The California Brakemen "The Country Music World Of The California Brakemen" (Decca/M&M Records, 1970) (LP)
An Irish showband specializing in country twang, The California Brakemen was led by singer Crawford Bell, who went on to a successful solo career in the late '70s and early '80s, and also included bass player Bryson Black, Max Catherwood (dobro and pedal steel), Jim McClenaghan (drums), and Mike Morris on lead guitar. The band apparently opened its own venue, The Whistle Stop C&W Club in March, 1970, just before this album came out, and presumably were the house band. The Brakemen resolutely presented themselves as a country band, in contrast to many Irish showbands, which usually aimed for maximum musical diversity... That singular focus is certainly seen in this album's set list, which included covers of Johnny Cash, Dallas Frazier, Tommy Collins, Roger Miller and perhaps most significantly four Merle Haggard songs, leaving little doubt where they sympathies lay. The group seems to have broken up mid-decade, with steel player Catherwood and drummer McClenaghan resurfacing as members of a short-lived band called Country Code (see below) and Crawford Bell embarking on a solo career that would eventually lead to him being awarded an MBE for his work as a performer and producer. The record also includes two originals, "I Wanna See Nashville" and "Trouble On My Mind," credited simply to "D. & T. O'Brien," with one of the pair presumably being Tony O'Brien, who wrote the glowing liner notes, and who may also have been the album's producer.

The California Brakemen "California Country" (Decca/Emerald Gem Records, 1974) (LP)

Cameron Clan "Lightning Express" (Outlet Records, 197-?) (LP)

Carrie "Country Singing" (Bunny Records, 198--?) (LP)
(Produced by Carrie & Neil Ferguson)

Glory-Anne Carriere "I'd Like To Take The Chance" (Emerald Records, 1978) (LP)

Bill Carson "Bill Carson" (Alba Records, 1974-?) (LP)
According to the liner notes on one of his early 7" singles, singer Bill Carson was born in Glasgow, Scotland, raised in Galway, and at some point moved to America and carved out a niche playing folk music and drinking songs in Irish pubs across New England, mostly around Boston. Several of the bars he performed in are listed on the back of this otherwise mysterious album: The Village Pub (in Holliston, Massachusetts), King's Rook (Hopkinton), Century Club Irish Pub (Falmouth, Cape Cod), Liam's Irish Tavern (Framingham) and The Castle Arms (Fitchburg). Although his earlier records were pretty strictly Irish stuff, by the early 'Seventies he'd started mixing in country and pop material, in the classic showband tradition. The country tunes were all of pretty recent vintage -- "Country Roads," Charlie Rich's "The Most Beautiful Girl," Gordon Lightfoot's "Sundown," and even a run-through of "Johnny B. Goode" for the rock fans. No info about musical backing, or a release date, though 1974 seems like a pretty good guess, or maybe even '75.

Bill Carson "So You Think It's Easy..." (Buffalo Records, 1979) (LP)
By the end of the decade, Bill Carson had gone in whole hog with the country vibe, even showing a bit of an outlaw flair on the album's opener, "White Line," a raucous, coke-fueled, Jerry Reed-ish trucker tune, or perhaps the kind of thing the Commander Cody Band would have recorded. To be honest, though, this might not be the greatest country record ever, and Carson himself had kind of an iffy voice. You can certainly hear his Irish roots, particularly on the slower songs, although he seems wobbly on the harder, uptempo tunes, where he slides into his lower register and sounds somewhat leaden. Carson did have a solid band behind him, particularly the steel player Carl Miller, who often rises above the flat, prefab arrangements to deliver some sweet, complex licks. The album drifts all too easily into questionable taste levels, as on the over-the-top rendition of the gospel oldie, "I'll Fly Away," and the saxophone sounds better suited to the Sha-Na-Na road show, rather than on a country album. Also, I was never a fan of Mickey Newbury's "American Trilogy" medley, and this is one of the most unbearable versions I've heard. Still, nice to fill in another gap in the New England country scene. "White Line" is probably the only track in here you need to know about.

Johnny Carter "Moonshine County: First From The Still" (Cambrian Records, 1979-?) (LP)

Georgie Cash "Local Boy From Mersey" (Liverpool Sound, 1973) (LP)
(Produced by Georgie Cash & Charles A. Weston)
The first and possibly only(?) album by Liverpudlian cowboy Georgie Cash, an amiable fellow with fairly pedestrian vocal skills, offering three-and-a-half original songs for country fans to enjoy, amid a deluge of cover songs that span uber-oldies by the likes of Jimmie Rodgers to more contemporary fare from the likes of Kris Kristofferson and Dolly Parton. The half-song is the title track, a parody of Merle Haggard's "Okie From Muskogee," peppered with local references as well as shout-outs to other UK country singers. Also included are Jim Fearon's "Ring A Ding," Bob Scott's "Country Singer" and Cash's own creation, "Cash vs. Cash," which refers of course to the fabled Man In Black. This is an adequate country album, though not likely to set the world (or your turntable) on fire. Not a lot of info about Mr. Cash to be found... On this album he led a band called the New Men, who, sadly, were identified only by their first names: Dave (bass), "Smokey" Jim (drums), Roy (steel guitar) and Terry on lead guitar. Cash's main stomping grounds were Northern England and Ireland; he went onto record several more albums under the name George C. Smith, though I think this was his only "Cash" LP. [Note: this record was also released under the same title on the Stag label, although I think this version was the original.]

John Cassidy & The Everglades "Johnny Cash Greatest Hits" (Gold Award Records, 1974)

John Cassidy & The Everglades "Johnny Cash Hits, v.2" (Windmill Records, 1973-?) (LP)

Bryan Chalker's New Frontier "The Hanging Of Samuel Hall" (Avenue Records, 1971) (LP)

Bryan Chalker "Bryan Chalker" (Decca/Chapter One Records, 1973) (LP)

Bryan Chalker & The Road Band "Daddy, Sing Me A Song" (Decca/Chapter One Records, 1973) (LP)
(Produced by Les Reed & Mike Thompson)

Bryan Chalker "Early Days" (Sweet Folk And Country, 1975) (LP)
(Produced by Bryan Chalker)

Bryan Chalker "Songs And Ballads With Bryan Chalker" (Sweet Folk And Country, 1975) (LP)
(Produced by Bryan Chalker)

Bryan Chalker "Cross-Trackin' " (Emerald Records, 1978) (LP)

Bryan Chalker "The Hanging Of Samuel Hall" (Avenue Records, 1978) (LP)

Chapparal "Chapparal" (SRT Productions, 1980) (LP)

Charlie And The Wide Boys "Great Country Rockers" (MFP, 1976) (LP)

Chester "Leaving Town" (SRT Productions, 1980) (LP)
(Produced by Ted Taylor & Chester)

Chinega County "...Play Country Style" (Zero Records, 1980) (LP)

Colin Christian "Colin Christian" (Tank Records, 1979-?) (LP)
(Produced by Dave Sheriff)

Cimmeron "If We're Not Back In Love By Monday" (Tank Records, 197--?) (LP)

Eric Clapton "Eric Clapton" (Polydor, 1970) (LP)
(Produced by Delaney Bramlett & Bill Halverson)
Although he's a founding member of the Dino-Rock Legion, guitar god Eric Clapton deserves an honorable mention when looking at the roots-twang scene of the 1970s. After extricating himself from the hyperbolic acid rock of his band, Cream, Clapton drifted a bit, going hippie-zonko-psychedelic with Blind Faith and hanging out with the Beatles. On his first proper solo album, he dipped back into the blues, with a dollop of then-cool boogie-rock and a few spacy, Big Star-ish, George Harrison-esque psych-folk outings. This also includes a coked-up version of "After Midnight," recorded along with Delaney & Bonnie, a rootsy duo who figured prominently in most of Clapton's subsequent albums. The twang comes in later, but Clapton does show how diverse and old-school he could be, even after all those years plugged in and playing loud.

Eric Clapton "461 Ocean Boulevard" (RSO, 1974) (LP)
(Produced by Tom Dowd)
Again, still mostly a rock/blues record, but with a few Americana-ish hints of things to come, notably a washed-out but still acoustic cover of "Please Be With Me" and his hit version of Bob Marley's "I Shot The Sheriff," a track that helped bring reggae into the American pop mainstream. Mostly too "dino rock" for me, but it's still worth a spin. A big hit, back in the day.

Eric Clapton "There's One In Every Crowd" (Polydor Records, 1975) (LP)
(Produced by Tom Dowd)
Clapton went to Jamaica to get stoned and record this laid-back album... Includes several reggae-flavored tracks, balanced by sedate, sleek blues-pop... Not much country-wise on here, other than "Pretty Blues Eyes," and also no real hits. It's mellow, but forgettable.

Eric Clapton "No Reason To Cry" (Polydor, 1976) (LP)
(Produced by Rob Fraboni)
Another negligible album, especially from an alt-country perspective. The production is a little edgier and more shrill -- more coke-influenced, one would assume. Anyway, there's hardly any twang on this album, even with all the guys from The Band jamming with him... So for our purposes here, this is pretty skippable.

Eric Clapton "Slowhand" (RSO, 1977) (LP)
(Produced by Glyn Johns)
As far as hippiebilly and Americana go, this is probably Clapton's most relevant record. It's packed with roots-music goodies, notably "Next Time You See Her," "Lay Down Sally" (which hit #3 on the charts), the languid, romantic "Wonderful Tonight," and Clapton's fine rendition of John Martyn's "May You Never." Oh, yeah, there's also his version of JJ Cale's "Cocaine" which, although I really never need to hear it again, was deservedly a monster hit, an arresting rock anthem with a huge rhythmic hook and an unfortunate relevance to the drugged-out era it came out in. This was one of Clapton's best and most popular records, and made him a permanent fixture of disco-era pop culture. Recommended, particularly for the twangy stuff.

Eric Clapton "Backless" (Polydor, 1978) (LP)
(Produced by Glyn Johns)
Flowery, formulaic and somewhat lethargic, this echoes the musical themes of Slowhand, but not the album's vigor. I'm sure many Clapton fans will disagree. I do like "Promises" and "Tulsa Time," though!

Eric Clapton "Another Ticket" (RSO Records, 1981) (LP)
(Produced by Tom Dowd)
Not exactly the most subtle Clapton set ever, but I kind of dug it at the time... In fact, I still dig it, giving it another whirl forty-four years later. Seen as a comeback album from the perennially troubled pop star, this is a rigorously uptempo record, with Clapton digging deep into melodic pop-blues as well as more aggressive (though slick-sounding) hard-rock jams with co-guitarist Albert Lee, who'd recently played lead guitar for Emmylou Harris. Also joining them are bassist Dave Markee, Henry Spinetti on drums, and keyboardists Gary Brooker and Christ Stainton... A tight, compact combo that really delivers the goods. Some of these immaculately produced tracks might be interpreted as Clapton trying to contend with the New Wave vibe of the times, though his rootsy roots are still evident; what seemed so glossy at the time isn't really that far out of step with his country-tinged material of years gone by. This is really the last Eric Clapton album I paid any attention to -- other than his megahit 1992 Unplugged album, of course!

Eric Clapton "Unplugged" (Reprise/Duck Records, 1992) (LP)
(Produced by Jim Barton, Alex Coletti & Russ Titleman)
Both a career-defining and genre-defining album, this was one of the first MTV "Unplugged" records, and a huge commercial success for Eric Clapton. The altier-than-thou indie contingent may have sneered at the time, but the truth is, this was a pretty good record, with Clapton and company bringing a super-relaxed, laid-back vibe to the show, and while later "unplugged" albums fudged the parameters of the exercise, this really was a simple, all-acoustic outing that broke through the era's ever-increasing layers of dense studio production. And Clapton, who had been melodramatically proclaimed "God" in his youth, who was undisputed rock royalty throughout the 'Seventies, was re-deified and rediscovered by literally millions of new listeners when this record swept both the airwaves and the '93 Grammys: chances are if you asked someone today to name a Clapton album, this would be the first thing that'd come to mind. Overplayed? Well, sure -- I got my copy through the Columbia Music Club -- but it holds up well and is still worth a spin. After this, though, I have absolutely no idea where Clapton's career went from here.

The Cliffsons "Country Feelings" (Crow Records, 1984) (LP)
(Produced by Tim Flaherty)
This band was basically a stripped-down lineup of the '70s country group Poacher, who were best known for recording a hit version of Oscar Stuart Blandemer's "Darlin'," one of the all-time great English country tunes. The group included Peter J. (no, not that one) Frampton, on guitar, bassist Alan Crookes, drummer Martin Duffy and producer Tim Flaherty on whistle and harmonica. I'm not sure if Poacher were still together when they cut this disc, or if the Cliffsons were a kind of band epitaph. Anyone out there know for sure?

Tammy Cline "...And The Southern Comfort Band" (SRT, 1982) (LP)

Tammy Cline & The Southern Comfort Band "...Sings The Country Greats" (Music For Pleasure, 1987) (LP)

Tammy Cline "Tammy Cline's Country Gospel Album" (Word Records, 1987) (LP)

Clovis Country "Serves Coffee Black" (Cambrian Records, 1979) (EP)
(Produced by Bob McClure)

The Coasters "Country Style" (Grampian Records, 1974) (LP)
(Produced by Jim Johnson)
Not to be confused, of course, with the American doowop/R&B band of the 1950s, this Coasters was a Scottish country group from the seaside town of Thurso, Caithness, in the far north of the highlands. Thurso was not far from the tiny town of Wick, home to the feisty, independent Grampian label, which was a regional powerhouse in the coastal north. Although Grampian mainly concentrated on Scottish bothy music, they also put out a number of American-style country records, notably a string of albums by Willie Sutherland, and a few by less well-known artists, such as The Coasters. Comprised of Barbara Hunter (vocals), Denis Manson (organ), Willie Reid (drums), George Thompson (guitar and vocals), the Coasters had a delightfully scrappy, unpolished sound -- plenty of plangent twang, slightly uneven vocals, and an unusual (but not unpleasant) reliance on an electric organ, in place of fiddle or pedal steel. Their repertoire was pretty strictly made up of country classics from the 1950s, '60s and early '70s, including three Dolly Parton songs, alongside others by Pee Wee King, Buck Owens, Conway Twitty, a lively version of the Browns hit, "Looking Back To See," and of course, the inevitable early 'Seventies cover of "Me And Bobby McGee." There's a slightly manic, fierce intensity to their performances, and an imperfection that I personally find inviting. Not sure if they made any other records, but this one's pretty fun.

Cockney Country "Another Firkin Country Band" (Countryside Records, 1983) (LP)
(Produced by Les Payne)
Resolutely regional country by a band of East Enders who eschewed Stetson hats and Nudie suits in favor of aviator glasses and a tam or two. They shared a few things in common with their American compatriots -- heartbreak, misery, pot bellies, hangovers -- first and foremost, though, an appreciation for beer. The album's title track, "Another Firkin Country Band," sounds a bit naughty but actually refers to a kind of wooden cask (or firkin) which is also used as a unit of measurement for various kinds of booze... This being England, of course, there are endless gradations and separate kinds and sizes of firkins, depending on whether you're storing beer, ale, or wine -- and also what kind of beer you're pouring. (I'm tempted to reprint the entire Wikipedia article on firkin measurements, but suffice it to say, it's hilariously overcomplicated.) I'm not sure if these guys also sang in Cockney rhyming slang, but I'd like to think so... when I track a copy of this album down, I'll let you know. All the songs are originals, written by various band members, mostly from the group's three lead singers -- bassist Ian Fox, Mick Green, and guitarist Colin Richards -- who are backed by Gary Curson (guitar), Steve Darrington (piano), Les Payne (guitar), Steve Smith (guitar and banjo), and Mark Sugden on drums.

P. Coin Band "Crazy Time" (Coin Records, 19--) (LP)

Brian Coll & The Plattermen "Country And Western Favourites" (Emerald Records, 19--?) (LP)

Brian Coll & The Plattermen "Rose Of Tralee" (London Records, 1967) (LP)

Brian Coll "Tennessee Country" (Top Spin Records, 1979-?)

Colm & The Sundowners "Dear Little Ireland" (Homespun Records, 19--?) (LP)

Colm & The Sundowners "Country Is My Style" (Homespun Records, 19--?) (LP)

Colorado "...Sing Country Music" (Big R Records, 19--?) (LP)
(Produced by David Baker)
This band from Inverness, Scotland clearly had strong American affinities, and an ear for relatively obscure material. The group included Gordy Davidson (lead and rhythm guitar), Davy Duff (steel guitar), David Duncan (bass), Geordie Jack (rhythm guitar and fiddle), and Sandy MacKay on drums -- working in the breezy style of late '70s harmony-vocal country-pop, the group featured all the lads singing lead or harmony (except for drummer MacKay) and had a light, airy feel that was in line with the country style of the time. It has to be said that they had some odd, mousy vocals which may initially be a bit off-putting, but they'll probably win you over. The repertoire is all cover tunes, though spotlighting a surprisingly diverse set of album cuts and lesser-known singles -- the set includes a pair of Roger Bowling songs, a couple by Eddie Rabbitt, others by Max Barnes and Bob McDill. They cover Merle Haggard's "Bottle Let Me Down" and Ed Bruce's "Texas When I Die," as well as "All I Have To Offer You Is Me," which is an album highlight. No date on either of their albums, though they look like early 'Eighties offerings...

Colorado "Tennessee Inspiration" (Big R Records, 19--?) (LP)
(Produced by Ian Grant & Jimmy Tarbutton)
This album was recorded in Tennessee when the band was booked to play at Nashville's big Fan Fair convention (though apparently the promise to make an appearance onstage at the Opry didn't pan out...) It's the same group as on their first album, though naturally augmented by several Music City pros, including guys like Greg Galbraith, Leo Jackson, Bunky Keels and Bruce Watkins, as well as steel guitar legend Lloyd Green (playing on the folk tune, "Green Fields Of France").

Colorado "Colorado" (Trim Top Records, 1984) (LP)

Comanche Gap "Comanche Gap" (Sting Records, 19--?) (LP)
(Produced by Reg Brundish)
Despite the rugged, frontiers-y band name, this was actually an English country rock band, with an album recorded live at the Sundowner's Club in Hindhead, Surrey. It looks to be a late '60s session -- mostly straight country covers, as well as some pop/rock material like Sonny Bono's "Bang Bang" and Buffy St. Marie's "I'm Gonna Be A Country Girl Again." The band included lead singer Robbie Fowler, Jane Fowler on bass, Kevin Saville playing guitar and banjo, and John Standen on fiddle and drums. No date on the album, but I'm guessing this one was about 1968-69(?)

Comanche Gap "The Gap" (Sting Records, 19--?) (LP)
(Produced by Reg Brundish)
It looks like the band really tried to revamp their image on this one, at least visually: they have a much hipper, more Carnaby Street "rock" look to them, and bandleader Robbie Fowler seems to have hired a new lead guitarist and drummer. Their repertoire is still pretty durn country, though, with covers of "Abilene," "Delta Dawn" and the like... They also offer up about a half-dozen original songs, written by Fowler and company. Still British, though! 1971-ish?

Will Conrad & The Westerners "Following Country" (DTS Records, 1974) (LP)
(Produced by Dave Tewes)
Not to be confused with The Westerners, a UK country band led by steel player Bill Edwards, this band included lead vocalist Will Conrad, along with Trevor Baker (lead guitar), Pete Harpin (bass), Graham Wright (drums), Pete Wright (rhythm guitar) and Hugh Weaver on banjo. No information about where they were from, though the album was recorded in Rochester, Kent , with a set list heavy on cover tunes such as "Folsom Prison Blues," "Me And Bobby McGee," "Oh, Lonesome Me," "Orange Blossom Special," and "Together Again."

Will Conrad "Following Country" (DTS Records, 1974) (LP)

Lee Conway - see artist discography

Ian Corrigan "The Best Of Corrigan Country" (Release Records, 19--?) (LP)

Ian Corrigan "Country And Irish: Corrigan Style" (19--?) (LP)
(Produced by Basil Hendricks)

(Tony Mills') Cotton Mill Boys "Try A Little Kindness" (Hawk Records, 197--?) (LP)
An Irish country band, with banjo, fiddle and pedal steel...

The Cotton Mill Boys "The All Star Cotton Mill Boys" (Hawk Records, 197--?) (LP)

The Cotton Mill Boys "25 Country Classics, Volume One" (Hawk Records, 197--?) (LP)

The Cotton Mill Boys "25 Country Classics, Volume Two" (Hawk Records, 197--?) (LP)

The Cotton Mill Boys "25 Country Classics, Volume Three" (Hawk Records, 197--?) (LP)

The Cotton Mill Boys "Orange Blossom Special" (Hawk Records, 1976) (LP)
(Produced by Jerry Hughes, Dick Keating & Alan O'Duffy)
A pretty decent, if somewhat downtempo set from this Irish band, who previously had specialized in truncated versions of country standards, as heard on the series of albums above. Here, they stretch out out a bit and play longer, fuller versions of the material, even though this album is still dominated by covers of American country classics, old-time standards (such as "Will The Circle Be Unbroken" and "Orange Blossom Special") and a couple of newer country-rock hits. This is pretty low-key, but has its charms. A youthful band featuring singers Des Wilson, Tony Hughes and Garry Madigan, they flashed a bit of long hair, though they took the music seriously and were well immersed in the American milieu; not much trace of their Irish background comes out in the music.

Dennis Coulson "Dennis Coulson" (Elektra Records, 1973) (LP)
A "solo" set by the ex-keyboard player for the steadily-dissolving McGuinness Flint band... This is essentially the McGuinness Flint crew, with additional backing from a bevy of English brass players. This includes versions of several Gallagher & Lyle songs; more of a rock thing, really, but a still a worthy footnote to an officially "country-rock" band from the UK.

Country Breeze "The Gentle Sound Of Country Breeze" (Nevis Records, 19--?) (LP)
(Produced by Jim McLean)

Country Breeze "Country Breeze" (Lismor Records, 1977) (LP)
(Produced by David Sinclair & Ian Sinclair)
To be honest, this country-covers band from Dumfries, Scotland falls pretty short of the mark. Formed in 1972, Country Breeze was led by singer Doreen Duncan and her husband, drummer Bob Duncan, backed on this album by Ian Mitchell on rhythm guitar, Alan Sesford playing lead. One can force oneself to find things to appreciate here (I tried) but the truth of it is they were an underwhelming group, even as show bands go, and had a somewhat tenuous feel for American country music. Mrs. Duncan has a stylistically flat affect, at time a bit churchy, but mainly too detached and remote from the lyrics. The guitar work is also not great, sounding at times inept though more often noodly and inattentive, possibly like a rock-oriented picker who simply doesn't have a feel for the concision and economy of good country music, and doesn't know what to do with himself as the songs progress. The band recorded several albums, and I'm not sure where this disc fits into their chronology; the undated Nevis album above may have been an earlier release.

Country Breeze "Always" (Igus Records, 1981) (LP)
(Produced by Pete Shipton)

Country Breeze "Beautiful Thing" (Neptune Records) (LP)

Country Code "Shelly's Winter Love" (Homespun Records, 1976) (LP)
(Produced by Billy McBurney & Cel Fey)
A country-oriented Irish showband of fairly obscure provenance... The mystery is mainly due to the bandmembers only being identified by their first names (or nicknames) and only a few are matched up with the instruments they play, and to the typically vague 'Seventies-style liner notes: record folks in Ireland really didn't like giving out much hard information about their bands. The lineup included Big Sam (bass), Billy, Dee, Jim (drums), Maxie, and Tony on rhythm guitar. Apparently Jim (McClenaghan) and Maxie (Catherwood) were previously in a group called The California Brakemen, which released a couple of albums in the early 'Seventies... with better liner notes, which helped fill in a couple of gaps. This appears to have been Country Code's only album...

Country Confusion "Country Side Of Heaven" (Westwood Recordings, 1975) (LP)
(Produced by Gordon Davies' & David Whiteley)
An odd name for a band, to be sure, but an intriguing album, nonetheless. Formed in 1974, this twangband from Edinburgh backed an American gal named Suzanna Harris on a UK tour, and went on to make appearances on several BBC radio programmes. The group included Bobby Boyle (bass), Doug Rothnay (rhythm guitar), Dave Smith (lead guitar and steel), and George Wilkie on drums. Their repertoire included a couple written by Dave Smith, an ex-rocker gone country, "Girl In A Million" and "Only You, Only Me." Dunno how long these guys were together, or if they recorded any other albums.

The Country Fever "Listen To The Country Fever" (Lucky Records, 1970-?) (LP)
(Produced by Gordon Smith)

The Country Fever "A New Dimension" (Lucky Records, 1970-?) (LP)
(Produced by Peter Gallen & Gordon Smith)

The Country Fever "A New Dimension" (Rediffusion Records, 1970-?) (LP)
(Produced by Charles Berman & Denny Wright)

(Jon Derek &) The Country Fever "The Country Music Trail" (Maskerade Records, 1976-?) (LP)
(Produced by Frank Weir)

Country Folk "We Are Country Folk" (SRT Records, 1981) (LP)

Country Generation "Let's Work It Out Together" (Westwood Recordings, 1975) (LP)
(Produced by Derek Tomkins)

Country Legend "Country Legend" (Westwood Records, 197--?) (LP)
(Produced by Gordon Davies, Alan Green & Beryl Ritchie)
Not sure where exactly in the UK this mostly (all?) covers band came from... The quartet included Tony Davey (lead guitar), John D. Henderson (bass), Bill Taylor (rhythm guitar and lead vocals) and Charlie Whittaker on drums...

Country Life "Sing Me A Country Song" (Westwood Records, 19--?) (LP)

Country Road "Our Home Country" (Tank Records, 1975) (LP)
(Produced by Ken Reader & Paul Price)

Country Shack "Which Way Is Gone?" (Sweet Folk & Country Records, 1977) (LP)

Country Sunshine "Country Sunshine" (Ten Album Group/TAG Records, 1976) (LP)
One of several group to use this 'Seventies catchphrase as their band name... Though in this case, it's quite possible that there was no real "band" at all, as this appears to have been a generic, anonymous budget-label covers band, in this instance on an album from an otherwise unknown label from Warrington, England, near Liverpool. I'm guessing these were local musicians, though without any artist or producer information, anything is possible: given the habits of European budget labels at the time, this even could have been material relicensed from labels outside of the UK. But, regardless of provenance, here's one of many "Country Sunshine" albums, with a set list entirely made up of cover songs, with some fo the more recent entries including mid-decade hits such as the Bellamy Brothers' 1975 single, "Let Your Love Flow" and "Lyin' Eyes," from the Eagles, as well as earlier like "Cracklin' Rosie," "The Night They Drove Old Dixie Down" and other country faves.

The Countrymen "On Tour" (Saga Records, 1968-?) (LP)

The Countrymen "Going Places With The Countrymen" (Saga Records, 1969) (LP)

Carl County "Truckdrivers, Teardrops & Trains" (19--?) (LP)
A craggy-faced Welsh twangster from Montgomery, Powys. Unfortunately, this custom-pressing LP has very minimal liner notes, and affords us little insight into Mr. County's background, nor does it tell us who was backing him, or who produced the album. An intriguing mix of material, though, from a Charley Pride medley to the "Truckdriving Trilogy," something called "Lynching Party" (yikes!) and some contemporary outlaw stuff such as "Ladies Love Outlaws," "The Junkie And The Juicehead" and Shel Silverstein's "The Winner." Eclectic, for sure, but who the heck was this guy??

Claire Courtney "Courtin' With Courtney" (Westwood Records, 1980) (LP)
(Produced by Gordon Davies)
Though scarcely remembered, perky, poppy singer Claire Courtney was veteran member of the Southern California country-rock scene, performing at Nashville West and other LA-area clubs throughout 'Seventies, and releasing a handful of singles before she cut this career-capping LP while on tour in the UK. Courtney seems to have been tapped into an ongoing pipeline for SoCal country artists whose work came out on European indie labels either as reissues or, in this case, recorded abroad. She's backed by a local, British studio crew, recording at a studio in Wales, with Stewart Barnes on lead guitar, Slim Pickens (dobro, fiddle and steel guitar), Gary Thistlewaite (bass), and Kevin Thistlewaite playing guitar and mandolin. Many of the tracks are cover tunes, including oldies like "Pick Me Up On Your Way Down" and newer material such as "Put Another Log On The Fire" or Bonnie Tyler's "It's A Heartache," though there is some original material as well. At least two songs, "Come On Phone" and "That’s What I Get For Being A Woman" first came out as a single way back in 1973; I'm not sure if these are the same versions, or re-recordings. Anyone know what happened to this SoCal gal?

Rob Crompton "Heading Home" (Tank Records, 1980) (LP)
(Produced by Dave Sheriff)

Culpepper Country "At Home" (Sweet Folk And All Records, 1977) (LP)

Culpepper County "Your Request, Our Pleasure" (Pixie Records, 1975) (LP)
(Produced by Ron Ryan & Derek Tomkins)

Culpepper Country "At Home" (Sweet Folk And Country, 1977) (LP)
(Produced by Alan Green & Joe Stead)

The Cumberland Clan "Bouquet Of Blue Grass Hits" (Gold Award Records, 1970) (LP)

Larry Cunningham & Margo "Yes, Mr. Peters" (Release Records, 1976) (LP)
(Produced by Basil Hendricks)
A set of duets from two Irish country stars, with backing by the Country Blue Boys, a band whose members are not mentioned by name, though presumably producer Basil Hendricks chimes in on steel guitar...

Dave Curtis "Broken Hill" (Tank Records, 197--?) (LP)
(Produced by Dave Curtis & Alan Lovell)

Dave Curtis "Takin' The Rough With The Smooth" (Tank Records, 1978) (LP)
(Produced by Dave Sheriff, Norman Stagles & John Boyle)

Dave Curtis "Remembers" (Tank Records, 1980) (LP)
(Produced by Dave Sheriff & David Rawlings)

Hick Music Index