not that I have a problem with artists who won't limit themselves to one style of music, it's just that the the transitions aren't always that smooth. Nonetheless, in this case the parts are more than the sum of the whole, and a handful of songs on here made this one of my favorite records of 2003. The blisteringly hilarious novelty song, "Are We Ever Gonna Have Sex Again?" made me laugh out loud when I first heard it: it's the all-too-familiar tale of the modern-day couple whose erotic life has been curtailed both by busy schedules and everyday routine; the tart, too-true lyrics and Rigby's dead-on delivery make this an instant classic. Other favorites include the opening track, "Why Do I," a power-pop exploration of the neurotic impulse towards self-sabotage, and "Don't Ever Change," a touching embrace of normalcy and imperfection in those we love, and in acceptance of the quirky flaws of the world at large. As with the other two songs, it's Rigby's wry, gentle, deft observations that make this tune such a winner. Overall, this album shows its greatest appeal in its sense of maturity and un-corny wisdom; it's nice to see that as Baby Boom indie-rockers age and mellow out that they can still make such great music.

Jeannie C. Riley - see artist discography

LeAnn Rimes - see artist discography

Nita, Rita And Ruby "Rock Love" (Bear Family Records, 1985)
This so-called "supergroup" featured three of the most promising female singers of the 1950s: the Carter Family's Anita Carter (known for her perfect pitch and crystalline voice), Rita Robbins (sister and duet partner of yodeler Don Winters), and Ruby Wright (the daughter of country stars Kitty Wells and Johnny Wright). Producer Chet Atkins put these gals together and helmed the sessions that led to a string of eight singles released between 1955-57, including many with a slick pop-rockabilly feel.

Nita, Rita And Ruby "Whose Baby Are You?" (Jasmine Records, 2022)
This updated collection includes all the trio's songs from the 1950s, including a few previously unreleased tracks and a bunch of solo stuff as well, thirty-three tracks in all!

Jean Ritchie/Various Artists "Field Trip" (Greenhays Records, 1954)
A fascinating album in which one of America's supreme folkloric artists drew close the connections between American old-time music and its British and Celtic roots. Traveling through England, Ireland and Scotland on a Fulbright scholarship, Ritchie collected many wonderful performances from the locals, of well-known songs such as "Pretty Polly," "The Cuckoo's Nest" and "Barbara Allen," then contrasted the Old World versions to the ones she learned as a child in Appalachia. This is a great record, which still holds its charm, all these decades later. Recommended!

Jean Ritchie "Ballads From Her Appalachian Family Tradition" (Smithsonian Folkways, 1961)
The great 19th Century American scholar James Francis Child was a bit premature when he proclaimed the British and Irish ballad tradition moribund and fit for a bit of academic taxidermy. The Harvard professor's miscalculation is ably demonstrated in this set of songs that Appalachian folk phenomenon Jean Ritchie learned as a child and committed to to record during the opening days of the Kennedy administration, over a half century after Child concluded his songcatching efforts. All the songs here are versions of tunes gathered in Child's monumental, multi-volume English And Scottish Popular Ballads, but sung in the local variant forms that Ritchie learned from her Kentucky kith and kin. And, man! What great performances. Ritchie sings these old murder ballads and morbid epics with a simplicity and authoritativeness that cuts past the centuries and makes the old tales live again. This is really storytelling and folklore at its best -- the horrific nature of these old songs, in which sisters kill sisters and jealous, cuckholded husbands hack down their rivals is made magnetic in her chillingly matter-of-fact presentation. These are some of the finest, most engrossing versions of "Little Musgrave," "The Unquiet Grave," "Barbary Allen" and other classics that you will ever hear. A riveting record -- highly recommended!

Bobbie Roberson "Was Young Love Born To Die" (Bolivia Records, 1979) (LP)
(Produced by Paul Douglas, Mike Tracy & Randy Stutler)
An African-American gal from Brewton, Alabama, Bobbie Roberson sang both country and soul music, with a distinctive voice that fit perfectly into both genres. Around 1969, she met her husband Franklin Edwards while living in New York City and joined his soul band called The Founders, which also recorded on the Bolivia label. They worked in New York for about five years before she decided to return to the quiet rural life of her hometown, and it was a few years later while on a trip to nearby Pensacola that she was recruited by a local promoter to cut an album of country stuff, music she listened to and sang as a child, and had a deep affinity for. She's backed by Randy Harper on piano, Dan Lang (guitar), Tammy Odom (bass), Andrew Shelnut (drums), Buzz Stutler (violin) while Jerry Wallace provides some particularly solid backing on steel guitar. Ms. Roberson made a few waves at the time, traveling to Nashville and performing at the Grand Ole Opry, though ultimately the record failed to break through nationally. In addition to this album, she released a string of singles between 1979-81 under her own name, some were soul tunes while others were solid country tracks. And as many country (and soul) singers before and since, she turned to the church in later years and

Julie Roberts "Break Down Here" (Mercury Records, 2004)
A sweet set that bridges between folkish Americana and Sheryl Crow-y commercial country. Roberts excels on romantic acoustic numbers such as "Unlove Me" and "I Can't Get Over You," although the album stretches into more upbeat country material as well. Some songs are turnoff, such as the too-perky "Just 'Cause We Can" and the drippy, confessional "The Chance," but these missteps are more than balanced by stronger, more resonant material throughout the length of the album. There are snarly wisps of Tanya Tucker and Lucinda Williams in her voice, counterbalanced with a mellowness that makes Roberts seem an unlikely candidate for the Top Country radio... Yet she has a strong, distinctive presence that may bode well for a longer career; only time will tell. In the meantime, folks who are looking for a pleasant, listenable and intelligently produced rootsy record, this disc may fill the bill. Worth checking out!

Julie Roberts "Men & Mascara" (Mercury Records, 2006)

Julie Roberts "Good Wine And Bad Decisions" (Tres Pescadores Records, 2013)
Richly textured country-soul, ala Dusty Springfield and Bobbie Gentry, with Roberts following her own muse amid a fickle music industry... It's a classy, ballad-oriented sound that doesn't succumb to the same rock'n'roll temptations as, say Shelby Lynne... Worth a spin!

Robinella & The CC Stringband "Robinella & The CC Stringband" (Big Gulley Records, 2000)

Robinella & The CC Stringband "No Saint, No Prize" (Big Gulley Records, 2001)

Robinella & The CC Stringband "Robinella & The CC Stringband" (Columbia Records, 2003)
I honestly, simply, don't get the attraction. I mean, there's nothing wrong with this set of laid-back, acoustic-based, jazz-tinged Americana crooning... But I can't figure out how it wound up being released on a major label and all... Singer Robinella Contreras is adequate, but not arresting; it's like hearing a confident, if somewhat blase, local gal singing at open mic night, working with a band that's into mixing standards in with the hillbilly stuff. Not amazing, but nice enough. My guess is, they're hoping to tap into the Norah Jones fan base... and who knows? It just might work.

Robinella "Solace For The Lonely" (Dualtone Records, 2006)

Robinella "FestivaLink Presents: Robinella At MerleFest -- 4/27/07" (Festivalink.net, 2007)

Betty Jean Robinson - see artist profile

Lillian Southard Robinson "Leave A Little Sunshine Through The World" (Custom Fidelity/Robinson Records, 1971-?) (LP)
(Produced by G. Carl Robinson)
This is one hundred percent the kind of super-goofy "private press" album that snarky hipsters like to make fun of... I don't really want to join in that chorus, but I will admit that this is definitely not a record I would put on when company was over, or, really, if anyone else was in the room. Mrs. Robinson was an older woman, I'd guess somewhere in her seventies, and according to the liner notes written by her husband, she'd been writing poems and songs by the truckload for many years, and although this was her first album, she had previously cut a few singles, including some country-gospel tracks recorded in Nashville. With backing by a group called Jim Hardy's Gospel Country Band, Mrs. Robinson plows through a dozen of her own original compositions, separated into one album side of gospel material and the other a set of patriotic and regional pride songs, including a trio of tunes that literally sing the praises of California, Texas and Tennessee. Though there's no date on the disc, this appears to have come out around 1970-71, when several of these lyrics were copyrighted. It's hard to assess the songs themselves, because her vocals (which are challenging to begin with) are inexplicably poorly recorded and pretty much indecipherable; this stands in contrast to the much crisper recording of her awesome anti-drug, pro-Jesus single, "Get Your Fix On Faith Avenue, Man," which was cut several yeas earlier in Nashville. The poor sound quality may be somewhat tragic, because what would otherwise be priceless novelty material is instead made notorious because of the egregious technical flaws: the band sounds fine, but she seems to have been recorded down in the bottom of an empty well in an abandoned cow pasture. Oh, well. I'm not sure, but there's probably a fairly good chance that the backing band was also known as Jim Hardy & His Country Rockers, in which case they were from around Memphis, which also matches up with Robinson's own Tennessee roots.

Nell Robinson "In Loango" (Red Level Recordings, 2009)

Nell Robinson "On The Brooklyn Bridge" (Nell Robinson Music, 2011)
(Produced by Nell Robinson & Jim Nunally)
A city gal with country roots, Nell Robinson grew up in Alabama, but made it to the San Francisco Bay Area, where she's hooked up with a number of talented folks on the local bluegrass scene, including mandolin player John Reischman, fiddler Gregory Spatz and newgrass gal Laurie Lewis (who co-wrote one of the songs on this album...) This album pays tribute to Robinson's roots, with a mix of original songs and soulful standards as well as short spoken bits with her family members recalling the old days in the family's rural home. Worth noting is charming fact that Robinson only started singing in public recently ("I sang by myself in the car for 30 years, and ventured out to sing in public at age 45," she notes cheerfully...) and released this album at the brisk young age of fifty. She has the voice and soul of a much younger person, as heard on several bouncy, banjo-led tunes, and taps into the old-school sound of Depression-era Southern music with great authenticity and charm... If you enjoy DIY bluegrass and old-timey tunes, give this one a spin!

Nell Robinson & Jim Nunally "House And Garden" (Nell Robinson Music, 2013)

The Roches - solo, duo & trio

Judy Rodman "Judy" (MTM Records, 1986) (LP)
Her debut album, which includes "Until I Met You," a #1 hit in 1985

Judy Rodman "A Place Called Love" (MTM Records, 1987)

Carrie Rodriguez & Chip Taylor "Let's Leave This Town" (Train Wreck Records, 2002)
This fine, fabulous album pairs the grizzled old-timer Taylor up with fellow singer/songwriter Carrie Rodriguez, a classically trained 20-something fiddler who he met at the South By Southwest music festival in Austin. This album marks the emergence of the pair as a full artistic partnership (Rodriguez having backed Taylor on the road, before he encouraged her to step up and share the vocal chores...) The result is nothing short of stunning, a set of lively, intelligent and remarkably catchy acoustic Americana, music that draws evenly on hard country, socially conscious folk and Texas-style western swing. In addition to revealing a remarkable new talent (Rodriguez), this album is notable for its invigorating effect on Taylor, drawing him back from the brink of humorlessness, and putting that sparkle back in his eyes. He's still world-weary and a keen observer of foolish pride and other foibles, it's just he seems to be in a better mood about it... Anyway, this was one of the best new albums I'd heard in a long, long while. Recommended!

Carrie Rodriguez & Chip Taylor "The Trouble With Humans" (TMG/Lone Star Records, 2003)
Less bouncy and more downcast than their first disc, but no less brilliant or soulful. A fine set of richly-written, beautifully performed songs... These two harmonize together really well!

Carrie Rodriguez & Chip Taylor "Angel Of The Morning" (EP) (TMG/Lone Star Records, 2003)

Carrie Rodriguez & Chip Taylor "Red Dog Tracks" (Back Porch Records, 2005)

Carrie Rodriguez & Chip Taylor "Live From The Ruhr Triennale" (MRI Records, 2007)

Carrie Rodriguez "She Ain't Me" (Manhattan Records, 2008)

Carrie Rodriguez "Live In Louisville" (Luz Music, 2009)

Carrie Rodriguez "Love And Circumstance" (Ninth Street Opus, 2010)

Carrie Rodriguez "Give Me All You Got" (Ninth Street Opus, 2013)
(Produced by Lee Townsend)

Marlys Roe "All The Way" (Dellwood Records, 1977-?) (LP)
(Produced by Link Wray)
Singer Marlys Roe started her musical career while still living in South Dakota, as the lead singer of a local rock band called the Talismen, where Roe credibly emulated the sultry pop-soul sound of Dusty Springfield... She recorded a couple of late 'Sixties singles for ABC Records, a major label deal that generated some buzz, but not enough to make it on the national scene. (Although her early singles definitely weren't country music, she did get to work with producer/pianist Glen D. Hardin, who later helped anchor the Emmylou Harris Hot Band...) Marlys Roe later married drummer Jerry Kroon, a fellow South Dakotan who made his way to Nashville and became a prolific session musician. Relocating to Music City, Roe also got into the country scene, cutting a couple of singles for GRC and later this album, which is often referred to a "tax scam" record, though it could also more charitably be called a demo disc, featuring a brace of tunes by Bobby Bond, Don Cook, and Mitch Johnson... (Thanks to the Bad Cat blog for providing some background info on Ms. Roe's biography...)

Jean Romaine & Al Shade "Pennsylvania Mountain People" (Aljean Records, 1965) (LP)
The husband-wife duo of Al Shade and Jean Romaine led a regional band in central Pennsylvania throughout the 1960s and '70s... Shade's day job was as a country music radio DJ at station WLBR, in Lebanon, PA... while Romaine did a radio show on the weekends. The were pretty traditionally-oriented and rooted in their local community, though they attained some national cult notoriety for their 1979 album (below) which included an old-fashioned disaster-song recitation about the meltdown at the Three Mile Island nuclear power plant in nearby Harrisburg, PA. I believe Pennsylvania Mountain People was their first self-released album.

Jean Romaine & Al Shade "The Little Dogwood Tree" (Aljean Records, 1967) (LP)

Jean Romaine & Al Shade "More Yodeling" (Aljean Records, 19--?) (LP)

Jean Romaine/Al Shade/Debbie Ann "Potter County Was Made By The Hand Of God" (Aljean Records, 1973) (LP)

Jean Romaine & Al Shade "(Potter County Was Made By The Hand Of God, But The Devil Made) Three Mile Island" (Aljean Records, 1979) (LP)

Jean Romaine & Al Shade "Dolly Parton, You're A Lady" (Aljean Records, 1982) (LP)
Even though it doesn't say so on the album jacket, this duo from Myerstown, Pennsylvania must have gone to Nashville to record their album, because the picking is pretty good and the the production is pretty solid, with a slick-but-rootsy late '70s/early '80s Top Forty sound. No clue as to who that studio crew might have been, though, because there are no credits... Neither Al or Jean were electrifying singers, but they wrote some good songs and really pour themselves into the material. Several songs were written by and feature vocals from Faron Shade -- not sure who we was, their son, maybe? -- and again, it's good, strong amateur-hour stuff. As DIY country vanity pressings go, this one's pretty darn good.

Carol Roman "Little Richie Johnson Presents..." (Little Richie Johnson Records, 1980) (LP)
(Produced by Little Richie Johnson)
A housewife from Broomfield, Colorado, Carol Roman was a country gal who grew up in Pennsylvania, then pursued a career in music which led to work as a backup singer for Hank Williams, Jr. and other '60s/'70s stars. After retiring to the Denver suburbs, she fell into the orbit of Southwest promoter Little Richie Johnson, who produced this record and provided many of its original songs. The album includes one original song written by Ms. Roman, "I Just Wanna Be Free," as well as three songs from another composer in Johnson's roster, Nadine Moore, who penned "Let It Be," Sweet Freedom" and "Take Your Wings And Go." Unfortunately, the musicians in the backing band aren't mentioned, though as far as I can tell, Ms. Roman didn't have a band of her own at the time.

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

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

Lulu Roman "At Last" (Homesick Entertainment, 2013)

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

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

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

Linda Ronstadt - see artist discography

Caitlin Rose "The Stand-In" (ATO Records, 2013)

Juanita Rose "Juanita Rose" (Lee Mac Records, 1974-?) (LP)
Born and raised in Kinston, North Carolina, singer Juanita Rose worked in radio and television broadcasting and at local venues before she was recruited by Hank Snow to become a member of his touring band. She spent six years on the road before moving to Wichita, Kansas, where she was living when she cut this disc. It's mostly cover material, although there are a couple of tracks that might be originals: "Think Of All The Fun We'll Have" by Grace Bridges and "Six Weeks Every Summer" by Fran Powers. Ms. Rose also cut at least one single before making this LP, including one that had one of her own original songs, "She Dropped The World In My Hands," which unfortunately isn't included here. Also missing is any information about the musicians backing her for these sessions, although they may have been Kansas locals, possibly even members of the Plainsmen band, which worked under the auspices of the Lee Mac label's owner.

Kitty Rose "Greatest Hits" (Wild Affair Records, 2005)

Kitty Rose "Live At The Ryman: 1 April, 1972" (Wild Affair Records, 2007)
You did notice that the date is April Fool's day, right? Not an actual Opry show (or a live album) but another heartfelt album from this indiebilly filly from the Golden State...

Maggie Rose "Cut To Impress" (RPM Records, 2013)
(Produced by Blake Chancey, James Stroud & Stephony Smith)
Hmmm. Sorry, but I'm not convinced. With sassy but prefab songs framed by big, chunky guitars and Southern rock slide, Maggie Rose seems to be aiming for a Gretchen Wilson/Pistol Annies tough-chick sound, and in some moments she sounds like she's pulling it off, but more often than not she sounds too pop, and too contrived, like someone who's really just posing as country. The main problem is that as a vocalist she just doesn't have the same level of chops as Wilson, and frequently sounds like a generic pop singer trying her luck in the wrong genre - -it just sounds a little bit off. Anyway, it's not my kind of country to begin with, too slick and without a real emotional core. You can skip this one.

Pam Rose "Pam Rose" (Capitol Records, 1977) (LP)
The debut album of songwriter Pam Rose, who is perhaps better known for her work in the bands Calamity Jane and Kennedy Rose. This album includes a couple of singles that scraped the bottom of the Top 100, but is perhaps better seen as a hint of things to come...

Pam Rose "Fly" (EP) (Grace Records, 2007)

Rita Rose "...Sings Potter County, Pennsylvania" (Jewel Records, 1977) (LP)
A gal from Catawissa, Pennsylvania, singer Rita Rose pursued a career in music, heading to Tennessee straight out of high school, and landing a spot on Cas Walker's show, "The Farm And Home Hour," a Knoxville television program that famously helped Dolly Parton start her career. While in Knoxville, she recorded at least one single, then returned to Pennsylvania where she hosted her own TV show, with sponsorship from Datsun Motors. She recorded this album with her husband Bruce Rosenbaum -- aka Bruce Rose (1940-2017), who managed her career and also sings on a couple of tracks. She tackles several country standards, oldies like "Folsom Prison Blues," "Harper Valley PTA" and "Silver Threads And Golden Needles," as well as the title track, and original written by a friend from Idaho. Not sure if there are other originals on here, though her single from 1970 had two tracks credited to "Rose-Yorks," so it's possible there are original tunes on here as well.

The Rose Sisters "Songs From The Lord Done Country Style" (Horizon Records, 19--?) (LP)
Sisters Charlotte and Fay Rose were born in Murray, Kentucky, though apparently they grew up near Detroit, and were living in Michigan when they cut this album at a studio in Nashville. The disc is packed with all-original material, with all but one song composed by Charlotte Rose, and the remaining number written by Rev. Ray Nahurien, who shared her publishing company. I've only seen and not heard this one, but I suspect there's a strong debt to the Carter Family, what with the autoharp-guitar combo pictured on the back. Not sure if they recorded any other material, but this looks pretty sweet.

Jeris Ross "Jeris Ross" (ABC-Dot Records, 1975) (LP)
(Produced by Ron Chancey)
A great album by an almost entirely unknown Top Forty hopeful... Originally from Illinois, singer Jeris Ross had a brief country career, spanning the 1970s, from early indie sessions produced by Scotty Moore to a promising fling on major label and then a quick slide back into the indies, with her last singles coming out in 1979. This album -- the only full length she released -- includes her biggest hit, "Pictures On Paper" (a Gary S. Paxton song which cracked into the Top 20) as well as the followup single, "Moontan," a cutesy novelty song that pretty much went nowhere. The material on this album is fairly uneven, ranging from some killer honkytonk tunes to some rather fluffy pop numbers, including a cover of the girl-group oldie, "Chapel Of Love," and the florid soft-pop of "I Know The Feelin'," which sounds like a Carpenters outtake. The strongest songs include a version of Paul Craft's "Midnight Flyer" and the deliciously provocative "I'd Rather Be Picked Up Here (Than Be Put Down At Home)" a feminist anthem that nicely fits into the early 70's country swinger genre. On "Pictures On Paper," Ross adopts a more traditional emotional-doormat role, ala Tammy Wynette, proclaiming that the unsatisfied women with husbands who flirt with other gals and stay out all night that "as long as he keeps coming home, you've got no reason to cry...") She splits the difference with "What'll I Tell The Kids," a "D-I-V-O-R-C-E"-worthy novelty number about a marriage that's all but ended. Ross toured with several major artists, notably Conway Twitty and Loretta Lynn, but she seems to have given up her solo career by the decade's end. Later, as Jeris Ford, she headlined an Oklahoma rock-pop oldies band called the Bop Cats... Judging from this album, I'd say she was an artist who could have gone much farther if she'd been given stronger material and been handled better by her label. Coulda, woulda, shoulda: it's the same old sad song from Nashville, I guess.

Bobbie Roy "I'm Your Woman" (Capitol Records, 1972) (LP)
Yeah... I'd never heard of her either, despite the high-profile, major-label release. It turns out there's a reason: she wasn't that a stellar singer -- technically adept, but way too prissy for country music. Barbara Elaine Roy was born in Germany back in 1953, an Army brat, apparently, and she cut this album along with a handful singles for Capitol, all of which met with middling success. "One Woman's Trash (Is Another Woman's Treasure)" eked its way into the Top 40 while a couple of other singles came along afterwards, but didn't get much further. This disc is a fairly typical early '70s soft-country outing: some cover tunes, a few emotional doormat songs, big fluffy arrangements all around and a few almost-but-not-quite twang-tunes sprinkled on each side of the album.

Betsy Rutherford "Traditional Country Music" (Biograph Records, 1971) (LP)
(Produced by Arnold S. Caplin & Gordon Sheehan)
Old-school Appalachian acoustic country tunes from a Virginia gal whose dad led a backwoods stringband back in the Depression era. Though Ms. Rutherford was born in Galax, her father, Clarence Wroten, was from North Carolina, and performed on the radio in various cities, including Charlotte, Greensboro and Winston-Salem... She sticks to pretty well-known standards, stuff like "Amazing Grace," "Rain And Snow," "John Hardy," "The West Virginia Mine Disaster," and the like. She sings and plays guitar, with backing by John Coffey, Neil Rossi," and several other old-timey-lovin' folk revivalists, though as the liner notes tell us, "to Betsy Rutherford, old-time mountain music never had to be revived, because it was always alive." Amen to that!

Ruthie And The Wranglers "Wrangler City" (Lasso Records, 1996)
Romping rockabilly and rhythm-heavy honky-tonk from this CD-area band. Ruth Logsdon is in the same vocal range as Dee Lannon and Rosie Flores -- not quite a diva, but able to project enthusiasm and love of the style. She has a few other records out, although this is the only one I've heard... It's worth checking out if you can track down a copy; bar band guitar whiz Bill Kirchen pitches in on a few tunes.

Ruthie And The Wranglers "Life's Savings" (Lasso Records, 1998)
With plenty of Sun Records-y reverb and hiccuppy vocals, Ruthie and her pals keep the rockabilly vibe going strong, while covers of old country classics like "A Dime At A Time" and "Fist City" help balance things out in favor of the country crowd. The most notorious song on here would be Logsdon's own "He's A Honky Tonk Man," a spoof of Johnny Horton's old hit wherein, yeah, he's all man, but not for long: the cowpoke is looking for a sex change! Yee-haw, little buddy.

Ruthie And The Wranglers "Live At Chick Hall's Surf Club" (Lasso Records, 2000)

Ruthie And The Wranglers "Sometime" (Lasso Records, 2003)

Ruthie And The Wranglers "Americana Express" (Lasso Records, 2009)

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

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