Honky Tonk Times | Issue 4 | July 2021

ISSUE 4 - JULY 2021

JESSE DANIEL

ARTICLES FROM YOUR FAVORITE DISC JOCKEYS, SPOTLIGHT ON MAC LEAPHART INTERVIEWS WITH JACOB RICE, LEROY VAN DYKE AND THE GREEN LINE TRAVELERS LYRICS, FASHION, ASK A DJ AND MORE!

( proud to be from route 23!

Howdy friends! Billy BratcHer Here, rolling down tHe road to tHe traditional tunes of proud KentucKian tyler cHilders. t yler grew up 20 minutes from KentucKy’s legendary route 23, tHe road tHat Has spawned loretta lynn, dwigHt yoaKam, cHris stapleton and countless otHers. tyler is as country as tHe Bullet Hole in my uprigHt Bass!

His stories are poignant and sung witH pure conviction. tHemes of struggle, love loss, and tHe HardscraBBle life of coal miners are BrougHt to life from His strummed acoustic guitar and accompanying fiddles, Banjos, and steel. He tunnels deep into family roots on His first alBum, “Bottles & BiBles,” witH tunes liKe “Hard times” and “coal.” His next two recordings, “country squire” and “purgatory,” were produced By pals sturgill simpson and david ferguson. tHese records are diamonds straigHt from coal country! t yler was nominated for a grammy for His tune “all your’n,” and its accompanying video was expertly filmed. t yler’s latest, “long violent History,” features a BedrocK of fiddle and Banjo witH a nod to KentucKy tradition witH its old time flare. it’s as deligHtful as a douBle-oaKed Bottle of BourBon HatcHed t yler’s social from a smoKy, awareness aged Barrel maKes me from His feel country Home music is in state! good Hands, tHose worn witH tHe cracKs and calluses of Hard worK.

(

t yler loves pinBall, recently tweeting, “spent tHe last two days playing soutH parK pinBall at a laundromat in sacramento. so yeaH, nooo! life’s good!”

Daniel to release ‘Beyond These Walls’ Jesse Daniel possesses the hardwon life experience that many sing about, but few have actually lived.

Instead of wearing those trials like badges of honor, he has used them to forge the solid foundation from which he has built his career.

After overcoming years of addiction and all that comes with it, he set out to make a life in music and hasn’t looked back since. This unrivaled determination led to his self-titled debut in 2018, which proved to be a major foot-in-thedoor for him as an artist. After touring the record extensively, he released his second album, “Rollin’ On,” in 2020. If the first record was a foot in the door, “Rollin’ On” was a battering ram, making it near impossible to ignore his name in country music. It let the world know that Daniel was here to stay and received national — and international — praise from the likes of Rolling Stone, Sirius XM Outlaw and Country DJ Shooter Jennings, American Songwriter and Saving Country Music, among many others. Its success in spite of a global pandemic only highlighted the impact it had.

Daniel used the forced downtime of 2020 to write and record his best work to date, a 12 song album called “Beyond These Walls,” collaborating again with esteemed Grammynominated producer Tommy Detamore at Cherry Ridge Studios.

Many of the songs were co-written

by Jesse’s partner, bandmate and co-owner of their independent label Die True Records, Jodi Lyford, who is heard throughout singing harmony vocals.

“When Jodi and I found out that all touring in 2020 had been canceled, we started focusing on bringing ‘Beyond These Walls’ to life. Some of the songs we co-wrote together, a couple I co-wrote with friends Nick Foster and Robert

Jesse Daniel, pictured at right, is set to release his latest effort, “Beyond These Walls” July 30. His partner, Jodi Lyford, left, helped write much of the record. — Photo courtesy of Kayla Ramirez

Misenhimer and the others I wrote myself,” Daniel said. “One silver lining of having all that downtime was that we got a chance to put the time and care into those songs, and I think that translated when we hit the studio with Tommy.

“Making records with Tommy Detamore is like a master class in country music. He’s an incredibly talented steel player, but the truth is he can play just about any string instrument well. He played steel, dobro, mandolin and nylon guitar, as well as engineered, co-produced, mixed and mastered ‘Beyond These Walls.’ Talk about a Swiss army knife. We work very well together, and I feel like we speak the same language of country music. He gets my vision, and I’m thankful to have become his friend.”

Many have praised Daniel as a showman or performer, but less often as the songwriter he truly is.

The subject matter on this album shed light onto this side of him that had been there all along, but many have overlooked. “Clayton Was A Cowboy” honors the timeless tradition of storytelling in country

music, capturing the simplicity, hardship and tragedy that oftentimes go hand in hand with living truly and completely free. “Gray” is a sad but true glimpse into what addiction can look like. Written from the perspective of a friend, it covers the helplessness one feels while watching someone they love throw their life away.

“I’ve been to a lot of funerals in the past few years, most of them were for friends who died far too young,” Daniel said. “I wrote this song to tell the truth about what it’s like, and to try and expose the glamorous image people give addiction for what it is.”

This album is a love letter to country music in its many forms.

It will leave you with a sense of knowing Jesse Daniel better, both as an artist and person. He has grown immeasurably as a singer, songwriter, producer and bandleader since his humble beginnings in small town California and “Beyond These Walls” lays out just how far he has come and will continue to go.”

To pre-order “Beyond These Walls,” due out July 31, visit www. jessedanielmusic.com

HOWDY Y’ALL It’s your ole pal Taylor Austin here again, fresh off from seeing the first live show I have seen in 16 months, and hot damn, does it feel good to be back out there! I was lucky enough to see Vermont’s own Maple Run Band two minutes down the road from my house. Sometimes you get lucky like that.

There is a lot to go over, so let’s get right into it. SHOWS, SHOWS, SHOWS and NEW RELEASES GALORE. Darn near everybody has at least a single they have released, and we are blessed almost weekly with the news of new albums coming out. And the quality of these songs, whoa! Jesse Daniel, Summer Dean with Colter Wall, Brock Gonyea, Blackberry Smoke, the list goes on, and it’s only going to keep getting bigger.

We’ve had some great new music making its way into our P.O. box as well. Honky tonkers like Scott Southworth, Dennis J. Leise, and Chris Andres come to mind. We got a really hot, swinging album from Southwest Biscuit Company that is guaranteed to get you up and twostepping. We even got a nice change of pace with Staci Gresbach’s take on the Patsy Cline catalog; she does them as Jazz songs, and I’ll tell ya that those songs really lend themselves to the genre jump. I always like a surprise like that in the mailbox.

You’ll notice we skipped the month of June. Things weren’t coming out quite right on time the way I wanted ‘em to, so we paused printing for the month and have come out with this BIGGER, BETTER issue. We have also opened up the subscription model on the website, so if you’re so inclined, you can sign up at thehonktonktimes.com and have the magazine mailed to you the first week of each month. We mentioned the month skip on our Instagram and

Taylor Austin, AKA Cousin Early, founder of Honky Tonk Times, with the bass that reignited his love for country music. The bass was once owned by Billy Bratcher of the Starline Rhythm Boys.

Facebook pages, so if you don’t follow us there you ought to.

We’ve also added some additional merchandise to the website. There are now coasters, and I will soon

be adding some more homemade pieces to the Honky Tonk Times collection. When you purchase things like that from us, it goes a long way to helping us become profitable and

continue the magazine. My goal isn’t to make a bunch of money to put into my pocket, but to give back to the musical artists that we all love so much. Let’s face it: they’re why I put this publication together in the first place. I’m not sure what that will look like, but it’s a ways off, so we’ll cross that bridge when we get there.

I have also started to get lots of nice notes in the mail. Keep ‘em coming.

I would love to hear from each and every one of you. I’ve started a binder to put them in so I can keep them and read them over and over. Many thanks to all of you for your support.

I mean that right from the bottom of my honky-tonk heart!

I’ve got one last thought in closing.

You’ll notice every issue I have a new photo next to my letter to you, the readers. It’s a fun challenge for me to keep things fresh and challenge my creative photography juices. This one is pretty special to me, here’s why: I grew up with my grandparents playing a major role in my life.

Consequently, I got to hear a lot of what we all know as classic country.

Between their music and my stepfather’s Time Life classic country collection, I was hooked. As we grow up, things change, and so did my taste for what was on the car stereo.

I entered a phase centered around oldies/standards and even top 40

for quite a while. After having one helluva day at work, a friend and I decided to take off down the road to Montpelier, Vermont to have dinner at the Langdon Street Tavern (it’s still there today; check it out if you’re ever in town). We were headed back to the car after dinner; it was a perfect fall evening in Vermont. The air was crisp and fresh, and there was an energy in the night sky. While walking around a bit, we passed a little joint by the name of Sweet Melissa’s when I could hear a very familiar “thump, thump, thump” that stopped me dead in my tracks. It wasn’t a DJ or a rock ‘n’ roll band. That was an upright bass. Like a kid seeing a new playground for the first time, I practically begged my friend to pop in for a minute and see what was going on.

We walked in as everyone was clapping and staring at the tiny stage to the right of the door as you walked in. The sign on the wall read, “HERE TONIGHT, THE STARLINE RHYTHM BOYS!” “I’m the center of attention in this barroom...” they were off on a Faron Young tune. Thankfully, it didn’t take much convincing of my friend to order us up a round and stay for a while. I didn’t realize it that night, but I was seeing the first of many Starline Rhythm Boys shows to come. Danny Coan on guitar and lead vocals. Big

Al Lemry with lots of hot licks on his electric guitar and wonderful harmonies, and Billy Bratcher on the big, beautiful bass that drew me in off the street. We stayed all night, and I bought every CD they put out. The boys brought me right back to my honky-tonk roots, and I couldn’t be happier about it.

–It wasn’t long before I was playing more country music on my radio show and listening to a lot more country during my day-to-day routine. After a while, I sold my noncountry albums and went exclusively country in my vinyl collection (now 4,000-plus albums, nothing but country). I digress. It’s that bass in the photo with me, a 1965 Kay M1, that drew me in. Billy plays with another bass that is a bit easier to bring around to gigs, and this one now lives with me. A piece of history in so many ways. I can honestly say that if it weren’t for the boys and this here bass, Honky Tonky Times would never exist.

As the Collin Raye song goes, “That’s my story, and I’m sticking to it!”

Happy reading, folks.

Taylor Austin AKA Cousin Early

PLAYBOY (Written by Charlie Marie, Paul Mabury and Paul Duncan) Playboys always fall for a girl like me Shaken on the rocks like cold whisky I’ll get in your fancy car Let you drive me home You might leave the bar a star But you can’t steal the show, playboy My phone rings off the hook I read you like an open book You talk and talk and talk About true love everlasting Trying to sell me leather But I’d rather have your plastic, playboy Hey boy, I’ll let you pay, boy You shoulda known from the start Hey boy, no matter what you say, boy I won’t let you near my heart But don’t you take that money to the grave Every player needs a game to play, boy I don’t want your diamond ring But I love Paris in the spring You take me to a Broadway show Breakfast in the morning We don’t have to sit front row But you sure can afford it, playboy Hey boy, I’ll let you pay, boy You shoulda known from the start Hey boy, no matter what you say, boy I won’t let you near my heart But don’t you take that money to the grave Every player needs a game to play, boy Don’t you think I’m worth the price?

Come on baby, roll the dice Hey boy, I’ll let you pay, boy You shoulda known from the start Hey boy, no matter what you say, boy I won’t let you near my heart

But don’t you take that money to the grave Every player needs a game to play, boy Playboy FELEENA (Written by Carolyn Sills) Oh Feleena, don’t go to Rosa’s tonight I’ve got a feeling that cantina’s due for a fight Oh Feleena, those men don’t care that you’re mine They only care that you’re dancing one dime at a time Oh Feleena, I know we agreed that El Paso’s our home But there’s nights that I feel like I’m drinking alone And I see how they all turn their heads when you whirl on by Oh Feleena, don’t go to Rosa’s tonight Oh Feleena Why must you romance every glance that they’re sending your way Oh Feleena, when given a chance they’ll advance till you hold them at bay Like wolves they prey...

Oh Feleena, why can’t you just stay away Oh Feleena, how many time must you see That foul cantina keep making a fool out of me Oh Feleena, last night I walked in to spy You dancing too close to a cowboy with stars in his eyes He reached for your waist just like all the rest and my hand in a rage put a knife to his chest and if you hadn’t pulled me away, I’d have taken his life Oh Feleena, don’t go to Rosa’s tonight Oh Feleena

Why must you romance every glance that they’re sending your way Oh Feleena, when given a chance they’ll advance till you hold them at bay Like wolves they prey Oh Feleena, why can’t you just stay away BENCH SEAT REVIVAL (Written by Drew Moreland and Garland Lee Wenner) When I was a boy my daddy owned a truck it was covered in dents and dirt and even had a few holes from rust every Sunday morning we’d roll out before dawn and head on down some red dirt roads where I had never gone And that old bench seat was my church pew and the gospel was taught from Daddy’s point of view and Willie and Waylon they sang in the choir Somehow he held his coffee and a lit cigarette and could still point out the things we passed to tell me this or that Everything he said seemed to end in a country song and by the time that sun was coming up I couldn’t help but sing along And that old bench seat was my church pew and the gospel was taught from Daddy’s point of view and Merle and George Jones both sang in the choir If I could you know I’d take one more ride with him I’d do a lot less talking and a lot more listening

So now every Sunday morning, I drag her out of bed and we go down some back roads listening to his 8 track cassettes And that old bench seat was my church pew and the gospel was taught from Daddy’s point of view and Johnny and June they sing on Will the circle be unbroken By and by Lord, by and by Ferry Boat Blues [Jolene Higgins] I see your silhouette Staring at me Is that you?

Who else could it be On that boat, darling Departing from me?

Moon up high Stars In the sky Don’t know why I let you go by Love starboard bound, baby I’m starting to cry Maybe someday they’ll build a bridge From me to you Til that day, baby I don’t know what I’ll do

ignition and take us to a movie or a show.

It was my new best friend, I’d drive it to the end of my own or it’s natural life.

But it’s a pain you don’t know when you watch your friend go, as your truck drives away with your wife.

I started to suspect I should have kept my old wreck when we were foolin’ around in the bed.

I had shut it all down to try to not make a sound, and risk runnin’ the battery dead.

When things started shakin’ the engine started quakin’ to the rhythm as we started to writhe.

This was the first sign of worry so we stopped in a hurry, showin’ my truck had a crush on my wife.

Well I furthered my suspicion when the truck took us fishin’ and it played all her favorite songs.

It adjusted her seat and turned up the heat way above where I said it belongs.

Well these little gestures, they started to fester and caused me a good bit of strife.

It all came to a head, when they left me for dead and my truck drove away with my wife.

Yeah with my boat and dog, they pulled out of that bog and my truck drove away with my wife.

years Just heard back from another club that doesn’t want us Things fade out as fast as they appear 3 Chords and the truth doesn’t cut it anymore A song about a broken man well that’s just a bore When fantasy overwhelmed reality 3 chords and the truth were shown the door ALL THAT AMERICAN NIGHT (Kent Rose Memory Train Publishing/BMI)

The promoter took the cash box and split for Vegas Left the band with nothing but pack it up and go This motel room we’re crowding ain’t the greatest But it’s better than sleeping by the side of the road At a truck stop where the neon signs are burning All the stars up in the sky they tumble down We’ve been here before but we’ll soon be returning Another honky tonk in another lonesome MY TRUCK DROVE AWAY WITH MY WIFE town (Written Dennis Leise) 3 CHORDS AND THE TRUTH All that highway, all that American night (Written by Nick Bachmann) Technicolor sunset turns to black and Well I traded in my beater for the JD white Powers leader for the best name full size They’re not lookin for a country band The wheels keep rolling ‘til the city’s out truck. usually of sight ‘Cause they made me a deal and I And if they are, they Don’t think we’re one All that highway, all that American night thought some new wheels would maybe Things have changed since country hit There’s a jukebox with a memory in the help me turn around my luck. the mainstream corner The dash was aglow with some things I And guys like me are in the setting sun Every time the needle drops I get a thrill didn’t know were s’posda help me with a 3 Chords and the truth doesn’t cut it Might be living on hard times and handmodern life. anymore me-downs Well I’m sorry to say it went south one A song about a broken man well that’s Fats Domino’s still up on Blueberry Hill day, when my truck drove away with my just a bore All that highway, all that American night wife. when fantasy overwhelmed reality Technicolor sunset turns to black and That autonomous vehicle, well it sure had 3 chords and the truth were shown the white me tickled when it took me where I told door The wheels keep rolling until the city’s out it to go.

I know i do things a little different of sight With voice recognition, it would fire the Playing songs that no one’s touched in All that highway, all that American night

Salt-country: turn your radio On(line)

BY DON STICKSEL HTT Contributor Hello friends – I know I said I was going to write about music this go around, but honestly, I’ve got radio on the brain right now. Not commercial radio that’s been programmed within an inch of its life. No, I’m talking about community radio. The closest thing we have to a freeform experience left in the broadcast world.

There’s a vibrancy, an energy about it that you can’t get anywhere else.

To me it’s one of the few pure forms of entertainment left. A one-way channel. No comments. No likes. No algos making recos. Just a DJ and their records/playlist. AND IT’S EVERYWHERE. You just have to know where to find it.

In my research, every decently sized town has at least one community/ college station with a free stream and archive going back a few weeks. They publish their schedule (sometimes even color coded) and it’s usually pretty easy to find the country show because a) one is usually enough despite five different jazz shows and b) it’ll usually have billy or y’all or honky in the name. Then you’re off to the races. Take a listen and find what you like. Maybe you just want the classics; to which I say you’re

in luck because most shows only play old stuff. That’s fine, more new releases for me.

I’m gonna rattle off some of my favorites – which comes down to the personality of the DJ and their taste. l Honky Tonk Radio Girl – Becky B. on WFMU l Boots and Saddle – Sean Burns on CKUW l Country My Way – Lawrence Peters on Lumpen Radio l Walkin’ the Floor – Iaan Hughes on KBCS l Back to the Country – Rotating DJs on WORT l Howdylicious – DJ Wanda on KUCI l The Coordination Committee – Dawn on KBMF Then there are some stations dedicated to it (roots based at the very least): l Gimme Country – featuring me, Laura Cantrell, Jimi Palacios, Jesse Dayton and tons more. l Radio Bristol at the Birthplace of Country Music Museum l Radio Heartland from Minneapolis’ Current And let’s not forget podcasts: l Dollar Country

Don Sticksel l Old Soul Radio Show I haven’t even delved into mixcloud yet, which is also a treasure trove.

Fortune favors the curious so get on it.

Now there’s a slew I’m leaving out, but this is a good start. I actually made a calendar of shows on Google filled with websites, archives, socials etc. and I’m happy to share if you @ me or shoot me an email: djsaltycracker@ bothkindsofmusic.com.

If you have your own favorite, lemme know and I’ll add it. I’d love to have a country radio calendar that’s filled 24/7.

That’s it for this month. Thanks for reading and until next month, be kind and… keep it country.

Don Sticksel aka DJ Salty Cracker hosts the Country Bunker on Gimme Country every Wednesday. Follow him @bothkindsofmusic.

July 2021 SUN

MON

# BIRTHDAY *ANNIVERSARY OF PASSING TUES

WED

THUR # KEITH WHITLEY, 1954

FRI # JANETTE CARTER, 1923

SAT # AARON TIPPIN, 1958

# MARVIN RAINWATER, 1925 # JEANNIE SEELY, 1940 * ROY ROGERS, 1998 * CHARLIE DANIELS, 2020

# DAVID AKEMAN, “STRINGBEAN,” 1916

# GEORGE HAMILTON IV, 1937 LEFTY FRIZZELL, 1975

* CHARLIE RICH, 1995

# CHARLIE LOUVIN, 1927

# TOBY KEITH, 1961

#DOYLE WILBURN, 1930

# DAVE COBB, 1974

# SPECK RHODES, 1915 * KITTY WELLS, 2012 * BONNIE BROWN, 2016

# RED SOVINE, 1918

* BOB FERGUSON, 2001

# ALISON KRAUSS, 1971

# PAM TILLIS, 1957

# MARTINA McBRIDE, 1966

* SAM PHILLIPS, 2003

# BONNIE BROWN, 1938

# ASHLEY McBRIDE, 1983

* LYNN ANDERSON, 2015

* JIM REEVES, 1964

# WOODY GUTHRIE, 1912

# COWBOY COPAS, 1913

# DEL REEVES, 1932

* HANK COCHRAN, 2010

# CINDY WALKER, 1918

* BUDDY EMMONS, 2015

* WAYNE CARSON, 2015

#SARAH CARTER, 1898

# HOMER HAYNES, 1920

* ANITA CARTER, 1999

# BOBBIE GENTRY, 1944

# DAVID BALL, 1953

* DON RICH, 1974

Jacob Rice releases new single, finds success in Music City

After struggles in Los Angeles amid the COVID-19 pandemic, Jacob Rice ultimately landed in Nashville where he is currently working as songwriter and performer. — Photo courtesy of Chelsea Rooker

BY GEORGE NOSTRAND HTT Contributor As a freelance writer, I’ve taken a few liberties over the years. One of these liberties has been frequently meeting with musicians over a few briskly brewed barley beverages. But when I first reached out to Jacob Rice for our first interview in 2010, it became apparent that wasn’t going to work out. Rice quickly informed me that he wasn’t drinking age yet. Not only that, but he also had to check with his mom as to when she could drive him to the second choice – a coffee shop. Rice was just 15 and didn’t have a driver’s license.

Today Rice hails from Nashville. It

was a windy road that got him there, and he shared a few stories with the Honky Tonk Times while also giving an inside look at the well-oiled machine of co-writing that goes on in Nashville.

Jacob Rice wasn’t always into country music.

“Growing up, we never listened to country. My parents were into rock and folk. You could almost say they were anti-country. My dad was big on ‘70s acts like James Taylor, Bread and CSN.” Jacob started performing and recording early. His first CD with the band, All Year, was released over 10 years ago. It’s hard not to label it teenage bubblegum pop, (sorry Jacob).

Regardless, it was clear that the band had some talent, in particular Jacob.

This writer followed from a distance as the band moved from the tiny town of Wallingford, Vermont (population approximately 2,000 people) to Los Angeles.

Rice struggled in L.A. as he tried to find direction. It was his would-be wife that turned him on to country music.

“She would have it playing in the background,” Rice recalled. “The first song that got me was ‘Red Dirt Road,’

by Brooks & Dunn. I was so homesick in L.A. There were so many people, and I felt so closed in. I grew up on a dirt road. When I first heard the lyrics – I felt like I was home. From that

moment, I started listening more and more, and it slowly grew on me. I felt like I was unlocking a part of me that had always been there.”

Rice was in L.A. when the global pandemic struck. In a round-about way, you could say it ended up being a bit of a lifesaver for Rice and an opportunity to turn a corner with his music.

“When the pandemic first hit, I was in L.A. I had a bit of a breakdown and ended up going home to visit parents in Vermont.”

Vermont brought a sense of solace to Rice and also an opportunity to get out of the rat race that was L.A. After a spontaneous visit to the cabin in Ripton, Vermont, where Robert Frost wrote many of his poems, Rice penned what arguably could be one of his best songs.

“We decided to go on a hike and found Robert Frost’s cabin. For 40 summers, he would go to Ripton to write. It was a magical place – and so desolate, especially because it was during Covid. I just felt an overwhelming sense of peace. We were miles from civilization – and I was thinking if this thing turns out for the worse – if this is the apocalypse, Vermont is where I want to be.”

Rice immediately started writing when he got home. He wrote what he initially thought was a poem and posted it on Facebook.

“I didn’t think much of it. I posted the lyrics on Facebook. Someone asked for it to become a song. I quickly pulled together a song and shot a video. It went what I call ‘mini-viral.’

It shot up to 10,000 views. People seemed to really connect with it.”

The song ended up being entitled “Leave Me Home” and is hauntingly beautiful. It could easily be described as a love song to his home state of Vermont. Returning to Vermont gave Rice a chance to reassess his priorities and make decisions that ultimately led him to move to Nashville.

Rice is currently in Nashville and has been working, writing, performing and immersing himself in the city’s culture.

“You really have to be here to

Jacob Rice’s “Love & Sorry” dropped June 11 and is available on all streaming platforms. experience it. The saying is, we’re here to serve the song, not our ego. The song always comes first. It doesn’t matter if you’re writing for another artist or Synch; there’s so much love in it.”

Rice described a typical writing session for him.

“Co-writing usually consists of three people with equal splits. It feels like song therapy sessions sometimes.

Everyone brings an idea to the table.

Someone might have the first chords but no idea of a story. Someone else might bring half-written lyrics. The group starts by sharing ideas and then picks one to work on. Ideally, the max is four hours. And you try to write at least a song in a session.”

While writing songs for others, Rice is still putting out his own music.

He recently released the single “Love and Sorry” and is looking forward to getting out and playing for live audiences.

“It’s a big thing for me. I don’t want to live my life online. I want to be out with people, playing shows and meeting people. Moving to Nashville was a leap of faith but one of the best decisions I’ve made. It really feels like a family down here.”

Find out more about Jacob Rice at www.jacobricemusic.com.

Catch Jacob Rice at an upcoming acoustic show: Thursday, Aug. 19 — Daisys — Patchogue, New York Friday, Aug. 20 — Toomeys — Amityville, New York Saturday, Aug. 21 — TBA — Rutland, Vermont Sunday, Aug. 22 — Frog Alley Brewing — Schenectady, New York George Nostrand is a freelance writer, singer-songwriter and owner of A Sound Space – a DIY rehearsal, video and recording studio in Rutland, Vermont.

The Northern Report volume 4

BY SEAN BURNS HTT Contributor Well, good morning, good afternoon, and good evening friends. I hope this finds you well. It’s been quiet on the new release front as of late, but there’s still some fat to chew on from your neighbours to the north.

There’s an exciting project from vintage western wear proprietor Laura Gaucher of Good Gals Vintage and Central Alberta’s premiere honkytonker, Boots Graham,* who you may know as the singer/songwriter of Boots & The Hoots. The couple recently launched The Littlest Honky-Tonk. The two lovebirds are tryin’ to live out their country and western dream of owning their own bonafide honky tonk.

Inspired by a shared love of genuine country music, Laura and Boots are in the process of turning a 50-year-old 16’ horse trailer into the world’s first mobile honky tonk, western shop and country music museum. Rusty steel walls covered in country music relics, autographs and merchandise represent the museum.

A pop-up vintage western shop will surround the trailer in the open air.

A honky tonk wouldn’t be complete without live country music, and out the swinging saloon-style back doors will be a mobile stage fully equipped for cheatin’, lovin’, hurtin’ and leavin’ songs. Check them out on Instagram @thelittlesthonkytonk and consider supporting the cause when they release some more merch. It looks like their first run of hats sold well, and we were quick to order a pair here at HQ. I wrote about Bobby Dove’s latest album in our second issue, and they’re back with a cool project called “The Bobby Dove Show.” Inspired by The Bobby Hill Show (Dove’s mentor), the online streamed events will be prerecorded with separate performances and include short interviews/conversations with the guests.

Bobby aims to frame it like famed country music variety programs (see The Porter Wagoner Show and The Johnny Cash Show), complete with a great fiddler/old-time musician (Saltwater Hank) similar to how The Bobby Hill Show would feature Ned Landry and Jean Carignan. Follow along on Bobby’s Facebook or Instagram pages for updates @bobbydovemusic.

Some heartbreaking news out of the unincorporated rural community of Maryhill, Ontario as The Commercial Tavern, the last bastion of real country music, was recently put up for sale by proprietor/Canadian country music legend, Paul Weber.

Weber has owned and operated the 166-year-old building that houses the Commercial for 27 years, but the doors have been closed these past 14 months as the province continues to poorly battle and contain the pandemic. Paul was hot-shit on the Canadian scene throughout the 1980s, crisscrossing the country with his band Top Hand. Though he’s not a member, in the opinion of this country music enthusiast, Paul is deserving of a spot in the Canadian Country Music Hall of Fame.

The Commercial Tavern was immortalized in song by The Western Swing Authority on their 2018 album “Big Deal,” with a song called “This Old Bar.” The track features Paul and two other staples of the scene from his day, Harold Macintyre and the late Johnny Burke. This one hits home for me as Paul and his older brother (ace pedal steel picker), Mike Weber, were close friends and musical brothers of my late father. Mike was in the band van when it picked my mother and me up from the hospital days after I was born. The bonds are deep with our families, and when I saw the news of the Commercial Tavern’s impending sale, I struggled to come to terms with the harsh reality we’ve found ourselves in.

Sean Burns The Commercial Tavern was homebase for Paul and the birthplace of The Western Swing Authority while also hosting legends like the aforementioned MacIntyre and Burke and others like Marie Bottrell, Joe Firth, and South Mountain. In recent years the stage routinely saw some of today’s hardest touring country and roots artists like Tim Hus, Boots & The Hoots, Zachary Lucky, and myself. There’s no place like The Commercial Tavern left in Canada.

Here’s to wishing all the best to Mr. Weber as he moves on to the next stage of life.

Some new releases worth mentioning include the latest from Mike T. Kerr and his album-a-month project. April’s album by Mike, “Heart Pine Valley,” is a seven-song offering that includes some of Mike’s most personal and best songs yet.

“Back to Cape Breton” is the latest single from PEI-based Lawrence Maxwell. Released April 30, it’s a banger and the most traditional sounding country/honky tonk from Lawrence to date.

Staying out on the East Coast, I encourage you to check out The Johns YouTube page, where they’ve been

releasing some excellent live videos of the group covering some of the earth’s greatest country music songs. This band is the real honky tonk deal!

No column would be complete without a little self-pumping of the tires, and with that, I’ll remind you folks that “The Northern Report” podcast officially launched May 6, with my first guest, Corb Lund. We’re gonna churn out eight episodes in May and then slow it down a bit. Guests will include some of today’s finest acts along with legends of Canadian country. I’ll continue to update the Spotify playlist as well, and thank you, folks, for following along. *Boots also designed the logos for “The Northern Report” and my weekly radio program, “Boots & Saddle.”

Sean Burns, honky tonk/country music performer, enthusiast and DJ, is based in Winnipeg, Manitoba, Canada. Hear his radio show, “Boots & Saddle,” on CKUW 95.9 FM. Find archived episodes on Spotify, Apple Podcasts, or at www. bootsandsaddle.ca. Listen to Sean’s music on whichever streaming service you pay a nominal monthly fee for. Support directly at seanburns.bandcamp.com or www. seanburns.ca. Drop him a line at info@ seanburns.ca.

FINEST FASHIONS: LISA SORRELL TALKS WITH JASON BARIE Florida native and renowned bluegrass fiddler Jason Barie has more than a few tricks up his sleeve.

Having spent time in bands such as Doyle Lawson & Quicksilver and most recently a member of Joe Mullins & the Radio Ramblers, the IBMA award winner released his second solo effort, “Pieces,” in 2019 to much acclaim.

In addition to his musical chops, Barie’s leatherwork has graced the shoulders of many musicians and personal acquaintances. His widely sought, hand-tooled instrument straps are designed specifically for his customers, with no two alike.

Honky Tonk Times contributor Lisa Sorrell recently caught up with Barie to discuss his background in leatherwork.

a lot of different musicians. They would all talk about their instrument straps, where they got them, who made them, and how long ago it was made. It was a conversation piece, with each one being different and personalized. The strap was a prized possession of the musician, almost as much as the instruments they played.

I began to appreciate the various designs each one had tooled on them, and I would think, “That’s something I would like to try!”

Sorrell: What attracted you to working with leather?

Barie: As I got older and started to play the fiddle, I found myself around

Sorrell: Do you find any similarities in writing or playing music and crafting leather? Does inspiration for a new tune or a new design, and the

Sorrell: How long have you been making leather items?

Barie: I’ve been working with leather for seven years. Most everything I make is a custom piece that’s designed specifically for each customer.

work to translate that inspiration into something tangible, feel the same?

Barie: Even though leather crafting and playing music or writing a tune are completely different skill sets, there are similarities in the processes.

Both take a bit of trial and error at times. Both are creative outlets. When I have a bit of inspiration for writing a fiddle tune, I’ll record it on my phone and listen back. Sometimes the melody makes sense, the parts flow together, and the chord progression fits what I’m looking for. Other times I may find that certain parts work well, but other parts need to be discarded or reworked into something better. It’s the same process as I lay out a tooling design. I’m looking for that same type of flow and harmonious combination of elements.

The only real difference between the two art forms is that one is audio, and the other is visual. There’s a great deal of satisfaction when all of the elements come together and your

creative vision comes to fruition.

Sorrell: Does your music inform or influence your leatherwork?

Barie: A lot of my commissions come from being around musicians on the road, so that influences the amount of work I get. Inspiration for designs or design elements can be found in any place while I’m out on tour with the band. I might see an instrument strap that has an interesting element to it and take a picture of it, or I may see a tapestry hanging in a lobby of a hotel that has an element that would tool well in a piece of leather. It’s not necessarily my music in particular that influences my leatherwork but the circumstances of being on the road.

Sorrell: Did you plan to become an artist/craftsman?

Barie: I decided to pursue music, mainly the fiddle, as my life’s work when I was 14. I attended community college but was only looking for some sort of fall-back degree in case music didn’t pan out. When I was pretty young, maybe 10 or 11, I found that I enjoyed woodworking. I learned to build simple things and eventually took up carving as well. Through my teens, a lot of hours were also spent on cars and trucks doing mechanical and paint and bodywork with my dad.

We would buy wrecked cars, make the necessary repairs, paint them, and then sell them. We also converted a Greyhound-style passenger bus into a motorhome. For a time, I worked in a custom cabinet shop. I spent six years building high-end cabinets and custom woodwork, all while pursuing music. Music was always a constant.

I enjoy working with my hands, and I’m not afraid to try new things or hobbies. Leather tooling designs always intrigued me, though. Any time I saw a tooled saddle or an instrument strap, I always liked the way they looked and wondered what the process was to create that; eventually, I finally got around to trying my hand at it. You gotta know how to layout your project, make

patterns, measure, know how to scale, and when it comes to carving, know what’s gonna be the background and what’s going to be the foreground.

Sorrell: What do you love most about working with leather?

Barie: Just like in music, it’s the idea of making something that will be enjoyed and will hopefully last many, many years. It’s another outlet for my creativity. I enjoy the process of taking a piece of veg-tanned leather with nothing on it and turning it into something of usefulness and beauty.

Sorrell: Tell me about your favorite leather project that you’ve made.

Barie: I think my favorite thing that I’ve made to date is a day planner that I made for my wife. It was one of the first Sheridan designs that I made completely on my own. I drew the design while on tour with the band during our travel time on the tour bus.

The design, the colors, the stitching, it all turned out just how I wanted it to. The kids gave it to my wife for Mother’s Day. Sorrell: Tell me a story about a favorite client or client interaction.

Barie: I have a friend who was experiencing shoulder problems due to the weight of the electric bass he was playing. He would have issues with his left hand and sometimes his arm going numb. He reached out to me about adding a pad to his strap. Instead of making a pad, I came up with a new contoured more ergonomic strap that would fit around his shoulder and neck better and added a soft pad to that, taking a lot of pressure off his shoulder. It helped to improve his situation, so that was pretty rewarding.

Another time I made a guitar strap for a client that was a close friend to the late Jimmy Capps. Jimmy was a phenomenal session player in Nashville who got his start with the Louvin Brothers and was later in the house band of the Grand Ole Opry. When Jimmy passed, my client wanted a strap in memory of him

and included design elements that commemorated his legacy. It’s pretty humbling when someone trusts your talent enough to ask you to make something that special for them.

Sorrell: Do you listen to music in your shop? Does music inspire or inform your designs?

Barie: I always have music playing while I’m working in the shop. I play in a bluegrass band, and it’s my favorite kind of music, so I’m typically listening to bluegrass along with classic country. Sometimes the music is just on in the background, and other times I’m singing along.

I’ll also utilize that time of listening while working to look for songs that I may want to record on a future solo project.

UNDER THE SPOTLIGHT We got to shine our Honky Tonk Spotlight on Mac Leaphart for this month’s edition of Under the Spotlight.

When were you born?

A few months before Elvis left us.

What are some of your physical characteristics?

If I’m wearing boots and holding my shoulders up, I stand about 6’4”, but I’m usually wearing Chucks and slouching, so. Also, from the side, I kind of resemble George Washington on the quarter.

How long have you been singing and playing guitar?

I started playing guitar when I was 12, I think. That was a long time ago.

When and where did you perform your first show?

Eighth-grade talent show. I played a kind of country version of “Mercedes Benz” by Janis Joplin.

When did you first become interested in country music?

When I was about 5, riding around with my dad. He listened to a lot of Kris and Willie.

HTT: Who are some of your favorite singers?

Wilson Pickett, Gladys Knight, Willie Nelson, and Ray Charles.

I have a theory that no matter the genre, Ray Charles can make any song his own.

What label do you record for?

Currently independent.

How many albums have you put out?

Three.

What is the best song you’ve recorded?

My favorite song I’ve recorded might be the version of “El Paso Kid” off my latest record, “Music City Joke.” I had recorded it on an older album, and I didn’t like the direction I took it in. This time, I felt like we got it sounding exactly like it was supposed to.

What has been the biggest thrill of your career?

About a decade ago, I had a major health issue that sidelined me from playing for over a year. All my buddies put on a benefit for me. It was in a converted movie theater, and there was a stage in front of the screen, and there was a mix of artists playing my songs live, and filmed clips of them saying wonderfully positive things about me and my songs, as well as a few stories where I drank too much, etc. When it was done, one of my friends was like, “Dude, you basically got an opportunity to witness your own funeral, man.” It was surreal, humbling, and beautiful.

What are some of your favorite hobbies?

I like to put on some music, make myself a drink, and whip up food for

friends and family. I find that cooking for folks creates a genuine sense of fellowship. Also, I like to go to the movies by myself.

Where do you make your home?

Nashville.

Who gave you your first big break?

I feel like I’m mostly still waiting on that. But “Music City Joke” has been sort of my break-out record, I guess. And I had a great team behind me, starting with Brad Jones, who produced it. Sarah Frost did my PR. Angela Backstrom did radio. Julia Price came on to help with my Kickstarter and ended up sticking around.

She keeps the wheels turning.

What is one of your most embarrassing moments?

Any time I’ve attempted to back a trailer is pretty embarrassing.

What do you have in store for the future?

Playing live shows everywhere I can!

Any words you would like to say to your fans?

If It weren’t for y’all, I wouldn’t have a job, so a huge thanks! Actually, whatever is bigger than huge, that’s what I mean. Thank you for listening, and reaching out and letting me know that y’all dig the album. I cannot wait to come play for y’all and meet everybody in person. I love y’all!

The

Chicago Hustle with Lawrence Peters

Hello from Chi-Town!

Things are heating up, and our janky ol’ burg is partying like it’s 1871.* One of our city’s oldest and goodest venues, The Hideout, has been far from idle, despite being shuttered for the past year. They were one of the first to explore the new frontier of online events, and they’ve kept a steady stream of shows going since shortly after the shit hit the fan last March. After 14 long months, they’re reopening their doors for live music on July 6.

Their online efforts have been acknowledged with a 2021 Pollstar nomination for the Best Livestreaming Venue award, putting them in the running with some real heavy hitters, including Nashville’s Ryman/Grand Ole Opry and Royal Albert Hall, in London, UK. Please wish them luck.

Self-proclaimed dive bar Save More Lounge has reopened as a music spot, with Elle Quintana from Reggies booking the shows. I hear that their legendary bartender Joyce will maintain her presence behind the bar. She’s been a staple there for years, and she also did time at the notorious Lakeview Lounge and at Carol’s Pub, when the latter was still a hillbilly danger zone.

Virtue Cider is hosting regular live shows featuring country and roots acts through September. Many of those groups are from Chicago, and since Fennville, Michigan probably counts as part of Chicagoland, I’ll continue to report on the joint’s lineup.

Their complete calendar isn’t online as I write this, but upcoming performers include Jon Langford & Sally Timms, Michelle Billingsley, and The Lawrence Peters Outfit.

Michelle recently had a show at Hey Nonny, and she’s currently in the studio working on a follow-up to her outstanding 2019 album, “Not The

-

Marrying Kind.”

The good folks behind The Sportsman’s Club, and Estereo, just opened a new bar and venue in Pilsen called The Giant Penny Whistle. The atmosphere is friendly and laid back, and they’ll be hosting a variety of DJ nights, including country vinyl, from 8 p.m. - midnight every Wednesday. I’m excited to say that I’m on that roster.

Alright!

Tammy Savoy (2020 Ameripolitan Award winner for Rockabilly Female) recently had a weekend of shows in Newport Beach, California, with fellow rockabilly royalty Big Sandy MC-ing the event.

Big Sadie has taken a residency at Fitzgerald’s and they are struttin’ their bluegrass stuff the second Sunday of every month.

Decoy Prayer Meeting, the country and roots group fronted by Montrose Saloon’s Eric Chial, is also making some noise, with a number of shows on the horizon.

Speaking of The Montrose Saloon, I recently caught a great early evening show there by Kent Rose and his band, The Remedies. Alt-Country spokesmodel Jon Langford was in attendance, and so were Theresa Drda (drummer) and Nick Bachmann (frontman) of Cropduster 4.

Chicago’s own Tex-Mex/Americana rowdies Los Gallos played there on a Friday evening, and I got to throw down a country vinyl DJ set after the smoke cleared. It was a heck of a night, with a vibe that couldn’t be beat.

Chicago “primitive country” band The Hat Stretchers are getting down to business with some live shows of their own. The band is a supergroup of local pickers, including Rick Sherry (Devil In A Woodpile, Sanctified Grumblers), John Hasbrouck (Northside Southpaws, Pilsen Hot Five), and Jon Williams (The Mountainaires,

Chandelier Swingers). You can catch them at an upcoming Fitzgerald’s gig and other venues around town.

Joe Wortell fully recovered from his bout with Covid, and he’s putting his renewed energies into finishing a fulllength album. Can’t wait to hear it.

Wild Earp & The Free For Alls have released some new singles from their upcoming album, and the first was an especially good’n. The song: “Ain’t It A Shame (When Your Horse Goes Lame)” was a highlight of their performance in the virtual 2020 A Day In The Country festival. The record has a release date of July 9. You can hear and purchase the music on their Bandcamp page.

That’s all I know, for now. Take care of yourselves, and I’ll see ya on the flip side.

Thanks,

Lawrence

*1871 was the year of the Great Chicago Fire. Now that’s hot! If you are interested, there’s a great exhibit at the Chicago History Museum largely debunking the bullshit cow and lantern theory of the fire’s origin with evidence of a deadly meteor shower that caused blazes throughout the region.

Lawrence’s radio show Country, My Way, airs from 4-6 p.m. CDT every Wednesday on WLPN 105.5 FM in Chicago, on www.lumpenradio.com, and the iOS app everywhere. For info on his weekly interview/DJ show LP’s Happy Hour, his lectures at The Old Town School of Folk Music, and his Ameripolitan Award-nominated honky-tonk band The Lawrence Peters Outfit, check out www.lawrencepeters.com. Follow him on Instagram @lawrence22peters, and feel free to drop him a line via his website.

VINCENT NEIL EMERSON Howdy, folks It’s your ol’ buddy from the other side of the pond, Jack Browning, and you’ve caught me drawing and listening to "Fried Chicken & Evil Women" by that East Texas troubadour, Vincent Neil Emerson. By way of Van Zandt County and raised by a single mother with Choctaw-Apache heritage, the hero of our story (that’s Vince if you hadn’t caught on) left home at 16. Vincent spent the next two years travelling his home state, working a whole host of odd jobs, which laid the groundwork for the stories he’d soon be singing.

Well, it wasn’t long before Vincent, aged 18, picked up a six-string guitar and taught himself some chords. At age 20, Vinny, realising he might just be rather good at playing his songs, took to the open mics and honky tonks of Fort Worth, Texas.

You’d be hard-pressed to find a more authentic singer-songwriter than VNE, and the inspiration he sought from Townes Van Zandt, Guy Clarke and Blaze Foley to Hank Williams is apparent but not indicative of his remarkable originality. It appears, too, that greatness attracts greatness, with Vincent soon in cahoots and touring with a few folks you may have heard of: Colter Wall, Turnpike Troubadours and Charley Crockett.

In 2019, Emerson released his debut collection of songs as an LP, titled ”Fried Chicken & Evil Women”, to much acclaim. Now, at age 29, you can hear his much-anticipated follow-up, "Vincent Neil Emerson," on June 25, 2021, via La Honda and Thirty Tigers.

Van Dyke's auctioneer chant still going strong Leroy Van Dyke’s “Walk On By,” released in June 1961, spent an incredible 19 weeks at the No. 1 position on Billboard’s Hot Country Songs chart and became a crossover hit, peaking at No. 5 on the Billboard Hot 100.

BY MOLLY HAINES HTT Contributor At 91 years young, Leroy Van Dyke’s auctioneer chant is still going strong.

Before COVID-19 brought the entertainment industry to a halt, Van Dyke averaged 50 shows per year and is now eager to return to performing.

“It shut us down, but we’re coming back,” Van Dyke said of the global pandemic. “They made the rule that we couldn’t have any more than 10 people in the audience, and that won’t even pay the drummer.

Like everybody else in this business, when the pandemic hit, we just crawled in a hole and pulled

the hole in after us.

With touring on pause and the world at a standstill, Van Dyke, a former journalist, began writing his autobiography. The story of his rise to fame bears repeating.

Van Dyke grew up in rural Pettis County, Missouri, attending high school in Sedalia, where he ranked third in his class of 180 graduates.

While enrolled at the University of Missouri, he majored in animal husbandry and journalism, receiving a bachelor’s degree in Science in Agriculture.

From there, Van Dyke would serve his country in the Korean War as a special agent in the U.S. Army Counter-Intelligence Corps. It was there that the words

and music to his first song began coming to him.

“It was kind of a fluke, really,” he said. “I was always interested in music. While I was in Korea, the words and music to a song started coming into my head. I finally wrote it down, and when I came back home, I got into a talent contest and lost, but it didn’t seem to matter because the telephone started ringing, and within two weeks, I had a record out.”

That record, “The Auctioneer,” released in 1956, would catapult Van Dyke to stardom, selling 1 million copies and earning him a contract with Dot Records.

“It’s the true-life story of a man named Ray Sims,” he said.

“He was a second cousin of mine and probably the best pure-bred livestock auctioneer that ever walked. I didn’t have any idea of writing the song, it just started coming to me. The only thing that’s not true in the lyrics is the state of Arkansas; (Sims) was not from Arkansas, but nothing rhymed with Missouri, so I had to pick the neighboring state.”

Following the popularity of his breakout hit, Van Dyke joined the cast of the “Ozark Jubilee.” While it would take several years to match the record’s success, his next hit would secure his place in country music history for decades to come.

“Dot Records didn’t know what to do with me after we had a hit off ‘The Auctioneer,’” he said. “They were trying to make me sound like Pat Boone, trying to make me sound like Elvis and half a dozen people that I wasn’t. Finally, I realized they weren’t going anywhere, and I asked for a release from the label. It took me a while to find a label to go to, but Mercury was the one.”

His first release with Mercury, the Harlan Howard-penned “Big Man In A Big House,” hit No. 17. Realizing the song would not crack the top 10, Van Dyke began searching for a follow-up single.

“We almost missed it,” he recalled. “We had to do some doctoring, had to rewrite some things. There was no second verse to the song, but the publisher took it home and wrote the second verse.”

The end result, “Walk On By,” released in June 1961, spent an incredible 19 weeks at the No. 1 position on Billboard’s Hot Country Songs chart and became a crossover hit, peaking at No. 5 on the Billboard Hot 100.

The 19-week run at No. 1 is a record that stood for 51 years. In its 100th anniversary issue, released in 1994, Billboard Magazine named

“Walk On By” the biggest country hit of all time. While other songs have since outpaced the single, Van Dyke remains proud of the achievement.

“We didn’t have any idea that anything like that was taking place, but Billboard Magazine had some people doing figuring and beancounting, and they determined that based on the number of weeks in the charts, number of sales, and the number of plays, that ‘Walk On By’ was the biggest country single of all time,” he said.

Van Dyke became a regular member of the Grand Ole Opry and a founding co-host of “Country Crossroads,” a widely syndicated radio show. He hosted his own syndicated television series, “The Leroy Van Dyke Show.”

In 1967, he would take his talents to the big screen, starring as Pat Hubbard in “What Am I Bid?” The movie featured “The Auctioneer,” as well as Ray Sims as himself, Faron Young, and Tex Ritter.

Van Dyke continued to chart throughout the remainder of the ‘60s and ‘70s while maintaining an impressive tour schedule amid an ever-changing business and has managed to incorporate a myriad of other talents — including auctioneering — into his work as an entertainer.

“I went to auction school right after my junior year of college,” he said. “I never did get into it full time; I was busy with the entertainment industry, but I did and still do combine those two activities.”

Now entering his 65th year in the industry, Van Dyke has plenty more stories to share.

“Anytime there’s a group of people together, and we get to talking about where we’ve been, what we’ve done, and some of the funny things that have happened, someone will always say, ‘Well, you ought to write a book about

Sixty-five years after his first hit, Leroy Van Dyke continues to perform regularly. all your experiences,’ so I took that opportunity over the past year. I’ve been working on bits and pieces at a time.”

Van Dyke’s autobiography is still a work in progress. For updates, visit www.leroyvandyke.com.

Catch Leroy Van Dyke at an upcoming show: Aug. 19 — Missouri State Fair — Sedalia, Missouri Aug. 20 — Iowa State Fair (Country Gold Tour featuring Dallas Wayne and The Malpass Brothers) — Des Moines, Iowa Molly Haines is a freelance writer living and working in the heart of Kentucky’s Bluegrass Region. Follow her on Instagram @ countrycavalcade, or drop her a line at mollyhonkytonktimes@gmail.com.

To see more coloring book pages check out Etsy shop www.Etsy.com/shop/EndOfTheWest

News in photos

At right: The Western Terrestrials get back in the saddle at the Briggs Opera House in Hartford, Vermont.

Below: Gorgeous George is singing “Long Black Veil,” and Sweet Sassy Molassey and Wild Earp back him up on vocals at Fitzgerald’s in Berwyn, Illinois.

Above: Kent Rose at a recent performance in Chicago.

At left: The Maple Run Band performs an outdoor show in South Burlington, Vermont.

Your favorite DJs share tips and tricks for vinyl collecting Country music is cool, and vinyl records are cool, so what could be cooler than a column about both?!

In this new feature a couple of our veteran DJs will tap into their years of experience to answer your questions about vinyl records and all things related, including collecting, gear, and more.

I Just got a turntable for my birthday. Any advice for starting a record collection?

DJ LP: Thanks for the question, happy birthday, and congrats on the turntable!

There are many good ways to start a record collection. Here are a few: Pick some of your favorites from whatever format you currently use to listen to music (mp3s, streaming, CDs, cassettes, etc.) and look for them on vinyl.

Discogs is a great resource for that. Go on the site, look up the band or performer, and a favorite song or album, and you can generally figure out if it exists on vinyl (not everything is listed on there but it’s a good starting point).

If you are lucky, you might have the option of LP or 45.

At that point you have the choice of buying it online, or maybe supporting a local record store, by seeing if they have any of the records on your list.

If some of your favorite bands are fairly current, I’d suggest seeing if they have a Bandcamp page, and buying their music there, if it’s available on vinyl and still in print.

If your music taste tends toward

older music, Discogs and records stores are still great options, and I’d add eBay to the mix.

If you like adventure, and don’t mind dirt and mildew, it can be rewarding to spend some time at junk shops, thrift stores, antique malls, flea markets, and record fairs.

If you spend much time with the person who gave you the turntable, it could be cool to add some of their favorites to your collection, so you can listen together. If your turntable came from a family member they might be inspired to give you some of their old records.

Don’t forget to keep your records clean, and change the stylus (needle) when it begins to wear out.

DJ B-Side: Hey - Happy Birthday! So my first question is what kind of turntable did you get?

While you should get a turntable you can afford, those Crosley/ Victrola suitcases/all-in-ones are

junk. MP3s sound better on your phone than vinyl does on those.

While purists might scoff, the AT-LP60s Audio-Technica’s on Amazon are good entry level players at $150. Then I’d start looking for a receiver and speakers at your local Goodwill to get the full package.

Now when it comes to records, it’s a bit of a loaded question and leads to more.

Do you want new or used?

If used, is condition important?

What’s your budget?

Quality or quantity?

Answering these will all help you on your journey.

If you’re buying new vinyl, I agree with DJ LP on Bandcamp - support independent artists straight from the source whenever you can. That’s more money for them.

Now I’ll freely admit that I’ve only returned to vinyl in the last 5 years.

But I’ve built a pretty solid classic country music collection in that

time for cheap. There are two things you need to do this: frugality and patience.

Most of the albums I’ve bought have been $2 or less. I’ll admit that I’m spoiled from having flea markets and record shows where I can snag stuff on the regular. I’ve learned there aren’t a whole lot of albums that are really worth more – the ones that are more pricey are The Louvin Bros., Johnny Cash, Keith Whitley and early Willie Nelson.

Otherwise, Buck, Merle, Waylon, Dolly, Loretta, Hank Sr and Jr can all be had for cheap. That’s where patience comes in.

There’s always another store, another show. If it’s not the price or condition you want, then wait. It’ll show up again eventually.

Finally, always check the actual vinyl before you buy it to make sure it’s not warped or scratched. And make sure the cover matches the record. Nothing like getting home and finding out there’s Bob Seger in that Waylon and Willie sleeve (this happened to me).

Welcome to the world of collecting records. Enjoy!

DJ LP: I completely agree with B-Side’s thoughts on the Crosley vs.

Audio Technica debate. Crosleys are attractively packaged, but their tone arms are set at an angle that makes them track improperly.

I’ve been actively collecting vinyl since the 1980s, and I like the Audio Technica LP60 enough to

use one in my office. It can be run through powered speakers, so it doesn’t require an amplifier, if you want to keep it simple.

Audio Technica’s LP120 is also a solid option.

You’re looking at double the price of the LP60, but it’s a sturdier turntable and it allows you to slipcue (manually turning the platter backwards to cue to the start of a song) making it usable for DJing. Keep in mind that they aren’t

automatic, like the LP60, so you’ll have to get used to manually picking up the tonearm at the end of a record. Like DJ B-Side said, these turntables are easy to buy online. A lot of record stores also carry them, so you may have another option to support your local music economy.

Thanks for writing!

Any other questions? Send them to vinylreckoning@gmail.com

August 2021 SUN

# MACK MAGAHA, 1929

MON

TUES

# HANK COCHRAN, 1935

# WEBB PIERCE, 1921 # MEL TILLIS, 1932 * JACK CLEMENT, 2013 * GLEN CAMPBELL, 2017

# MERLE KILGORE, 1934

# ROSE MADDOX, 1925

# BILLY JOE SHAVER, 1939

# BIRTHDAY *ANNIVERSARY OF PASSING WED * BILLY SHERRILL, 2015

# JERRY KENNEDY, 1940

* DON HELMS, 2008

# WAYNE RANEY, 1921

THUR

# BILLY RAY CYRUS, 1961

* FLOYD TILLMAN, 2003

# JO DEE MESSINA, 1970

# KITTY WELLS, 1919

* JERRY REED, 2008

* HOOT HESTER, 2016

* MIKE KENNEDY, 2018

SAT # B.J. THOMAS, 1942

# VERN GOSDIN, 1934 # SAMMI SMITH, 1943 # BOBBY BRADDOCK, 1940 * LUTHER PERKINS, 1968

# RAUL MALO, 1965

# PORTER WAGONER, 1927

# HOOT HESTER, 1951

# BUCK OWENS, 1929

* TOMPALL GLASER, 2013

# LEE ANN WOMACK, 1966

# JIM REEVES, 1923

# KENNY ROGERS, 1938

# JUSTIN TUBB, 1935

# HAROLD REID, 1939

# JIMMY C. NEWMAN, 1927

# BILLY GRAMMER, 1925

* DONNIE FRITTS, 2019

# JIMMY DEAN, 1928

# DON RICH, 1941

# HOLLY DUNN, 1957

FRI

# DON BOWMAN, 1937

# CONNIE SMITH, 1941

Reader photos

At right: Bud Brooks sneaks a peek at The Honky Tonk Times during a recent recording session.

Below: Jeff Lenger enjoying the Honky Tonk Times.

rian dler, B k d o t g on elin e-trav the Honky T m i t r u ing :O Above erson, enjoy e 1974. d sinc Saun Times

Above

: Billy

Bratc check her takes a ing ou t the H break from th onky T onk Ti e heat whi le mes.

Whiskey Preachin with The Green Line Travelers

BY TONY SEXTON HTT Contributor The roots of today’s country music are steeped in the sound of immigration, infused in the melting pot of 19th century America. The folk songs and murder ballads of the British Isles, the jigs and reels of Scotland and Ireland, German oompah, the waltz and the polka, Alpine yodels, African proto-banjos, and Hawaiian sliding strings came together in the 20th century to create music with a distinctly American flavour. Factor in the universal desire to consume ferment sugars in the form of alcohol, and honky tonk soon became the perfect soundtrack to dissolution.

Given the international roots of the music, it should come as no surprise, then, to discover that Sweden has been turning out some good honky tonk music of late, with the new album from the Green Line Travelers, “Baker’s Bog Blowout,” being a case in point.

The Stockholm band, named after the city’s southbound subway line, formed in 2013 when bass player Anders Höjlund met David Ritschard and Agnes Odén, who were playing a Swedish roots music festival with their bluegrass outfit, Spinning Jennies. They decided to form a rockabilly band, and after recruiting Daniel Björkander on electric guitar, soon morphed into a hillbilly sound.

With the addition of drummer Fabian Ris Lundblad, a lover of country and bluegrass who had been studying jazz at the Royal College of Music in Stockholm, the core of the band was ready to hit the road.

“Baker’s Bog Blowout” — named after the translations of two subway stops, as was their previous EP, “High Valley Hoedown” — was recorded on

dancers ready to pass the two-step test?

DB: We hope so. The rockabillies certainly know how to throw a party, but often we turn out to be the only, or one of the few, country acts of a given rockabilly festival, and the What is it like being in a Swedish boppers and jivers seem to appreciate honky tonk band? the variation. We played A-Bombers DB: We’re just a few Swedes and classic country music lovers, trying to in Sweden, which is a classic car meet, tell stories that everyone can relate to. and those boppers were getting down with the two-step.

We also love boots and hats, though.

I see you are booked to play the It can be kind of funny when we’re interviewed in the Swedish media; we Rockabilly Rave at Camber Sands are often asked to explain why we play (UK) this month. Do you consider yourselves to be part of the rockabilly classic country music. If we played scene rather than the contemporary post-punk, which is also retro now, country scene? and wasn’t originally from Sweden DB: I’d say in Europe, we are either, we would not be asked why we more a part of the rockabilly scene play that kind of music. simply because that’s where there is a “Baker’s Bog Blowout” boasts a scene for a honky tonk group like us, more hard-edged honky tonk sound whereas, in the U.S., there is a scene than 2015’s “High Valley Hoedown” for Texas dance-hall-style honky EP. This album is rooted more in tonk. We have yet to come across the traditions of Texas dance halls a more distinct country scene in and the Bakersfield’s honky tonk Europe. We’ve gotten the impression sound than the hillbilly boogie and that there is a more contemporary boppers of your previous EP. Was Americana scene that is distinct from this a deliberate choice or a natural the rockabilly scene, and if there development? is a country scene, it’s more leaned DB: It was a deliberate choice as towards ‘90s country. well as a natural development, but Great to see Kristina Murray taking maybe more of a natural development. the lead vocal on “Honky Tonk When we recorded the EP, we had Saturday Night.” Her song “Lovers & just started out, and those songs Liars” was featured on the “Whiskey reflected our live repertoire at that Preachin Vol. 1” compilation. How time and how we instantly sounded did you come to work with her on this when we got together. We leaned song? towards Bakersfield and Texas dance DB: She’s a songwriter and hall because that’s what we listen to. performer that deserves more A long-standing dream is to tour listeners! We met her on our first trip those Texas dance halls and similar to Nashville; I think she and Fabian venues in the U.S. had a conversation about music over This album has its fair share of upa beer. We were there to play the tempo tunes and a bunch of slower Nashville Boogie, and we saw her honky tonk numbers as well. I can performing with JP Harris. Then we imagine the dancefloor filled with met her again when we were both boppers and jivers when you play nominated for the Ameripolitan at rockabilly events, are these same the island of Gotland in the Baltic Sea with a slew of guest musicians, including Daniel Wigstrand on steel.

Wanting to know more, I contacted guitarist Daniel Björkander.

Music Awards in Memphis in 2018, and yet again when she toured Sweden and we played the same festival. When the song “Honky Tonk Saturday Night” appeared, she seemed like the perfect duet partner for Fabian. We got in touch, and she recorded her part in Nashville with producer/bass player Michael Rinne.

It would be fun to play the song live with her sometime.

“Honky Tonk Tuesday Night” tells the story of you paying a visit to Brendan Malone’s night at American Legion Post 82 in East Nashville. It sounds like you had a good night. Did you get to play?

DB: Yes, I think we have played there three times in all. Our first appearance was an almost cinematic experience for us, with a room full of dancers two-stepping to our music, a good night indeed. It felt like stepping into that scene in the first season of True Detective, where a band is playing “One Woman Man.” We haven’t come across that kind of thing in Europe. We remember The Cowpokes doing a great rendition of “Big, Big Love.” If you are really quick and attentive, you can catch a short glimpse of our green costumes from one of our appearances at the Legion 82 in the film “Honky Tonk Moonlight.”

What other contemporary country artists do you enjoy listening to, and are there any specific vocalists you would like to work with in the future?

DB: When it comes to ‘50s and early ‘60s-style country shuffle, I guess we don’t know of a better band than The Country Side of Harmonica Sam (and we’re not just saying that because of them being our, well, countrymen, no pun intended). There are loads of great bands and artists today; Charley Crockett, Margo Price, Whitney Rose, Zephaniah O’Hora, Joshua Hedley, Brennen Leigh, Jesse Daniel, JP Harris, Tommy Ash, Western Centuries, Tyler Childers, Sturgill, Ags Connolly. Recently, we’ve really enjoyed Melissa Carper’s new record.

And also “Heard It Through the Red Wine” by Charlie Marie. That’s a genius title. I’m sure there are loads

The Green Line Travelers more that we’ve forgotten to mention here or haven’t heard yet.

On our latest trip to Nashville, we met and heard Sierra Ferrell.

She sang with The Cowpokes while Kevin Martin was away touring with Hogslop String Band. I think she had quite recently moved to Nashville.

She and Bekah Cope turned up at our gigs, dancing and spreading good vibes. They are special; it would be fun to do something with those two.

It looks like Sierra is heading for a breakthrough.

How would you describe the appetite for your music in Sweden and the rest of Europe? Would the same people who might go to see Sarah Shook come to see the Green Line Travelers?

DB: It seems like the interest is growing in Sweden. The booking agency Northern Trail has done a great job bringing the good stuff to Sweden. Sarah Shook, as you mentioned, but also Charley Crockett, Tyler Childers and Whitney Rose.

And “Baker’s Bog Blowout” has gotten rave reviews from music critics and outlets that you wouldn’t expect to note a honky tonk record. Critic Jan Gradvall, the Pop Professor, gave us a 4/5 review in DI Weekend, the Swedish equivalent of Forbes, and also mentioned us on national television. A few years ago, we played

at the Northern Trails festival Sthlm Americana, so I would say that the Americana fans in Sweden have been warming up to us as well. We think we may have found a few listeners among the Sarah Shook crowd, so to speak.

The history of country music in Sweden is quite interesting, it has certainly had its ups and downs here. In the early ‘60s, songs by Roger Miller and Johnny Cash were translated into Swedish, and those recordings became hits, but later that decade, country music and cowboy hats had connotations with Vietnam, and the popularity of the music declined. On the other hand, a version of country music has been the core ingredient of Swedish “dansband,” dance band music that was immensely popular in the ‘70s and is still what the mature dancer goes for. That music has been frowned upon by the critics and the hip music consumer, colouring the public opinion of actual country music as well. At the same time, fans of rock music appreciate Emmylou Harris, Gram Parsons, Dolly and Willie Nelson, and now the hipsters, or some of them, anyway, have turned on to country music.

The Green Line Travelers album “Bakers Bog Blowout” is available at thegreenlinetravelers.com.

BETTER LUCK IS A BARROOM AWAY (Billy Bratcher) Tonight the sky is starless and dim But there shines a light where fallen hearts live Her love has strayed so I’m on my way ‘Cause better luck is a barroom away When I look deep in these streets I find This here path was paved with me in mind Though these strolls take their toll the sidewalks indicate Better luck is a barroom away You never really know how the dice will roll But there’s a bet I’d take Better luck is a barroom away THINKING OF YOU Dan Whitaker Every time you’re calling out my name when you’re lost in the woods and you’re heart’s in pain I’m thinking of you if you find that you’re lying in a ditch and you feel that you’re gonna need a stitch I’m thinking of you when the moon is full and I can see in the light I remember how you shine so bright, thinking of you there’s a beggar on the corner bumming for a quarter I’m standing at the grill waiting for your order thinking of you every morning I’ve been thinking of you and I hope you’ve been thinking of me too when you’re gone away on a big jet plane

and I’m lying in my prison rattling my chain, I’m thinking of you like a dog looking everywhere for his bone I’m standing up here at the microphone thinking of you if the world explodes in lava and fire I’ll be waiting for my one desire, thinking of you when I write you a song in my dreams and it’s only as real as it seems, I’m thinking of you every evening I’ve been thinking of you and I hope you’ve been thinking of me too if I had one wish and I had one chance you’d be the one that I ask to dance, I’m thinking of you if you feel like things are falling apart and you don’t know what’s really in my heart, I’m thinking of you when I’m lying in my bed and I’m all alone and I’m wishing that you’d call me on the telephone, I’m thinking of you when I can’t tell an hour for a day and I can’t think of any more words to say, I’m thinking of you every hour I’ve been thinking of you, and I hope you’ve been thinking of me too FERRY BOAT BLUES (Jolene Higgins) I see your silhouette Staring at me Is that you?

Who else could it be On that boat, darling Departing from me?

Moon up high Stars In the sky

Don’t know why I let you go by Love starboard bound, baby I’m starting to cry Maybe someday they’ll build a bridge From me to you Til that day, baby I don’t know what I’ll do AIN’T IT A SHAME (WHEN YOUR HORSE GOES LAME) (Wild Earp) Well, I was celebratin’ I was buying the drinks No time for second guessin’ or for stoppin’ to think Shots and cocktails, top shelf, off the rail The cost didn’t make a lick of difference to me But the ATM statement stated payment might be painful and it turned this ol’ wild boy tame Well, ain’t it a shame when your horse goes lame I met the girl of my dreams Man, she had everything that I ever could want in a woman I was thinkin’ up house bids, I was namin’ our kids Fallin’ in love is what I was doin’ Then her fella came over, and he gave her a kiss, shook my hand and he told me his name Well, ain’t it a shame when your horse goes lame The very image of grace, man I looked so ace Head to toe tip-top and I knew it Had on my brand new duds, I was soakin’ up the suds And the vibe was gold, but I blew it

I caught my loop on a hook and that was all that it took to tear my pants and ruin my game Well, ain’t it a shame when your horse goes lame My feet were gettin’ fancy as I was romancin’ Dancin’ with this gal that was out of sight All that liquor made the courtship quicker And she suggested I ought to spend the night Well, she tried her best but when I was put to the test I failed and the whiskey’s to blame Well, ain’t it a shame when your horse goes lame Ain’t it a shame when your horse goes lame Ain’t it a shame when your horse goes lame I said, ain’t it a shame when your horse goes lame KEEP ON TRUCKIN’ (Maple Run Band) Keep on truckin’. Keep moving on.

Keep your foot on the gas, your hands on the wheel And keep on keeping on.

There’s people in this town, wanna bring you down.

So, keep on truckin’. Keep on moving on.

Breakdowns don’t tell you when they’re coming, With a thousand miles behind you Or a thousand more to go.

If you can’t find a spare, Your thumb will get you anywhere.

So, keep on truckin’, truckin’ down the road.

Keep on truckin’. You’ll be fine.

Keep your foot on the gas, your hands on the wheel And keep it between the lines.

There’s a long long way to go, But you’ll make it there you know.

If you keep on truckin’, truckin’ down the

line.

Overdrive is fine out on the flatlands, But if you’re climbing hills to pay the bills You gotta use every gear you own.

Take your troubles and your fears, Put ‘em in the rear view mirror, And keep on truckin’, truckin’ down the road.

Keep on truckin’ down the road.

You gotta make up time when you’re running behind And carrying a heavy load.

There’s a long long way to go, But you’ll make it there you know If you keep on truckin’, truckin’ down the road.

Keep on truckin’, truckin’ down the road.

Keep on truckin’, truckin’ right on home.

that cream Pop her in the oven til the buzzer rings Hey babe, would you like to bake a pie with me?

And hey babe, would you like to can some beans with me?

It ain’t no thing. Then come the spring, Plant some collard greens, and all the little seedlings They’ll be sproutin up so big and tall We’ll be cannin all through fall Hey babe, would you like to can some beans with me?

Tag: Well that’s my pitch and there ain’t no hitch Babe, would you like to get some goats?

THE RIVER REMEMBERS (Skinny Dyck)

WOULD YOU LIKE TO GET SOME GOATS? The river remembers where it used to go, (Melissa Carper) when the waters surge and a gale blows Hey babe, would you like to get some The old channel like a bypassed vein, will goats with me? be shunted now to flow again Start a little farm, no need for alarm When the skies open on a purple night Get some chickens and horses and a snap of lightning shows the river’s Little lambs of courses might We’ll be milkin them goats, makin that I’m sick with a fever, hot and cold at the cheese same time, the cloud come over the sun All day all night, until we please Push open the door with the cuff of my Hey babe, would you like to get some sweater, the rain barrel’s full of rain goats with me?

I remember where we used to go, you’d Hey babe, would you like to start a new tell me not to get too close brand of hot sauce?

When you got quiet, I knew to be still, There’s a demand, I’d like to fill, if I can then I saw it too at the top of the hill We’ll let our peppers grow, so nice and I’ve got a feeling, half of a plan, a couple slow of lines on the back of a band Then we’ll be firing it up, so damn hot A bucket of oranges at the half-time Til we hit that chili spot break, a juicebox kid who couldn’t wait Hey babe, would you like to start a new I’m sick with a fever, hot and cold at the brand of hot sauce? same time, the cloud come over the sun SOLO Push open the door with the cuff of my Hey babe, would you like to bake a pie sweater, the rain barrel’s full of rain with me?

I’m calling to you just for someone to talk The cherries are ripe to eat We’ve got sugar and butter, straight from to, you don’t have to be there Just stay on the line, sun and moon at the utter the same time, don’t have to clear the air We’ll be rolling that dough, a whippin