Good 'N Country 6-5-2021 Playlist

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Good 'N Country 6-5-2021 playlist Artist Title Album Label Year Jeff Carson Preaching To The Choir Jeff Carson Curb 1995 Jody Nix Let's Get It Over And Done With Twin Fiddles Turn Me On Hillside 2011 Tammy Wynette My Man (Understands) Epic 1972 Merrill Moore Barrel House Bessie Capitol 1957 Larry Nolen & the Bandits Ship Ahoy Starday 1956 Paula Motes Used Heart Lot Luck 1966 B.J. Thomas Whatever Happened To Old Fashioned Love Columbia 1983 Junior Brown Hang Up And Drive Junior Brown (EP) Junior Brown 2012 Buck Owens If I Had You Back Again Your tender Loving Care (LP) Capitol 1967 Cowboy Copas I Don't Blame You King 1945 Leighan Cortes Born To Lose Strange Yellow Rose 2007 Tennessee Ernie Ford & Kay Starr Ain't Nobody's Business But My Own Capitol 1950 Bobby Bond How's Everything In Your World Today On The Country Side (LP) Time 1964 Hank Locklin Whispering Scandal Decca 1954 Tex Williams Great Big Needle Capitol 1950 Jack Turner It's My Foolish Pride Hickory 1956 Brad Paisley This Is Country Music This Is Country Music Arista 2011 Lee Ann Womack I'll Think Of A Reason Later Decca 1998 Freddy Weller Down In The Boondocks Columbia 1969 Skeeter Davis Someone I'd Like To Forget RCA Victor 1960 Ernest Tubb I'm Gonna Make Like A Snake Decca 1968 Eddy Arnold Bouquet Of Roses RCA Victor 1948 Eddy Arnold What's He Doing In My World RCA Victor 1965 Lynn Anderson You're My Man Columbia 1971 T.G. Sheppard Finally Warner Brothers 1982 Carly Goodwin Crazy (with Willie Nelson) Carly Goodwin Dreaming Bear 2004 B.J. Thomas New Looks From An Old Lover Columbia 1983 Hank Thompson Smoky The Bar Dot 1968 Warner Mack Drifting Apart Decca 1967 Clyde Beavers Man In The Glass Mercury 1957 Kitty Wells Heart Over Mind The Queen Of Country Music (LP) Decca 1962 Hank Williams May You Never Be Alone MGM 1949 Luke Wills & his Rhythm Busters The Texas Special RCA Victor 1948 Bobby Lord Hawk-Eye Columbia 1955 T. Texas Tyler Hot Rod Rag Decca 1954 Inez Hellman Whose Shoulder Will You Cry On Gateway 1955 Skeets McDonald Keep Her Off Your Mind Capitol 1957 Jimmy Newman Everybody's Dying For Love Decca 1961 Eddie Noack Fair Today, Cold Tomorrow Starday 1955 Jim Lowe Gambler's Guitar Mercury 1953 Moon Mullican You Don't Have To Be A Baby To Cry King 1950 Margie Bowes Violets And Cheap Perfume Hickory 1958.

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TEXAS MUSIC SUPERSTORE Buy 5 Cds for $10 Each!
THOMAS FRASER I #79/168 AUGUST 2003 REVIEWS rQr> rÿ p rQ n œ œ œ œ (or not) Nancy Apple Big AI Downing Wayne Hancock Howard Kalish The 100 Greatest Songs Of REAL Country Music JOHN THE REVEALATOR FREEFORM AMERICAN ROOTS #48 ROOTS BIRTHS & DEATHS s_________________________________________________________ / TMRU BESTSELLER!!! SCRAPPY JUD NEWCOMB'S "TURBINADO ri TEXAS ROUND-UP YOUR INDEPENDENT TEXAS MUSIC SUPERSTORE Buy 5 CDs for $10 each! #1 TMRU BESTSELLERS!!! ■ 1 hr F .ilia C s TUP81NA0Q First solo release by the acclaimed Austin guitarist and member of ’90s. roots favorites Loose Diamonds. Scrappy Jud has performed and/or recorded with artists like the ' Resentments [w/Stephen Bruton and Jon Dee Graham), Ian McLagah, Dan Stuart, Toni Price, Bob • Schneider and Beaver Nelson. • "Wall delivers one of the best start-to-finish collections of outlaw country since Wayton Jennings' H o n k y T o n k H e r o e s " -Texas Music Magazine ■‘Super Heroes m akes Nelson's" d e b u t, T h e Last Hurrah’àhd .foltowr-up, üflfe'8ra!ftèr>'critieat "Chris Wall is Dyian in a cowboy hat and muddy successes both - tookjike.^ O boots, except that he sings better." -Twangzirtc ;w o tk s o f a m e re m o rta l.’ ^ - -Austin Chronlch : LEGENDS o»tw SUPER HEROES wvyw.chriswatlmusic.com THE NEW ALBUM FROM AUSTIN'S PREMIER COUNTRY BAND an neu mu - w™.mm GARY CLAXTON • acoustic fhytftm , »orals KEVIN SMITH - acoustic bass, vocals TON LEWIS - drums and cymbals sud Spedai td truth of Oerrifi Stout s debut CD is ContinentaUVE i! so much.
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BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected]
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] KÜNSTLER George McCormick and Earl Aycock TITEL Better Stop, Look And Listen Gonna Shake This Shack Tonight LABEL Bear Family Records KATALOG # BCD 17121 PREIS-CODE AH EAN-CODE ÆxAKABMRy171214z ISBN-CODE 978-3-89916-541-8 FORMAT 1 CD Digipack mit 40-seitigem Booklet GENRE Country / Rockabilly ANZAHL TITEL 29 SPIELDAUER 66:06 G Endlich die erste CD-Wiederveröffentlichung von George und Earl, einem der klassischen Hillbilly-Duos! G 29 Top-Titel aus den 50ern, eingespielt in Nashville mit Musikern u.a. aus der Band von Hank Williams und des A-Teams! G Mit allen sechs 78er-Platten von George McCormick und Earl Aycock sowie sechs Singles von George McCormick. G Sweet Little Miss Blue Eyes und If You Got Anything Good werden häufig als zwei der besten Country-Duette aller Zeiten bezeichnet. G Drei der Songs sollte eigentlich Hank Williams aufnehmen, der dann aber starb. G George McCormick war musikalischer Kopf von Porter Wagoners Wagonmasters und Dolly Partons erster Duettpartner in Wagoners TV-Show. G Earl Aycock arbeitete später als DJ in Texas und Louisiana. G Zur CD gehört ein 40-seitiges Booklet von Martin Hawkins; es enthält unveröffentlichte Interviews mit George McCormick. INFORMATIONEN Diese CD präsentiert zwei sehr unterschiedliche Sänger und Musiker, die in nur zwei Jahren einige der besten und interessante- sten Aufnahmen der 1950er-Jahre eingespielt haben. Der damals noch vorherrschende Hank-Williams-Sound machte nur lang- sam Platz für neue Strömungen innerhalb der populären Country Music und des aufkommenden Rockabilly.
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JAMES RAE “JIM” DENNY (1911-1963) Music Publisher
JAMES RAE “JIM” DENNY (1911•1963) Music publisher, booking agent, long•time manager of the Grand Ole Opry, and promoter of Nashville’s music industry, was born in Buffalo Valley, Putnam County, TN. As a young man, Denny found work as a mail clerk with the National Life and Accident Insurance Company, parent organization to WSM and the Grand Ole Opry. With growing interest in country music, Denny was running the WSM Artists Service Bureau by 1946, booking Opry talent and other WSM acts. Denny eventually managed the Grand Ole Opry itself. Denny, along with his predecessor, Jack Stapp, is responsible for updating the face of the Opry. As promoters and developers of talent, they helped to transform the Opry from a popular barn dance to a showcase of country superstars, ensuring its growth and long•term success. During their tenure, the cast grew enormously, most major stars became Opry members, and an Opry appearance became a must goal for many performers. In 1954 Denny and Opry star Webb Pierce formed Cedarwood Publishing Company, for a time the most important publishing house in Nashville. Driftwood Music, a companion firm, was a partnership between Denny and Carl Smith, another Opry star. These business interests led to conflict of interest allegations by WSM and eventually Denny’s dismissal. With his knowledge of WSM operations, Denny achieved immediate success as a booking agent. The Jim Denny Bureau served most of the artists Denny had signed while at the Opry. Billboard magazine estimated that, by 1961, the bureau was handling over 3,300 personal appearances worldwide.
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Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams.
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Multimillion-Selling Singer Crystal Gayle Has Performed Songs from a Wide Variety of Genres During Her Award-Studded Career, B
MultiMillion-selling singer Crystal Gayle has performed songs from a wide variety of genres during her award-studded career, but she has never devoted an album to classic country music. Until now. You Don’t Know Me is a collection that finds the acclaimed stylist exploring the songs of such country legends as George Jones, Patsy Cline, Buck Owens and Eddy Arnold. The album might come as a surprise to those who associate Crystal with an uptown sound that made her a star on both country and adult-contemporary pop charts. But she has known this repertoire of hardcore country standards all her life. “This wasn’t a stretch at all,” says Crystal. “These are songs I grew up singing. I’ve been wanting to do this for a long time. “The songs on this album aren’t songs I sing in my concerts until recently. But they are very much a part of my history.” Each of the selections was chosen because it played a role in her musical development. Two of them point to the importance that her family had in bringing her to fame. You Don’t Know Me contains the first recorded trio vocal performance by Crystal with her singing sisters Loretta Lynn and Peggy Sue. It is their version of Dolly Parton’s “Put It Off Until Tomorrow.” “You Never Were Mine” comes from the pen of her older brother, Jay Lee Webb (1937-1996). The two were always close. Jay Lee was the oldest brother still living with the family when their father passed away.
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Felice Bryant and Country Music Songwriting in the 1950S
Bridgewater Review Volume 39 Issue 1 Article 4 4-2020 Felice Bryant and Country Music Songwriting in the 1950s Paula Bishop Bridgewater State University Follow this and additional works at: https://vc.bridgew.edu/br_rev Part of the Composition Commons Recommended Citation Bishop, Paula (2020). Felice Bryant and Country Music Songwriting in the 1950s. Bridgewater Review, 39(1), 4-7. Available at: https://vc.bridgew.edu/br_rev/vol39/iss1/4 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Felice Bryant and Country Music Songwriting in the 1950s Paula Bishop f you were a country music artist working in Nashville in the 1950s, you might have found Iyourself at the home of Nashville songwriters, Felice and Boudleaux Bryant, enjoying one of Felice’s home-cooked meals. Boudleaux would present songs that he and Felice had written while Felice offered suggestions and corrections from the kitchen. On the surface this domestic scene suggests conventional gender roles in which the husband handles business Nashville image (Photo Credit: NiKreative / while the wife entertains the guests, but in fact, the Alamy Stock Photo) Bryants had learned to capitalize on Felice’s culinary the country music industry of the 1950s skills and outgoing personality in order to build their and build a successful career, becom- professional songwriting career. As she once quipped, ing what Mary Bufwack and Robert Oermann called the “woman who if they fed the artists a “belly full of spaghetti and ears ignited the explosion of women writers full of songs,” they were more likely to choose a song on music Row.” written by the Bryants.
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1957 and 1961, Both My Life and Career
1957 and 1961, both my life and career began to take shape under the tutelage of legendary Billboard music editor Paul Ackerman and then-chart editor Tom Noonan, who first opened the magazine’s doors to a fifteen-year-old kid. At that time, Billboard was certainly the com munications center of the music industry, and what I learned and saw and heard there has indeed served me well over the years. Far and away the monumental event - and one of the most important moments in my life - was meeting Syd Nathan at a Billboard record-review session one drizzly Wednesday night in March or April 1958. A lthough i had a french test coming up, Paul urged me to stay by saying, “This guy is one of the great indie record men a real character. He can’t see very well and wears these thick, will be around. We’ll listen to those next week. Syd, let’s have Coca-Cola-bottle glasses, has a big ring on his finger and talks your records.” Syd got up and threw his records - fortunately, with a deep, raspy voice due to previous illnesses, but you just unbreakable 45s - on the floor and said, “Y)u don’t step on a man must meet him. He’ll be overwhelmed by your knowledge of when he’s down. Listen to Jerry Blaine’s records, and you can save C&W and R&B, and you will understand and love him and see mine for next week.” Needless to say, a ll the records were what he is all about.” Paul was right: That meeting changed my reviewed, including ones by Little Willie John on Syd’s label King life and destiny and is probably the reason I am able to write a and the Cadillacs on Josie.
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Captain Flashback
CAPTAIN FLASHBACK A fanzine composed for the 400th distribution of the Wait for the Bus: Turbo-Charged Party-Animal Amateur Press Association, from the joint membership of Andy The Sanguine Story Hooper and Carrie Root, residing at 11032 30th Ave. of Light Aviation NE Seattle, WA 98125. E-mail Andy at and Popular Music [email protected], and you may reach Carrie at [email protected]. This is a Drag Bunt Press Carrie and I have been watching Ken Burns’ Production, completed on 10/20/2019. latest documentary series on PBS, Country Music. It has been as fascinating and moving as CAPTAIN FLASHBACK is devoted to old the very best of Burns’ previous work, and fanzines, monster movies, garage bands and other somehow more effectively paced than most of his fascinating phenomena of the 20th Century. All films. We have found each of the chapters so written material by Andy Hooper unless indicated. engrossing that their endings come before we expect them. And this despite the fact that each Contents of Issue #11: of the first three segments ends with the death of Page 1: Wait for the Bus: The Sanguine Story of a Country music pioneer – Jimmie Rodgers at Light Aviation and Popular Music the end of part one, Hank Williams at the Page 2: Comments on Turbo-Apa #399 conclusion of chapter two, and the tragic end of Page 6: A Key to Interlineations in Issue #10 Patsy Cline, Hawkshaw Hawkins and Cowboy Page 6: Lettercoltrains Copas at the end of chapter three. Page 18: I Remember Entropy Department: Selections by Andy Young, Harlan Ellison, The deaths of Rodgers and Williams were not Ed Wood and Dean McLaughlin much of a surprise – Rodgers had tuberculosis, Page 19: Fanmail from Some Flounder: Letters of and Williams suffered from a raft of physical Comment on CAPTAIN FLASHBACK issues and addictions – but the small plane crash Page 20: Top Fanzine Auction Prices in 2019 that killed Cline, Copas and Hawkshaw was a terrible shock.
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BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected]
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] ARTIST Clyde Stacy TITLE Hoy Hoy Gonna Shake This Shack Tonight LABEL Bear Family Records CATALOG # BCD 17152 PRICE-CODE AH EAN-CODE ÆxAKABMRy171528z ISBN-CODE 978-3-89916-586-9 FORMAT 1 CD digipac with 28-page booklet GENRE Rockabilly TRACKS 22 PLAYING TIME 52:45 G ‘Hoy Hoy’ indeed! This record really rocks – 22 tracks recorded by an important but little-reissued Oklahoma-born singer from the classic era of rock'n'roll! G Here are all 12 tracks issued on six singles on the CANDLELIGHT,BULLSEYE, and LEN record labels between 1957 and 1961! G Also another 10 vocal and instrumental tracks not originally issued – and with Big Al Downing on piano! G When Clyde’s So Young/Hoy Hoy hit #68 in June 1957 it was the first Hot 100 entry by an artist based in the Lubbock area of Texas – beating Clyde’s high school mate Buddy Holly by six months! G Relocating to Pennsylvania in 1958, Clyde recorded in New York and registered Top 30 hits in Canada with So Young, Baby Shame and Nobody’s Darling! G Clyde’s TV appearances included 'Bandstand' and 'The Patti Page Show'! G The 28-page booklet by Wayne Russell expertly tells Clyde’s story from Oklahoma to Lubbock, to Scranton and back home. It contains rare photographs and interviews with Clyde Stacy! G Now, Clyde is scheduled to make his European debut at the Hemsby Rock'n'Roll Weekender in May 2011, and plans to 'warm-up' at the Las Vegas Rockabilly Weekend in April.
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Regional BOE Budget Draws Public Concern 4
V *,'••> 11,1 BIO — THUR8DAY, MARCH 1, 19M - COUNTY LEADER NEWSPAPERS m-CROSSWORD PUZZLE Dayton^High Edited by Trade Michel Jafle ilurusuupG rcounty team — Page B2 ' 7 Bullring cheers 45 Disgraces 52 vipers SMurrayorKesey 46One-Hnar 53 — store; retail For week or March 4-March 10 CANCER (June 21 to July 22) Spiritu- LIBRA (Sept 23 to Oct 22) Do not QRi0 9) 9 Summer time, You will not make any loog^rps taexodo 47'"Rrte of Spring" outlet AUES,(March 21 to April 19) Give al matten lake center stage, and you are commit to a limiting arrangement this ' InFIa* participant 54 Seine feeder due for a refreshing iplriraal turnaround week—posh for a trial basis on any new destinations, but use this weefctpjream loved ones the room they need to panrae and scheme about Jiow niimlmyoa are 10 Laud" 48 Weather word 55 Portal their ow%gbal«, and they win remain loy- Spend time with friends discussing reli- professional ^ or -personal situa,tioni '10 dive forth 11 Feline sound 49 Cutting tool 57 Native American al «nd loving toward you, SpeoS tome gious and philosophical subjects. through tbe end of the month. Wait until going to get there Werj^ fte'tyew.. 14; March date 12 Regarding 50 Urge 58 Goddess: Lat-- time mvaluadng your own goals. next roontb to make anything permanent AQUARIUS 0an-,'2Ofto/FebJ* 18) i 15 Lubricated,..: 13 — the line 51 Ernie or 59 Eye.in ~"XEO(July 23 to Aug. 22) Friendi and Investigate new ways >to,jincreaset TOUT 16 Strange: Comb. 18 Rim spool Howard Ovledo TAURUS (April 20 to May 20) Vps family need your tender loving care.
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Stu Davis: Canada's Cowboy Troubadour
Stu Davis: Canada’s Cowboy Troubadour by Brock Silversides Stu Davis was an immense presence on Western Canada’s country music scene from the late 1930s to the late 1960s. His is a name no longer well-known, even though he was continually on the radio and television waves regionally and nationally for more than a quarter century. In addition, he released twenty-three singles, twenty albums, and published four folios of songs: a multi-layered creative output unmatched by most of his contemporaries. Born David Stewart, he was the youngest son of Alex Stewart and Magdelena Fawns. They had emigrated from Scotland to Saskatchewan in 1909, homesteading on Twp. 13, Range 15, west of the 2nd Meridian.1 This was in the middle of the great Regina Plain, near the town of Francis. The Stewarts Sales card for Stu Davis (Montreal: RCA Victor Co. Ltd.) 1948 Library & Archives Canada Brock Silversides ([email protected]) is Director of the University of Toronto Media Commons. 1. Census of Manitoba, Saskatchewan and Alberta 1916, Saskatchewan, District 31 Weyburn, Subdistrict 22, Township 13 Range 15, W2M, Schedule No. 1, 3. This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. CAML REVIEW / REVUE DE L’ACBM 47, NO. 2-3 (AUGUST-NOVEMBER / AOÛT-NOVEMBRE 2019) PAGE 27 managed to keep the farm going for more than a decade, but only marginally. In 1920 they moved into Regina where Alex found employment as a gardener, then as a teamster for the City of Regina Parks Board. The family moved frequently: city directories show them at 1400 Rae Street (1921), 1367 Lorne North (1923), 929 Edgar Street (1924-1929), 1202 Elliott Street (1933-1936), 1265 Scarth Street for the remainder of the 1930s, and 1178 Cameron Street through the war years.2 Through these moves the family kept a hand in farming, with a small farm 12 kilometres northwest of the city near the hamlet of Boggy Creek, a stone’s throw from the scenic Qu’Appelle Valley.
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