Honky Tonk Times | Issue 11 | February 2022

VOL. I | ISSUE XI | FEBRUARY 2022

NICK SIZEMORE

$6.00

ARTICLES FROM YOUR FAVORITE DISC JOCKEYS, INTERVIEWS WITH REBECCA JED, LAWRENCE MAXWELL, and POLLY WINDHAM, HONKY TONK RADAR, LYRICS TO YOUR FAVORITE SONGS, ARTIST ILLUSTRATIONS, CALENDAR, AND MUCH MORE!

BY GLENN HUGHES | glennhughesart.com

TENNESSEE ERNIE FORD - BORN FEB. 13, 1919

What’s inside?

14

Sizemore’s debut album rooted in traditional country

8 | Rebecca Jed returns to the ranch on ‘Palomino’

11 | Lawrence Maxwell opens up on ‘Ballad of Miles’

12 | Under the Spotlight: Polly Windham

18 | Culture: Sexism on the hardwood floor

FEBRUARY 2022

4 | Letter From the Publisher 5 | March Calendar 6 | The Northern Report with Sean Burns 7 | The Chicago Hustle with Lawrence Peters 9 | Honky Tonk Radar 17 | Saturday Night Soul: Rediscovering Joe Tex’s ‘Soul Country’ 21 | Top Lyrics 22 | Whiskey Preachin 23 | Honky Tonk Times takes on Nashville 3

HOWDY Y’ALL

Taylor Austin, AKA Cousin Early, head-honcho at Honky Tonk Times, with his pal Cindy Davis, recently made the trek from Williston, Vermont, to New York City’s Mercury Lounge to see Joshua Ray Walker, center. Visit www.joshuaraywalker.com to check for tour dates near you!

I hope this February issue finds you all well. It’s been a rough and rocky road to get us to this issue, but we’ve made it, albeit a little on the late side.

It seems like we will be back on track for March, which will be our first anniversary. We just have to make it through the last storms of winter and the recent surge of cases in COVID-19 (which is now starting to calm in Vermont).

This is the usual quiet time of year for touring, though I have been treated to some great live shows lately. I had the pleasure of accompanying a friend to Nashville for her first trip to Music City, USA. We hit all the usual spots: Robert’s Western World, American Legion Post 82 for Honky Tonk Tuesday, the Ernest Tubb Record Shop, The Station Inn, The Ryman Auditorium, The Country Music Hall of Fame, and lots of great restaurants! The nice thing about traveling with

4

someone else is they prioritize things differently. I could have easily had a bologna sandwich for every meal or forgotten to eat altogether like last time. Nashville has some fantastic restaurants well worth exploring.

As I write, my pal Cindy and I have just returned from a hurried trip to New York City to see Joshua Ray Walker at the legendary Mercury Lounge. What a voice! JRW is a class act and always puts on a great show. We saw him for the first time at Americanafest, and knew we couldn’t pass up the opportunity to catch him again, even if it meant a six-hour drive in insane traffic!

I’m running a little short on time today, so I’ll leave you folks with some photos of the trip to Nashville (pg.

23) and tell you that you don’t want to miss our first-anniversary issue.

Thanks for reading, Taylor Austin

HONKY TONK TIMES

March 2022 SUNDAY

MONDAY

# BIRTHDAY *ANNIVERSARY OF PASSING FRIDAY

TUESDAY

WEDNESDAY

THURSDAY

SATURDAY

#Cliffie Stone, 1917

*Ronnie Prophet, 2018

#Johnny Barfield, 1909 #John Carter Cash, 1970 *Harlan Howard, 2002

#Bob Wooten, 1942 *Joey Feek, 2016

*Patsy Cline, 1963 *Hawkshaw Hawkins, 1963 *Cowboy Copas, 1963

27

28

1

2

3

4

5

#Bob Wills, 1905 #Red Simpson, 1934 #Skip Ewing, 1964

#Townes Van Zandt, 1944 *Claude King, 2013

*Stuart Hamblen, 1989 *Hank Locklin, 2009

#Mickey Gilley, 1936 *Chris Ledeoux, 2005 *Wayne Kemp, 2015 *Ray Griff, 2016

#Kenneth C. “Jethro” Burns, 1920 #Ralph Emery, 1933 #Rick Rubin, 1963

#Slim Rinehart, 1911 #Jimmy Fortune, 1955 *Don Warden, 2017

#Lew DeWitt, 1938

11

12

#Charley Pride, 1938 #Margie Bowes, 1941 *Ned Miller, 2016

#Bob Kingsley, 1939 #Richard Dobson, 1942 *Speck Rhodes, 2000

18

19

6 #Jan Howard, 1930 #Billy Yates, 1963

7 #Michael Martin Murphey, 1945 *Jack Greene, 2013

13

14

#Jerry Reed, 1937 #Tommy Hunter, 1937 *Kenny Rogers, 2020

8 #Carl Smith, 1927

15 #Charlie Poole, 1892 *Eric Weissberg, 2020

20

21

#Don Warden, 1929 *Gordon Stoker, 2013

#Charlie McCoy, 1941 #Reba McEntire, 1955 *Earl Scruggs, 2012 *Jan Howard,

27

28

FEBRUARY 2022

22

9 #Shirley Collie Nelson, 1931 #Jerry Jeff Walker, 1942 #Ray Benson, 1951

16

#Dick Curless, 1932 #Paul Overstreet, 1955 *Ferlin Husky, 2011

17

#Fiddlin’ John Carson, 1870 *Cindy Walker, 2006

23

24

#Bonnie Guitar, 1923 #Hoyt Axton, 1938 #Robbie Fulks, 1963

#Dean Dillon, 1955 #Charly McClain, 1956

25

26

1

2

#Lefty Frizzell, 1928 #Anita Carter, 1933 #John D. Loudermilk, 1934

#Moon Mullican, 1909 #Jimmy Work, 1924 *Margaret Lewis, 2019 *Joe Diffie, 2020

29

10

30

31

5

The Northern Report volume 11

BY SEAN BURNS HTT Contributor

operates via www.hurtinforreal.com.

Brian will sit in the saddle for each of the five Tuesdays in March as I’m Well, good morning, good afternoon set to be touring the U.S. after having and good evening, friends. I’m comin’ taken the job filling in on bass with right at ya once again from Boots & Corb Lund & the Hurtin’ Albertans Saddle Headquarters in the wild west- for their Back to the Barrooms end of Winnipeg, Manitoba, Canada.

Tour. I’ll be back to making shows Busy times here at HQ as CKUW’s remotely (in hotel rooms across the annual fundraiser (“Fundrive”) is in country) throughout April and May full swing Feb. 11-25. Occupying on the Canadian leg of the Barrooms the highly coveted time slot that tour. Information and tickets can I do with B&S (11 a.m.-1 p.m., be found at www.corblund.com Tuesday), this places my Fundrive A new year and slowly, some new shows on the 15th and 22nd. releases and news of ongoing projects I’ve been hosting the program are coming across the desk. At the for just over five years, and Boots & time of writing, a good friend of the Saddle has seen increases in our final show, Skinny Dyck, is down in Texas drive numbers every year. This year’s making a record with an impressive show goal will be $2,000, though list of folks near Austin. Impeccable I’m confident our dedicated listeners songwriter and fellow Albertan Carter and good citizens of country music Felker has a beautiful record on the will top that and come closer to the way as well. Look out for new music $2,700 mark we achieved in 2021. from both of these artists later this I’m still making radio from HQ year. In the between time, we’ll point here, but CKUW broadcasts out the van east to Lester Slade in New of the University of Winnipeg and Brunswick. Lester’s new album, “Burnt operates as a non-profit, volunteerOut Lighting,” was released in early run organization. With no paid January and saw him backed up by on-air advertisements to bog our several talented east coast pals, most programs down with, we depend on notably Alex Madsen of The Divorcees. community support to function and I’ve played a handful of the tunes so far remain listener-oriented, and listener on Boots & Saddle and point to “Good supported. Any amount is met with Luck,” “Pay to Fish,” “Running Away,” sincere appreciation, and if you’d like and “Painting Houses” as highlights. to get involved in the name of Boots I hate to drop the overused adjective & Saddle (“your humble home of “organic” to describe a recording, but honky-tonk and beautiful country “Burnt Out Lightning” has that quality. music by beautiful country music It’s not overly or unnecessarily slick. singers”), visit www.ckuw.ca/donate.

It’s raw, dirty, and entirely cohesive.

For the month of March, I’m happy This approach complements the to welcome Brian Saunderson in material and the characters in the Kamloops, British Columbia, Canada, songs, which, whether they’re acting as guest-host of Boots & Saddle. autobiographically or not, seem like Brian has hosted nearly 1,000 episodes real people and blue-collar underdogs of his show Hurtin’ for Real, which worthy of cheering for. I’m here for it.

6

Like 2021, it’s artists from Maritime provinces who deliver the first releases of the year that we make a note of in TNR. Lawrence Maxwell hails from Prince Edward Island, Canada’s smallest province but not one without a history of country music. Though not every track is met with a traditional country music approach, it is peppered throughout the new album, “Ballad Of Miles,” released Jan. 21. Lawrence is exploring different sounds and approaches on these songs, but one constant is the nice playing and strong vocal takes. Listening to Keith Whitley has a nice, greasy groove — picture a ‘90s country-rock dance floor jammer.

Another highlight, “Back to Cape Breton,” is a barn burner and a beauty.

“Hurry Up & Hurt Me” is another banger and a solid honky-tonk song, to be sure. Another solid honky-tonker is the drinkin’ number, “Beer Song (More to Life).” Songs like “Smile,” “Happy Little Life,” and the title track, “Ballad of Miles,” are all nice singersongwriter style songs, and there’s real nice work to be found on folk-country sounding songs, “Bouquet of Flowers” and “Bird & Worm.” There’s something for just about any kind of country music fan on this record. Nice job. w

HONKY TONK TIMES

The

Chicago Hustle with Lawrence Peters

Hello from Chi-Town!

Newsflash: It’s fuggin’ cold in the Windy City (tho’ not that windy, ironically). How cold is it?

Colder than a well-digger’s ass, colder than a witch’s tit in a brass bra — all of coldnesses greatest hits.

The mercury has been registering in the teens in daylight hours (all five) and frequently dipping into negative numbers at night.

It’s definitely a rough time of year to be a Chicagoan. January and February, and March to a lesser degree, are what my seafaring ancestors would have called the doldrums. It’s a dark, dull time when the sky takes on the grim color of a Soviet apartment block.

The occasional sunny day, and plenty of supplemental vitamin D, are often the only things keeping us from losing our collective shit.

I love winter, but the Chicago version has been known to break folks and send them packing for warmer regions.

COVID-19 continues to chip away at our music scene in a season that is already a slog. Sure, there are still shows, and some bands are touring, but both are at a fraction of the low activity we already expect in the cold months due to the specter of another cootie variation and

FEBRUARY 2022

the possibility of gig cancellations lurking around every corner.

As I’ve mentioned in previous columns, we’ve lost bars and venues, and many surviving ones are struggling to keep their heads above water. Several of our city’s surviving joints got hit by the Omicron variant just before Christmas. Some of them are only now getting back on their feet.

For a while there, I saw at least a text or post per day from friends who had gotten hit with COVID. Most of them were vaccinated, and many had the booster. Their symptoms were relatively minor, but a couple of close friends are still recovering from a long-haul smackdown.

Chicago is an optimistic town.

We keep the bellyaching to a minimum, and we are good at finding the silver lining in the worst of situations, but folks are struggling to keep their footing in the current environment. I know very few musicians who have written a song or managed anything more than basic life maintenance in the last two years. These are unprecedented times, and the struggle is real.

There’s a popular saying here that Chicago has two seasons: winter and roadwork. The current hope is that the worst of the pandemic will

peter out as road work commences.

That’s my hope, at least.

Maybe we’ll even come out of this to find the decline of the corporate music biz turd fire and the start of a big, fat renaissance of music, where all of us creative types are firing on all cylinders and folks that listen to music all the time will compensate us for the sweat and blood we put into our work. Wouldn’t that be cool? A boy can dream.

Hang in there, good people!

See ya in March. w

Thanks,

Lawrence Lawrence’s radio show, “Country, My Way,” airs 4-6 p.m. CDT every Wednesday on WLPN 105.5 FM in Chicago, on www.lumpenradio. com, and the iOS app everywhere.

For information on his weekly show, “LP’s Happy Hour,” his lectures at The Old Town School of Folk Music, and his Ameripolitan awardnominated honky tonk band, The Lawrence Peters Outfit, check out www.lawrencepeters.com. Follow him on Instagram @lawrence22peters and @countrymyway. Feel free to drop him a line via his website.

7

Singer-songwriter Rebecca Jed’s upcoming release, “Palomino,” is slated for release in June. — Photo by Stacie Huckeba

Rebecca Jed returns to the ranch on ‘Palomino’

BY BRENDAN SKWIRE HTT Contributor If there’s one thing you should know about outlaw-country artist Rebecca Jed — who lives on a farm deep in the Ozark Mountains — it’s that she’s the real deal.

“We’ve got a big ol’ ranch, a real family farm,” she says. “When I’m not doing the mom and music thing, I’m working my butt off taking care of my animals.”

The title of Rebecca’s upcoming release, “Palomino,” draws influence from this particular way of life.

“When I first moved back after 15 years in Nashville, I was lucky enough to come across a horse. He

8

became my best friend, and I lost him after a year, so I’m dedicating (the release) to him,” she added.

The singer-songwriter, twice nominated for the Ameripolitan Outlaw Female Award, grew up in Texas, barrel racing in the Houston Texas Rodeo. It was there she first heard Willie Nelson sing “Mama’s Don’t Let Your Babies Grow Up To Be Cowboys.” At that moment, Rebecca’s path in life became clear.

Upon moving to Nashville, Rebecca would record three albums and regularly tour the U.S. before settling in Harriet, Arkansas.

She returned to Nashville to record all but one of the songs set to appear on “Palomino,”

choosing Sidekick Sound Studios with the legendary Mark Thornton engineering.

“He’s super laid back and really cool,” she said of Thornton, adding that she worked on the album for nearly two years. The remaining track was recorded at Dawson’s Studio in Clinton, Arkansas, with Tim Flory and Justin Maynard. “It’s been hard because, in Nashville, we have the resources — friends, musicians — but now I live eight hours away, so it’s harder. But I wouldn’t record it any other place.”

While her distance from Nashville played a prominent role in the amount of time spent on “Palomino,” so did her sheer creative output.

HONKY TONK TIMES

“Used to be, I would go and make some money as an Uber driver,” Rebecca said. “I’d get some money, go to the studio and record some songs. That’s how it was on the last album. This time, I don’t know. I had to kind of make myself stop writing so I could finish the dang thing. I don’t have easy access to a studio, so some of them just sit.

Once I decide to make an album, the songs just start coming.”

Set for release in June, “Palomino” finds a few

familiar names accompanying Rebecca, including Ian Cory of the Howlin’ Brothers, Alec Newman — of Kelsey Walden’s backing band — on bass, and Heather Moulder on piano.

The album includes roughly a dozen new songs, though a single has yet to be selected.

“It might be ‘Tigers and Bears,’” she said. “That’d probably be a good single, but Billy Don Burns gave me a song to sing on it called, ‘Highly Lonesome.’

He’s a really great songwriter.

“There’s this woman I go to church with who used to be a backup singer for Kitty Wells.

She heard one of the songs that I posted on Facebook — it’s called ‘Leave Me Alone,’ and she told me, ‘I just love that one.’ So, of course, it went on the album.”

For more on Rebecca, her upcoming release, and tour dates, search “Rebecca Jed music page” on Facebook, or visit www. reverbnation. com/RebeccaJed. w

HONKY TONK RADAR

Zachariah Malachi releases singles ahead of debut album “Chamberlain” Brule County Bad Boys Upstate New York’s Brule County Bad Boys are anything but bad.

Well, maybe badass!

The album is best suited for roadtrippin’.

It’s full of interesting lyrics and songs that will make you want to sing along. Swing on over to their Bandcamp page and get a copy.

“Cowboy Sounds” Santa Poco Santa Poco’s debut album, “Cowboy Songs,” is the kick in the pants you need to start your day.

They kick off with some rockin’ country with a great flare of honky-

FEBRUARY 2022

tonk piano that’s not used nearly enough these days. This album has something for everyone, with a healthy mix of slower songs right to rowdy, rockin’ country. Run-on over to www.santapocoband.com to pick up a copy for yourself.

Zachariah Malachi “Again, I Get to Missin’ You” and “Local Bar Opry Star” Zachariah has released a few singles as of late leading up to an album that should be coming out soon. “Again, I Get To Missin’ You” is the gut punch that I absolutely love about country music. A slower ballad that shows off his vocal talents and lyrics that’ll put a tear in your beer. “Local Bar Opry Star” has also been making the rounds online. The story of a honky-tonk singer in a local bar that will resonate with anyone who has ever stepped foot in a honky

tonk. It’s full of great musicians as well. Just the right amount of steel, fiddle and piano. Keep an eye out for Malachi’s upcoming album.

I’d bet you next month’s rent it’s going to be a damn good one!

Timbo “How Much Did It Cost?”

Timbo hits hard with his latest single, “How Much Did It Cost?” His gritty vocals mixed with the lyrics and subject matter of the song hit hard. I don’t want to give too much away, as I feel music hits best when you hear it with open ears for yourself.

Go to wherever you stream music and give the next three minutes and 45 seconds of your time to this song. I guarantee you’ll be giving it a lot more time than that. If you find yourself down in Nashville, keep your eyes open for him, as he’s always playing around town. w

9

10

HONKY TONK TIMES

Lawrence Maxwell opens up on ‘Ballad of Miles’

BY HEATHER TAYLOR HTT Contributor Prince Edward Island, the small Canadian province where singersongwriter Lawrence Maxwell grew up, exports potatoes, seafood, and to a much lesser extent, country music.

The island was home before Maxwell’s adventures as a sailor in the Royal Canadian Navy. He had an early start, joining the Navy at age 16 and training throughout the summers before graduating high school.

After signing on full-time, Maxwell learned that he enjoyed the escape of traveling more than the job itself.

It was during these travels, around 2012, that Maxwell first began singing in a karaoke bar in British Columbia. It didn’t take long for him to become a regular.

“Sometimes I’d walk in the door, and I was told to head right up to sing ‘Hello Darlin” or ‘Folsom Prison Blues,’” Maxwell said. “It was the first time that I felt the courage to sing in front of anyone.”

Maxwell began writing music in 2014, and in 2018, his debut album “Not Your Outlaw” was released, carrying on country music traditions deeply rooted in Prince Edward Island.

As Maxwell explains, singersongwriters Tom Connors and Gene MacLellan also called Prince Edward Island home, and their music certainly influenced him. Additionally, he grew up listening to the long-running radio program “Saturday Night Hoedown.”

Between the station and his grandmother’s car radio on summer drives, Maxwell was exposed to the music of country greats from decades spanning the 1950s to the 1990s.

His most recent release, “Ballad

FEBRUARY 2022

Lawrence Maxwell of Miles,” begins with a reference to one such influential artist of the past.

“The opening track to the album, ‘Listening to Keith Whitley,’ is somewhat of an ode to the late and great singer,” Maxwell said. “It’s about watching the world burn and just sitting back with some whiskey and listening to Keith Whitley. His voice was so rich and held so much sorrow. I tend to resonate with those who aren’t afraid to bear their truth, even if their truth is troubled.”

Just as Whitley’s songs drew upon the music of his predecessors while incorporating his own voice, Maxwell also references other classic artists who have affected his style, including Johnny Cash, Leonard Cohen, and George Jones.

“While these influences have definitely found a way into my sound, so too have the people I’ve interacted with over the years,” Maxwell said.

“I truly believe we sing with the voices of all those we’ve met in life.”

When it came to recording his new album, Maxwell found himself drawing on inspiration from another

of his favorite classic artists, saying, “I also tried to capture the ‘live-offthe-floor’ energy like that from a Merle Haggard record for a number of these songs. He and his band were so cool. We did most of our tracking with that energy in mind.”

The entire recording process for “Ballad of Miles” took place in a week at the cottage of Maxwell’s producer and engineer, Adam Gallant.

Mornings started with breakfast, coffee, and drawing song titles from a hat to set the recording order in a spontaneous manner. The beautiful riverfront location provided plenty of fresh air, and in the end, Maxwell said, “It felt as much like an adult summer camp as it did a recording session.”

The final result of this session, Maxwell’s third album, draws much of its content directly from his life. “Bird & Worm” was a song inspired by observations of nature as he ran outdoors, and “Bouquet of Flowers” was written for his partner. Other songs, like the title track “Ballad of Miles,” are based around a character Maxwell created, which allowed him to act as a narrator in a storytelling position.

The tracks are unified by Maxwell’s classic-inspired vocals, his skillful songwriting, and a good-natured sense of humor. In describing his style of music, Maxwell said, “It’s weird. It’s from my heart. It’s moving.

It’s subdued. You can usually find it toeing the line between silly and sentimental. It’s half country, onequarter city, and one-quarter sea.”

This equation has yielded a successful and very fitting product for the singer from the small Canadian island, a product that listeners worldwide can surely enjoy. w

11

UNDER THE SPOTLIGHT For the February “Under the Spotlight,” Honky Tonk Times reached out to singer-songwriter Polly Windham, who recently released her debut full-length album, “American Daughter.” Brimming with intelligent lyricism and paying homage to her Americana roots, Windham takes her listeners through emotions and genre-bending tracks that perfectly encapsulate her as an artist. Talent pours through this release, prominent in her strong vocals and choice of perfectly played instrumentation.

Originally a touring road gypsy for 12 years, Windham decided to join the army; this album is the journey from the road to basic combat training to life as a soldier, serving as a spectacular storytelling record that is perfectly pieced together.

When were you born?

April 6, 1984 How long have you been performing?

Darlin’, I was born on the stage!

I always trace myself back to a performance I did in preschool. I was “Polly Pink.” Costume, lines, props, and an energy exchange with the audience sparked a part of my creative soul that I wanted to continue to express.

When and where did you play your first show?

I definitely give credit to starting in the church choir as a child. Soon after, I started my journey into the musical theater world, where I learned about choreography and performance. My first shows were in the theater. It wasn’t until I was 17 that I started playing shows with a band. That was a transitional time from covering other people’s works to exploring the possibility of unleashing my own songwriting.

12

When did you first become interested in country music?

Both of my parents are creative people. Music is one of the ways they express this creativity. I would say it was the annual tradition of camping out at the Walnut Valley Bluegrass Festival in Winfield, Kansas, that threaded this genre of bluegrass/country music into my genes, and I loved it!

What are some of your favorite pastimes?

I love to sew. Creating my own costumes and stage wear has always been something I love to do. I also love to cook and dance.

Where do you make your home?

I have been a “gypsy” for most of my life. I think at one point, I wanted to try and settle down and be that Who are some of your favorite singers? “homebody” but quickly realized Naming favorite singers is it is just in my nature to move and always a challenge for me because explore. The moving around isn’t I love so many voices. I will say quite as fast pace as it was in my 20s, my personal style of singing stems but, I am still moving around. My from the love of loud projection home is that ground inside of me that and theater-style vibrato. Examples connects to my higher power and the range from Janis Joplin to Whitney creativity that I am born to share.

Houston to Dinah Washington.

Who gave you your first big break?

What label do you record for?

The theater community in Wichita, I currently release my music Kansas. I felt like I belonged. as an independent artist.

What do you have in How many albums have you released? store for the future?

Two full-length records, three EPs, I want to continue to create and a few singles. However, they are art. It may shift and change with not all easy to find. Currently, I am time, but it brings me much joy pushing my new record, “American to express myself through art and Daughter,” as my first full-length. performance. I have also started a military career that involves music What is the best song you’ve recorded? which is a whole other conversation!

Not sure about the “best” song because I love them all, but one of What is some of the best advice my favorite songs I have recorded you’ve ever received? was the National Anthem. Although, Just being yourself I would like to record it again now makes you unique. that I am part of the military.

Any words for your fans?

What has been the biggest I am so grateful that other people thrill of your career? are able to connect in some way to I think instead of one moment my expression of art. I was born a in my career being the biggest thrill, vessel to share this content, and it it’s the possibility of longevity that I was made for myself and others. Your can keep writing, singing, recording, support has empowered me over the performing, and connecting with years and kept me pushing forward. the audience that thrills me.

(Photo by Micheal Ryan Vance)

HONKY TONK TIMES

FEBRUARY 2022

13

Nick Sizemore, above, recently released his debut album, “Where The Lonesome Roam,” recorded at the newly minted Alabama Sound Company. The album draws its influence from Sizemore’s lifelong devotion to traditional country music. — Photo by Country Music Armadillo/Honky Tonk Times

Sizemore’s debut album rooted in traditional country music

BY COUNTRY MUSIC ARMADILLO the subject of the apparent influence, HTT Contributor Sizemore explained that for the majority of his life, that style was all he ever knew.

“A record is just a snapshot of “I grew up in a house that had a where you are in life at the time you very deep appreciation for traditional cut it,” Nick Sizemore said to me as country music,” he said. I didn’t grow we sat down to talk about his debut up hearing a lot of electric guitars. record, “Where The Lonesome “I really didn’t grow up hearing a lot Roam,” released last November. “I of music made after the early 1970s. just wanted to make a record that I I was 15 or 16 years old before I liked and that I thought was good.” really opened up and started hearing The record is heavy with traditional music beyond just that style.” country music, and when we broached Even after his spectrum broadened,

14

he still couldn’t shake the love he had developed for traditional country music.

“I’m drawn to the meaning of the songs. The honesty and sentimentality that shows through have always been important to me. The stories and their meaning that come through in the music can touch the listener in a special way.”

The first thing I noticed when I met Sizemore some years back at a bar was his unconventional guitar playing style. He’s a left-handed guitar player, but he doesn’t play a

HONKY TONK TIMES

traditional left-handed guitar. He plays a right-handed guitar upside down.

“We had a guitar in our house when I was a kid,” he explained. “I picked it up and started playing and just teaching myself and discovering how it worked as I went along. It was a right-handed guitar, but I’m left-handed. No one really expected me to stick with it, and I never had any kind of lessons or formal training, so I just learned to play it upside down. “By the time I could have finally gotten a proper lefthanded guitar, I was already comfortable enough with my style that I never really considered trying to change.”

And while his playing style is unconventional, he says it’s never had any negative effects for him. “It doesn’t affect me when I watch righthanders play, and I’m trying to pick up on what they’re doing because the whole world is kind of upside down to me,” he said laughing. “I can see what they’re doing and just flip it in my own head and apply it for me.”

He also taught himself to write and play songs in an unconventional way. Without the guidance of a proper teacher, Sizemore said he picked up on things in the world around him that helped him unlock some of the mysteries of music at a young age.

“I would hear rhythms in things,” he said, explaining how he taught himself. “Like a washing machine.

When it’s running, there’s a certain rhythm to it. I would hear that, and I would think about songs I’d heard, and it just came naturally to me that I could play and write songs of my own based on a rhythm like that, and it’s just never stopped evolving for me.”

It was the independent country music renaissance of the last decade or so that inspired him to get out and throw his own hat into the ring. The central Illinois native started popping up at open mics and jam sessions, getting his name and style out in front of crowds looking for genuine country music. He would play shows anywhere he could to

FEBRUARY 2022

anyone who would listen just to have a chance to bring music to the people.

“Some of the best advice I was given early on was that you really have to advocate for yourself when you’re first starting out,” he said.

It was advice that turned out to be as sound as the day is long because it helped lead him to the man who would take “Where The Lonesome Roam” from concept to reality.

“I had seen Whitey Morgan and the 78’s several times, and Brett Robinson’s steel guitar always stood out to me,” he said. “I loved his style and tone, and I knew it was something that I wanted to have on my records. I had been recording some of my original songs, and I reached out to Brett to see if there would be any way he’d have some interest playing on the songs.”

As it turned out, there was interest. More interest than Sizemore could have hoped for.

At the same time Sizemore reached out to Robinson, Robinson was already in the process of opening up his own recording studio in his home state of Alabama.

“It was really kind of a product of not liking a lot of the music I hear,” Robinson told me, explaining why he decided to start the Alabama Sound Company with fellow musicians Jimmy Teardrop, Alex Lyons, and Bradford Dobbs. “The whole driving idea is that we want to cut records the way they used to cut records. We don’t want to rely on production tricks and fixes, or compression that makes the music sound bad, things that are often used to cover up shortcomings that a record may have. They didn’t do that kind of stuff on Elvis records; it was everyone in a room with a microphone and performing at their best. We want to really capture that same experience in our records.”

CONTINUED ON PAGE 16

15

Brett Robinson checks in as a cowriter on a few tracks. He even has one he alone wrote with “Slow Way Down,” a song about getting away from the hard-living honky tonk lifestyle.

Fellow Illinois artist Joe Stamm also makes an appearance with “High Road Home,” a song about the way life sometimes doesn’t turn out the way you expect despite your best intentions.

The vocals that Sizemore uses to carry listeners through the songs are powerful while being raw and real. He shows off a wide range of styles, from straight-up four Nick Sizemore, left, with Brett Robinson, producer of Sizemore’s debut album, “Where the on the floor to slow, deep waltzes Lonesome Roam.” — Photo by Country Music Armadillo/Honky Tonk Times and rowdy honky tonk tunes.

When the guy wanting to make a top of what we were doing. That just Featuring the musicianship of record approached the guy wanting made the whole process even less Jimmy Teardrop on electric guitar, to help make great records, it was the intimidating than I’ve heard others Alex Lyon on bass, Bradford Dobbs perfect match. Much to Sizemore’s say making their records has been.” on drums, and Brett Robinson excitement, Robinson agreed not only There were even some impromptu producing, playing steel guitar, and to play on the record but also agreed songs that made their way into the providing backup vocals, “Where The to produce and record it at his newly session and ultimately onto the record.

Lonesome Roam” is available now minted Alabama Sound Company “I’ve always loved Hank Wiliams’ on all major streaming platforms. studio in Montgomery, Alabama.

‘Pictures From Life’s Other Side,’” For a debut album, “Where The Making a record can be daunting, Sizemore said. “We had some time Lonesome Roam” gives listeners plenty especially for those who have never between takes, and we started playing to like and invest themselves in. been through it. Teaming up with it there in the studio just to pass It’s a record that holds itself to Robinson and the Alabama Sound the time, and it came together so the true, traditional country roots Company was the perfect fit to make smoothly we decided to put it down that inspired it. It was produced and the process as easy and stress-free for on tape. We got that whole song in a recorded with a team that understands Sizemore as he could have hoped. single live take with all of us there in those roots and values and respects “Anyone who makes a record the studio, which was really cool.” them. The album firmly places they truly care about feels protective The album opens up with the Sizemore Sizemore “on the map” as one of that record,” Sizemore said. title track “Where the Lonesome of the up-and-coming names to watch “Working with those guys made that Roam,” one of Sizemore’s original in the future and to get out and see so easy to deal with because they songs. On the foundation of a strong when the opportunity comes your way. understood my vision for what I backbeat accentuated with Robinson’s Sizemore is currently working wanted and helped make it happen.” impeccable steel guitar work, the song According to Sizemore, they gives listeners an introduction of what’s on putting together a tour to used two separate recording sessions to come on the remaining tracks. Heavy promote the record, and hoping to be out on the road this spring. over seven days to put all 10 songs steel riffs pierce throughout and leave “Music is something that never stops from the album down on tape. no doubt that it is a true country record. growing and never stops changing. You “We split it up over two Sizemore’s songwriting puts on don’t get to beat it or win at it,” he told sessions, the first was four days, a tremendous display throughout me as we finished up our discussion. and the second one was three.” the record, with songs like “If “You’re always chasing something fresh Sizemore was happy to be You’ll Stay” that paints a dark and and new that you want to incorporate working with seasoned veterans intimidating picture of life’s other into it, and I can’t wait to find of recording, adding, “Those guys side, to the authentic title track anything I can use to build on.” w down there are great players, and it that makes no bones about the didn’t take them any time to be on hard living honky tonk lifestyle.

16

HONKY TONK TIMES

SATURDAY NIGHT SOUL

Rediscovering Joe Tex’s 1968 classic, ‘Soul Country’ Publisher’s note: Honky Tonk Times Editor Molly Haines is currently on sabbatical from her Living Legends interviews while playing catch-up at her full-time gig. She wrote the following in 2016 for a blog series entitled “Saturday Night Soul,” which explores one of her favorite topics: the relationship between country music and southern soul.

BY MOLLY HAINES Honky Tonk Times Editor Last week my job carried me to Knoxville, Tennessee, for several rounds of training. While there, I successfully hit up every record store the Marble City offers. I’ve collected records since I was about 11 years old, so these days I try to enter shops with a purpose instead of grabbing every $1 album that looks halfway enticing.

My hopes weren’t too high when I walked into Basement Records on Chapman Highway. I’d scoured the city for “In Loving Memories: The Jerry Lee Lewis Gospel Album” and anything by soul legend Joe Tex. As luck would have it, I scored the Killer’s only studio gospel album within seconds of entering the shop. After an hour of browsing, I laid my finds on the counter and asked the owner – “Do you know if you have any Joe Tex?” “People bogart their Joe Tex records, man. I don’t even remember the last time I saw one come through here.”

With good reason, man.

Born Joseph Arrington Jr. in Rogers, Texas, Tex’s nearly three-decade-long career produced the finest southern soul my record player has ever known.

His recording career began in 1955 at Cincinnati’s King Records with little success before signing to

FEBRUARY 2022

Ace Records in 1958. His recordings remained relative failures, but he began building a stage presence while opening for acts like Jackie Wilson and Little Richard, perfecting the microphone tricks and dance moves that would remain staples of his live shows for the remainder of his career.

By the time he signed with Atlantic Records in 1964, Tex had recorded 30 songs, all of which flopped. His luck would change later that year when he recorded “Hold What You’ve Got” at Muscle Shoal’s now-legendary FAME Studios.

Released in early 1965, the song became his first No. 1 hit, selling more than 1 million copies by the end of 1966.

The hits kept coming for Tex, and in 1965, he would chart six singles, including two more No. 1s.

Despite the success of Ray Charles’ 1962 cross-over album, “Modern Sounds In Country and Western Music,” few R&B artists had released full-length countrysoul albums by the late 1960s.

Enter Joe Tex. Recorded in Memphis and Nashville and released in 1968, “Soul Country” finds Tex recording

some of the finest country songs of the day, including “Skip A Rope,” “Green, Green Grass of Home” and “By the Time I Get to Phoenix.”

Perhaps it was his longstanding collaboration with record producer and former Grand Ole Opry bass player Buddy Killen that inspired Tex to record such an album. After all, Killen had worked with some of country’s biggest stars, including Dolly Parton, Roger Miller, and Dottie West. Whatever the reason, Tex’s “Soul Country” remains one of the few full-length country-soul albums and arguably the greatest of them all.

The Tex-penned “If I Ever Do You Wrong,” “Ode To Billy Joe,” and Roger Miller’s “Engine, Engine #9” are the standout tracks of the album.

Lots of R&B artists covered Ode, but none with the tenacity of Tex, who adds his own personality to the track by improvising lyrics here and there.

It’s easy to record an album of covers, but Tex recorded an album that was purely his own. Each selection becomes uniquely Tex, some rivaling the original versions, each standing the test of time. In some cases, R&B artists covering country standards feels a little too gimmicky for me, but there’s never a hint of that with “Soul Country.” Tex, deeply rooted in southern music as he was, clearly respects the music, the songwriters – this is his homage to country music.

Sidebar: In September 1975, Johnny Cash would release the LP, “Look At Them Beans.” The title track, written by Tex, was originally titled “Papa’s Dream” and surfaced on his 1972 album, “Spills the Beans.” His first No. 1, “Hold What You’ve Got,” has been recorded by several country artists, including Hank Williams Jr. w

17

A stain on the hardwood floor From unequal pay and play to harassment, women discuss sexism in the music industry

BY DONALD C. CUTLER HTT Contributor Late last year, the British Columbian Monashee Music Festival posted its lineup, which at the time included one woman. Mariel Buckley, the Edmonton, Alberta-based country singer-songwriter, vented some frustration on social media about this common oversight.

Buckley’s direct, pointed feedback concluded with a call for the “dudes” to stand up for gender equality on concert and festival bills — or at the very least not leave the heavy lifting to “a queer chick making music.”

This exchange got her blocked by the festival.

Long before and clearly well after Kitty Wells clapped back with perhaps the best clap back in music history, honky tonks and the industry around them have not been known for an equitable approach to the women who enjoy and foster its culture.

While it has not always been as bad, recent radio play in the mainstream and even in some parts of the alt-country landscape are dominated by men.

Ten of the top 10 Billboard Country Airplay artists of 2021 are men. Most country music festival lines ups would elicit a similar response from Buckley.

Sexism and lack of gender diversity in country music are not often discussed. Still, they have a significant impact on the way women and girls engage with the genre, especially within the intentionally less refined walls of the honky tonk.

Sexist Bullshit and Staying Safe “I came up to sing a song with a friend’s band, and as I got off the stage, a man I did not know grabbed

18

Edmonton, Alberta-based country singer-songwriter Mariel Buckley stood up for women in the music industry, calling out the Columbian Monashee Music Festival last year for only including one female in its lineup. me by the nape of the neck, dipped According to Lloyd, the most me, and tried to kiss me as I was common examples of sexism are literally screaming, ‘What the hell?’” unsolicited opinions thoughtlessly said Olivia Ellen Lloyd, the West tossed in her direction. “Advice about Virginia-born singer-songwriter what songs I should write, how who now calls Brooklyn home. my tattoos look, or if I’ve gained A few friends helped pull or lost weight,” she listed. “But the her attacker off, but that did not presumption that I don’t know stop him from telling her she what I’m doing and need help is so was too sensitive and that she pervasive that I’ve had to re-learn how misunderstood his intentions. and when to actually ask for help.

“I asked him if he’d try to dip “Men in this industry and in this and kiss any of the guys up on stage, genre in particular — sorry, I’ll defend and he sneered at me, so, I guess country music with my last dying that was a no,” she continued. breath but not on this point — feel While most of the sexist entitled to women’s space, to their incidents she deals with are not choices, to their physical selves. And as egregious, Lloyd feels that the whether it’s an unsolicited opinion or example of this assault was “just some asshole feeling like it is okay to a physical manifestation of what grab you without permission, it can is happening all the time.” make a person feel like they need to

HONKY TONK TIMES

be on the defensive at all times.”

Mikaela Finne, the Stockholm, Sweden-based “Nordic Outlaw Queen,” tells a similar story.

“I had just played a show, and this middle-aged man came up to me afterward and said, ‘You’re really great, but a woman like you shouldn’t play country music — it’s not right.’ I said, ‘Is that right?’ And he replied with a yes. ‘A woman with tattoos such as yourself has no business performing country music.’”

Appropriate reactions to these kinds of abuses depend on the situation, but ensuring personal safety must come first, said Buckley, who uses both she and they pronouns.

“I feel that the best reaction in any situation where you feel you’re the victim of some sexist bullshit, [is to] keep yourself safe, first and foremost.”

From there, they ask themselves a few questions: “Would a well-timed joke diffuse this situation and let this fuck know he’s crossing a line? Is it safe for me to call this fuck out? Do I have the emotional energy or space to call this fuck out?”

Importantly, Buckley notes in somewhat tamer language that it might not always be in her best interests to call an abuser out in the moment but rather talk with her team after the fact and respond in writing to document the incident. Regardless of approach, these interactions can have detrimental effects on the careers of women in music, and no matter the reaction, the industry is unlikely to change.

“In my opinion, sexism in music is not on its way out any time soon.

Having a plan around well-being and safety is key for touring or working in this business,” Buckley added. “I try to stay authentic and focused on my craft, which keeps me grounded.”

backstage area of a venue because he thought I was a groupie. Those were his words, not mine,” said Austin, Texas-based honky tonk mainstay Katheryn Legendre. “I’ve also walked into sound checks — again with gear in hand — where the engineer wouldn’t acknowledge me or my requests and instead only interacted with my male bandmates. Keep in mind, my name is on the bill. It’s all bullshit, but I try not to sweat the small stuff.”

Women face significantly more pressures to fit into specific boxes in this industry than their male counterparts.

Country music fans have been conditioned to expect a “fun-loving girl signer” fronting a group of flannel-clad men talking about the ultimate goal of true love or a “female singer-songwriter” softly presenting her heartache.

“Due to men occupying positions of power in most musical circles, women have filled strategic and aesthetically pleasing roles to secure their spot and hence occupy a much smaller fraction of popular representation,” said Buckley.

The static characters of the groupie, the air-head singer manufactured on Music Row, or the sad folk songwriter are largely due to the lack of diversity within the halls of power. This artificial reality creates “a fraudulent scarcity mindset among the folks who are underrepresented,” Buckley added, which leads to unhealthy competition and fear that there is only room for so many women-led acts.

Legendre agrees, noting that the “pervasive non-inclusion” of women in positions of power is at the core of the systemic sexism within country music. Echoing Buckley’s sentiment, she said, “I roll my eyes every time I see a festival lineup release and don’t even get me started on radio.”

Rather than just more women on stage or the airwaves, Legendre said, “What would help most is more women in roles that are typically awarded to men, like sound engineers, talent buyers, and tour managers.”

CONTINUED ON PAGE 20

Groupies, Female Songwriters, and Honky Tonk Angels “While carrying my gear, a security guard almost wouldn’t let me into a

FEBRUARY 2022

Olivia Ellen Lloyd

19

Katheryn Legendre Unequal Play and Pay Representation is only part of the battle. Equal pay for equal work has been a bedrock principle in the fight for equality in the workplace, but in the decentralized world of touring musicians and gig players, this takes on larger implications for the artists.

Finne recalled that she passed on the opportunity to perform at a local music festival because the promoters offered a “ridiculously low” appearance fee.

“Later, I heard through the grapevine that a male performer had been asked after I had said no, and was offered a substantially higher wage than I was.”

Her story reflects similar sentiments expressed by Buckley during her selfdescribed “7 a.m. TEDTalk” about the Monashee Music Festival lineup.

“What grates me even more,” she wrote,

20

“is knowing that half the women — if any were actually contacted — were probably low-balled to absolute shit.”

Sharing the stage with betterknown artists during summer music festivals provides incredible exposure for newer acts and musicians.

However, exposure does not pay the bills or fund touring schedules.

Coupled with fewer performance opportunities and radio play, systemic undervaluation of women in country music enables an often private and particularly nefarious tool to industry insiders to further subjugate half of the population.

But I’m Not Sexist A defensive posture after being confronted with complex and troubling realities within a cherished community

or institution is natural. But inaction in the face of injustice supports the continuation of an oppressive system.

For members of the country music industry, there are clear steps to address these problems — more equal representation and equal pay to start. But for everyday honky tonkers, the path toward equality requires an honest embrace of nostalgia and progress simultaneously.

Asking radio stations and DJs to play more women in their sets, pushing venues and festivals to book a more balanced set of performers, buying music and merch from openers when you do hit the hardwood are just a few ways individuals can push the system to change.

In short, music lovers shouldn’t leave it up to a queer chick making music to push for a more inclusive industry. w

HONKY TONK TIMES

Lonesome Settled In (Lawrence Peters) Lonesome settled in and built a nest where my heart used to lie I’ve never heard it sing, and it has wings, but it can’t seem to fly And I wish more and more that I could find a key to open up the door and set it free Where happiness had been, lonesome settled in when you left me At night I dream of cloudless skies, and wings against the blue When suddenly I’m falling, with a pain I never knew Then the sun is gone, and the darkness seems to whisper “from now on…”

And I awake remembering you are gone And lonesome settles in and builds a nest where my heart used to be From broken pieces

FEBRUARY 2022

of all the love that you once gave to me And I wish I could say that things are better now, since you went away, but that’s not right Where happiness had been, lonesome settles in with me tonight And as I sit alone, all the hopes I had fade slowly with the light Where happiness had been, lonesome settles in with me tonight Then I Remember (Michelle Billingsly) I cleaned the house, fixed dinner, put on your favorite perfume I put on that dress you talked me into for our honeymoon Fell asleep in your easy chair Midnight came, still you’re not there Then I remember Then I remember Middle of the night, I had

a bad dream, I dreamt that you were gone I sat right up and laughed at myself for such a silly thought Turned on the lamp, turned over to say But your half the bed is still made And then I remember.

Then I remember I remember you’re not here and it hits me all at once But my mouth still knows your taste and my skin your touch Then I open my eyes, to this table set for one Then I remember Then I I see your face, you wink at me out of the corner of my eye Your picture falls off the shelf when no one’s nearby Dialed your number today, saw something you would have loved Then I remember Then I remember Then I remember

21

Whiskey Preachin with Tony Sexton

BY TONY SEXTON HTT Contributor

It sure has been a busy time down at the Whiskey Preachin ranch. The whiskey bar has been rammed with thirsty patrons from the minute we open the door. The record label needs attention, and those pesky records don’t spin themselves without a bit of encouragement from yours truly.

Finding a few minutes to document what’s been occurring must be squeezed in between last night’s fun behind the turntables and this evening’s stint behind the bar.

As I’m writing this piece, on a gloriously sunny Sunday afternoon, I’m listening to Marty Robbins’s 1967 album “Tonight Carmen,” which includes the wonderful “The Girl with Gardenias in Her Hair.” This song has been on heavy rotation over the last few weeks, as has another “new” favourite. No one here will need introducing to Ernest Tubb, of course. His voice is one of my favourites from across the decades of country music, his Christmas EP was the soundtrack to my Christmas last year, but I had not heard ET’s version of “I’m Moving On” until just recently. Wonderful stuff.

Jesse Daniel and Jodi Lyford have done us all a favour and released a new single. Their cover of the Waylon Jennings and Billy Joe Shaver co-write “You Asked Me To.” First heard on Waylon’s 1973 album “Honky Tonk Heroes”, on which he famously recorded a bunch of Billy Joe’s songs, Shaver recorded the song himself for his 1977 album “Gypsy Boy.” In 1973, Elvis recorded the song at Stax in Memphis (it appeared on his 1975 album “Promised Land”). In the company of such legends, it is impressive that Jesse and Jodi turn

22

in a version that renders the song in a fresh and appealing way, in my opinion, leaving the King in their dust. Just wait for that piano. Bravo!

Keeping it covers, YepRoc records has got a treat in store for us with their new album from Eli “Paperboy” Reed. “Down Every Road” sees the blues and soul boy interpreting the Merle Haggard songbook, and making a good job of it, to boot.

The first single is a funky version of “Mama Tried” that more than deserves the time it takes to listen to. No one here needs reminding of the depth and quality of Haggard’s work. Still, it is great to hear these gems being given a fresh treatment, one that will hopefully turn a whole new trench of listeners on to the Hag. Even the most resolute country music aficionado should find some pleasure in that thought.

Cody Jinks has been at it again, delivering another self-released album to bolster his burgeoning catalogue. Despite a less than inspiring sleeve, “Mercy” proves to be a satisfying listen, with several tracks that will be in rotation at our WP DJ nights, no doubt.

“All It Cost Me Was Everything” is about as Jinks as it gets. “How It Works” demonstrates why he’s the king of independent country rock, and “When Whiskey Calls the Shots” shows any fool on a stool his funky country soul.

David Quin’s new album, “Country Fresh,” sounds extremely tasty to these ears. The album art is tasty, too, with a resplendent rooster inviting us to the party. The album is going great guns, with the first couple of tunes setting out Quinn’s stall nicely.

Then “I Came Back to You (to Say Goodbye)” stops you in your tracks with its gently weary tale of longgone love. Before you know it, the

party is back on, as “Cornbread and Chili” takes you “Down Home.”

“Heartland” roots Quinn in his rural Illinois idyll, then “Grassy Trails” sees him hop a train southbound, headed for the boarder. Get yourself ready to get “Country Fresh”. It’s a winner.

Jason Boland and the Stragglers have released a cracker of an album

HONKY TONK TIMES

in “The Light Saw Me.” Produced

by Shooter Jennings, the album is a country rock space opera, a kind of red dirt Close Encounters, very entertaining. It reminds me slightly of Shooter’s Hierophant album “Black Ribbons.”

The WP turntables have been making the most of the new Brent Cobb country gospel album, “And Now, Let’s Turn to Page…” when they haven’t been making the most of the latest from Joshua Ray Walker, “See You Next Time.”

The album we’ve been playing the most, though, must be the new

Mudlow album, “Bad Turn.” Released on a certain Whiskey Preachin Records, we are incredibly pleased with how it sounds and looks. You can secure your copy over at the Whiskey Preachin website. We’ve also been putting the finishing touches to Whiskey Preachin Vol. 2, the latest instalment of our compilation includes tracks by Noel McKay and Moot Davis, both of whom I’ve interviewed recently for Honky Tonk Times. Other artists on the album include Charlie Marie, Garrett T Capps, The Barlow, Rob Gator and Mose Wilson. Depending on how

long it takes to get it back from the pressing plant, we hope to have copies available to buy from our website by June, fingers crossed.

In other news, Whiskey Preachin celebrated our ninth birthday with a raucous night of liquor and vinyl down at the Great Eastern in Brighton. Not long now until we can claim a decade of “Saving Your Soul, One Record at a Time.” If you like what you’ve been reading here, head on over to www.whiskeypreachin. com and check out our archive of radio shows. There are plenty of them there to keep you entertained. w

HONKY TONK TIMES TAKES ON NASHVILLE

Paul Kramer and Brennen Leigh at Robert’s Western World

Craig Wayne Boyd of Texas Hill

FEBRUARY 2022

Dwight Yoakam at the Ryman Auditorium

Timbo puts on a great show at Robert’s Western World.

23

24

HONKY TONK TIMES