Tony Albert & Shirley Rogers "Shade Of Blue" (Danceland Records, 19--?) (LP)
(Produced by Gayle Leister & Glen Seybert)
Lounge singer Tony Albert was originally from Boise, Idaho, though according to the liner notes he was living in Dodge City, Kansas when he recorded this album... It's a souvenir of a stint with his "Tony Albert Show" -- lead singers Tony Albert and Shirley Rogers, backed by arranger Ken Saari on cordovox, Kevin Kavanaugh, Jack Trice, and a small horn section led by Mr. Saari. The album was a souvenir of the band's gig at the Red Pussycat lounge, a strip club and music venue in Salina, Kansas that was popular in the 1960s and '70s and was a destination for on-tour rock and country bands and comedy acts passing through the remote western Kansas hinterlands. (It was remodeled a few times, including a big reboot in 1976, where it expanded to 10,000 square feet(!) and had two separate lounges, one for country music and another for rock artists, and a "rotating table..." The owner at the time this album came out was Gayle Leister, who contributes a quick blurb on the back cover...) To be honest, this record is pretty terrible -- Albert and Rogers were both rather questionable vocalists, and the cordovox-led pop-vocals arrangements are kind of bizarre, although technically speaking this album does have a lot of "country" material, songs by Pee Wee King, Eddie Miller, Marty Robbins, Billy Walker, and others.

Tony Albert "Flying High With Tony Albert" (Silver Pelican Records, 1978-?) (LP)
(Produced by Little Richie Johnson)
The liner notes to this album give more of his full story... LeRoy A. Albiston was born in Conda, Idaho in 1936 and started his career in the late 1950s while serving a stint in the Navy, played on local TV and radio while stationed in Virginia, and ramped things up after he got discharged. As seen in the album above, he was living in Dodge City for a while, and worked up a lounge act that (kind of) had country roots, though he definitely was deeper into twang by time the late 'Seventies rolled around. He billed himself as "the Idaho Spud Picker," and supposedly had a backing group called The Spud Picker Band. This album has several classic country covers like "Drinking Champagne," Carl Belew's "Lonely Street" and "My Shoes Keep Walking Back To You," as well as three songs credited to Mr. Albert and a couple by Oklahoma songwriter Barry Paul Harbison; Tony Albert's management is also listed on the album as being based in Oklahoma (which probably explains the songs by Harbison getting placed on this album) though it's not clear if Tony Albert himself had moved to the Sooner State at this point in his career.

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

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

Pinto Bennett & The Famous Motel Cowboys "Famous Motel Cowboy Songs" (Sheepeater Records, 1986) (LP)

Pinto Bennett & The Famous Motel Cowboys "Big In Winnemucca" (PT Records, 19--?) (LP)
(Produced by Rob Matson)

Pinto Bennett & The Famous Motel Cowboys "Pure Quill" (PT Records, 19--?) (LP)
(Produced by Rob Matson)

Beth & Cinde "Cross Country" (Rising Moon Productions, 1977) (LP)
(Produced by Cinde Borup & Beth Pederson)
Folkie-jazzy stuff with a notable streak of country twang... The acoustic-electric duo of Beth Pederson and Cinde Borup were from Sandpoint, Idaho and are backed by a few shaggy-lookin' locals, notably bassist Pat Ball, whose jazzy, electric noodling stands out in the sparsely-arranged, primarily acoustic setting. There are some callbacks to pop vocal oldies and standards such as "Java Jive," "Sea Cruise" and "Route 66," as well as a cover of a Billy Joe Shaver song, "Sweet Daddy," and five songs penned by Cinde Borup, who I assume is also the main vocalist. There's kind of a bluesy throatiness to many of the songs with recalls 'Seventies sirens such as Phoebe Snow and Ellen McIlwane, with dips into torch song and dewy singer-songwriter folk... Not as country as some would say, but worth checking out, especially if you're looking for female artists of the era.

The Boulder Brothers "A Period Of Time" (Sheepeater Records, 1975) (LP)
(Produced by Arnie Goodman & Spook Flanagan)
If you're keeping score in the whole "can't judge a book by its cover" department, feel free to add this one. I was drawn in by the Idaho mailing address, then realized this trio included guitarist Michael Wendling, who I'd come across before. I figured, maybe some twang, more likely bluegrass, let's check it out. By, oh jeez, was I unprepared by the truly horrible '70s folkie-ness of this album. Wendling plays all kind of fancy licks -- banjo, 12-string, slide guitar -- along with bassist Paul Smith and singer William Smith, who was the driving force behind this album. But, oh, lord, is this torturous. Smith was into some sort of spaced-out, cosmic crooning, profound folk-poet vibe, similar to late '60s icons like Tim Hardin, Fred Neil, or Tom Rush... But while all of those acoustic pioneers had their magical moments, I can honestly say there isn't a single track on here I'd want to hear again. It's just too self-involved and goopy for me -- I dunno what they were smoking or toking back then in Hailey, Idaho, but I guess it was potent. So, yeah, folk-freak fans might want to track this one down, though most alt-country types can steer clear.

The Braun Brothers "Old Cowboy Blues" (Idaho Records, 1981) (LP)
(Produced by The Braun Brothers)
Likable locals from Boise, Idaho, Muzzie and Gary Braun fronted a long-lived hippie/cowboy country/folk band which specialized -- particularly on this album -- in songs with local twists. Lots of songs with Idaho, Boise and wide, open spaces in the lyrics... Nice, un-flashy musicianship with just the right amount of twang to 'em. Nothing mindblowing, but a nice souvenir of an authentic regional band of hometown heroes.

The Braun Brothers "Heart Of Idaho" (Idaho Records, 1981) (LP)
(Produced by Gary Braun & Glenn Nelson, Jr.)
Another modest DIY effort from brothers Gary and Muzzie Braun, who took the Rocky Mountain folk-country style of John Denver and gave it a rural Idaho twist, singing songs about loggers, miners, cowboys and long, cold winters without your best girl around to make you a cup of coffee. Muzzie Braun was the driving force here -- he wrote and sang all the songs, while brother Gary thumped on the drums -- and while Muzzie had his limitations as a singer, this is a charming set of for-locals regional twang. The opening track, "Heart Of Idaho," is a nice upbeat song that hearkens back to the days of regionally-themed country songs, and there are some other songs that were good as well, mostly the uptempo numbers, as Muzzie can show some weakness as a ballad singer. "Weekend Logger Blues" is a standout novelty number, though the whole record has a nice amateurish charm, underscored by the liner notes that describe how various songs were composed throughout the '70s: this album was a long time coming and was obviously a labor of love. Might not be a classic, but it's got its charms.

The Braun Brothers "Born 100 Years Too Late" (Idaho Records, 1983) (LP)
(Produced by The Braun Brothers)
A thoroughly charming set of low-key, good-natured twang tunes, with a definite tilt towards novelty numbers like the Willie Nelson tribute song, "Willie's Old Guitar" and the straight-faced barroom ballad, "Honky Tonk Hall Of Fame." Several songs make reference to life in rural Idaho, notably "High Mountain Home" and "I'm Missin' You," which also are heartfelt reflections on life as a parent and talk about "the boys," presumably the second generation of Braun Brothers, who all became musicians themselves (see below...) There's also one topical, political song, "Save It For The Babies," which is about stopping land grabbers and big corporations from despoiling Idaho's pristine natural beauty. These are nice, good-natured tunes, totally unpretentious, all originals, with an all-local cast backing the singers. A great set of local's only, DIY twang.

The Braun Brothers "Vintage Braun Brothers" (Idaho Records, 2011)
This CD best-of gathers almost two-dozen tracks from various Braun Brothers albums, including of course, "Heart Of Idaho" and most of the rest of their first album. After this band, Muzzie formed another family act with four of his sons, called Muzzie & The Boys -- it's probably worth noting here that they went on to form bands of their own: Willy and Cody Braun started the Americana/indie-rock band Reckless Kelly, while Micky Braun is in the red-dirt band, Micky and the Motorcars... Talk about a family tradition!

Dennis Bruderer "Introducing: Dennis Bruderer" (Little Richie Records, 1978-?) (LP)
(Produced by Little Richie Johnson)

Joe Cannon "Cold Hard Times" (Bell, 1970) (LP)
Originally from Rhode Island, actor/singer Jean Peloquin headed out for California during the swinging '60s and lucked out in landing a role as "Gene, the singing ranch hand," on the western-themed TV series, The Virginian. He appeared in twelve episodes from 1968-69, and was able to parlay that gig into recording his first album, under the more butch-sounding "Joe Cannon." Under that name he kicked around with Lee Hazelwood for a while, then briefly moved up to San Francisco and made a living singing in bars. At some point in the early '70s he left California in favor of the even more frontiers-y locale of Pocatello, Idaho, where he became a permanent fixture on the local bar-band scene.

Joe Cannon "Smoke (Original Soundtrack)" (Viking, 1971) (LP)
This film had some kind of connection to Lee Hazelwood, as did Cannon, in his Hollywood days. I think Hazelwood directed or financed this film; Joe Cannon also recorded some of Hazelwood's songs early in his career... I haven't heard any of that stuff, though...

Joe Cannon "City Boy's Country Dream" (JDJ, 1974-?) (LP)
(Produced by Terry Brown & Donnie Owens)
I suppose this is the record you could call Joe Cannon's magnum opus -- his live albums might be better indicators of what he was like as a performer, but he obviously really put his heart into this one. It's an ambitious album full of original material with lofty lyrics and sweeping, cosmic-country arrangements... There's also some relatively down-to-earth twang, but mostly this is a record that aims big and goes long... There's also some sweet pedal steel work by West Coast stalwart J. D. Maness. Yeah, I'm sure it'd be easy for some of you out there to mock the pretensions of this album, but still, the guy was really going for it and stepped way outside the world of ski lodge lounge gigs that were his bread and butter. It's worth a spin, for sure.

Joe Cannon "Gettin' Down... In The Valley" (JDJ, 1975-?) (LP)
To be honest, this one's a little hard to listen to... A live album with lots of rambling, drunken chatter by Joe Cannon, who's performing solo with an acoustic guitar, a harmonica and a lot of balls-out bluster. He trades good natured jibes with the audience and does his best to suck up to the locals, adapting a pop hit into "Please Come To Pocatello" and telling the long, long back story to his own local-pride song, "Sun Valley Sally." He also covers Jimmy Buffett ("Come Monday," though he teases the crowd with the promise of singing Buffett's "Why Don't We Get Drunk And Screw") and there's also a real trainwreck of a John Denver medley. The album closes with his version of "Up Against The Wall, Redneck Mother," where he one-ups Ray Wylie Hubbard in the crudeness quotient, and gives a hint of how wild his live shows actually might have been. It's a good, honest portrait of a sloppy bar-band country act, but it's not really that enjoyable to hear. Guess you had to be there.

Joe Cannon "Live At The Crazy Horse" (JDJ, 197--?) (LP)
Cannon was a regular at the Crazy Horse Steak House, located in the wild, beige backwoods of Southern California's Orange County. I dunno when this album was recorded, but Cannon was booked at the club at least through the early 1990s. At that point, he had a finely honed comedy-country schtick, including lots of blue humor and general raunchiness. (A 1990 article in The LA Times makes it sound like a scene to be seen... with a highlight actually being when he opened the merch table and there was a buying frenzy for Cannon's "While You're Down There, Make My Day" belt buckles. Somehow, I don't think his version of "Sometimes When We Touch" was quite as chaste as the Dan Hill original...)

Joe Cannon "Rough Side Out" (White Rabbit, 1984) (LP)
Side Two of this album was recorded live at a place called Chuck's Cellar, in Palo Alto, California; Side One is all studio recordings.

Jim Carley & Johnny Adams "Dim Lights And Thick Smoke" (American Heritage Music Corporation, 19--?) (LP)
(Produced by Marty Martin & Loyd Wanzer)
A construction worker by trade, banjo picker Jim Carley grew up in Kansas and pursued his musical career first in the Sunflower State, then over in Missouri, where he was part of the Buster Jenkins troupe. Carley moved to Idaho in 1962 and met guitar picker Johnny Adams, himself a transplant from Pennsylvania. They are joined on this set of bluegrass and country oldies by "the Flint Hill Boys," including fiddlers Dallas Goff and Dwayne Youngblood, along with Youngblood's fourteen-year old son Ricky Youngblood on rhythm guitar. Not sure exactly when this came out, but it looks early 'Seventies-ish. The repertoire is pure oldies, though, including sentimental numbers such as "Don't Say Goodbye," "Kiss Me One More Time" and "Don't That Road Look Rough & Rocky," as well as raucous flingding numbers like Reno & Smiley's "Tally Ho," and a bunch of hillbilly stuff from the Merle Travis era. Sounds good to me!

Coats & Carlson "The Coats & Carlson Demo Album" (Smoggy Valley Records, 19--?) (LP)
(Produced by Dennis Coats & Gary Carlson)

Dennis Coats "Country Love" (Smoggy Valley Records, 1973-?) (LP)
Banjo player/multi-instrumentalist Dennis Coats started out playing in various alterna-bluegrass/folkie groups in Idaho and the Pacific Northwest, and wound up playing on an awful lot of indie records in the West Coast and Southwest. Around the same time he made this album, he was also in a group called The Bluegrass Band, which also had a record out on the Smoggy Valley label. This disc has a lot of original material, including the regionally-themed "Idaho National Anthem."

Bobby Dee "Six Weeks In Alaska" (Eagle Records, 19--?) (LP)
I'm not sure what the Alaska connection is here -- singer Bobby Dee was a Native American from Idaho, and the Eagle label was from Montana. Anyway, he seems to have been in the thick of it, countrywise: musicians include pedal steel player Lloyd Green, guitar picker Gene Breeden, The Hardin Trio and neo-trad honkytonker David Frizzell, who co-wrote one of the songs on here, "Hold The Past Against Me."

Tommy Doss "...Of The Sons Of The Pioneers" (Bear Family, 1987) (LP)
(Produced by William E. Wiley)
Solo sessions by an erstwhile member of the Sons Of The Pioneers western band... Born in 1920, Tommy Doss was originally from Idaho but grew up in Oregon... He got his first big break in 1948, when western swing legend Bob Wills tapped him to replace estranged lead vocalist Tommy Duncan; Doss left the Texas Playboys after a few months, instead joining the band of Wills' younger brother Luke Wills, out in Los Angeles. His radio performances brought him to the attention of the Sons fiddler, Hugh Farr, who recruited Doss to replace another country legend, lead singer Bob Nolan, who temporarily left The Sons Of The Pioneers in 1949. Doss stayed with the band throughout the 1950s, before he finally quit touring with them in 1963 (although he did infrequently record with them in the studio for several years after that...) These tracks were from sessions Doss recorded in Hollywood, California in May, 1972. The repertoire leans more towards bluesy honkytonk and western swing material, the kind of stuff he picked up working with the Wills brothers, with some West Coast influences as well, including a cover of an old Wynn Stewart hit. With only eleven songs, this is a surprisingly short album for the Bear Family folks, but valuable for Sons fans, nonetheless.

Rod Erickson "She Taught Me To Yodel" (GNP-Crescendo, 1976) (LP)
(Produced by Gary McDonall)
Yodeler Rod Erickson (1938-2015) grew up in Alberta, Canada but moved down to Idaho in his teens, learning how to sing and pick guitar in his twenties. Though youthful in appearance, he was decidedly old-fashioned in his musical orientation, specializing in yodeling(!) to an extent not heard in country music since the heydays of old-timers such as Rosalie Allen and Elton Britt. There's also a little bit of countrypolitan crooning, on tracks like "Lonely Girl," but mostly this is a slightly-modernized yodelfest, and certainly an unexpected gamble for a mainstream lable like GNP to take during the disco era. Against all odds, Erickson had a surprise hit in the early 'Seventies with his revival of "She Taught Me To Yodel," following it up with covers of other cowboyish oldies such as "Cattle Call," "Riders In The Sky," and "Yodel Your Troubles Away," which are all included on this album. Erickson made it to Nashville and toured nationally with stars such as Grandpa Jones and Johnny Paycheck, but he found life on the road precarious and unrewarding and returned to Idaho to perform locally and hold down his day job as an electrician. He and his wife Nancy bought a restaurant in Spirit Lake called the Fireside Lodge -- he had played there for many years, and became the owner in 1989, running it for over two decades before selling it to the city to develop as a park. This was his only mainstream country album -- Erickson later self-released several gospel records, including several CDs.

Gentle Ben "Gentle Ben" (Loggerhythm Records, 1980-?) (LP)
(Produced by Jim Flannigan & John Austin)
This country-rock band from Boise, Idaho split its album between (mostly) cover songs on Side One and original material on Side Two... Keyboard player Bill Truitt wrote most of the songs, with drummer Dennis Carrasco penning a couple more. In addition, they delve into Dylan ("Billy The Kid"), Mickey Gilley ("Don't The Girls All Get Prettier At Closing Time") and Willie Nelson ("Bloody Mary Morning," "Me And Paul") with guitarist Mark Lucas adding some rock-flavored licks throughout. There was another band called Gentle Ben active around the same time, but they were from Cincinnati, Ohio and had no connections to these guys.

Buzz Goertzen - see artist discography

Rodger Hall "When I Met The Master" (Word Records, 1966) (LP)
(Produced by Wesley Tuttle)
Gospel singer Rodger Hall found religion while serving time in a Federal penitentiary in Idaho... With help from gospel star Wesley Tuttle, Hall gained an early parole from his twenty-five year sentence, and once out in the world again, started his own musical ministry. Hall recorded several albums in the late '60s and 1970s... I'm not sure, but I think this was his first LP. Tuttle produced this album and contributes liner notes which recount how they met at a prison revival meeting, and how Hall's musical talent and devotion to service moved Tuttle to help him out. Alas, as with many Word label offerings, there's no info about the backing musicians, or a release date, although the disc was plugged in Billboard in the spring of '66, not long after Hall was paroled.

Rodger Hall "Where Do I Go From Here" (Angelus Records, 19--?) (LP)

Rodger Hall "I'm On The Right Road Now" (Ripcord Records/American Heritage Music Corporation, 1974) (LP)
(Produced by Lloyd Green)
A very nice, enjoyable country gospel album -- no frills, no fuss, decent vocals and confident backing by some unnamed studio pros, and some real country twang. I picked this one up because I noticed that Lloyd Green was the producer, and I'm pretty sure it's Green playing those sweet, fluid pedal steel licks and leading the band. The rest of the guys in the band are anyone's guess, but they did right by this non-Opry outsider, and this is a pretty strong record, packed with good material, including songs written by the Rambos, Marty Robbins and others. Hall didn't write any of the tunes, but he certainly gives them strong interpretations, with smooth, heartfelt vocals -- he's not a stunning jaw-dropping vocalist, but he's good.

Rodger Hall & The Nashville Edition "Don't Give Up" (Ripcord Records, 1977-?) (LP)

Ted & Marge Hall "Can You Hear The Master's Voice?" (Master Records, 19--?) (LP)
The husband-wife team of Marjorie Carlson Hall and Theodore L. Hall (1935-2007) met at an evangelical music camp in Vancouver, British Columbia back in the 1950s and recorded for a Canadian label, although they were living in Moscow, Idaho at the time. This album contains about half original material, credited to Mr. Hall, along with covers of Albert E. Brumley and Hank Williams, and several songs identified as "traditional." They are backed by Rich Barnhart on rhythm guitar, Kathy Barnhart (autoharp), Bill Chalmers (bass), Bob Dalyrimple (electric lead and steel guitar), Bob Houghtaling (fiddle and guitar), Ian Joli (banjo) and Bob Taylor on piano. Mr. Hall was a lawyer by vocation and taught law at the University of Idaho, where he also helped create a support program for prisoners at the Boise State Penitentiary. The Halls were originally from the Twin Cities and moved back to Minnesota, retiring to the tiny hamlet of Cloquet, near Duluth, where they were part of a bluegrass group called the Gospel Five. According to Mr. Hall's obituary, the Halls recorded several albums, although these three are the only ones I've seen so far.

Ted & Marge Hall "The Songs We Sing: Country And Western Favorites" (Master Records, 19--?) (LP)
Although the subtitle suggests this might be a secular set, these are all gospel songs, including some recognizable standards such as "Precious Lord" and "Where Could I Go But To The Lord." No date on the disc, though this seems to be their second album.

Ted & Marge Hall "Songs That Tell A Story" (Master Records, 19--?) (LP)
An independently produced gospel album with several country covers, including Merle Haggard's "Daddy Frank," Dolly Parton's "Coat Of Many Colors," "Dust On The Bible" and "Suppertime," as well as Bob Dylan's "Blowin' In The Wind," and an equal number of originals written by the Halls. The Halls play acoustic guitar, pedal steel, banjo, bass and electric guitar, with some additional pickin' and drumming by other musicians on some of the tracks. Not sure where they were from: the Master label provides addresses in both Canada and Hollywood.

Shayne Hatfield & The McCoys "X-Wives And Old Songs" (Jesse James Records And Tapes, 1983) (LP)
(Produced by Larry Messick & Don Cederstrom)
Not a lot of info about this guy... This outlaw album was recorded in Boise, Idaho with a backing band that included Dave Borquez on drums, Deacon Lee (piano), Sam Rothwell (guitar), Doc Span (harmonica), Tony Walter (bass), and Larry J. Woody also blowing the harmonica. Most impressive, though, is the legendary Ralph Mooney playing steel guitar throughout the album... quite a catch! I couldn't find anything about this band online -- not sure if they played many live gigs or were even a "real" band. I'm pretty sure Shayne Hatfield was a stage name: there's a wealth of original material on here, including several tracks credited to C. Gubaci, who may have been Charles Gubaci of Coeur d'Alene and -- one would assume -- Hatfield's real identity. Anyone know for sure?

Jerry Jackson & The Inmates "Meet Jerry Jackson & The Inmates" (Vanco Records, 19--?) (LP)
Tons of twang on this robust record from the Pacific Northwest... The Inmates were apparently from Caldwell, Idaho, although they drove over to Vancouver, Washington to cut this album at the Ripcord studios. And it's mighty nice stuff... They kick it off with a rough-hewn cover of Jim Croce's "Don't Mess Around With Jim," but immediately dig into a deeper country vibe with weepers such as "She Called Me Baby," "Curtain In The Window," and "Invitation To The Blues." The band's piano player, Jan Adair, is spotlighted as a vocalist on "Fool Me One More Time," where her rugged, throaty vocals stand out, reminding me a bit of Melba Montgomery, and she plunks out some tasty licks, too, particularly on the bouncy instrumental, "On The Rebound." Most of the songs feature male vocals, though, and they're pretty solid, with an obvious devotion to the Ray Price honkytonk sound. The pedal steel work by Jimmie Collins is strong throughout, including instrumental showcases such as "Wildwood Flower Waltz" and "Orange Blossom Special." A good, solid, late '70s twangband... Unfortunately the album doesn't include any information about all the who-what-where-when of its making, but it's nice for life to have a few little mysteries. At any rate, this is a strong record from an unpretentious but solid local band. Worth tracking down.

Bobby Jones & The Outlaws "Lately" (American Heritage, 1974) (LP)
Songwriter and guitarist Bobby Jones led his band the Outlaws for several years, playing gigs around Pocatello, Idaho while releasing at least two albums in the mid-1970s. Jones only had one arm, and played guitar using a modified right-arm prosthetic that ended in a hook set at the proper length for him to strum the strings. (This prosthetic is shown on the cover of his second album, below...) Jones's tastes ran from true twang to hard-rock, which fit right in with the southern Idaho bar-band scene -- the Outlaws enjoyed a long residency at a nightclub called Myrtle's, in Chubbuck. Also worth noting is that the notorious Pinto Bennett played in the band at some point, though I don't know if he played on either of these albums.

Bobby Jones "...And The Outlaws" (American Heritage, 197-?) (LP)
(Produced by Bobby Jones & Arnie Goodman)
This album features Bobby Jones on lead electric and slide guitars, his wife Dianne Jones playing bass, producer Arnie Jones plunking piano, and Lonney Smith playing rhythm guitar and drums. It features songs such as "Idaho (I'm Coming Home)," "Get High On Country Music" and "We Wanna Boogie," as well as covers of Neil Diamond and ZZ Top. I'm not sure how long Jones kept the band together -- local newspapers had show listings from roughly 1974-77.

Pamela Kay "Thank God I'm A Country Girl" (1975) (LP)
A stereotypical perky '70s blonde, banjo-plunking Pamela Kay was born in Idaho Falls, Idaho, and worked in Las Vegas at the Frontier Hotel's Horseshoe Lounge, originally performing under her maiden name, Pamela Petfarken, in an act led by trumpet player Billy Kay, who she eventually married. By the time this album was recorded, Ms. Kay adopted a country music image, covering fairly rushed, clunky covers of "Country Roads" and "Two Doors Down," in addition to pop oldies such as "Mr. Sandman" and Dixielandish material like "Alabamy Bound," and of course an uninhibited version of the John Denver hit in the album's title. By the way, this isn't exactly a women's lib album: Pamela Kay is pictured on the back cover in short-short cutoffs and a particularly revealing, denim haltertop, with the liner notes more focussed on her physical beauty than on her musical talent. "She is beautiful, dynamic, soft, energetic, with a supple, lithe body to enhance her other attributes. Let's just sum it with -- WOW!" Wow, indeed. Yeesh!

The King's Witnessses "The Glory Road" (Charter Records, 1974) (LP)
(Produced by Gene Breeden)
A country gospel group from Meridian, Idaho, recording on a sub-label of Ripcord Records.

The Krawl Family "Krawl Family Album" (Callfaye Records, 1975-?) (LP)
(Produced by Gene Breeden & Ellis Miller)
At first blush, this seems to be another uber-indie mystery disc featuring an unknown family band from the Pacific Northwest, as there are no liner notes to speak of, and no indication where they were from. The group included Roscoe M. Krawl (1916-1993) and Grace E. Krawl (1923-1999), along with their daughter and son, Karen Kenyon and Randy Krawl. The elder Krawls appear to have had a long history playing country music over the years... archival photos on the back cover show family members in full western regalia performing way back in the 1930s or '40s, including one picture of Mr. Krawl at the mic of radio station WMRO, an old AM station in Aurora, Illinois. Hmmmmm... Well, as it turns out, a little diligent poking around reveals that the Krawls were in fact the post-WWII country stars Idaho Call and Boots Faye, who toured with Ted Daffan's road show and recorded prolifically as a duo between 1945-52, then somewhat sporadically thereafter. Mrs. Krawl (nee Grace Eloise Tarch) was originally from Springfield, Missouri, and earned her stage name as part of a hillbilly act called the Faye Sisters, which she formed with another local girl in the late 1930s. She met "Idaho" after the duo broke up, and they soon became popular recording artists, notably on Capitol Records. This disc was recorded at the fabled Ripcord Studios in Vancouver, Washington, and may have included a few of the studio's in-house musicians. Although they lived in many parts of the country, the Krawls ultimately settled in Boise, Idaho, which is where I'd guess they were when they made this album.

Toney Mann "Just Plain Country" (Artemiss Records, 197-??) (LP)
A super-indie album from a middle-aged guy from Idaho... This looks like all original material, including novelty numbers such as "Save This Fool A Stool," "Stool 24," and "Pappy's Puppy Love," along with regional pride tunes like "Elk City" and "Beautiful Idaho." This one's a real mystery, though, with no liner notes on the back, and no information about the musicians, etc. Toney A. Mann (1923-2005) was something of a roustabout -- born in Missouri, he headed west in the late '50s, did construction work in California before moving all through the high plains states, working various jobs while making a go of it as a musician. In the late '70s he settled down in Rapid City, SD married, and then moved again to Montana and then to Marmarth, North Dakota, which he called home for the rest of his life. I'm not sure where he was living when he cut this album (though Idaho seems a good bet, considering the two songs) Also not sure when, exactly, it was made -- I'm guessing the early 1970s, though more concrete information is always welcome.

Judy Lynn - see artist discography

Marty Martin "...Sings Country Music And Stuff Like That" (American Heritage Music Corporation, 19--?) (LP)
(Produced by Don Cederstrom)
Lecil T. ("Marty") Martin (1931-1999) was a country music DJ on radio station KGEM, in Boise, Idaho... He did on-air comedy bits and his sense of humor is reflected in this album, which includes lots of original(?) material, such as "I Hope Your World Don't End," "River Thru Reno," "Was It All In Fun," and "The Speed Limit's Thirty." Oh, and he also recorded a song called "Boxcar Willie," which is the name he switched to for his musical career, which took off in the 1970s and culminated in a long-running TV mailorder campaign and a permanent residency Branson, Missouri. This was his first album, recorded in the early 'Seventies, when he was living in Idaho... He's backed by some local talent, including Glen Smith (steel guitar) Jerry Jackson (bass) and Curt Doolin (lead guitar) and Alice Krahn and Robert Strong on drums. The birth of a legend!

Dale Miller "...Discovers Potter County, USA" (Jewel Records, 1972-?) (LP)
(Produced by Rusty York)
Though born in South Dakota, songwriter Dale Francis Miller (1935-2011) grew up out in Idaho and eventually made his home in the state's northern panhandle, putting down roots in Clark's Fork, a tiny town on the edge of Lake Pend Oreille. He recorded a string of indie singles spanning the 1970s and early '80s, as well as at least two LPs, of which this seems to be the first. It includes his "hit" single, "Potter County, USA," as well as the regionally-themed "River Pend'oreille," which were also released as singles. Mr. Miller was a real jack-of-all-trades, working in logging, construction and gold mining, as well as running two different taverns over the years. There are no musician credits on this album, so it's unclear if he was accompanied by the house band at the Jewel studios, or by some of his own pals from the Pacific Northwest; all the songs are his own originals, though, which is pretty impressive.

Dale Miller "The Country Singer" (Noma Records, 1975-?) (LP)
(Produced by Gene Breeden)
This album, recorded at the fabled Ripcord studios but released on an Ohio label, features some of the most awesome liner notes ever, in which the middle-aged Mr. Miller goes into great detail about his receding hairline, his hernia, what he likes to eat for dinner, what states and countries he's traveled to, and various aspects of his marriage... They are the most guileless and earnest liners I've ever seen... very endearing. Wish I'd been able to buy a copy when I saw this one, 'cause I'd really love to hear the music, too.

Ross Miller "No Such Thing As Good Bye" (Mountain Meadow Studios) (LP)
A super-DIY-looking album, with all the songs (I think) written by Ross Miller, with two tracks co-written by Mike Faubion... Presumably he was from Idaho, since there's a tune on here called "Idaho Song." No mention on the album of where this was recorded or when it came out.

Jim Monigold "Idaho Jim" (Luram, 1988) (LP)
(Produced by Sal Marullo)
This album was recorded in Monterey, California which was Jim Monigold's old stomping ground before a move to Idaho... As a teen in 1960's Salinas, Monigold played in local rock bands such as the surfy/garagey Fisher Brothers, who recorded a couple of major label singles. Later on he transformed himself into a twangy, country-oriented troubadour... He wrote the title track in honor of his new locale -- Monigold wrote four songs on here, with another original by drummer/producer Sal Marullo, along with covers of Willie Nelson's "Night Life" and the Band's big hit, "The Weight," as well as Jan Crutchfield's "It Turns Me Inside Out," which was Lee Greenwood's first big hit. Later, Monigold moved to Tennessee where he tried to hustle up work as a session player... He passed away in 2011.

Daniel Moore "Daniel Moore" (ABC-Dunhill Records, 1971) (LP)
(Produced by Daniel Moore)
At its best, this album is one of those weird, wonderful, eclectic albums from the early 'Seventies, blending country vibes with Muscle Shoals white soul and a heavy dose of churchy black gospel. There's also a fair amount of sludgy-yet-melodic boogie-blue rock with a post-Beatles McCartney vibe... Or perhaps more of a Ringo kinda sound. This doesn't all wow me, but there are a few tunes worth tracking from a twangfan's perspective, particularly with pickers such as T-Bone Burnett, Sneaky Pete Kleinow and Don Preston chiming in, as well as Chris Ethridge of the Flying Burrito Brothers. "May 16 - 75" is an album highlight, as is "Sweet Love Song To My Soul," even though he lays it on a bit thick there. (Worth noting: Originally from Idaho, Daniel Moore was the brother of LA-based rock songwriter Matthew Moore, who plays keyboards and contributes a couple of songs here. The Moores played together for years, including a string of edgy garage-psych bands, dating back to the mid-1960s, including the Plymouth Rockers, and The Matthew Moore Plus Four; Matthew also recorded a solo album or two of his own, though country fans need not track those discs down.)

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.

Harold Olson "...Sings Doggone Cowboy" (196--?) (LP)
Western songs, all sunsets and cowpokes, ropin' and dogies and whatnot, sung by Northwesterner Harold Olson, a rodeo announcer and auctioneer who was born in Spokane, but lived in Lewiston, Idaho. His all-locals band included Les Sneed on lead guitar, Danny Sneed (I wonder if they were related!) on steel, Gene Capps (see above) on bass, and Don Sneed, Jr. on drums... The repertoire was packed with cowboy classics, along with originals such as "Doggone Cowboy" and "Cowboy In A Continental Suit" (both published by Marizono Music) and a cover of Leroy Van Dyke's novelty hit, "The Auctioneer," which showcases Olson's own skills at calling auctions. I'm not when, exactly, this came out, but I'm guessing late 'Sixties sometime, since the liner notes mention him attending auctioneering school in 1965.

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!)

Red Heart "Introducing Red Heart" (SRC Records, 19--?) (LP)
This was a Coeur d'Alene bar band, playing all rock oldies and honky tonk covers... The group included Jim Sherman, Steve Pierre, Jim Boardway and Armando Velazquez (who is described as "of Mexican descent," which gives you an idea of how times have changed...) There's no label or year listed on jacket or LP, so this one's a bit of a mystery.

Diana Roan "Give Me Some Time" (Roan Enterprises, 1977) (LP)
(Produced by Pierce Roan & Danny Baker)
This gal from Boise, Idaho sang all-original material written by the Roans and various bandmembers, with several songs arranged by producer-keyboard player Danny Baker...

The Rockin' J Wranglers "Original Western Show" (Rockin' J Records, 19--?) (LP)
(Produced by Jim Crouch & Don Cary)
A souvenir album from a "chuckwagon" dude ranch in Post Falls, Idaho called the Rockin' J Ranch. The campfire quartet included Dean Eacker (fiddle), Russ Eacker (bass), Dan Hibbard (rhythm guitar) and Bob West on lead guitar, working through a standard mix of folk tunes, cowboy oldies and one regional pride song, "Here We Have Idaho," the state song. The Rockin' J was owned by Jim Crouch, and apparently Dean Eacker had worked there as the ranch foreman for fifty years(!) by the time this record was made... No date on the disc, but it looks early '80s. Recorded at Eastern Washington University, in Cheney, WA.

Rocky & Hal "Hoot 'En-Naughty" (T Records, 19--?) (LP)
Raunchy country comedy, recorded live at a venue called the Wintergarden in Bellingham, Washington. Rocky and Hal -- who don't give their last names -- play banjo and guitar on a set that is proudly proclaimed as "Definitely not suitable for radio broadcast: ADULTS ONLY." The duo apparently worked out of both Spokane, Washington and Lewiston, Idaho... thanks to The Northwest Music Archives for info on the other albums, listed below.

Rocky & Hal "Action After Midnight" (T Records, 19--?) (LP)

Rocky & Hal "Act III" (T Records, 19--?) (LP)

Mannie Shaw "Old Time Fiddler" (Mesa Records, 198--?) (LP)
(Produced by John Busbice & Wayne Busbice)
A pretty straightforward set of old-timey tunes from fiddler and fiddle maker Mannie Shaw (1907-1992) with all-local backing by guitarist Sam Daniels, Glenn Nelson (guitar), Mike Nelson (banjo), Rich Sweet (bass, guitar and mandolin), and Kaye Wilkinson on guitar. Mr. Shaw was born in Wyoming but lived all across the Pacific Northwest and participated in numerous fiddling contests, eventually settling down in Fairfield, Idaho, where he operated something called Mannie's Music Museum and hosted an annual fiddling event of his own called Mannie's Jamboree, held in July in Shoshone, ID. Though several of his contest performances are collected on old festival albums, this may have been his only album solo album. Although there's no date, it appears to be from the early 'Eighties, as the liner notes mention him touring Romania in 1979

Silkie & JJ "Road Sweet Road" (Abra Cadabra Records, 1978) (LP)
(Produced by Ole Fick)
An eclectic album with a wild back-story... The folkie duo of J.J. Dion and Silkie Miller met in Boise, Idaho in the early '70s, and in 1975 they went to Europe where they toured together for the rest of the decade. They recorded this album in Denmark, where they found their greatest popularity... At first it seems like it's going to be a goopy cosmic folk album, but some twang sifts in, with some banjo and pedal steel (as well as a little dulcimer...) and vocals that range from earnest folkie urgings to high, Byrds-y harmonies. There are lots of cover songs, drawn from interesting sources, from writers as divers as Eric Andersen and Utah Phillips to Hoyt Axton and Billy Ed Wheeler, as well as originals from both Silkie and JJ... Perhaps the most distinctive (though maybe not the best) of these songs is the manic novelty tune, "One Last Quickie Before I Go," a free-love ditty that has a slightly Elmo & Patsy-like vibe to it. Overall, this is a super-earnest album -- the production values fall short on the uptempo, full-band tracks, and are better suited to the intimate acoustic ballads, although those songs are a little too folk-oriented for me. Still, this one's worth checking out. I guess the duo split up in the early 80s, with Dion returning to Idaho where he quietly shifted into family life and Christian music... And who knows what happened to Silkie!

Chic Sorenson "Sings His Own Songs" (Blue Seagull Records, 1974) (LP)
(Produced by Ralph Grasso)
I couldn't find a lot of info about this guy, but here's what I got... Originally from Idaho, Sorenson apparently had a song included on Johnny Western's 1962 Have Gun Will Travel album, and wrote the music for the 1974 trash-exploitation film, Pets, which featured vocals by former beauty queen Terri Rinaldi. (Ms. Rinaldi, who was Miss Alabama, 1960 also sings a duet with Sorenson on this album, "Strangers On A Crowded Street"; she previously made an record of her own, with a bunch of his music on it...) Anyhoo, this album starts off strong, with a folk-country twang and stark production style that frames his songs well, in sort of a John D. Loudermilk/Burl Ives/Lorne Greene kinda way... But the material grows weaker and weaker as the record progresses, and Sorenson's singer-songwriter philosophizing wears thin and comes close to self-parody. Side Two closes with "Guide Me, Lord" (not the same song Merle Haggard recorded, but a similar sentiment) and I suppose Sorenson could have had a career in 700 Club-style Southern Gospel, but he seems to have faded from sight after this came out... Fans of cowboy(ish) folk-pop poetics might get into this, though there are better albums in the genre...

Rosalie Sorrels & Jim Sorrels "Folksongs Of Idaho And Utah" (Smithsonian Folkways, 1961) (LP)
(Produced by Kenneth S. Goldstein)
The first album by folksinger and social activist Rosalie Sorrels (1933-2017) isn't the same type of country twang as most of what we're considering here, but certainly merits inclusion among these Idaho discs. Born in Boise, Sorrels specialized in regional material for her first couple of albums, with backing by her husband, Jim.

Rosalie Sorrels "...Sings Songs Of The Mormon Pioneers" (Festival Records, 1961) (LP)
The free-thinking Sorrels came from an Episcopalian family, but as a skilled song-catcher, she rounded up a bunch of Mormon-themed songs for this album. She's backed again by her husband Jim, as well as a group called the Singing Saints, whose identities, sadly, are unknown to me.

Stetson "Stetson" (Fast Trout Records, 1980) (LP)
(Produced by Ridley Pearson & James A. Corwin)
A fairly clunky rock-and-country album from a scrappy band out of Bellevue, Idaho... Three songwriters share the credits and the microphone, with Mia Carroll opening the album with her own "Let Him In," a rather frank song about loneliness and horniness that has a so-bad-it's-good quality to it, not just because of the uncomfortably personal lyrics, but also because of her vocals, and the semi-primitive recording quality. The bar-band has chops, and mixes blues-rock and twang riffs with confessional-folkie-style lyrics... Brothers Brad and Ridley Pearson (previously of the folk-rock band Big Lost Rainbow) also contribute lyrics that are introspective and unwieldy... This isn't a pop-oriented record as much as a true product of their artistic and philosophic yearnings. I'd be hard-pressed to recommend this based on the music, but if you enjoy obscure, self-released albums simply based on sincerity and authentic personal expression, this one's a doozy. (Worth noting in the liners: a shout-out thank you to future KFAT/KPIG deejay Dallas Dobro, who -- I hadn't known this before -- seems to have been an Idaho native before hanging his hat in the Santa Cruz Mountains... Who knew??)

Stone Johnny Mountain Band "Mountain Fresh" (Cisco Records, 1981) (LP)
A longhaired indie twang band that played gigs in the Priest River, Idaho/Spokane, Washington area, circa 1976-1984. In case you're baffled by the band's name, "stone johnnies" are old rock pile cairns used as trail markers, and built by shepherds, backpackers, faeries, or sometimes by pranksters out on a hike. Neat name.

String Band Revue "The Story By String Band Revue" (Family Records, 197--?) (LP)
(Produced by Gene Breeden & Blaine Allen)
Bluegrass gospel by a family band from Boise, Idaho. The group included Don Brown (guitar, dobro), Lindi Brown (vocals), Mark Thomas (banjo), and Jean Brown on bass... They recorded this session at Ripcord Studios, in Vancouver, Washington.

Vern Swain "After All These Years" (Tenn-Can Records, 1979)
(Produced by Jerry Michael & Larry Lee Broderick)
A singer from Boise, Idaho playing all original material, including songs such as "Just Can't Stand The Heartache," "Old Wyoming Cowboy" and "You're Breaking This Old Country Boy's Heart." Apparently Swain played at a bar called the Lock, Stock & Barrell, and one of the songs on this album, "Calamity's Tune," was co-written with a local school teacher Anglee Ruud. Swain went to Nashville to record, booking time with a studio crew that included Sonny Garrish on steel, as well as Greg Galbraith, Bunky Keels, Bruce Watkins, and the Cates Sisters singing backup.

The Sylte Sisters "Rary Mountain Music" (Young American Records, 195--?) (LP)
An attractive trio from Coeur D'Alene, Idaho, the Sylte Sisters -- eldest Joan and twin siblings Deanda and Deanna Sylte -- are best known for a string of sleek teenpop singles they released circa 1962-63, though this album appears to be from a few years earlier. A paste-on cover photo shows the gals and their backing band in western gear and cowboy hats, and has the look of a typical cornpone hayride country act. Rary Mountain was the name of a youth camp in Colorado that was an offshoot of Jim Rayburn's "Young Life" organization, a Christian evangelical ministry founded in 1941 -- so its possible this isn't as country as it looks. This 10" LP was recorded live at radio station KCMS, in Colorado Springs, with the sisters on vocals, backed by bassist Jay Grimstead, Dick Lowry on piano, and accordionist Phil McDonald. Alas, there's no date on this disc, although the sisters all look about fifteen or sixteen years old, while they appeared to be in their early twenties when they cut their pop singles. Despite regional success in the Pacific Northwest, dating back to a TV appearance in 1953, the gals never quite broke through nationally, leaving only a handful of recordings to capture their decade-long musical career. (Thanks to 45cat.com for providing a few breadcrumbs about the Sylte sibs...)

Tarwater "Tarnation" (American Heritage Music Corporation, 1975) (LP)
(Produced by Tarwater)
A longhaired twangband from Boise, Idaho... Haven't heard them yet, but the album sports liner notes by Pinto Bennett, so that may provide some indication of their rowdiness level...

Mona Taylor & Dusty "On The Wings Of The Wind" (Stop Records, 1967-?) (LP)
A husband-wife duo from the northwestern plains, and beyond. Dusty Taylor was originally from Canada, though he grew up in Idaho, while Mona Taylor from South Dakota. This is one of several remarkably obscure LPs put out by the well-connected Stop label, in addition to the slew of singles by equally unknown artists.

The Tucker Family & Dennis Bruderer "The Tucker Family And Dennis Bruderer" (Charter Records, 197--?) (LP)
(Produced by Dan Duncan)
Independent twang from Idaho... The Tucker Family band was a quartet made of parents Bob and Peggy Tucker, and their kids Danny and Shelly... They were joined by local picker and yodeler Dennis Bruderer, who worked for the Amalgamated Sugar company in Nampa, Idaho for many years before retiring in 2019. This album was recorded through the Ripcord Studios in Vancouver, Washington and may have had some of their in-house musicians on board as well... The repertoire is mostly country oldies and classics, songs like "I'll Fly Away," "Mule Skinner Blues," "The Auctioneer," and Marty Robbins' "My Woman My Woman My Wife." There may have been some originals as well, though it's unclear since the liner notes don't provide any composer credits. This was Mr. Bruderer's first LP, although he also cut a solo album of his own, which was manufactured through another regional indie powerhouse, the Little Richie label, in New Mexico, a few states over. One interesting note: Dale Vest, a guy who worked for Top Forty star Tommy Overstreet, wrote the liner notes for this album, and Bruderer's next album featured a few of Overstreet's songs, so there may have been some sort of connection there...

The Waddington Family "The Future's Not What It Used To Be" (Ripcord Records, 197--?) (LP)
(Produced by Blaine Allen, Gene Breeden & Tim Waddington)
This country gospel family band from Aderdeen, Idaho formed their own ministry and went to the Ripcord studios in Vancouver Washington to record a couple of albums. This album features backing by Ripcord's Blaine Allen and Gene Breeden, along with the rest of their studio crew -- they provide solid country backing, albeit with a smooth, southern gospel-ish tone. Tim Waddington is the group's main vocalist, and he has sort of a corny, 700 Club-style white gospel baritone... a little too schmaltzy for me, dreary, even. I mean, how can you make "Life Is Like A Mountain Railroad" into a slow, boring song? A disappointing album, and definitely not enough twang... But it's nice to fill in another blank spot in the Ripcord story.

The Waddington Family "...With Country Gospel" (Family Records, 1978) (LP)

Loyd Wanzer "Folk Fiddlin', Left Handed Style" (American Heritage Records, 19--?) (LP)
(Produced by Judy Wyllie)
One of many souvenir albums recorded by championship fiddler Loyd Wanzer, an Idaho stalwart who had won a national old-time fiddling championship before recording this sweet, simple set. It's about what you'd expect: a bunch of standards like "Sadie Hawkins," "Fisher's Hornpipe," "Up Jumped The Devil" and "Turkey In The Straw," along with a lot of pleasantly obscure tunes. By and large, Mr. Wanzer stays away from breakneck, drag-race musicianship, favoring instead a sweetness of tone and tonal clarity, making this set less piercing and perhaps more enjoyable than other fiddle records. He is accompanied, simply and ably, by his daughter Cheryl, on a muted electric bass. This album came out on two different labels with two different covers, though apparently both versions had blank, white back covers, with no release date given on either edition. Mr. Wanzer recorded about a dozen albums, including several that were cassette-only releases.

Dwayne Youngblood "...Salutes The Bicentennial: 1776-1976" (1976) (LP)
Fiddler C. Dwayne Youngblood (1935-2002) was originally from Idaho, but lived in Visalia, California during the 1970s, and trekked over to Bakersfield to record this instrumental set at the Buck Owens Studios. Mr. Youngblood was a devoted old-timey artist who competed in countless championships across the country, dating back to the early 1960s and contributed a version of "Jack Of Diamonds" to a compilation album called Fiddle Jam Session, that came out of these mid-'60s sessions. Although this solo album was pitched as a Bicentennial celebration, it includes no overtly patriotic material -- instead, it's mostly classic hoedown tunes like "Billy In The Low Ground" and "Blackberry Blossom," as well as an original composition, "Shirley's Waltz," which was written for his wife. Youngblood's son Rick accompanies him on guitar, and he plays some fiddle as well; Rick Youngblood went on to become a championship fiddler and attended the annual National Old Time Fiddle Contest forty-eight straight years in his lifetime. This album came out around the same time that Dwayne Youngblood won the California state fiddling championship in 1977.

Various Artists "IDAHO SAMPLER" (Mountain Bluebird Records, 1982) (LP)
A country/folk collection featuring locals such as Kip Attaway, Belinda Bowler, the Braun Brothers, Steve Eaton, Mike Wendling and others...

Hick Music Index