Honky Tonk Times | Issue 8 | November 2021

ISSUE 8 - NOVEMBER 2021

$6.00

E! INSID OOKAL L I C E P S AT BACK AFEST ICAN R E M A 2021

CHARLES WESLEY GODWIN ARTICLES FROM YOUR FAVORITE DISC JOCKEYS, TOP LYRICS, CALENDAR INTERVIEWS WITH MOOT DAVIS, LEONA WILLIAMS and NORM HAMLET LYRICS, FASHION, ASK A DJ AND MORE!

— Waylon Jennings illustration by Jack Browning www.jackbrowningartist.com

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HONKY TONK TIMES

What’s inside?

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Charles Wesley Godwin finds his ‘real voice’ 4 | Letter From the Editor 5 | December Calendar 7 | Top Lyrics 6 | Norm Hamlet: Life as a Stranger

12 | Honky Tonk Times takes on Americanafest 2021

8 | Northern Report with Sean Burns 10 | Finest Fashions 16 | Scenes from Americanafest 2021 26 | Chicago Hustle with Lawrence Peters

22 | Living Legends: Leona Williams not giving up yet

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28 | Whiskey Preachin with Moot Davis

27 | Vinyl Reckoning 3

HOWDY Y’ALL It's your ole Cousin Early here again with another exciting edition of Honky Tonk Times. What a wild month it has been. All of our contributors have been very busy, and I'm not sure more than one or two stories came in before our deadline, which has made all of us at HQ a little uneasy. Of course, I am writing this as the very last piece to be submitted, so I am even guiltier than the rest! I'll tell you, each of the stories to follow was well worth the wait. We have some new writers joining us next month. We'll get into that a bit more next month.

My show count is now up to 46.

Americanafest certainly helped up that count very quickly. We had also planned on having coverage for FarmAid, but due to COVID restrictions, limitations, and how things were going, it didn't make much sense to cover it for the story we were looking for. From those I know who went, I heard it was a great show and fun was had by all.

Neil Young had decided not to go, and Sturgill Simpson has had an injury that has knocked him off the road for the foreseeable future. Tyler Childers has filled in for him on several occasions, and it seems the fans have all been pleased with this substitution. Next year I hope to have a few additional writers on the books and cover more events and package shows as they happen around the country. I am seeing more and more artists canceling their Euro tours, and my heart goes out to our fans across the pond who look forward to having their chance to honky tonk to American bands. Keep the faith, my friends. I have high hopes that by next year we will be two-stepping

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Taylor Austin, AKA Cousin Early, head-honcho of Honky Tonk Times, with Kyle Moseley, Taylor Rushing, and Andrea Colburn during Americanafest. Moseley and Colburn make up the duo Andrea & Mud. and drinking brown liquor together.

We did start offering our magazine digitally via Issuu. We will continue to offer our physical version. I just wanted an option for those who do not want to pay to have it mailed out to them or want a physical copy hanging around. The online copy also features color photos! With the holiday season coming up, these would be great gifts for friends, family, or even your enemies. I’ll get some holiday gift subscription options up on the website soon.

Once again, YOU are our best advertiser. Tell your friends about us, give us a shout on social media.

It is a big help to us and our continuation to grow. I love hearing from you all as well, so don’t hesitate to reach out and say howdy.

On a completely different note,

you’ll notice this issue is hitting your mailbox later than usual.

That’s because our editor/designer/ Living Legends correspondent Molly Haines was in an automobile accident the same day we were set to finalize what you now hold in your hands. I’m happy to report that she’s well on her way to making a full recovery, and even after suffering a traumatic head injury, she still put this issue to bed for us less than two weeks after her accident.

We would be lost around here without Miss Molly, so give her a shoutout on Instagram @ countrycavalcade and wish her well! Knowing her, she’ll probably apologize for making you wait on this issue, but I believed her recovery to be more important. We can’t thank you enough for your support.

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December 2021 SUNDAY

MONDAY

TUESDAY

WEDNESDAY

# BIRTHDAY *ANNIVERSARY OF PASSING FRIDAY

THURSDAY

SATURDAY

#Slim Willet, 1919 *Fred Rose, 1954

#John Wesley Ryles, 1950 *Mark Gray, 2016

#Rabon Delmore, 1916 #Ferlin Husky, 1925 *Connie B. Gay, 1989 *Grady Martin, 2001

#Chris Hillman, 1944

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#Gary Allan, 1967

#Helen Cornelius, 1941 *Don Chapel, 2015

#Gary Morris, 1948 #Ron Hynes, 1950 #Sunny Sweeney, 1976

#Jack Stapp, 1912 #Floyd Tillman, 1914 #Dick Glasser, 1933 *Marty Robbins, 1982

#Billy “Edd” Wheeler, 1932 #David Houston, 1935 #Syliva, 1956

#Johnny Rodriguez, 1951 *Faron Young, 1996

#Tom Brumley, 1935 #Brenda Lee, 1944 *Fiddlin’ John Carson, 1941

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#Spade Cooley, 1910 #Nat Stuckey, 1933

#James Carter, 1925 *Larry Henley, 2014 *Gordie Tapp, 2016

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#Reggie Young, 1936 #Byron Hill, 1953 #Hank Williams III, 1972 *Charley Pride, 2020

#Wesley Tuttle, 1917 #John Anderson, 1954

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#Bill Carlisle, 1908 #Little Jimmy Dickens, 1920 #Janie Fricke, 1947

#Geoff Mack, 1922 *Hank Snow, 1999

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#Ronnie Prophet, 1937 #Rattlesnake Annie, 1941

#John Hughey, 1933 #Les Taylor, 1948 *Curly Seckler, 2017

26 NOVEMBER 2021

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7 #Deford Bailey, 1899 #Charlie Rich, 1932 *Billie Jo Spears, 2011

14 #Freddie Hart, 1926 #Albert Lee, 1943 #Lee Roy Parnell, 1956 *K.T. Oslin, 2020

21 #Joe Diffie, 1958

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#A.P. Carter, 1891 #Ernest Ashworth, 1928 *Jerry Chestnut, 2018

15 #Hawkshaw Hawkins, 1921 #Ray Pennington, 1933 *Jimmy Work, 2018

#Jim Glaser *Jenny Lou Carson, 1978 *Gary Stewart, 2003 *Ray Price, 2013

16 #Buddy Harman, 1928

#Michael Curb, 1944

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23

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#Ed Bruce, 1939 *Ed Penney, 2014

#Wesley Tuttle, 1917 #Bob Ferguson, 1927 #Skeeter Davis, 1931 #John Hartford, 1937

#John Denver, 1943

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#Alton Delmore, 1908 #Curly Seckler, 1919 #Emory Gordy Jr., 1944 *Tony Rice, 2020

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Life as a Stranger Norm Hamlet recalls nearly 50 years on the road with Merle Haggard

BY MOLLY HAINES HTT Contributor Editor’s Note: The following is the second installment in a multipart series featuring legendary steel guitarist Norm Hamlet. As a member of Merle Haggard’s backing band, The Strangers, Hamlet performed at some of the most recognizable concert halls in the United States, including Carnegie Hall and Madison Square Garden, in front of two U.S. presidents, and opened for the likes of Bob Dylan and The Rolling Stones.

After nearly 50 years as Haggard’s band manager and steel guitar player, Hamlet formed a unique bond with piano and trumpet player extraordinaire Mario Carboni. Billed as “The Rebel and the Stranger,” Carboni and Hamlet are winning over audiences across the states with their unique brand of Bakersfield country.

When Honky Tonk Times caught up with the duo in August, they were traveling across Alaska en route to the state’s largest festival. Above the roar of the bus engine, Hamlet shared stories of his time with Haggard, on recording with Rose Maddox and playing in a band that once opened for Hank Williams Sr. MH: How did you get into music?

At what age did you get into it?

“I started probably around the age of 14. I was listening to the Grand Ole Opry back in those days; back then, it was on a network. You could get it in California on the radio.

This was even before we had TVs. I heard that sound on there, and I asked somebody, ‘What is that?

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It doesn’t sound like the guitars.’

They said, ‘No, that’s one of those steel guitars.’ I really liked that sound and thought I’d like to have one of them. We kept listening to it; the folks were listening to it. I told my dad, ‘I’d sure like to get me one of them guitars like that and start playing on it. There’s nobody around here that plays, but maybe if I get one, I can tune it up.’

“Dad took me to some dance halls around different towns that were not too far from us. These artists would come through, and most of them at that time had steel players. He would take me to the dances, and I’d try to get up there and see what the steel players were doing. When they’d take a break, I’d try to get the steel player to talk to me and give me some lessons.

I did that for quite a while — on Bob Wills and his group, Hank Thompson, Lefty Frizzell, different ones — their steel players. That’s the way I started in; I got to where I was pretty good at it and got a double-neck steel after that.

“I started with a lap steel. A lot of players were using those back in those days. But I finally wound up getting another steel that had two necks on it, and I could play with two different tunings. I started sounding pretty good on the thing.”

Norm Hamlet — Photo courtesy of Mario Carboni

a contract with Capitol Records, she wound up using me on steel.

I believe the album was called ‘The One Rose.’ I did some with her, and of course, I recorded too with the Farmer Boys. They were on Capitol Records.

“Hank Williams come through there too. As far as I know, that’s the only time he ever even came out to California. I don’t think he liked to travel, whatever the situation was.

He came in there and did a bunch of his songs for us. Everybody was Hamlet’s newfound talent just thrilled to death, they said, eventually led to a tour with Skeets ‘Man, that’s Hank Williams. He’s McDonald, whose hit “Don’t Let the got all those hits.’ We opened the Stars Get In Your Eyes” was released show. We played for 45 minutes or in 1952. He later became acquainted an hour and then it was time for with the Maddox Brothers and Rose. Hank to do his thing. He played “They were doing a lot of touring and sang. At least I can say I opened and stuff, and I got acquainted with a show for Hank Williams.” l them. Later on, when Rose got

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COMING HOME TO YOU (Nicholas Campbell) There’s a southbound freight on the railroad track doing ninety miles an hour puffing smoke out the back I’m coming home to you, yea, I’m coming home to you, there ain’t no way you can stop what I do I’m coming home to you Well the jumping Jack will jump when the train whistle wails and I’ll be coming down the line like the U.S. mail I’m coming home to you, yea, I’m coming home to you, there ain’t no way you can stop what I do I’m coming home to you You’re a real cool mama and I like your style well you’ll hear me on the track from a country mile I’m coming home to you, yea I’m coming home to you, there ain’t no way you can stop what I can do I’m coming home to you Well there’s a southbound freight on the railroad track doing ninety miles an hour puffing smoke out the back I’m coming home to you, yea I’m coming home to you, there ain’t no way you can stop what I do I’m coming home to you BE A FARMER OR A PREACHER (Jake Vaadeland) There’s a place I remember so well With stories that only I can tell Come listen to my story for a while

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But be prepared, what you hear won’t make you smile Chorus Be a farmer or a preacher, and look a little meeker Don’t tell anyone about your blues Submit and obey, and thank the Lord everyday That you can’t live a life that you choose Cause someone’s gotta fill your daddy’s shoes

..someone to meet But all my friends they long gone… they’re in retreat..in retreat Chorus So put me..on the last train And send me..home again I’ve got a one way ticket and it’s time to go So Let me loose…Let me Loose..let me Loose

I’m walking up on High Street … no one to greet. ..Not a soul to There is a man who stands up so high greet White skin covered with a suit and tie All my favorite stores they all He tells you what to do and what to say closed down….they admit Says you’re the devil if you find another way defeat…admit defeat I’m on the low end of Todd street…

There’s a women there who sits down so low ain’t she sweet..lord ain’t Covered all the way from head to toe she sweet From her mouth you’ll never hear a sound But her devil eyes will always stare you down I think I found my long lost seat…. not it’s complete….yea it’s I was born with a desecrated name complete It haunts me and it makes me feel ashamed The anger comes about behind closed doors Chorus But it never helps me heal from all the sores So put me..on the last train THE STREETS OF SAN FERNANDO And send me..home again (Gary Hector) I’ve got a one way ticket and it’s time to go So Let me loose…Let me Let me loose…Let me Loose..let me Loose Loose..let me Loose On the streets of San Fernando… to the shuffling Chorus beat..shuffling beat So put me..on the last train Like some lonesome desperado And send me..home again …in the stifling heat..the I’ve got a one way ticket and it’s time to go stifling heat So Let me loose…Let me Just drop me off on Jones Street Loose..let me Loose ..I’ve got someone to meet On The streets of San Fernando

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The Northern Report volume 8

BY SEAN BURNS HTT Contributor Well good morning, good afternoon and good evening, friends. I hope that wherever you are, this finds you safe and well. As restrictions increase across many parts of Canada, we find ourselves in fairly good standing here in the heart of the continent. After a great summer of outdoor performances, indoor shows are back in full swing here in Winnipeg, Manitoba, Canada. Most notably, the Times Change(d) High & Lonesome Club is poised to reopen its doors after a 19-month hiatus. It was an honour to be on stage Oct. 22 for the initial night inside the Club with my band, Lost Country. It’ll be nice to be back on home-ice, and we’re scheduled to bring the good people of the High & Lonesome Club the hottest and hardest honky tonk north of the border in December.

On the subject of hard tonk, Boots & Saddle (my weekly show on CKUW 95.9 FM) recently broadcast our annual Trucker Blowout show Oct. 12.

Theme shows can often be a bit of a lazy endeavour, but I’ll assure you I worked hard on this one, and I think you’ll dig it. Find archives, subscribe and follow B&S on Spotify, Apple and Google Podcasts, or on the website: www.bootsandsaddle.ca Speaking of Boots & Saddle, a couple of up-and-comin’ fellas with 2021 releases have seen a steady amount of spins on the show this year with high-quality efforts, and I think it’s time to feature these

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18-year-old Jake Vaadeland, above, recently released a six-song EP titled “Retro Man,” a “breath of fresh air on the Canadian musical landscape,” according to HTT contributor Sean Burns. Vaadeland’s influences range from Johnny Cash to Flatt and Scruggs. A second EP, “Town of the Blues,” is coming soon. young guns here in HTT. First, from the beautiful province of Saskatchewan, is Jake Vaadeland.

Jake grew up 33 KM southeast of Big River, SK, in the very small Scandinavian farming community of Park Valley. An avid fan of traditional Bluegrass, there is also a 1950s Rockabilly influence that’s very evident in his presentation.

At just 18 years old, Jake possesses control and a mature voice well

beyond his years. It’s right at home with anything from the ‘50s Sun Records recordings. He cites Johnny Cash as a primary influence, and by all accounts, as a young kid, he would never stop singing songs from the Man in Black. Over the last handful of years, Jake has been influenced greatly by two other men. Their names are Lester Flatt and Earl Scruggs. Cash and Scruggs continue to inspire Jake as

HONKY TONK TIMES

a singer, while Lester Flatt serves as his inspiration as a performer.

Released in August, Vaadeland penned the six songs on his EP, “Retro Man,” and as far as my ears go it’s truly a breath of fresh air on the Canadian musical landscape.

Retro Man was recorded in a home studio in Prince Albert, SK, in June 2021, with Jake tracking his guitar and vocals using his Ear Trumpet Labs Omni mic called Josephine. For the most part, it was all recorded live off the floor.

He’s had a fairly busy summer of shows, and for our prairie friends, you can catch Jake and his band in some nice rooms beginning Nov. 10 at the Rawlinson Centre in Prince Albert, SK, and Nov. 12 at the Bassment in Saskatoon.

Look out for another six song EP from Jake in the coming months.

Heading east, we find young Nicholas Campbell, 140 KM from Toronto in Peterborough, Ontario. I grew up not far away myself in Oshawa, ON, and I am more than willing to set aside the long-standing, passionate Junior Hockey rivalry of the Oshawa Generals and Peterborough Petes (Go Gens Go!) for the sake of this great young artist.

Over the last number of years, Peterborough has become a hotbed of musical talent, and I’m not sure any act has shown such promise and excitement in their sound as Nicholas does. His grasp and ability as a guitar player would suggest he’s slugged it out in the taverns and bars for 20 years, so you can imagine my astonishment when I found out he is just 17 years old.

You gotta hear this kid pick. Brian Setzer, Paul Pigat, Chet Atkins, Cliff Gallup, and Hank Garland are noted guitar pickers Nicholas has taken cues from, and he points to Carl Perkins, George Jones, Ray Condo, and Faron Young as

NOVEMBER 2021

Nicholas Campbell chief influences. Listening to his album, “Livin’ and Other Western Ideas,” it’s clear he’s put his time into studying these great pickers and singers. Recorded last summer in Brandon Humphrey’s home studio, Nicholas wrote each of the nine songs on “Livin’ and Other Western Ideas” and played all the hot guitar licks you’ll hear in these tunes. He started singing at around 10 years old and found the courage to begin writing songs three or four years ago. “Livin’ and Other Western Ideas” is an impressive debut, particularly for a cat his age.

He’s been limited to performing in Ontario this year, but there are plans for an Eastern Canadian tour next year with his band, and you can bet that with some miles and the highs and lows of the road, the next release from Nicholas will shine even brighter. It’s not uncommon for Southern Ontariobased acts to point east and tour the Maritime provinces. Still, I’ll say confidently that Nicholas and his band could quite easily carve out a respectable circuit here in the west

where the landscape and audiences seem more sympathetic to this kind of music. Nick has a dozen songs in the can ready to record and plans to start another project sometime next year. For you gear nerds out there, Nicholas’ guitar and amp of choice are a Gretsch 6120 through a ‘68 Fender Princeton Reverb or a ‘59 Fender Bassman Reissue. Not bad!

I’ll say friends, it’s exciting to hear such young folks musically mature well beyond their years and set out to keep the traditional sounds alive. Do yourself the service of checking these fellas out. You won’t be disappointed.

I’d be remiss if I didn’t mention a hot new release by Regina, Saskatchewan-based Wolf Willow.

Drawing on countrypolitan, honky tonk and Western Swing, the outfit released “Old Guitars & Shooting Stars” Oct. 15, and it’s one of the strongest, most interesting Canadian releases of the year.

With unique instrumentation, Wolf Willow has carved out their own sound organically, and on this album, they’ve taken a real leap forward as a band.

That’s it for me this month. I’ve been asked to leave. Remember to follow along with TNR’s Spotify playlist and to the podcast, which continues to spotlight emerging and existing Canadian talent as well as some of the legends we’re still lucky to have with us. l

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FINEST FASHIONS LISA SORRELL CHATS WITH SHAWN CAMP Some careers can be described with a couple of words, but Shawn Camp’s isn’t one of them. A bold and distinctive singer, a songwriter who’s provided material for artists ranging from Ralph Stanley, Del McCoury and Ricky Skaggs to Garth Brooks, Alan Jackson, Porter Wagoner, Loretta Lynn and Brooks & Dunn, with hits such as “Two Pina Coladas” (Garth Brooks), “Nobody But Me” (Blake Shelton), “Would You Go With Me” ( Josh Turner), “River Of Love” (George Strait), and “Love Done Gone (Billy Currington).

Along with being a hit writer, he is a gifted multi-instrumentalist who’s played as a touring/recording

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musician with everyone from Jerry Reed, Trisha Yearwood, Shelby Lynn, and Alan Jackson to the Osborne Brothers, Guy Clark and John Prine.

He is also the lead singer for The Earls Of Leicester, an all-acoustic band that consists of legendary Bluegrass musicians Jerry Douglas, Tim O’Brian, Barry Bales, Charlie Cushman and Johnny Warren. The band performs and records only the music of Flatt and Scruggs and the Foggy Mountain Boys. They capture the essence of the sounds and that period of time in an effort to bring the old style back into the psyche of the modern world.

Honky Tonk Times contributor

Lisa Sorrell recently caught up with Camp for a rare interview to discuss the craft of songwriting.

LS: Do you have a memory of realizing that you were a songwriter?

SC: I grew up with music; my parents took me to bluegrass festivals, and we often had musicians at our house for jam sessions. We had all the Sun Records, so I was listening to rock and rollers like Jerry Lee Lewis and Elvis, but we also had Hank Williams, Jimmie Rodgers, and Bill Monroe, and I liked all of it. I was playing guitar at 5 years old, and I was always jotting down little verses.

I moved to Nashville in 1987, playing fiddle for the Osborne

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Brothers. I met Dennis Adkins, who was a staff songwriter at the publishing company that Mel Tillis owned, and we co-wrote one song, but I didn’t think much about it.

One night I was hanging out at the Bluebird Cafe, and I struck up a conversation with a guy. He asked me what I did, and I spontaneously said, “I’m a songwriter.” He told me he was too, gestured to a big poster of Roger Miller hanging on the wall and said, “That’s my dad.” So me and Dean Miller went out in the middle of the night and sat on the tailgate of my truck, in front of my apartment on 16th Avenue, and co-wrote a song together. We got on a roll of writing together, and I guess we probably came up with about 40 songs during that time. We really kind of learned how to co-write with one another.

Before I knew it, I had a bunch of songs, and I actually was a songwriter.

LS: Where do you find inspiration for the songs you write?

SC: How a song comes to me varies. Sometimes it’s a phrase I hear that will inspire it. For most of them, I hear the melody along with the words.

Sometimes staying inspired is a choice too. I can go to a BMI event and just walking through a creative crowd and feeling the energy, I’ll come home full of ideas. I like being in an environment of creative people.

LS: How compelling was songwriting for you?

SC: Songwriting chose me; I didn’t choose it. It’s compelling — like a drug, like an adrenaline rush, like gambling. It’s an addiction, but there’s no way to lose. When a song is completed, and all the words are out, there’s a high that no one can touch.

LS: I know that you also perform.

You’re with The Earls of Leicester, a Flatt and Scruggs tribute band. Is performing satisfying for you also?

SC: When I’m on stage with The Earls of Leicester, it’s not me; I’m

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performing as Lester Flatt. That’s satisfying because I always fantasized about being an actor. But I find solo performances to be the most satisfying because I can be myself and play any genre. Also, when I write a song, I hear it a certain way, and the artist who performs it always changes something to make it their own. When I perform it, I can do it the way I wrote it or the way I imagined it should sound.

LS: What are you working on now?

SC: I’ve written songs for Willie Nelson, Garth Brooks, Josh Turner, Brooks & Dunn… I’ve written songs for specific projects… but first and foremost, I write for myself. In my mind, there is no radio; there’s only the song. If it works in some format, that’s great, but it’s only a bonus.

Lately, I’ve been reading about the Lincoln assassination and the theory that John Wilkes Booth was not actually killed in 1865 but instead escaped and lived under an alias until he died in Enid, Oklahoma, in

1903. I decided that if Bob Dylan could write “Murder Most Foul,” a 16-minute-long song about the Kennedy assassination, I could write a 10-minute song about John Wilkes Booth, which is my most recent project. I’m actually kind of working on a screenplay about the story, and the song is a part of that.

LS: Do you have a favorite song that you’ve written?

SC: The next one, or the one I’ve just finished.

LS: Give me an example of a song or two that you think epitomizes the heart of country music and why.

SC: I love “I’m So Lonesome I Could Cry” because of the heartbreak and yearning for lost love. That’s country music — that’s life.

Another one would be “Homecoming” by Tom T. Hall because it’s so real. I can relate to returning to Arkansas and feeling like an outsider back home. It’s an honest look at life as a road musician, and I like story songs. l

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Honky Tonk Times takes on Americanafest 2021

BY TAYLOR AUSTIN Honky Tonk Times The 21st annual Americanafest took place in Nashville Sept. 2026. Americanafest is a week-long festival put on by the Americana Music Association comprised of hundreds of artists and playing at dozens of locations across the Nashville metro area. The 20th Annual Americana Honors & Awards Ceremony took place Sept. 22.

Most are familiar with the term Americana or have at least heard it in passing, but what does it mean?

The Americana Music Association defines it as “contemporary music that incorporates elements of various American roots music styles, including country, roots-rock, folk, bluegrass, R&B, and blues, resulting in a distinctive rootsoriented sound that lives in a world apart from the pure forms of the genres upon which it may draw.”

This definition goes beyond the honky tonk that this fine publication tends to focus on, and some folks take issue with including traditional country music under the Americana umbrella. Some dislike a large tent and don’t want traditional country rubbing elbows with folk, R&B, and other kinds of music. Some even view these other types of music as competition. Sure, each of the previously mentioned genres of music listed in the association’s definition deserves its own chart. But having them all under the same roof makes for a wonderful medley. Country music certainly has taken influence from each of those types of music.

We all grow together when we work

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together. Safety in numbers, I suppose.

To preface this recap of my time at Americanafest: I had never been to Nashville before, and I hadn’t flown in about 15 years. To say I was overwhelmed before I’d even left would be an understatement.

Thankfully, Americanafest had an app that helped me put my schedule together. Since even I am unable to be in multiple places at once, I had to pick and choose which shows to see.

These weren’t easy choices: the city was full of incredible artists all week.

Many of them would require driving across town to get to; what was I going to do? Well, I decided to shake hands and meet as many of the folks that have been in the magazine as I could.

Day 2

I woke up feeling amazing and still floating from the music of the night before. However, I’d slept in a bit longer than I wanted and realized I had to get my ass in gear to get down to the Ernest Tubb Record Shop as Charley Crockett was recording the Midnight Jamboree there at 11 a.m. I had just missed seeing him play in Boston the week prior, and I wasn’t going to miss him a second time. As I walked in the door, I was greeted by the fabulous Miss Julie, the manager at Ernest Tubb Record Shop. I didn’t expect to be recognized by face (but I suppose that’s what I get for being vain enough to put my picture in every issue). I would like to Day 1 extend a personal thanks to Julie and the entire staff of the Ernest Tubb I landed in Nashville and ran a few Record Shop for the hospitality they errands before I did anything else. I showed me while I was in town. needed some Ibuprofen and a new The only events on the pair of boots. The first “landmark” I Americanafest app were the ones that saw was the cross with Dottie West’s were actual Americanafest showcases. name on it. If you don’t know the story What I didn’t realize was how many of the accident that took West’s life, great shows would be happening I’ll let you look it up if you so choose. that weren’t part of the showcase. I I hoped this wouldn’t be an omen of hoofed it across town in the rain to the week to come. Later that night, I get my press pass; it was well past got myself over to American Legion my lunchtime, so I headed over to Post 82 for Honky Tonk Tuesday to Robert’s Western World to grab some see the Cowpokes. It was everything lunch. I’d heard they were the home I had wished for and more: a packed of the recession special: for $6, I got bar, a dance floor full of two-steppers, a fried bologna sandwich on white and an audience that was having a ball. bread, fries, a moon pie, and a PBR. I did not bring my camera; this night Holy hot damn did that make me a was for me, plus we ran a story about happy guy. It reminded me of growing it just last month. If you didn’t read it, up. I definitely ate my weight in go buy a copy of issue No. 7. Another bologna that week. While I was there, round of Ibuprofen and a good night’s I got to catch Paul Kramer, backed by sleep, and it was on to day two. a great band that included our past spotlight feature, Brennen Leigh. They

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were just wonderful! Former spotlight feature Sarah King came and joined me later in the day as we went back to the Ernest Tubb Record Shop to snag a few photos before the award show.

The Americana awards were at the Ryman Auditorium, just off Broadway (where ETRS and Roberts are).

My phone promptly died, so I have no photos or notes from the award show. Hopefully I’ll have better luck next year. Stepping into the Ryman Auditorium for the first time put a lump in my throat. I was there early, so I got to take my time walking in and to my seat (pictured from a different day). The show kicked off with an amazing performance from the Americana All-Star Band featuring Don Was, Jen Gunderman, Jim Hoke, David Mansfield, Jerry Pentecost, Aaron Lee Tasjan, and the incredible McCrary Sisters. They started with a tribute to Charlie Watts, who recently passed away, and played “Can’t You Hear Me Knockin’.” The room sounded so crisp. Brandi Carlile came out to welcome us all to the show and introduce the band. The awards show is on YouTube, and I suggest you watch it. I tend to wear my heart on my sleeve and have no problem telling you that some of the performances we saw that night made me tear right up.

Here are the Americana Awards categories and winners for 2021: Instrumentalist Of The Year: Kristin Webber Emerging Artist of the Year: Charley Crockett Duo/Group of the Year: Black Pumas Song of the Year: “I Remember Everything” by John Prine Album Of the Year: “Cuttin’ Grass Vol. 1” by Sturgill Simpson Artist of the Year Award: Brandi Carlile In addition to these awards, the association also presents lifetime achievement awards. In my opinion, one of the best presenters was

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The Ryman Auditorium, above, played host to the 2021 Americana Awards. — Photo by Taylor Austin Ketch Secor giving the Lifetime Performance Award to Keb’ Mo. Mo thanked the association for honoring him with the lifetime achievement award so early in his life.

Sheryl Crow presented the Lifetime Achievement Award for a producer to Trina Shoemaker with a heartfelt speech. The Lifetime Achievement Award for Legacy went to the Fisk Jubilee Singers. Carla Thomas won the Lifetime Achievement Award for Inspiration, and the Mavericks took home the Lifetime Achievement Award for Trailblazers.

The show closed with Emmylou Harris and Rodney Crowell paying tribute to the late Don Everly as they sang “Let It Be Me.” It was a night to behold with performances by many great artists.

Day 3 Day three found me a little unsure of what to do because of the wealth of options (there were several parties thrown by record labels that were five-plus hours long). That morning, I headed off to the State Fair Records party and caught a few acts there.

Around this time, I learned that my phone had given up for good. After replacing my dead phone, I went to the Basement East in East Nashville, where the Shootouts were playing. As you’ll see from the photos, it was not the full band, as their official showcase was not until later in the week.

They were filling in for a band that was unable to make it. As a CONTINUED ON PAGE 14

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trio, they put on one helluva show.

I got to say hello to Andrea and Mud, who had just gotten into town from a tour. I also spotted Summer Dean but didn’t catch her quick enough to say hello (I tend to get pretty into my photography). To my surprise, the emcee for this event was Clownvis. Yes, you read that right, Clownvis—an Elvis impersonating clown. He was a bit unsettling at first, but I found him very funny, and his songs were damn catchy. Look him up, and you’ll see for yourself.

The next act at Basement East was 40 Acre Mule. Holy smokes, did these guys kick ass! They had a captivating stage presence; they were high-energy and commanded the room. Definitely not your grandpa’s honky tonk, but not pop-country either. If you prefer the rock side of things, these guys should be on your radar. I caught wind that Andrea and Mud were playing over at Martin’s Bar-B-Que Joint. Martin’s was not an official showcase location, but I ended up seeing some great shows there! After Andrea and Mud, Chelsea Lovitt played a set with her band.

Unfortunately, I didn’t catch Chelsea’s full set as I had to shoot across town to Musicians Corner to see Whitney Rose perform, followed by Michaela Ann. I think you can start to see how this can quickly become sensory overload. I was so excited to see many marvelous musicians and meet so many great folks that I forgot to eat and drink water. There was still more to see! I headed off to Cannery Row, a multi-level venue with several different stages and bars. I mean, this place was massive. Joshua Ray Walker was on the fourth floor. He got up on stage and poured out his heart and soul.

Vincent Neil Emmerson was going to play a while after him, and I had some time to kill. I’m not entirely sure that walking from Cannery Row to the Station Inn was my best idea, but I made it to the Station Inn in time

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Robert’s Western Wear, home of the Recession Special, provided sustenance throughout the five days Honky Tonk Times visited Nashville. — Photo by Taylor Austin to see Melissa Carper perform. Her voice had me on the brink of tears-it was a surreal experience. Just listen for yourself; you’ll see what I mean.

Melissa sang and played bass. She was backed by Brennen Leigh on guitar, Jeff Taylor on the keyboard, and Rebekka Patek on fiddle. I knew I was right where I was meant to be because the audience was also filled with musicians who were finished with their showcase shows. I got to visit with Andrea and Mud, Chelsea Lovitt, and Melissa Carper before running back to Cannery Row to see Vincent Neil Emmerson play his set.

Emmerson did something I hadn’t yet seen in Nashville. He got on stage, just himself and his guitar—he played, he sang, and he silenced the entire crowd. The room was just as full as any other, but you could have heard a

pin drop while he sang. His songs tell a story, and you can’t help but hang off every word. I didn’t even take that many photos as I was too engaged in the music. Day three certainly left me with a lot of wonderful memories.

Day 4 I woke up absolutely ravenous, so it was off to Robert’s Western World for another bologna sandwich. I wasn’t going to have another day of not eating. To my surprise, Joshua Hedley was on stage! (Please forgive the lack of photos of Joshua; I was too focused on my food). I heard that Elijah Ocean was playing over at Martin’s, so once again, I packed myself up and drove across town to the venue. Elijah and his band were on fire! Later, I drove in circles trying to

HONKY TONK TIMES

find the Basement (not to be confused with the Basement East) in Nashville to hear Mac Leaphart’s showcase.

Golly, that place is hard to find. It’s down a side alley, and you feel like you’re cutting crosslots to get there; it’s a neat little venue. I didn’t catch all of Mac’s set as I had to get back to East Nashville to see Caleb Lee Hutchins.

I’d never heard of Hutchins before until his publicist sent me an email telling me I had to check him out.

She wasn’t wrong. That young fella has got it going on! Hutchins has the voice of a 35 year old, the soul of a 50 year old, and the band of a well-put-together musician. I saw his whole set, and I think you folks need to check him out. I hope he’ll have a full LP out soon. There was a gal in the audience that drove all the way up from Georgia, where she used to see him perform in bars, just to see him play that set. These were not long sets, mind you (about 30-40 minutes).

It just goes to show, wherever you are, your fans will find you.

Sterling Drake had gotten ahold of me earlier that day. I’d brought down a stack of magazines to give him—he was on the cover, you know (if you don’t, you should probably get yourself a copy of issue No. 6). He’d told me I had to meet him over at the Local to introduce me to Timbo. Sterling also assured me that Timbo had the best band in town by a mile, and I’d be a fool to miss it. Sterling introduced me to the entire band and half the room.

I get the feeling that nobody stays a stranger for long around Sterling Drake. He talked to me like we were old pals. It’d be hard to say what my favorite show was down in Nashville, but I can tell you that Timbo and his band are right in the running. It wasn’t too long into the set that I saw a familiar face walk in; Melissa Carper came to catch Timbo’s set. I grabbed a table and had a nice chat with Melissa between the songs and during the set break. One thing that really

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Sarah King, in town for Americanafest, stopped by the Ernest Tubb Record Shop for a photo with her spotlight in Honky Tonk Times. — Photo by Taylor Austin stuck with me is how humble and nice everyone in Nashville is. There wasn’t an artist I met that didn’t have a smile and a welcoming thing to say.

Day 5 Day five was a wash. I was so tired, my feet were sore, and I had a 4 a.m. flight back to Vermont the following day. I spent the day in bed at my Airbnb, resting and working on the photos I took throughout the week. There were about five more shows I wanted to see that were all happening late that night. I was exhausted and couldn’t possibly pick one show to go to: I would have to have gone to them all.

I had an absolutely amazing time at Americanafest. I did some touristy things while I was down there that I

won’t bore you with (you’re welcome).

I walked...A LOT! If you go next year, wear boots you’ve already broken in. Most venues have covers, so buy a festival pass, which will get you into the Americanafest official showcases.

Keep your eyes on social media because you’ll find out about all sorts of extra shows that are going on in town. Pay attention to suggestions from the musicians on shows you should see; they aren’t wrong. Make sure you bring cash for tipping and merch: please, please, please, if you like good music, always tip the band and buy the merch when you can.

They deserve all the support we can give them. Americanafest has announced the dates for the 2022 festival (Sept. 13-18). Get your tickets early and plan the trip now. l

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Scenes from AMERICANAFEST 2021

Brennen Leigh — All photos by Taylor Austin/Honky Tonk Times

Vincent Neil Emerson

Joshua Ray Walker

Chelsea Lovitt and band

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Andrea Colburn

Clownvis

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Charley Crockett

Caleb Lee Hutchins

Michaela Ann and band

The Shootouts

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Elijah Ocean

Melissa Carper

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Mac Leaphart — All photos by Taylor Austin/Honky Tonk Times

Chelsea Lovitt

Will Derr

Rebecca Patek

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Paul Kramer

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Elijah Ocean and band

Chris Evetts

Tommy Hannum and Brennen Leigh

Andrea and Mud

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Clownvis

Jeff Taylor

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Charles Wesley Godwin finds his ‘real voice’ on ‘How the Mighty Fall’

A native of West Virginia, Charles Wesley Godwin’s country-folk is Appalachian-Americana, rooted in his sharp songwriting and backwoods baritone. His second LP, “How the Mighty Fall,” is due out Nov. 5. — Photo by Harry Ilyer

BY GEORGE NOSTRAND HTT Contributor

vocals. Vibrato can be taught, but for many, it comes naturally. This is the case for Godwin. He said that Webster’s dictionary defines while he was born with it, it took vibrato as “a slightly tremulous effect him years to find his natural voice. imparted to vocal or instrumental “When you’re a beginner, you tone for added warmth and can’t help mimicking others,” expressiveness by slight and rapid said Godwin. “Once you relax, variations in pitch.” Webster may soon your real voice comes out.” add “see Charles Wesley Godwin.”

Godwin’s voice not only comes For those not familiar with the out — it shines — on his second term vibrato, it’s a subtle alternating album, “How the Mighty Fall,” which of pitch, usually of a sustained note, is slated to be released Nov. 5. that creates a wavering effect to the Music wasn’t Godwin’s first

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passion. When he was younger, he was really into sports but failed to make the cut for his college football team. He realized at a certain point that he didn’t have what it took to go all the way and started looking for a new direction. Majoring in finance at West Virginia University, he took up guitar as a hobby. He got his first gig while studying abroad in Estonia.

“I was young and in college and got paid 150 euros for my first gig,” said Godwin. “I thought this is what I should do.”

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He admits that he was a little naive and might have had stars in his eyes.

But he feels that viewpoint is almost necessary to overcome what it takes to get started in the music business.

“There’s a handful of people who are naturally talented and lucky enough to make it. Otherwise, you have to go in with rosecolored glasses, ‘cause it’s quite a road. I’m grateful for the times I had, paying my dues, but I’m not sure I could do it again.”

Godwin’s first album, “Seneca,” was self-released, doing well enough to garner a lot of attention online.

For his sophomore effort, “How the Mighty Fall,” he worked with a producer and has a team behind him.

“Management and booking totally changed my life. Before, with the first album, I was doing everything and had zero connections,” said Godwin. “I’m a terrible business person and networker. Now, I am able to go on proper tours, sell tickets and make fair deals.”

Already, with the leadup to this album release, it’s been extremely helpful.

The album was recorded at Music Garden Studios in New Brighten, Pennsylvania. Owner Al Torrence engineered, mixed and produced the album. He also played on it and helped co-write the song “Temporary Town.” Over a dozen artists put their touches on songs that range from stark to cinematic.

He was able to bring his road band in for the recordings rather than hire a group of session musicians.

Overall, it’s a country album, but if you peeled away the lap steel and banjo, many of these tunes could easily be featured on folk radio. Like many musicians, Godwin doesn’t get hung up on genres or classification.

“I don’t worry about that. I found an audience with the first (album).

People come and see me wherever I go,” he said. “When I was writing,

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“How the Mighty Fall” is a collection of character-driven songs about mortality, hope and regret, putting an intimate spin on the universal concerns we all share.

I blocked out outside noise and expectations. I just followed my gut and to make the best songs I could for my enjoyment. I write them for me first. I sing them for others if I like what I write.”

Godwin feels more confident in his songwriting on his second album.

While he moved from his home state of West Virginia to Ohio, he revels in being out of the loop and has yet to become jaded by the industry.

“I never moved to any of the major cities. I’m in a bubble when I write.

It’s something that I love doing. I would still play open mics. I don’t care. If people are succeeding, paying their bills, feeding their families, good for them. No hard feelings. There are plenty of hardships in life. For me,

it’s all part of getting to where I am now. Nobody in the music world has ever done me wrong or ripped me off. I don’t lose any sleep about who the biggest acts are on the charts or what’s going on in Nashville.

My family and I are just fine.”

Godwin doesn’t take his success for granted and is very excited about his newest release and the support behind it.

“I have no delusions about how lucky I am. So many folks are out there trying to make it work. Opportunities don’t get handed out very often.”

On Nov. 5, the public will have its opportunity to hear Godwin’s latest effort, “How the Mighty Fall.”

And they won’t be disappointed. l

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Leona Williams not giving up yet

BY MOLLY HAINES HTT Contributor Since the age of 15, Vienna, Missouri native Leona Williams has entertained millions of fans across the globe, had her songs recorded by the likes of Loretta Lynn and Connie Smith, scored a top 10 hit with Merle Haggard, and holds a title none other can claim as the first female artist to have recorded an album from inside prison walls.

Now a 78-year-old breast cancer survivor, Williams continues to record and perform, not taking a single of her accolades for granted.

Humble Beginnings As one of 12 children, Williams grew up surrounded by music, with both parents and nearly all her siblings playing an instrument or two. Despite the family’s talents, only Leona would forge a path to stardom.

By the age of 15, a local radio station took notice of the little girl with the big voice, offering her a shot at her own radio show, a 30-minute slot for KWOS Radio in nearby Jefferson City, Missouri.

“It was called ‘Leona Sings.’ I had that show for about a year.

We would tape it on a Thursday night, and they’d play it back on Saturday morning. Of course, I was just a kid, but the owner liked my singing. He said, ‘We’ll get some sponsors and get you a radio show.’ He had no trouble getting sponsors, mainly from Vienna.”

Like many of her peers, Leona married young and later moved to St. Louis, where she and her first husband, Ron Williams

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Leona Williams Sr., formed a country band.

“I went to beauty college, and we played music on Wednesday nights, the weekend, or whatever,” she recalled. “One night, we went to see the Wilburn Brothers and Loretta Lynn. They were gonna be in a town not far away. We went to see them and got to meet them, and we all went out to eat, got acquainted. The Wilburn Brothers were promoting Loretta Lynn, and

she had a few records out there that did well. She said, ‘If I ever make it, I’m gonna help you kids.’

“That night after we talked, we thought we’d book her some shows, and our band could back her. We did that, a few shows, fair dates.

One day while I was at the beauty shop working, she called and said, ‘I’m putting my first band together.

It’s called the Blue Kentuckians, and I want y’all to be in my band.

HONKY TONK TIMES

I’m gonna get you all a house, and I want you to move to Tennessee.’”

The young couple were no strangers to Nashville, having performed on Ernest Tubb’s Midnight Jamboree, and jumped at the opportunity to make Music City their permanent home.

The pair worked for Lynn for a year, staying busy on the road before Leona landed a record deal with Hickory Records.

“The rest is history,” she said. “I was just on my own after that.”

That Williams Girl By the release of her 1970 debut, “That Williams Girl,” Nashville had already begun taking notice of Leona’s songwriting capabilities, including her former boss Loretta Lynn, who recorded “Get What Ya Got and Go,” penned by Leona and then-husband Ron Williams, for her 1967 album, “Don’t Come Home a Drinkin’ (With Lovin’ On Your Mind).” She later wrote “Dallas,” eventually becoming a Billboard hit for Connie Smith and later recorded by Tammy Wynette.

“I got lucky and had some songs in the charts,” Leona said. “Little by little, step by step, I got songs recorded and had records do good.”

One of her most memorable releases, “Yes Ma’am (He Found Me In A Honky Tonk),” garnered the attention of none other than Merle Haggard.

“Merle had all my records. He was in town in Nashville, doing his album tribute to Jimmie Rodgers.

Ronnie Reno worked with The Osborne Brothers for a while, and Ronnie and us, we did some tours with the Osbornes, package shows.

After he was with the Osbornes, he went with Merle in his band and sang harmony with him for a while.

Ronnie called and told me they were in downtown Nashville, and Merle wanted to meet me; he was

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a huge fan of mine. They rode with me in my car, we drove back over after dinner to the RCA studios, and Merle said, ‘Come in here with me; I want you to sing a little bit on this.’ ‘Where Have All the Hobos Gone’ was the name of the song.

That was the first time I sang on a Merle record. They started calling me after that, ‘Can you reschedule some of your shows so you can come out and work with us?’”

San Quentin’s First Lady In 1976, at the behest of Haggard, Leona would record the landmark, “San Quentin’s First Lady,” the first country album to be recorded inside a prison by a female artist.

“Merle had this song, and he thought it would be a wonderful idea for a woman to go to prison and record a live album,” she recalled.

“He’d written a song, him and Bonnie Owens, called ‘San Quentin, you have taken the one and only man I’ll ever love.’ This song was so good.

I wrote a song later on called ‘Prisons Aren’t Only For Men’, and we put that on there, and the old standard, ‘I’m Here To Get My Baby Out of Jail.’ We had all of Merle’s wonderful band, The Strangers, with Roy Nichols on guitar and Norm Hamlet and all the other great players. Merle was right there to support us.”

The pair’s professional relationship blossomed into something more, and they eventually wed, with Haggard’s former wife Bonnie Owens serving as a bridesmaid.

Leona would become known as a backup singer, setting aside her desire to work as a solo artist and moving to California, where she would fall out of touch with friends and contacts in Nashville and at the Grand Ole Opry.

“I wasn’t a member of the Opry, but I was on there,” she said. “Merle couldn’t believe I liked the Grand Ole Opry as good as I did. I loved

it. I knew everybody, and it was something really classy to do. I was on there a lot, working all these big shows and everything, then here’s Merle. Later on, after Merle, I did come back and was on the Grand Ole Opry every now and then.”

The couple’s marriage lasted nearly six years, with Leona providing backing vocals on many of Haggard’s recordings, as well as songwriting credits.

“He was a big part of my life there for a while; then things happen,” she said. “I’m proud to say that I’ve had some No. 1 records that he did.” *** These days, Williams performs regularly and is preparing two upcoming releases, both a Christmas album and new country material.

“I put out a Christmas song last year; it’s called ‘Birthday Party For A King,’” she said. “It’s a small label out of Georgia, but it sounds really good. We just put out a onesong CD and sent it out to some of the radio stations, but this year we’re planning to put out a whole album of Christmas music.”

A release date for both projects is forthcoming, but Leona said the material could be released as early as this month.

Like many artists, Leona has toughed out the pandemic as best she can, with shows canceled or rescheduled regularly over the last 18 months. Still, she shows no signs of slowing down.

“It’s different,” she said of working through a pandemic. “But I still love it. I’m not gonna give up yet.” l Molly Haines is a freelance writer and country music enthusiast living and working in rural Central Kentucky.

Follow her on Instagram @countrycavalcade, or drop her a line at mollyhonkytonktimes@gmail.com.

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HONKY TONK TIMES

Reader photos

At right: Mother-daughter duo Marjorie and Autie Adams recently dropped by Nashville’s Ernest Tubb Record Shop to check out Honky Tonk Times.

Below: Staci Griesbach shows off her cover feature from the October issue of Honky Tonk Times at the Ernest Tubb Record Shop.

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Above from a : Brandon a nd recent trip to Laura Kilby the Er s nest T hared this ubb R ecord photo Shop.

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The

Chicago Hustle with Lawrence Peters

Hello from Chi-Town!

A couple of our Ameripolitan Award recipients have been keeping busy this year. As I write this, Bailey Dee (2018 Ameripolitan Rockabilly Female award winner) is about to head out to California for a coupla big dates, backed by The Fly-Rite Boys and MC’d by the one and only Big Sandy. Her recent split 45 release is a bangin’ ska-billy version of the 1959 Phil Phillips and The Twilights rhythm & blues standard “Sea Of Love.” The cut is still available on vinyl from Chicago’s own Jump Up! Records. Her band on the track is a supergroup that includes members of ‘90s Chicago rockabilly thug royalty Hi Fi & The Roadburners and local ska/reggae ambassadors Deal’s Gone Bad. Miss Tammi Savoy, who took the Rockabilly Female gold at the 2019 Ameripolitan Weekender, recently released the single “It’s Been A Good Year.” The song was written by Chris Casello, bandleader of Savoy’s group The Chris Casello Combo. You can find this instant classic and the stunner of a video on the usual platforms.

I’ve been keeping tabs on 2020 and 2021 releases from local folks, but one that slipped by me is The Mountainaires’ third EP, “Why Not Confess.” The Chicago country and roots trio of Jon Williams, Kip Rainey, and Josh Piet do a helluva job on the live-to-tape set, captured by the mighty Alex Hall. They are Delmore Brothers acolytes, no doubt, but they also pay tribute to Willie Nelson and Bob Wills and His Texas Playboys on this outing.

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Go ahead and stream the S.O.B. Americana meister Nathan Graham has been busy with live shows and digital performances, and he recently dropped the single “Somebody Else” from his upcoming album “Saint Of Second Chances.” No word yet on the album release date, but you can hear the new track on all the usual platforms. If you like it, show some class and buy the damn thing. You’ve got a buck, right?!

Chris And Heather’s Country Calendar Show will return to the Fitzgerald’s stage Dec. 4 after a year’s absence that needs no explanation. The lineup hasn’t been announced as this goes to print, but it will feature some of Chicago’s finest acts performing songs by the 12 musical greats featured in the Heather McAdams’ hand-drawn 2022 calendar. The show has been a high point of the holiday season for over 20 years.

The Emmet Otter’s Jug-Band Christmas Pageant kept the momentum going with a virtual performance in 2020, and this year sees it back on the Hideout stage, with two shows per day on Saturday and Sunday, December.

10-11. A supergroup of Chicago talent performs all of the great Paul Williams songs from Jim Henson’s 1977 critter classic.

In the October issue, I commemorated the massive fire that tore Chicago a new one from Oct. 8-10, 1871. Another regional anniversary comes as this issue hits your doorstep: the sinking of the Edmund Fitzgerald on

Lake Superior, Nov. 10, 1975.

Gordon Lightfoot wrote a deeply spooky and visceral song to commemorate the event shortly after hearing a news report about the wreck.

It was a big hit for him, reaching the No. 1 spot on the Cashbox chart, No. 2 on Billboard, No. 50 on the U.S. Country, and it topped all of the charts in his native country, Canada (shoutout to Sean Burns, Honky Tonk Times’ resident Canuck)!

Lightfoot wrote some great tunes, including Marty Robbins’ 1965 number one hit “Ribbon OF Darkness,” but “The Wreck Of The Edmund Fitzgerald” is one-of-a-kind.

The first time I heard the song was on the radio, on the oneyear anniversary of the disaster.

The DJ on the local country station gave a short account of the tragedy and then started the track right around 7:30 p.m., the time of night that the ship and crew were taken to the bottom of Lake Superior by a brutal winter storm.

When the song ended, I had the willies so bad I nearly asked my parents if I could sleep in their bed.

If you haven’t had the pleasure of hearing this atmospheric marvel, it is six minutes and 29 seconds of prime storytelling and well worth checking out.

That’s all I’ve got for now. Catch ya next month with more about good ol’ Chicago and beyond.

Thanks,

Lawrence HONKY TONK TIMES

Hey y’all! Big fan of the column here.

Some of my most prized possessions are my Wayne Raney 78s. A local record store has a large selection of 78s, but I’m always hesitant to buy more due to their delicate nature. Do you think 78s are worth the crazy prices some folks put on them and do you have any tips and tricks for storing and caring for them?

Signed, Lucky in Kentucky LP: Hey Lucky, thanks for the question and the nice words about our column!

I avoided collecting 78s for many years for a number of reasons.

The main one being that most of the country music I like is on 45s and LPs, and my life was cluttered enough with those formats.

The other reasons include the fragility you mentioned and also how damn heavy a box of shellac can be.

I take responsibility for lugging my record collection every time I move, and the 78s are the most brutal part.

I lost my resistance to the lure of the 78 when I was offered a nicely curated collection of them as part of a 45 buy. Now I have a list of other titles that I’m convinced I need, so I feel your pain on this.

In answer to your questions, I’ll start with storage.

It’s common to find 78s stored

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in milk crates, especially in the wild at places like antique shops and flea markets. Once you have liberated a disc from one of those record gulags, I recommend giving it a good cleaning (B-Side and I cover this pretty thoroughly in issue No. 7). Please don’t use furniture polish on your records. I know it makes them look nice and shiny, but you’ll end up with something that’s worthless for anything but display.

After properly cleaning the record, put it in a new sleeve. My favorite kind is the heavier yellow ones you can get from Bags Unlimited.

I store my 78s a few ways. I have a wooden record cabinet a friend gave me that has vertical compartments that hold about 10 sleeved discs apiece. It takes up some real estate, but it’s sturdy, and it gives me another surface to pile stuff on.

The slots also accommodate those old-timey record books (the original definition of the album). They fit nicely, they’re easy to handle, and they provide extra protection to the discs. If you use a book for storage, be careful not to catch the edges of any records in the binding as you turn the pages.

My other storage go-to is portable record boxes. The 10” size isn’t super common, but I’ve managed to accumulate a few of them. They are ideal for keeping track of your stingers and rares, and you can easily grab

them for 78 nights or DJ battles.

As for the cost part of your question, I’ve had pretty good luck finding 78s for very little money, with most running from $1 to $5 for some pretty cool stuff. If you are talking about titles on Sun and Starday, super clean Hank Williams discs, and that kind of thing, you will probably have to shell out some cash.

It’s my belief, after record digging for many, many years, that there is nothing wrong with paying real money for a record you want, within reason.

Sure, the hunt can be very gratifying, and I’d rather find a great title for a bargain price, but it’s important to remember that there is a finite number of copies of any record. If there were only a thousand of a title pressed in 1935, you are up against 80-plus years of breakage, scratches, and heat, and there are probably way more than a thousand folks who want a copy now.

That said, it’s still important to do your research so you don’t overpay. Like we covered in issue No. 6, Discogs is a great resource for finding the going rate for a record. eBay can also be helpful.

I hope this has been helpful.

By the way, I’m a little jealous that you have a record store that carries 78s.

I’ve only seen such a thing a few times.

Also, Wayne Raney 78s are cool!

Best of luck with the collecting.

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Moot Davis’ latest release, “Seven Cities of Gold” is now available wherever you purchase or stream music. — Photo by Andrew Reese

Moot Davis chats with Whiskey Preachin

BY TONY SEXTON HTT Contributor Consider that the Hank Williams song “Settin’ the Woods On Fire” is often cited as a contender for the first punk rock song. Clearly, this is contentious, but it serves well as an illustration, reminding us that no two people see or hear things in quite the same way. We experience the world through our senses, but how do we know that the blue you see is the same blue I see? This may be a bit existential for a honky tonk magazine, or maybe not. Our job here is to write about music, which

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we experience with our sense of hearing and appraise subjectively.

As comedy actor Martin Mull put it, “writing about music is like dancing about architecture.” Put another way, one man’s rocking country could well be another man’s country-rock. Who sets the rules? A better question might be, “Should there be any rules?”

Moot Davis’s “Seven Cities of Gold” is an album that stands defiant, boldly resisting lazy pigeonholing. Is it a honky tonk album? Or is it a rock album? In truth, it is both, of course. More importantly, does it matter? Davis nails his country credentials to

the door with his breezy, upbeat rendition of Willie Nelson’s perennial “Crazy.” At the same time, the jaunty lead single “Lassoed and Lost” would get plenty of country radio play in any sane world. On the other hand, “Lone Radio Star” sounds like The Cult moved to Houston, while the album’s closing track, “Anunnaki War Bride,” lets ancient gods loose of hardtail choppers.

“Seven Cities of Gold” is a wild, bar-hopping night on the town.

A few cold ones down your local soon escalate, and you find yourself honky tonking ‘round, taking in the town. Before you know it, you’ve

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crossed the tracks and dived into drunken debauchery, winding up at that biker bar on the outskirts of town. By the end of the night, your head spins as you try to recall exactly where you’ve been and how you ended up where you are. One thing’s for sure, you had a bloody good time getting here, and you know you’ll soon be back for more.

Davis has delivered a fine album, proving to be an artist comfortable with one boot in that biker bar and the other in the honky tonk.

If Moot had been in Austin in the early ‘70s, I expect he would have been more than happy down at the Armadillo with the hippies and the cowboys, but I can’t help wondering if there might be a signpost to this album’s meaning in the lyrics of “Turn in the Wind” when Davis sings, “But me I’m just a puff of smoke, and when you finally figure out the joke, I’ll be gone.” So, where’s the joke at? Let’s ask Moot the point.

David Allan Coe, but when I came across Hank Williams Sr. a couple of years later, I became obsessed.

TS: Your first album was solid country. Had you already moved to Nashville at that point? How did you come to move to Music City?

MD: Just about the time that I had a handful of original songs together, a local radio station, WDVR in Sergeantsville, NJ, was starting a weekly Grand Ole Opry inspired, live radio show, and I became one of the original performers. It would also have out-of-town guests, and after a year of doing that radio show every Saturday night, Rosie Flores was the traveling guest. She and her band told me I should move to Nashville and that I’d probably do well. So, a month later, I moved to Nashville and put together a band.

A little while later, I was playing at Tootsie’s one afternoon, and Rosie Flores came in for a beer. After my set, she asked me to come on the road with her. I played her some of TS: You grew up in Trenton, New the demo album that I was making Jersey. What were your first musical while we were on the road, and influences, and how did you end she said when I was done, I should up playing country music?

MD: I did, though my father’s send it to Pete Anderson, Dwight Yoakam’s producer and guitarist. family is from Williamson, West Virginia, and my mother’s father is So that’s exactly what I did. And from Bergoo, West Virginia. As a a year to the day that I moved to kid, I took summer trips with my Nashville, I was on a plane to Los grandparents to Bergoo, and I think Angeles to make my first studio that’s where I first heard country album with Pete Anderson. music. My father would also come TS: There are plenty of stories home from work singing “Hey of wannabe country singers Good Lookin’” to my Mom. But moving to Nashville to make a I really didn’t catch on to country go of it, working in gas stations music until I was in my late teens. or waitressing, waiting for that Before that, I listened to a lot of break. What was your experience Bob Dylan, Roxy Music, Bruce of moving to Nashville?

Springsteen, and The Beatles. Just MD: I was working in a hotel in stuff my parents listened to. In Princeton, New Jersey on the front high school, I had a buddy, Kyle, desk, checking people in and out, and his parents had a bunch of and had just given my two-week country music albums, and I got notice to the job after getting that turned on to Johnny Cash and advice from Rosie Flores. But I

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didn’t have any real contacts down there, and I didn’t have a place to stay. So, one night at the hotel, a band checks in, and it happens to be Mary Chapin Carpenter’s band.

Her road manager was checking everybody in, and I mentioned that I was moving to Nashville.

She said that she was moving from there to West Virginia, had a great apartment and asked if I would like her landlord’s number. Somehow the landlord approved me, and I got the place. I was there two weeks later. I quickly found another hotel job at a new hotel that had just been built in Nashville and set about putting a band together. We started playing lower Broadway as much as possible, just learning the ropes. Like I said, a year to the day that I moved there, October 15, I was on a plane to Los Angeles for my first record deal. It was a focused period of time; I was able to make a lot of headway.

TS: Who would you consider to be your contemporaries in Nashville? What bands do you think would understand where you’re coming from today?

MD: Well, I like Chuck Mead and Kenny Vaughan a lot. But I’m not sure if anybody knows where anybody else is ever coming from.

TS: “Seven Cities of Gold,” your fifth album, is as much a rock record as it is a country one. Back in 2004, your eponymous debut album was very much influenced by the canon of classic honky tonk and the neo-trads of the ‘90s. Where are you now? Are you a rocker, a rock & roller, or a honky tonker?

MD: I really don’t think of it like that. I really look at myself as a songwriter, and I’d be really bored writing the same song over and over again. I think it’s all just American Music at this point. I guess I’d be sitting on CONTINUED ON PAGE 30

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the fence if there was a fence between, you know, honky tonk and roots rock, but it doesn’t feel like there are any fences, and everything’s pretty much wide open. I really don’t feel like I have to pick and choose what I do.

TS: Are you conscious of having one boot in the country camp and the other in the rock camp? How much was this a conscious decision to make a record showcasing the two sides of your music, or do you not see it that way?

MD: I’m aware, but again, I’m just writing songs, and sometimes they’re more country and sometimes they’re more rock, which to me is just the evolution of country music and blues music.

So again, I think it’s all American Music, and there really doesn’t seem to be too many camps or barriers or anything like that, at least not that I pay attention to. I just kind of do my thing and try to make music I like listening to, or sometimes use a song to sort of work through some issue, problem or fantasy.

TS: Some country fans may find your diversification into rock territory too much for their palate. What do you have to say to any detractors?

MD: Oh, you can’t worry about other people’s pallets or any detractors. You’re never going to please everybody. I just try to make the best music I possibly can, that I like listening to and that I get off on writing and performing. Everything else just takes you away from the joy of why you’re doing it in the first place.

TS: Would you feel happy being branded an outlaw?

MD: Well, I feel I’m more of an outsider than an outlaw. I think the whole outlaw term is pretty overplayed, and I’ve never associated myself with that.

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Moot Davis — Photo by Andrew Reese TS: Having listened to “Seven Cities of Gold” thoroughly, I am interested to know who you consider as your major influences on certain songs. I would not be surprised to hear you’ve been listening to The Cult, AC/DC, The Cramps, ZZ Top, The Rolling Stones and The Stooges. What artists and albums would you say have influenced the making of “Seven Cities of Gold?”

MD: Yes! A lot of those are correct! The Cult, AC/DC, ZZ Top, The Rolling Stones, Guns and Roses, Conway Twitty, Dwight Yoakam, all big influences.

TS: What new music do you like to listen to? What are your favourite albums of 2021?

MD: Quite honestly, I can’t think of any new music I like.

The things I listen to when I’m home are the same things I’ve

listened to for years. Dean Martin, Sinatra, Louis Armstrong and some Harry Connick Jr. albums are what I listen to when I’m just hanging out at home. Bob Dylan’s “Desire” also gets played a lot.

TS: What’s the situation with touring the new album? Have you got lots of dates lined up?

MD: If the opportunity to tour comes up, we will definitely take it.

We’ve been playing local shows and shows in Nashville pretty regularly, but I don’t have any European tours lined up yet. I hear places like Denmark, Sweden and Norway have just lifted all their restrictions, so I might look at those first as a potential place to play.

TS: What city do you enjoy playing in the most?

MD: Paris and Amsterdam are always exciting. I’ve had a few tours

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based out of both of those cities and really enjoyed the time I got to spend there. But honestly, anywhere we play, I try and have a good time.

TS: Who would you have on stage at your fantasy festival, dead or alive?

MD: Oh wow. I guess Hank Williams Sr., The Doors, Led Zeppelin, Roxy Music and Bob Dylan.

TS: What advice would you give to a young artist or band wanting to move to Nashville tomorrow?

MD: Just do it, then put a band

together. It’s a great community of artists and musicians, and people who truly care about music.

TS: What’s next for Moot Davis?

Do you think you will continue to get rockier, or have you found the balance you’ve been looking for?

MD: I have another whole album already written, and I have to say, for the most, part it’s pretty honky tonk. Once this album has been released and we’re done with whatever touring we’re going to do for it, we’ll start on the next album.

TS: “Tune in the Wind,” the final track on the “Seven Cities of Gold,” includes the lyric “…

When you finally figure out the joke, I’ll be gone”. Is there a joke?

MD: I feel like there is; I’ve just forgotten the punchline.

“Seven Cities of Gold” is now available everywhere and deserves to be played loud and often. Do your friends a favour and tell them you’ve been listening to Moot Davis. l

Youngsters can look up to women in Americana Being the only one from Honky Tonk Times covering Americanafest this year was, in fact, very tiring.

It was go, go, go the entire time, from one show to another, running across town and making sure to cover as much as I possibly could for you folks. One of the sweetest moments of the entire week was seeing Whitney Rose perform in Centennial Park at Musicians Corner. Whitney’s voice was unmistakable from the start and had me in awe. She is just as amazing live as she is on her albums.

After the first song, two little girls ran up from the crowd calling her name. They each handed her two little gifts that Whitney graciously accepted. They looked to be little shakers that they had each made.

You could tell that Whitney was very touched and appreciative of the little girls. She told them that she would use them, and later in the set, she followed through on her word. These two little girls have some amazing women in Americana music to look up to.

— Taylor Austin

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