Honky Tonk Times | Issue 6 | September 2021

ISSUE 6 - SEPTEMBER 2021

STERLING DRAKE

ARTICLES FROM YOUR FAVORITE DISC JOCKEYS, SPOTLIGHT ON SARAH KING INTERVIEWS WITH ELIJAH OCEAN, MARIO CARBONI, NORM HAMLET and JEREMY PINNELL LYRICS, FASHION, ASK A DJ, VERMONT ROOTS ROADSHOW PHOTO SPOTLIGHT AND MORE!

fIll ’er up!

(

howdy frIeNds! It’s your ol’ hoNKy toNK bass buddy bIlly bratCher here, wIth some thoughts about why I’m suCh a bIg faN of Jesse daNIel.

NothINg warms my heart more thaN ImagININg myself wINdINg dowN INterstate 5 through the grape vINe, past KerN CouNt y, IN a ’67 mustaNg CoNvertIble as “rollIN’ oN” by Jesse daNIel eChoes through lIttle JeNseN speaKers. thIs KIller 2020 release Is fueled wIth optImIsm aNd hI-oCtaNe baKersfIeld-st yle fuN -- but the storIes are pages out of hIs lIfe, put to beautIful melodIes aNd suNg wIth CoNvICtIoN.

(

here -catch!

the reCord Is a slIght departure from hIs self-tItled 2018 release that paINts vIvId tales of hIs hardsCrabble youNg lIfe aNd the darK Clouds that huNg overhead. CouNtry musIC may have lIterally saved Jesse’s lIfe, aNd I belIe ve the lIKes of hIm are savINg CouNtry musIC. IN 2019, the maN who was raIsed IN a CoNverted barN woN the amerIpolItaN hoNKy toNK male award.

I hope Jesse CoNtINues to lay peNCIl to paper, breathINg lIfe INto CharaCters fouNd IN tuNes lIKe “ChampIoNs.” I hope he Ne ver ruNs out of road or stages to welCome hIm beCause, brother, thIs Is my KINd of CouNtry.

*The above illustration was designed prior to the release of Daniel’s latest album, “Beyond These Walls.”

2

HONKY TONK TIMES

What’s inside?

10

Sterling Drake keeping Western Swing tradition alive

14 | Spotlight on Sarah King

22 | Carboni, Hamlet carry on Bakersfield tradition of music and kindness

SEPTEMBER 2021

16 | Whiskey Preachin: Elijah Ocean

26 | Jeremy Pinnell to release ‘Goodbye L.A.’ Oct. 1

4 | Letter From the Editor 5 | October Calendar 6 | Salt Country with Don Sticksel 8 | Vinyl Reckoning 12 | The Northern Report with Sean Burns 13 | Top Lyrics 20 | Finest Fashions 19 | Vermont Roots Roadshow overview 25 | Fan Photos 3

HOWDY Y’ALL Having a year off from going to shows all the time seems to have made me forget how crazy it truly is to be out on the road so much.

In Vermont, I often drive anywhere from two to four hours one way just to get to a venue. But seeing that great national touring band makes it all worth it. Seeing a band live that you’ve only ever heard on records or seen on YouTube truly is an emotional experience.

Since the last time we caught up, I have seen Asleep At The Wheel, Tré Burt, Marcus King and Billy Strings. As big of a thrill as it is to see these bands, it’s also a treat to see your local legends and up-andcomers. I drove myself down to Fort Edward, New York, to a place they call Little Theater On the Farm.

They have an annual bluegrass/ country showcase, and of all the days they could do it … a Wednesday.

There were a half-dozen bands that each did an early set and an evening set. As we drove through upstate New York, down the Champlain Valley with views of farm fields as far as the eye could see until they reached the gorgeous Adirondack Mountains, we talked about what we were excited to see and how the day may unfold.

I had gotten word a local steel player by the name of Kevin Maul would be there. He played on a Starline Rhythm Boys album or two, and I had been trying for a few years to catch him live. After a rained-out show the week before, this seemed like it was going to be the day.

Smokey Greene — a local bluegrass legend now in his 90s — and the Green Boys were also there. Whiskey River was on the bill, too, an upstate New York cover band that I had heard about for years from my cousins.

4

Guaranteed to have folks dancing.

Fresh off the high of seeing Billy Strings (and secondhand smoke) play to a sold-out crowd of 5,000, we pulled up to an old farmhouse and barn met by a sign pointing to the fresh-cut field to park. There were only about a dozen cars in the field. We paid our $10 each and walked into the barn and sat down.

I judged the median age of the room to be about 80, not unexpected for 11 a.m. on a Wednesday.

The day was a mixed bag; none of it was bad, but some of it was more enjoyable than others. The folks all sat quietly while the bands played, nodding their heads, clapping along and tapping their toes. I heard stories of when they used to go out and dance all night at barn dances and honky tonks. Stories of days gone by.

I hear a lot about “days gone by” and “the way it used to be.” It’s not completely gone, and it never will be. Not as long as these bands keep playing, folks keep dancing, and we all support the venues and bands that play them. Get out there and dance, learn to two-step and do-sido. Throw a few bucks in the tip jar.

Invite your friends. All across this fine land are bands just like the ones I saw that day. Bands that are just starting out, maybe ones that never made it big or were big but are now just performing locally from time to time.

This brings me to my final thought before I turn you all loose to enjoy the rest of the magazine. I started this venture off by holding onto a “way things used to be” thought. A paper publication. Lots of you enjoy it; I know each of you by name as I still handwrite the envelopes to send out each month. However, in a world where a tic-tac video gets 200,000

Taylor Austin, AKA Cousin Early, head-honcho of Honky Tonk Times. Find him on Instagram, Facebook and Twitter @honkytonktimes. views in a day and a webpage gets 1,000 views an hour, I have come to realize that we cannot grow, sustain, and give you the coverage you deserve if we remain solely on paper.

I don’t know what the transition will look like just yet, but we will slowly start having a more prominent digital presence. Don’t worry, though; our print version won’t be going anywhere. I will just be ordering what we have in subscription and a few extras for the stragglers. It wasn’t an easy decision to make, but at each corner, when we try to gain access to a show, festival, or even ask for an interview, they want to know what our reach is and how many followers we have. It cannot be ignored.

I hope you folks enjoy this issue as much as I do. Drop us a line some time, I’d love to hear from ya!

Taylor Austin AKA Cousin Early

HONKY TONK TIMES

October 2021 SUNDAY

MONDAY

26

TUESDAY

FRIDAY

THURSDAY

SATURDAY

#Bonnie Owens, 1929

#Leon Rausch, 1927 #Chris Ledoux, 1948 *Gene Autry, 1998

27

28

29

30

1

2

#Leroy Van Dyke, 1929

#Margie Singleton, 1935 #Johnny Duncan, 1938

*Billy Joe Royal, 2015

#Uncle Dave Macon, 1870 #Dale Watson, 1962 *Ray Pennington, 2020

#Harry McClintock, 1882 #Susan Raye, 1944

#Brandy Clark, 1975

8

9

3

4

#John Prine, 1946 #Tanya Tucker, 1958 *Cal Smith, 2013

#Dottie West, 1932 #Gene Watson, 1943 *Tex Williams, 1985 *Benny Williams, 2007

10

11

#Earl Thomas Conley, 1941 #Alan Jackson, 1958 *Tennessee Ernie Ford, 1991

5 #Martie Maguire, 1969 #Shane McAnally, 1974 *Dallas Harms, 2019

12 #Art Satherley, 1889 #Jeannie C. Riley, 1945

17

18

#J.P. Richardson Jr., AKA The Big Bopper, 1930

#Minnie Pearl, 1912 *Roger Miller, 1992 *Joe Sun, 2019

24

WEDNESDAY

# BIRTHDAY *ANNIVERSARY OF PASSING

#Dale Evans, 1912

31

SEPTEMBER 2021

25

19 *Hoyt Axton, 1999

26

6

7

#Anita Kerr, 1927 #Lacy J. Dalton, 1946

#Melba Montgomery, 1938 *Freddy Fender, 2006

#Dean Miller, 1965 *John Denver, 1997

#Stoney Cooper, 1918 *John Jennings, 2015 *Johnny Bush, 2020

13

14

15

16

#Stuart Hamblen, 1908 #Grandpa Jones, 1913 #Wanda Jackson, 1937 *Merle Travis, 1983

#Owen Bradley, 1915 #Mel Street, 1935

*Margie Bowes, 2020

#Dwight Yoakam, 1956 *Maybelle Carter, 1978 *Jerry Jeff Walker, 2020

20

21

22

23

#Floyd Cramer, 1933 #Dallas Frazier, 1939 #Ruby Wright, 1939 *Freddie Hart, 2018

#Tommy Tomlinson, 1930 #Charlie Daniels, 1936 *Porter Wagoner, 2007 *Billy Joe Shaver, 2020

27

28

#Patsy Montana, 1908 *Curly Putman, 2016

29

30 5

SALT-COUNTRY

‘Country is what you make it’

BY DON STICKSEL HTT Contributor

measures. OK, Bristol actually did, and they chose money over safety. And whoa *literally as I Hello friends. What’s shakin’? type this* AmericanaFest says Since the last column, I’ve been they’ll require proof of vaccination out to see two shows: Olivia Ellen or negative test. Mask up and Lloyd and Side Pony (featuring start looking for flights, Salty!

Alice Wallace and Caitlin Cannon).

What else … hmm. As of Both terrific. OEL wears her heart press time, Tom T. Hall and Don on her sleeve and really moves me.

Everly died – two giants in the Her album “Loose Cannon” is one country world. Tom T. was one of my favorites of 2021, even though of our greatest songwriters. His it feels like a million years since the song “Country Is” includes the January release. Side Pony’s album line “country is what you make it,” is forthcoming, but their harmonies which sums up my outlook on the and combined songwriting music along with my radio show skills pack a one-two punch. (more on that in a second). Don was After that, Delta really made half of one of the most influential its presence known, and I shut the bands of all time. The Everly front door on crowds. Too many Brothers were definitive originators breakthrough cases for my taste. of the sound, and who knows what This means, unfortunately, I haven’t early rock’n’roll would sound like been supporting the LA scene without them; so many bands just in person. Plus, I’m seeing tours copied their harmonies and licks. canceled left and right because Anyhow, this month’s column the bands themselves contract revolves around revamping my the virus. Jason Isbell has it right: Country Bunker radio program you don’t have a mandatory vaxx and the reasons why. There was a policy, I don’t play. It’s really made period of about three weeks when me put the brakes on my plans for I considered throwing in the towel fall festivals like Bristol Rhythm because I was struggling with & Roots and AmericanaFest, but pulling playlists together. It was neither has announced protective so bad that I just didn’t do shows.

6

Don Sticksel, AKA DJ Salty Cracker It shouldn’t be that hard to make a two-hour show (1:45 if we’re counting): a set of covers, one of alt-country classics, then four sets of new and recent releases. It’s a welloiled machine! Except when it isn’t.

From the start, the Bunker’s cornerstone is playing 21st century country music from underground artists. Not Genericana, not Red Dirt, not Country Rock, just country music. The underlying theme has always been, whether you know it or not, Country for City Folks. I don’t mean the

HONKY TONK TIMES

Ivory Tower snobs, but regular (progressive) workin’ types who live in major metropolitan areas and happen to like country music for whatever reason. That’s not to say you have to live in the city; I welcome listeners from anywhere.

This music’s tied to the classic era of Buck and Merle, Dolly and Loretta, and everyone in-between, but it forges a new path, and it’s definitely not for a mainstream audience.

Lately, though, I’ve felt listless with the direction of the music, which I think is leaning too heavily into the influence of the ‘90s and taking on a super neo-traditional sound with these aspirations of prairie living and wearing a lot of earth tones. I get nostalgia. I do.

It’s comfortable. It reminds you of when you were a kid and life was simpler, but if you know me, you know I don’t dig on retreading previously covered territory.

Tradition is BORING. The ‘90s were BORING. Frankly, from where I was standing in 1994, that country stunk, much like the stink of where we’re standing today. You wanna talk slappers and bangers, go listen to “alt” country of the ‘90s like BR5-49 and The Derailers; not lame-ass Toby Keith or Joe Diffie.

I’m not even gonna get into the copycats and wannabes flooding my inbox (there’s only one Tyler Childers kids, go find your own voice).

At one point, I wrestled with the idea of moving away from new music entirely and going freeform, but that would do a disservice to a whole lot of people who are taking risks and moving the sound forward. Then one night, while I was struggling with my playlist, I figured it out: a set of songs in every show that I’d want to hear country bands cover; songs that def. aren’t country but challenge the norm. Given some thought, these bands could have

SEPTEMBER 2021

a country spin put to them: The Velvet Underground, David Bowie, Sharon Jones & the Dap-Kings, PJ Harvey and the list goes on. Every week I’m adding a set of tunes from my formative years which’ll be punk, new wave, soul, garage, grunge, R&B, glam and plain ‘ol rock’n’roll.

It’s interesting music that changed the landscape, and when you tune in, I hope it’ll challenge your perspective and encourage you to seek out even more new music.

I know in the weeks I’ve played these sets, I feel revitalized because I can hear what these songs would sound like in the right hands. And

if you think I’m crazy because glam rock could never be country, I’ll tell you that Porter Wagoner was more bedazzled than Bowie ever was.

Remember the words of Tom T. Hall: “country is what you make it.”

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

Don Sticksel, aka DJ Salty Cracker, hosts the Country Bunker on Gimme Country from 12-2 p.m.

CT every Wednesday. Follow him on the socials @bothkindsofmusic.

7

Your favorite DJs share tips and tricks for vinyl collecting Q: I have run into quite a conundrum, and I don’t know if it’s a big deal or if I should even worry about it. I used Discogs to track my collection, and when going into log my albums, there are multiple pressings of each album. Are there ones that are better than the others? Am I crazy to be keeping all of the different pressings and re-releases of the same album in my collection? What do I do? — Multiplied in Riverside

reissue or any other variation.

While some folks would want the original pressing, or the rarest one, the copy you want might have the lowest monetary value but the most sentimental value to you.

There can also be qualitative differences between pressings: many older records have a mono version and a stereo version. Some of those albums were recorded and released in mono but made available in a stereo mix, like most of Johnny Paycheck’s DJ LP: Thanks for the Little Darlin’ catalog. I think the question, MIR. mono versions sound better.

For anyone who isn’t familiar I’d been looking for the post-war with Discogs, it’s an online music catalog of J.E. Mainer’s Mountaineers. database and market for vinyl, CDs There are three versions of their and other physical formats. I keep “Working On A Building” 78 shown track of some of my collection (when on Discogs, all on King, and all pressed I remember to), and I have plenty of the same year (1946). A dealer buddy records on my want list. It is a great of mine explained that the shellac resource for record collectors and used in the first versions was subpar, anyone who wants to know more so they aren’t as durable as the third about recorded music, including pressing, and they don’t tend to sound release dates, label info, etc. very good. The third pressing, which The short answer to part of your happens to have the label art that question is YES; some versions of a most of us think of as the standard pressing are better than others, but King logo, was cut on higher-quality there are some qualifiers to that answer, shellac, so that version has superior and many of them will be specific to sound to the other versions. the person collecting the record.

In answer to the part of your For example, if you are looking for question about logging your own a replacement copy of a record you had collection on Discogs, I recommend as a kid, you will want the pressing taking the time to figure out which with the cover and track order that version you have, even though it can you remember. That version might be overwhelming. There will be plenty be the third pressing or the one that of clues as to which pressing you have, was released through a promotion like the numbers in the runout (the with K-Mart. If that’s your criteria, area between the label and the end of you won’t be interested in the original the groove), the catalog number on release, a Canadian version, a later the cover and the color of the label.

8

Among other reasons, having an accurate record of your collection can be helpful if you decide to get collector’s insurance.

I hope this has been helpful.

B-Side: Uh oh, we’re in meme territory. Some record collectors know the feeling of explaining the difference in pressings only to be met with a blank state or an affirming “clearly you’re out of your mind” polite smile. Sometimes that’s a conversation I just have in my head; most times, I’m blissfully unaware.

There are two things you should know about me as a collector: 1) I’m not a stickler for condition (sorta for the vinyl, but no for the sleeve), and 2) I’M CHEAP … as in the skinflintiest of the skinflints. That means I ain’t fretting about what plant it was pressed in, which label’s affixed to the center or what country it’s from. Nor am I an attentive listener. If someone says, “oh, the so-and-so mix of the rerelease is too uneven,” how would I know? Or the old chestnut that vinyl is “warmer.” Get outta here with that.

The average listener can’t differentiate between an MP3 and WAV file, and unless you’ve got a stereo setup with the Googlephonic speakers with a moon rock needle, you won’t know the difference between the Original Master Recording and the new $20 reissue.

Speaking of...do yourself a favor.

Don’t go buying those $30 exclusive blue vinyl reissues of country records that are readily available for $5 used.

Does it look all shiny and translucent on the turntable? Yes. And the other

HONKY TONK TIMES

23.5 hours of the day, it’s in the sleeve.

I saw a store with new $25 copies of Glen Campbell’s Wichita Lineman, the same Wichita Lineman that’s in every thrift bin in the world for $2. My point is, buy new vinyl when the old copies are too expensive.

Now there is an instance I’ll say to watch out for, and my buddy DJ Cowboy Nick taught me this one: never buy the Electronically Reprocessed to Simulate Stereo version, aka Duophonic. Learned this the hard way. Those for sure sound like garbage. The mono vs. stereo argument holds water until stereo became the norm around 1969 (and mono’s usually the go-to until then).

As far as Discogs goes, it’s an invaluable tool for logging your collection. Start as soon as you can and be vigilant about keeping it up-to-date. You can put the app on your phone and easily tell if you already have it (or if you‘re keeping track, whether you need to upgrade).

Even better, you can decide whether you’re getting a deal or gouged. It’s not perfect, and you always have to decide whether or not it’s worth your time to keep hunting or if this one’s good enough for $5-10-20 more. When it comes to logging, I don’t really concern myself with what plant it came from, but in fairness, you have to look at the features of the record to figure out if you have the 1982 repress or the original 1964 version. Ugh, nerds!

SEPTEMBER 2021

9

Sterling Drake carrying on Western Swing tradition

As a western swing artist, Sterling Drake doesn’t want to be known as a novelty act. Instead, Drake says he’s picking up where his heroes left off: “It’s where my inspiration comes from, but it doesn’t stop there.”

BY GEORGE NOSTRAND HTT Contributor Success in music often depends on the ability to both lend a reverent nod to the steeped traditions of a given genre while also adding a new twist or flavor to the mix. Artists like Sterling Drake are always looking to both keep the attention of the ears of the generations before them, as well as reach out to a new set of ears, ones looking to both hear something familiar as well as something new. Sometimes that something “new” is something old.

10

Western Swing is one of the Country sub-genres not as often heard on mainstream radio or Spotify.

But it is definitely music that gets them up and out of their seats in the honky tonks and dancehalls.

Even though the style may be considered dated by some, Drake feels it’s a tradition worth keeping and doesn’t see himself or his takes on the music as a throwback.

“Some people treat you as a novelty act,” says Drake. “They said, ‘I like that you’re doing the old stuff,’ but I’m just picking up where others left off. It’s where my inspiration

comes from, but it doesn’t stop there.”

Drake recently released the first single, “Roll The Dice,” which is also the title track of his upcoming EP due out in October. The EP is a package of songs that Drake likes to refer to as a sampler, as there are several different styles highlighted on the album. Each song has different elements and nods to artists including Charlie Crockett, Ray Price and Willie Nelson.

The Honky Tonk Times caught up with Drake on what has to be the longest commute we’ve heard of — a drive from Montana to Nashville.

HONKY TONK TIMES

Drake’s family’s ranch is home Drake put in his time trying to to have time to digest what he to not only horses and cattle but write the traditional Nashville way gets out of playing and touring. also bison. Drake worked the but felt a real disconnect between “The Western cowboy culture is fall and winter at the ranch. At the artists and the industry. This was about working really hard. But that 26 years old, he’s learning about also true when it came to who was doesn’t mean it discourages creativity. training horses and finds that making money and who wasn’t.

People work all day, but come in and country music and country living “Nashville is oozing with talent. write, paint, do leatherwork — all go hand-in-hand for him.

The best players, singers, producers kinds of creative things. There’s real “Montana is the most beautiful — they’re all here. But the people solace in that. It gives you inspiration, place. It’s a hidden gem. It’s extremely who I was hanging out with who humbles you and helps create vast and rural. There’s not many were amazing musicians were not artwork that’s close to the ground.” people — more cows and horses.” getting the money or attention they Drake likes that country music Drake said being in Montana is a deserved. Many of the best players allows him to meet salt-of-the-earth lot different than people and enjoys being in Nashville playing dance halls, or being on tour. rodeos and places “I’m hanging where country out with a handful people come of people instead together. His early of hundreds. I’m influences included riding and roping, hearing his dad and and while I’m grandfather picking fairly green, I’m out tunes by learning about Willie and Waylon training horses. on the guitar.

It’s great to have Before getting a new pursuit.” into country While Drake music, he toured has made a name as a guitar player and place for and drummer in himself in Music several rock and City, it’s clear that punk bands. his heart is still “I’m a product back on the ranch of my times. My in Montana. It’s music experience also clear that for doesn’t stop at him, the lifestyle country. I’ve been outside of the city writing since I was is more conducive young and into to his style of all sorts of music.

Sterling Drake’s debut EP, “Roll the Dice,” is due out next month. The EP is a package songwriting.

Music is centric of songs Sterling likes to refer to as “sampler,” highlighting several different styles.

“I don’t fit into to the culture the mold of a in America.”

Nashville songwriter. I learned a lot and songwriters are playing tiny bars, Like many artists, Drake is working on Music Row and am glad while the industry shells out millions cautiously optimistic about how this I got the experience, but it’s a little with half the talent. The industry fall will play out and is unsure of dogmatic,” said Drake. “If you are has a different agenda from the exact plans when it comes to the level in a room writing three songs a day, artists. The suits and the talent don’t of touring to support the EP release. five to seven days a week, what are spend time together, which really The targeted release date for the you going to write about? Being in affects the authenticity of it all.” album is Oct. 1. The single is available a town of musicians who only write Drake says that being at the now, and there are some great songs feels fake and disconnected.” ranch is reflective and allows him videos online worth checking out.

SEPTEMBER 2021

11

The Northern Report volume 5

BY SEAN BURNS HTT Contributor “I ain’t gettin’ rich, but one of these days I’m gonna be a regional star...”

Good morning, good afternoon and good evening, friends. I’d like to start by thanking everyone who has dug into the column’s audio companion piece, The Northern Report Podcast. The podcast is on pause for August and returns with weekly episodes in September. Many of these names aren’t well known south of our border. Hell, some of them aren’t even well known in their own regions of Canada! But as always, I’m satisfied to exist on the fringes of popularity, all in the name of beautiful country music and beautiful country music singers.

Not a lot to touch on in terms of new releases up here. In speaking with some of my DJ contemporaries, it seems like we’re in a bit of a lull across the board in terms of the kind of country and honkytonk music that does it for me.

I will make a note of a few here that exist outside that realm and more in the roots vein. Canadian folkie and songwriting legend Murray Mclauchlan released a new album in July titled “Hourglass.” Mike T. Kerr continues with his admirable album-a-month project. We had a great chat for the podcast, and I am always excited to hear what he’s got for us each month. Out in Alberta, Mariel Buckley released a pair of tunes in mid-August and is set to record a new full length in September. Keeping in the sovereign nation of Alberta, Edmonton’s Joe Nolan, a passionate performer and critically acclaimed songwriter, has been releasing singles ahead of his

12

new album, “Scrapper,” due out Oct. 15. Looking way to the north is a new album from Yukon workhorse Gordie Tentrees. “Mean Old World” is set for release Sept. 14, and I hope to pin Gordie down for a chat on the podcast. No one tours harder than Gordie, and he’s set to put on the miles here right away. Touring on the small scale in which most of us exist here (50-300 seat rooms) is slowly set to commence in the next month or so.

I’ll be out for a run of duo shows with Grant Siemens joining me on guitar out in Saskatchewan and Alberta in mid-September. Here’s to hoping that nobody’s shows have to be cancelled.

Most of my nights this summer have been spent at Blue Note Park [Times Change(d) High & Lonesome Club Outside] at 220 Main St. in downtown Winnipeg, Manitoba, Canada. I’ve been on stage there a few times with my band Lost Country and even more nights working at the club in some other capacity. A classic musician side “job” at the local venue, ya know. So still being “stuck” here locally hasn’t been bad at all. We’re very lucky here in Winnipeg with a deep pool of talent, and I’ve been fortunate to see some great shows by local legends and regional stars these last couple of months. Again, some of these names are unfamiliar outside of Canada or even within our border, but that in no way speaks to their talent or quality of the material.

I look to folks like Vince Andrushko, Andrew Neville & The Poor Choices, Frannie Klein, The Jakebrakes, The D. Rangers, Juvel, and the legendary bluesman and member of the Order of Canada, Big Dave McLean. What a treat it’s been to see these folks

back on stage doing their thing.

John Scoles, janitor/president of the Times Change(d) High & Lonesome Club, has spent the last 20 years facilitating all of this for all of us, building his business, and in the process creating regional stars with great intent and giving hungry bands with something to prove a platform to grow. He is truly one of a kind as far as venue owners (at least up here) go. His care for the community and his local musicians is unparalleled, as was seen late in 2020 with the club’s compilation album, “We Still Gotta Lotta Livin’ To Do,” which put $15,000 back into the pockets of the club’s regular bands here in Winnipeg. I’ll encourage you to check that album out on Bandcamp and all of the artists mentioned above.

Music isn’t readily available online for many of them, but they each receive regular spins on my weekly show, Boots & Saddle, that airs from 11 a.m.-1 p.m. Tuesdays on CKUW 95.9 FM. If you dig ‘em and can’t find their music online, just email me, and I’ll sort ya out. Some can be found on The Northern Report Spotify playlist, which currently has about nine hours of great music from your pals up here.

HONKY TONK TIMES

WHEN WILL YOU LEARN (Michelle Billingsley) The way she said “Chicago” made it sound like a swear Your ears got hot across the bar, finally God was fair This one was the one to help you burn away your past Now she’s purring like a kitten, but there’s silence in your pants When will you learn?

When will you learn?

She was younger than your sisters, younger than alright You thought life had missed her, it took her dead between the eyes Now all the words you’ve heard cannot fix what’s been hurt So while you’re stuck up on this cross, my how the tables have turned When will you learn?

When will you learn?

She talked you into a wedding next Friday at 5 Notify your next of kin, find some flowers to spoil that child You’ve prayed every night and day for your next big break, So why’re you standing on the highway with your thumb pointed that way?

When will you learn?

When will you learn?

You’re a plywood dresser drifter, an unreliable cheat Your secrets all are worthless, so how’re you going to eat You’re a flooded basement laundromat with a broken quarter machine You say, “guys like you”, but

SEPTEMBER 2021

you mean guys like me When will you learn?

When will you learn?

LOST IN THOUGHT (Dan Whitaker) Trample down the fallen leaves, people passing by me lost in thought and blowing in the breeze remembering the night we walked remembering the night we talked speaking softly with the shifting seas look to your window, where have you gone? my eyes are turning blue I know the things you do your smile is always new but I can’t remember you I can’t remember you three more days have gone and past since it’s been I’ve seen you last saying goodbyes in the morning light wondering what’s on your mind wondering what truth I’ll find when we meet again tomorrow night look to your window, where have you gone? my eyes are turning blue I know the things you do your smile is always new but I can’t remember you I can’t remember you look to your window, where have you gone? my eyes are turning blue I know the things you do your smile is always new but I can’t remember you

I can’t remember you I can’t remember you IT’S TOO BROKE (Wild Leek River) I got an old Subaru with a pushbutton four wheel drive Flyin’ down those washboard roads, it wasn’t always the smoothest ride But I loved that bucket of rusty nuts and bolts, and loved it til’ the day it died Until I crawled underneath and poked at the frame and it was all rotted out inside Its too broke, and I can’t fix it Well their love was fierce but all they ever did was fight Then they’d make up and make sweet love and everything would be alright But the very next day they’d be at it again, arguing through the night Until finally he had enough and he said “ Hey baby this ain’t right” It’s too broke, and I can’t fix it Well one morning I was workin’ on a kitchen floor When a saw cut through my bone and tossed my finger towards the door With no one around I fell to the ground and cried out to the lord Tried driving myself to the hospital and got a ride in a helicopter It’s too broke and I can’t fix it It’s too broke and I can’t fix it

13

UNDER THE SPOTLIGHT

We got to shine our Honky Tonk Spotlight on Sarah King for this How many albums have you put out? month’s edition of Under the Spotlight.

As a solo country/Americana artist, just the new one! I have an When were you born? album with my former bandmates, Farmington, Maine but that leans a little more straight-up blues rock and a little less country.

How long have you been singing and playing guitar?

What is the best song Singing forever, literally before you’ve recorded?

I can remember; playing guitar Oh gosh. I love “Not Worth since I was 18 (you can guess the Whisky.” It’s such a universal how long that’s been, hehe). feeling, and I love the arrangement.

I also love the country-soul vibe When and where did you and message of “Poison.” Those are perform your first show? the two that popped into my head I performed my first original song first, so let’s go with that. I have at summer camp when I was in high a different fave song from the EP school, but not sure if that counts. every day, so it’s hard to choose!

I think my first actual show was in college in New York at the college What has been the biggest radio station’s “Unplugged” event, thrill of your career? based on MTV’s “Unplugged” shows.

Good timing on this question. This recent tour with The Steel Woods When did you first become on their northeast run has been the interested in country music? biggest thrill yet of my solo career. It I grew up listening to the ‘90s felt amazing to play on those stages country voices: Faith Hill, Reba and be out on the road with good McEntire, Garth Brooks, Martina people every night. A close second McBride, so I knew pop country would be recording “The Hour” with pretty early on. I didn’t get into Simone Felice and David Baron, who classic country ( Johnny Cash, are amazing musicians and producers, Jimmie Rodgers, Dolly Parton) until and really created a gorgeous much later, and I wish I’d had more atmosphere to let my songs shine. time with so much of the music.

What are some of your Who are some of your favorite hobbies? favorite singers?

Outside of making music, I like hiking, reading, sewing (I sew Some of those voices noted when I’m anxious, and I’ve made above are my absolute legends. cool things like a travel cutlery roll Dolly, Faith, and Martina have for tour), and trying new booze. ridiculously powerful vocals, and I Does that count as a hobby? love listening to them sing. For some contemporary voices, I love Brandi Where do you make your home?

Carlile, Yola, and Amythyst Kiah.

Currently, Vermont, although What label do you record for?

I’ve been all up and down the Myself. Any takers? Taylor knows how to reach me. Thanks in advance. ;) East Coast, most notably in

14

Georgia and New York.

Is there anyone you would like to work with in the future?

Charley Crockett, Sierra Ferrell, Chris Stapleton, Dan Auerbach, Early James, Amythyst Kiah, Brandi Carlile, Nathaniel Rateliff, Adia Victoria, Valerie June, Amigo the Devil, Jack White, the list goes on.

Who gave you your first big break?

Simone Felice answering my email and taking me on as a production client, and The Steel Woods taking me on tour with them!

What do you have in store for the future?

Next up is a solo acoustic tour down to Nashville and back for Americanafest and Black Bear Americana Music Festival in September/October. Then I have a little time off to work on some new material and tighten things up with the band before hopefully heading out again in February/ March, touring to Folk Alliance International in Kansas.

What is the best advice you have ever received?

A: This wasn’t exactly advice to me, but words I continue to repeat to myself when I need them, from writer Diane Kastiel: “Be careful of fear. It’s just noise, and it gets loudest just before we get what we need.”

Any words you would like to say to your fans?

Pleased to make your acquaintance. I hope you dig my music, and if you do, let’s connect! Follow me on socials (or on tour) and buy an album!

And thank ya kindly!

HONKY TONK TIMES

Elijah Ocean’s new album, “Born Blue,” draws inspiration from ‘80s country artists including George Strait and Clint Black.

Whiskey Preachin with Elijah Ocean TONY SEXTON HTT Contributor Imagine you’re on a first date, what questions might you ask to find out what sort of road you’re on, or if there’s any point in hot pursuit?

How do you like your eggs in the morning? Margarita, martini, or Manhattan? Texas or Tennessee?

Who’s your favourite country singer?

An interview isn’t a date, of course, but there are similarities. You’re not about to find out how he likes his eggs or his cocktail preferences, but Elijah Ocean certainly lets you know who his favourite country singers are. After just one listen to his new album, “Born Blue,” the artists he

16

cites as his influences will come as no surprise. “Born Blue” is drenched in ‘80s neo-traditionalist honky tonk stylings, both in the sound of the production and in the songwriting.

Elijah Ocean’s sound has evolved into “Born Blue.” A series of album releases across the last decade started with 2012’s “Tumble & Fall,” with Ocean in singer-songwriter mode, taking his lead more from Young than Yoakam. Throughout the next four albums, Ocean’s approach morphed through California countryrock styles until 2020’s “Blue Jeans & Barstools” found him firmly in Bakersfield’s bounds. “Born Blue” takes a step further, as Ocean leads his songs and production into the

‘80s sound, following in the footsteps of some of his favourite artists. A joyful listen, light and breezy, with a spring in its step from the get-go, this album is a breath of fresh air, opening a window on a decade that is increasingly influential today.

Of course, Elijah Ocean is not alone in his reverence of the neotraditionalists. For all the criticism of Midland, no one can deny that they have made a good fist of creating nostalgia for an ‘80s country sound that has proved popular with more mainstream listeners. For me, Mike and the Moonpies more credible music mines a similar seam, so I’m only slightly surprised to hear Midland’s Mark Wystrach duet with Mike

HONKY TONK TIMES

Harmeier on the Moonpies’ recent album of lost Gary Stewart songs, “Touch of You.” The point here is that a certain ‘80s sound is currently en vogue, and it’s not the Big Hat sound of stadium stompers a la Garth Brooks.

We’re talking about fine songwriting, classic country voices, clean picking, and shimmering production standards.

As we’re about to hear from Elijah Ocean in his own words, we’re talking about Clint Black, George Strait, Dwight Yoakam, Alan Jackson and, yes, the much-loved Keith Whitley.

TS: Tell us about your background, where did you grow up, how did you get into music, where did it all start?

EO: I grew up in an old farmhouse in Maine. We were always listening to classic tapes and records growing up and singing a lot. At 13, I got super into Bob Dylan and asked for an acoustic guitar so I could write folk songs. That led to electric guitar and getting together with friends to play and record in the barn.

TS: You released a number of albums over the last decade that show a marked change in your sound, from singer-songwriter to neotrad honky tonker. Is this how you expected your music to develop?

EO: I guess it just kinda worked out that way. I always end up just following the inspiration wherever it leads. Who knows what I’ll be doing in another 10 years?

TS: The new album, “Born Blue,” has an ‘80s feel to it, in the production and some of the songs. “The Ice Machine” bears a comparison to Mike and the Moonpies, maybe Midland, and at times, Aaron Tippin and George Strait don’t seem too much of a reach. Who have you been listening to, and what records inspired the sound of “Born Blue?”

EO: I kind of got obsessed with ‘80s country over the last five years or so.

The big ones that inspired the sound here are: Clint Black “Killin’ Time,”

SEPTEMBER 2021

George Strait “Does Fort Worth Ever Cross Your Mind,” Dwight Yoakam “Guitars Cadillacs Etc., Etc.” and Alan Jackson “Here In the Real World.”

TS: As well as your own recordings, you also produce other artists, including a personal favourite of mine, Lasers Lasers Birmingham.

Did it all just happen this way, or did you have a plan all along?

EO: Yes, I co-wrote and produced the last two LLB singles from earlier this year. I’ve always loved producing, but over the last couple of years have gotten more serious about it. It’s mostly

“There’s never a right or wrong way to make a record, and each experience is totally different but always rewarding on extremely different levels. It’s a lot of work, but I always learn a lot.”

— Elijah Ocean about having taste and creating an environment the artist feels comfortable in. Definitely, I look forward to making more records with other artists.

TS: Which hat do you want people to recognise you in, artist or produce?

EO: I suppose as songwriter/artist first and then producer. But both, really.

TS: You’ve now moved from LA to Nashville. What was the driving force behind that decision,

how is it panning out, and what do you want from Nashville?

EO: It was a tough year in LA with the pandemic; not being social or playing live at all took a real toll. I was able to dive more into the recording thing and finish my record, but, looking back, I think I was depressed. I’ve been in Nashville since March, and there definitely was a transitional period, but now I am super busy here with playing, writing and recording. It’s been very positive in the long run.

TS: There is a history of artists diversifying into production.

Shooter Jennings, Rodney Crowell and Sturgill Simpson are just a few well-known examples. What is it about producing another artist that interests you? Is it just a sensible move for a musician looking for a sustainable career, or is there a more creative drive at work as well?

EO: It’s super fun for me to help shape an artist’s vision. There’s never a right or wrong way to make a record, and each experience is totally different but always extremely rewarding on multiple levels. It’s a lot of work, but I always learn a lot.

TS: Famously, artists like Waylon Jennings, Willie Nelson and Tompall Glaser went to great lengths to break free of the studio system and the constraints imposed by producers, who they felt were stifling their creativity. What’s your approach to production and working with artists?

EO: It’s all about the songs first off.

Then you just need to figure out the best way to showcase those. Sometimes a rough-around-the-edges approach is appropriate, sometimes super tight and slick. You gotta know who much to prune. I try to have a plan from start to finish so we can make sure to get it done, but you always need to make adjustments along the way if something’s not working. The singer needs to be comfortable.

CONTINUED ON PAGE 20

17

TS: Which producers do you appreciate the most, from the past and present? What is it about their work that stands out to you?

EO: I love Pete Anderson’s work on the first few Dwight records.

Every lead instrument is hooky, and when it’s there, it’s there for a reason.

I think my favorite these days is probably still Dave Cobb. He’s got a knack for making it feel effortless.

TS: Have you been listening to season two of Tyler Mahan Coe’s epic podcast, “Cocaine & Rhinestones,” about George Jones and the Nashville Sound created

by Owen Bradley? As a producer and an artist yourself, do you think it helps if a listener has an understanding of how you achieve a certain sound in the studio, or do you think a little magic might be lost if we all know too much?

EO: I listened to the first episode of the new season so far, and it’s so great. Jam-packed. I can’t wait to dive into the rest. I think it’s fun as a fan to know about how things got made.

It’s still magical. Nobody’s reinventing the wheel at this point; it’s more about combining things that have already been done to make something new.

TS: What’s next for you? Do you want to continue ploughing both sides of the musical furrow, recording your own material and looking for other artists to work with?

EO: I have a new batch of tunes written that I’m looking to record soon. Very excited about that. I’ve also been talking to a few artists about potentially producing their records.

18

I’ve been doing some co-writing here in town, too, which has been very fun. I would also love to hit the road soon. We’ll see how all that pans out.

TS: Who are your favourite artists today? What albums do you like to put on the turntable when you get home after a long day?

EO: Zephaniah Ohora, Mike & the Moonpies, and Brennen Leigh. The new Stapleton record is great. I like Carly Pearce and Kacey Musgraves a lot. Gene Watson’s “Reflections” has been one of my

go-to late-night LPs. Or George Jones’ “I Am What I Am.” TS: If you were asked to schedule a fantasy festival, who would be on the bill, dead or alive?

EO: Keith Whitley.

So, if you have been wondering which artist may have been the most important influence on the trajectory of Elijah Ocean’s music and the sound of “Born Blue,” I think Keith Whitley may be a safe bet. Take a listen for yourself and see what you think. l

HONKY TONK TIMES

A look back at the Vermont Roots Roadshow

Organizers of the Vermont Roots Roadshow kicked off their second tour stop Aug. 14 in Jay, Vermont. A great time was had by all as the sweet sounds of honky tonk and roots music filled the warm air of the green mountains. Performing were Saints & Liars, Ida Mae Specker & Terrible Mountain Stringband, Western Terrestrials, Sarah King, and the Maple Run Band. — All photos by Taylor Austin/Honky Tonk Times

Ida Mae Specker Nicholas Cheryk and Jared Croteau of the Western Terrestrials

Jed Hughes of Saints and Liars

SEPTEMBER 2021

Maple Run Band

19

FINEST FASHIONS LISA SORRELL CHATS WITH WILLIAM MATTHEWS LS: How (and why) did you become an artist?

WM: I became an artist through the process of elimination. I wasn’t qualified to do anything else — I’d left one boarding school and been kicked out of another, I didn’t graduate from high school, and I didn’t go to college. As a little boy, all I did was paint and play guitar, and I didn’t think I was good enough to make a living with the guitar, so I decided to try supporting myself by painting.

LS: What were your first jobs as an artist?

WM: I moved to Los Angeles around 1970. The best and most interesting artwork being done at that time, in my opinion, was on album covers. The big record

labels were there, so I started knocking on doors and trying to find work. My first album cover was for a guitar player named Leo Kottke with Capitol Records.

LS: And how did your career progress after that?

WM: My big break was doing the album cover for “Where’s the Money” by Dan Hicks and the Hot Licks, a San Francisco-based band.

After that, I stayed busy doing album work, not just paintings but also lettering and photography.

I met Michael Martin Murphey while working as a songwriter in the Los Angeles area and did the album cover for his acclaimed debut album, “Geronimo’s Cadillac.”

In 1972 I moved to Colorado and took a right turn into bluegrass.

William Matthews

20

I became friends with bluegrass musicians like John Hartford and Sam Bush, continued doing album covers, and have done all the Telluride Bluegrass Festival posters since 1984.

I was also paying the bills by doing graphic design work for food packaging, such as Celestial Seasonings, and I moved to Europe in 1975. I eventually made my way to Dublin, where I set up a design studio in Piper’s Club and did album covers for Irish musicians.

My career has taken me to Nashville to work for country musicians as well. In the 1980s, I did the album covers for Warner Western, a division of the Warner Bros. record label. I created the album artwork for Vince Gill’s “These Days” boxed CD set and for his latest album “Okie,” which features the 2021 Grammy Award-winning song, “When My Amy Prays.”

LS: What projects are you working on now?

WM: I’ve always been interested in portraying the lives and jobs of working people, such as cowboys and craftspeople. My last series of paintings were of steel mills and industrial buildings, but I’ve also done series of grain elevators, barns, and the landscapes of the working cowboy. I just got back from a trip to Alaska, so recently, I’ve been painting Alaska landscapes.

I spent the spring building two guitars, and they turned out great!

The first had a cedar top and Indian rosewood back and sides; the neck is Mahogany with an ebony fretboard, with maple burl for the rosette and endplate. The second has a sinker redwood top with a ziricote back and sides. It’s an OM

HONKY TONK TIMES

“My career has taken me to Nashville to work for country musicians as well. In the 1980s, I did the album covers for Warner Western, a division of Warner Bros. . .”

— William Matthews

SEPTEMBER 2021

size with a 14 fret mahogany neck and an ebony fretboard. I inlayed my chop on the headstock with a composite deep red stone.

LS: Is there anything else you’d like to tell me about your life and your career?

WM: There’s a 2014 documentary about my process, subject matter and my many inspirations; it’s called “Drawn to Paint.”

Also, I am incredibly proud of the artwork I recently completed for the Dickie’s Arena in Fort Worth, Texas. It’s a 12-foot tall by 63-foot wide glass tile mosaic mural titled “Los Caballos.” It commemorates the horse, first brought by the Spanish and now an enduring symbol of the American West, whose introduction to North America transformed the Great Plains and the West for both Native Americans and American pioneers.

Set against an untamed landscape, the piece captures the movement of wild horses running among scrub and brush, set against rolling hills, mesas, and a storm-filled sky.

LS: What is your best advice to other artists?

WM: Keep moving and doing new things. When you find out where you can tolerate the boredom, that’s where you can be happy.

21

Carboni, Hamlet carry on Bakersfield tradition of music and kindness

BY MOLLY HAINES HTT Contributor

Mario Carboni might be the nicest guy you’ve never met. From the start of our half-hour-long interview, Carboni exhibits the personality traits not of a traveling musician but of a man who genuinely concerns himself with the happiness of those around him.

The 35-year-old piano and trumpet player extraordinaire is driving across Alaska in a van purchased specifically for runs in The Last Frontier. A mix-up has caused him and his lone bandmate to miss their hour-long set at the state’s largest festival.

Instead of dogging the head of the event, Carboni simply says: “They’re busy. They have so many acts in there it’s understandable.”

It’s not the reaction I expected, but as our conversation continues, it becomes clear that perhaps his heroes have not only influenced his music but his attitude toward life as well.

A native of Oregon, Carboni’s lifelong affair with music began at 9 months old when he started playing the piano (yes, you read that correctly). By the age of 10, he added the trumpet to his repertoire.

“I started out playing ragtime and improvising,” he says. “I ended up playing the trumpet in various school bands, then figured out how to play the two of them together when I was about 20. I ended up going from there, starting to play shows – I did a year of college, and it was not at all what I wanted to do – so I went over to Bakersfield and started meeting folks I considered to be my heroes and met Red Simpson in 2015.”

22

Mario Carboni and Norm Hamlet formed an unlikely partnership in 2017, releasing a series of videos garnering hundreds of thousands of views. Since then, the pair has traveled across the country, performing the songs that put Bakersfield, California, on the map. — Photo courtesy of Mario Carboni One of the originators of “truck driving country,” Simpson rose to popularity as both a recording artist and songwriter in the mid1960s, scoring hits such as “Roll, Truck, Roll” and “Hello, I’m A

Truck.” The Bakersfield native remained a permanent fixture in the area’s music scene, coming to the aid of many aspiring musicians until his death in January 2016.

“Red was always helping younger

HONKY TONK TIMES

folks and kids,” Carboni says. “He’d record a record with somebody in their little home studio, mention them in a radio interview or tour with them.

He toured with me; he didn’t have to do that. The two of us recorded two records together; they were the last two records he ever recorded.”

Following Simpson’s death, Carboni received an invitation to play at Buck Owens’ Crystal Palace, where a chance meeting with Norm Hamlet would change the trajectory of his career, forming an unlikely duo billed as “The Rebel and The Stranger.”

As a member of Merle Haggard’s Strangers, Hamlet served as bandleader and steel guitar player for nearly 50 years, playing on more than 30 No. 1 hits and performing in some of the most recognizable concert venues in the U.S. Upon Haggard’s death in April 2016 and despite his age at the time, Hamlet too found himself wondering what would come next.

“We were both hired to play in a band at Buck Owens’ Crystal Palace, and we started talking that night,” Carboni recalls. “I asked him if I could have his number and eventually called him up and told him I’d like to shoot a video of the two of us playing three songs; I’d pick my three favorite songs that he’d recorded on. We filmed this series of videos and put them out. I think there was one of ‘No Reason To Quit,’ another of ‘The Roots of My Raising,’ and it was really special to me because he’d played on the original hit with Merle in the ‘70s.

I told him I could never afford to pay him what it was worth, and he was very nice to do that for me.

“We put them out on social media and turned around a week later, and they’d hit 600,000 views each or something like that. I called him up and said, ‘Hey, this is significant. We should start a project.’ We started talking a little more about it, touring a

SEPTEMBER 2021

little bit more and more dates started coming our way. It seems like the more stuff that we do, the more stuff people want to hire us for, and it just snowballed from there to the point where we’re touring the country.”

For 86-year-old Hamlet, whose career began nearly seven decades ago and whose resume also includes working with Rose Maddox, The Farmer Boys, and once as part of a band opening for Hank Williams, the decision to return to the road seemed like the natural course.

“Mario had such a charisma about

wise, we’ll keep going out there.”

In addition to their busy tour schedule, the two recently completed their debut album, “Hello Heartache,” a collection of 10 songs recorded aboard Carboni’s tour bus, affectionately dubbed “Ol’ Red,” on the streets of Bakersfield.

Of the 10 songs, eight were written by Carboni and Hamlet.

“Most of the songs are upbeat in the Bakersfield sound, traditional style, with a slight twist of the piano being the rhythm and bass instrument instead of a traditional instrumentation,” Carboni explains. “. . . The album also features dobro played by Norm on one track called ‘Miss the Mississippi and You.’ We brought the instrument out of the museum in Nashville to record the album. The last time it was on a recording session was in 1969 on Merle Haggard’s ‘Same Train Different Time’ album.”

For now, the album is only available at the pair’s live performances, which Carboni says features a mix of songs made famous by some of Bakersfield’s heavy hitters, including Haggard, Buck Owens, and Simpson.

“They call it a second career when somebody does what Norm’s doing, I guess,” Carboni says. “He helps me out by playing with me; we help each other out. I get to be his rhythm section, and he lends — Mario Carboni his incredible reputation to what we’re doing, and that’s a really special thing, that’s important.” him,” Hamlet said. “When he played The pair has several dates music, everybody loved his singing scheduled for September. To view and playing, and I thought the same their complete schedule, visit thing. It had been a long time since www.honkytonkrebel.com.

I’d seen a piano player that plays as As for the aforementioned good as he does, so I thought, ‘Well, festival performance, Carboni and I might still try to go out there and Hamlet were given a time slot for the play a few things.’ This turned into a following day, proving once and for all good job. At my age, I didn’t know that nice guys don’t always finish last. how long I’d be able to go out and At least not the ones from Bakersfield. do it. As long as I can do it health-

“He helps me out by playing with me; we help each other out. I get to be his rhythm section, and he lends his incredible reputation to what we’re doing, and that’s a really special thing.”

23

24

HONKY TONK TIMES

Fan photos

Right: Wild Leek River plays to a packed house at their album release party in Burlington, Vermont July 9.

Below: The Steel Woods perform in Portland, Maine.

in Fort e n e e y Gr Smoke , New York. d Edwar

The Lu s Maine tre Kings op . e

n for L

inda G

ail Lew

is in W estbro

ok,

SEPTEMBER 2021

25

Jeremy Pinnell to release ‘Goodbye L.A.’ Oct. 1

Jeremy Pinnell, center, releases his fourth album, “Goodbye L.A.” Oct. 1. Pictured alongside Pinnell is Chris Alley, left, and Junior Tutwiler, right.

BY TAYLOR AUSTIN Honky Tonk Times In 2019, I was cutting my teeth as a country music DJ at a small radio station in Burlington, Vermont, embracing the Ameripolitan style of music — the new stuff that sounds like the traditional stuff we all know and love — when I heard a song that immediately stuck out. It was the voice of Jeremy Pinnell; the song was “Ballad of 1892,” which starts, “Laid up in the house full of hookers and wine, my baby’s in the back done committin’ a crime. . .”

Talk about an attention-getter.

26

The song appeared on Pinnell’s third album, “Ties of Blood and Affection,” and remains a favorite of mine today. In preparation for our interview, I went back and listened to all of his releases in order, including the upcoming “Goodbye L.A.” slated to land Oct. 1.

During our conversation, I commented that Jeremy seems to become more comfortable in his interviews and performances as time goes on. “You grow as a person, a musician and an artist,” Jeremy says. “It’s natural progression.

You either grow, or you stay still.”

Talking to him is like catching up

with an old friend. His demeanor is warm throughout our interview.

Much like the man himself, the music has grown and changed.

While the upcoming release is everything you love about a Jeremy Pinnell album, it hits a little different. It’s a little more upbeat, a little more feel-good.

When asked about the change, Jeremy explains, “It was cool that we got to do this one with ( Jonathan Tyler). He did Nikki Lane’s ‘Highway Queen’ record. I really enjoyed the way that album sounded. I asked my buddy Scotty, ‘I wonder if John would be into producing my record?’

HONKY TONK TIMES

He said, ‘I don’t know, why don’t you reach out to him?’ So, he gave me his email, and me and John talked for about a year on the phone and did some demos together. I was super nervous going into the unknown because I didn’t know John. I had some other people wanting to do that record that I felt comfortable with, but I felt uncomfortable around John, so I said, ‘You know what, I’m just going to do that.’ So, I went with John, and it was a great experience, and that’s why, even on our day off on tour, we are in the studio with John. Something just happens when you work with that guy.”

Later in the interview, I asked Jeremy if there was anything specific he wanted to plug or make sure to mention, “Talk about Junior Tutwiler and (Chris Alley) ‘cause those two guys just influenced (the new record) so much,” he says. “It wouldn’t be that record without those two musicians.

Chris played drums on ‘OH/KY.’ We were so green when that record came out. We had a lot of growing to do since 2014, and this is the first record I got to record with Junior. I met him in Nashville through a friend, and we just became buddies. When you find someone you can work with, it’s a pretty powerful thing.”

Most folks took advantage of the pandemic and time home to write music. I was surprised to find that the songs featured on “Goodbye to LA” are not new to the band, “We were on the road most of 2019 and into early 2020. Most of the songs are road songs. You sing about what you know, whether it’s being away from your family or hanging out with your band members or just thinking about the relationship you have and what they mean to you and why you’re out on the road. For me, it’s just a musician’s record.”

It’s hard to talk with a musician and not bring up the current state of the world. It’s the elephant in the room. We all know it’s there, but

SEPTEMBER 2021

nobody really wants to talk about it.

I did realize that it wasn’t going to lend itself to what we fans are used to as far as an album release tour goes.

“Everyone is kinda tied to the way the world is right now,” Pinnell said. “Nobody can really break free from that right now. I see bands trying to do it, but then you know, whatever. We’re all kinda tied to the world’s schedule right now. We’re doing the best we can. We’re really focusing on 2022. We’re going to do a couple more runs this year, some shorter runs. We figure we’ll fully invest in 2022, then hopefully we’ll be able to tour on this record.”

I commented that I’ve been out to see so many shows in the last few months, and everyone is handling themselves differently. While some bands have cut back on interacting with their fans, others still go out and shake hands with everyone.

“I’m going to shake your hand . . .

I just am,” Pinnell says. “I remember at the beginning of the pandemic I went through the line at KFC, and I handed the guy the money and his hand touched mine. It was something I hadn’t felt in a couple of months, that connection between human beings. I just remember it being a powerful experience, so for my own sanity, I’m going to shake your hand.

Human contact is so powerful. When you go without it, and you have that again . . . I remember the first time I hugged one of my friends after being in the house for a couple of months.

It was real strange, you know?”

You can catch Jeremy Pinnell and the band at Healing Appalachia Fest Sept. 25 and keep up with all of his tour dates at www.jeremypinnell.com.

He mentioned touring the North East in October and November.

Make sure you pre-order your copy of “Goodbye L.A.” today.

27