70s Country Artists The "twangcore" and "Americana" boom of today owes a large debt to the shaggy twangers and no-hit wonders of yesteryear -- this section looks at the hippiebilly and stoner bands and a few odd, random artists from the 1960s, '70s and early '80s, back before there was anything called "alt-country." This page covers the letter "E."







HIPPIEBILLY & NO-HIT WONDERS:
A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W | X, Y & Z | Comps | Hick Music Styles



Eagles - see artist discography


Billy Earl "The World Of Billy Earl" (Shade Tree Records, 1976) (LP)
(Produced by Tom Markham & Ray Lynn)

A novelty-oriented songwriter from South Florida, Billy Earl Chapman penned all the material on this album, including tunes like "Florida, You've Been A Friend To Me," "Son Of A South Georgia Farmer," "Divorce Court" and "My First Ex-Wife." Autobiographical? Could be. He recorded this session in Jacksonville, with a studio crew that looks like it was all locals... Fans of Bobby Bare might like this one.


Earth Opera "Earth Opera" (Elektra, 1968)
Mandolinist David Grisman and singer-guitarist Peter Rowan both served serious apprenticeships with real-deal bluegrass bands in the 1960s. With Rowan fresh from Bill Monroe's band, and Grisman an old stalwart with the Greenbriar Boys and Red Allen's band, the two met in Boston and embarked on an audacious acid rock-hick twang fusion. Earth Opera was a band that was very much a product of its time, and the results were a bit murky... I have to confess, I heard these albums many, many years ago and have never gone back to revisit them. I've always had the impression that the band was actually more Rowan's baby than Grisman's, especially since the the muddled feel of these discs seems so similar to the later pop-rock efforts of the Rowan Brothers in the early '70s. Hardcore fans who are able to track these discs down may find them rewarding, but most likely these albums will merely sound like well-intentioned curiousities...


Earth Opera "Great American Eagle Tragedy" (Elektra, 1969)


Mundo Earwood "Chapter One" (True Records, 1977) (LP)
Lone Star songsmith Mundo Earwood (1952-2014) was a Del Rio, Texas native who flirted with national fame for two decades, releasing his first single, "Behind Blue Eyes," in Nashville, way back in 1972. The song was a modest success, but became a huge hit back home in Houston. From 1972-89, Earwood placed almost two dozen songs on the Billboard Top 100, but even though he stuck to a more mainstream, non-outlaw sound, he never quite made it over the top and remained a local legend. Many of his songs that charted were only released as singles, with some such as "Behind Blue Eyes" being re-recorded for inclusion on his LPs.


Mundo Earwood "Heartspun" (GMC, 1979) (LP)
(Produced by Jay Collier)

This album includes Earwood's own "Fooled Around and Fell In Love" a #25 Country single which is not the same song as the 1975 Elvin Bishop mega-hit, as well as "Things I'd Do For You," which peaked at #18 and was his biggest Billboard entry.


Mundo Earwood "Mundo Earwood" (Excelsior, 1981) (LP)
(Produced by Jay Collier)


East Texas String Ensemble "Live At The Texas Folklife Festival" (E-Heart Press) (LP)
This Lone Star twang quartet was originally made up by four faculty members at Austin State, who started their band for a performance at the 1968 convention of the Texas Folklore Society. The pickin' profs were Francis Edward Abernethy, Charlie Gardner (on fiddle, later replaced by Ronnie Wolfe), Tom Nall and Stan Alexander... They played a mix of bluegrass and old-timey music and in case you're wondering, they wanted you to know that in Texas, it's pronounced "strang insamble," and sticking to this was a point of pride for the band. (BTW - I wonder if this was the same Stan Alexander who recorded an odd little album called Remember Me in the early '80s... Anyone know for sure??) Anyway, some fun stuff from the 'Seventies!


East Texas String Ensemble "...From Nacogdoches" (RHB Studios) (LP)


The East Virginia Toadsuckers "The Worst Of..." (1980) (LP)
(Produced by Bill Roper)

Novelty songs galore from the folkie/old-timey trio of Howard Garner, Jack Glover and Howard Ozmon, including tunes such as "Peaches In A Can," "Ant Between Your Toes," and "Income Tax Number," as well as covers of Shel Silverstein's "Masochistic Baby" and "The Funny Farm," by Homer & Jethro. The band was first formed in 1971 and stayed together for about twenty years, though I think this was their only album.


Steve Eastin "Twister" (Bronco Music Company, 1972) (LP)
(Produced by Keith J. Seiler & Dick Hart)

A singer from New Mexico, Steve Eastin headed out to California to cut this album at Bell Studios in Hollywood -- he plays mandolin, banjo, guitar and dobro(!) with lead guitar by Larry Padilla and bassist Dana Jakubowski also playing several other instruments. Apparently Eastin was working as an actor in a B-movie called "Twister" when he got the chance to make this record... not much info available about the movie, either, or Eastin's short-lived acting career.


Easy Pickin' "Live At The Country Tavern" (Easy Pickin', 197--?) (LP)
Not to be confused with the Easy Pickins bluegrass band (below), Easy Pickin' were a bluegrass group hailing from Stamford, CT, and are recorded here playing at the Country Tavern restaurant, where they performed regularly for over twenty years. The group is led by singer Barbara Allen, along with bassist Linda Shackleford and banjo plunker Joe Knowlton, as well as Bill Allen on guitar and Dave Rausher playing mandolin. They had an intriguing repertoire, with lots of bluegrass standards, as well as contemporary country and pop-AOR hits such as the outlaw anthem, "Luckenback, Texas," the Kendalls' classic "Heaven's Just A Sin Away," Keith Carradine's "I'm Easy," Harry Chapin's "Circle" and Paul Anka's "It Doesn't Matter Anymore." Banjoist Knowlton was also in the folk duo, Joe & Bing, who recorded several albums in the '60s, and was apparently still gigging with Easy Pickin' in the early 1990s.


Easy Pickin' "Winning Combination" (Xerox) (LP)


Easy Pickins "In On The Edges" (Noble Records)
Not to be confused with the Easy Pickin' band (above) these Rust Belt bluegrassers hailed from Pontiac, Michigan, and featured the lineup of Nadine Toles, Rick Toles, David Williams and Jim Williams... The set list includes a bunch of Noles and Williams originals, as well as a handful of traditional tunes. Not sure when this one came out -- they thank their guru in the liner notes, which sounds so early 'Seventies, but the cover photo looks suspiciously early '80s.


Easy Street String Band "Money In Both Pockets" (Prarie Schooner Records, 1980) (LP)
Old-timey stringband-retro stuff, recorded in Bloomington Indiana, though released on a label from Saint Louis, Missouri.


The Echos "Yours Truly" (Echo Records, 197--?) (LP)
(Produced by The Echos & Joey Lopez)

This was a six-man band from Seguin, Texas playing both country and rock... The Echos formed in 1974, with that included Rudy Castro, Roy Richter, Carlos Orosco, Bobby Roberts, Adolph Schaefer and Jim Wiley... Though they cover a few hits, such as "Wasted Days And Wasted Nights" and "Squeeze Box" by the Who, there's also some noteworthy original material, including "I Know What She Was Going Through" by Bobby Roberts and "Oh Lord How I Need Her," written by Jim Wiley. The sessions were recorded at San Antonio's ZAZ Studios, a fabled local haunt that pressed custom records for countless local artists in a variety of genres.


Eddie Burrows & The Prairie Dogs "Bourbon Cowboy" (Dogtown Records, 1980) (7" EP)
Honorable mention goes to this short-lived SF Bay Area alt-country crew, who recorded this snazzy EP with the help of pedal steel whiz Joe Goldmark. Hailing from the hinterlands near Half Moon Bay, this loose-knit ensemble was helmed by brothers(?) Skip Holcombe and Todd Holcombe, who wrote three of the four songs on the disc, including two excellent tracks on Side One, "Countin' The Days" and "That North Texas Summer," both written by Skip Holcombe and both of an unusually high quality for indiebilly of this era. They also cover an R. C. Bannon song, "Rosie Or The Rodeo," with solid musicinaship and presentation throughout. Goldmark's steel work is particularly nice on these tracks, adding intricate riffs and skillful allusions to a variety of styles. Too bad they never made a full-length, but these tracks are worthy of excavation. (The fourth track, "Madeline," was re-released a few years later on another single under Skip Holcombe's name, though it looks like it's from the same session as this EP.) Eddie Burrows, by the way, was a made-up character, although no one in the band claimed to be Eddie -- instead, they would apologize for Eddie not showing up to the recording sessions, etc. This is a nice one!


Ronnie Eden "Midnight Lady" (Kira Records, 1975) (LP)
Another uber-indie offering from mid-'70s New Mexico, this has a pretty strong country feel to it, with pedal steel and fiddle firmly in the middle of the mix. As a songwriter and performer, Ronnie Eden was undeniably emphatic and sincere, but also fairly limited. None of the songs stood out as all that striking or well-defined, and the all-locals backing band has a similarly well-meaning but amateurish feel. (Pedal steel player Gary Null is a standout, but I'm a sucker for pedal steel... Also, I'm pretty sure he's not the same guy as the conservative radio personality Gary Nulle, but I wouldn't put any money on that bet...) Anyway, if you like indie-obscuro-private artist just based on authenticity alone, this is a nice, modest, purely local little record that you might find satisfying... Also, you sure can hear the Arizona accent here: Eden sounds a lot like his indiebilly contemporaries in Dusty Chaps and Chuck Wagon & The Wheels. I'm also a little curious about the Jim Green listed in the credits as having contributed several songs, although he was apparently not in the band... Anyone know more about him?


Travis Edmonson & Bill Moore "The Liar's Hour" (Latigo Records) (LP)
This album features narration by real-life cowboy Bill Moore and music by Travis Edmonson, a veteran 'Sixties folkie formerly of the Gateway Singers and the popular duo Bud & Travis. They recreate the feel of the round-robin, cock-and-bull song-and-joke sessions of cowboy campfires at roundup time. The album has a particularly Arizonan feel -- Edmonson grew up in Nogales, and several of the songs are from Arizona artists. The humor-filled set includes a lot of obscure selections, along with the title track, an original song written by Edmonson that captures the essence of the campfire ritual. A nice one for fans of the genre!


Edwards, Clark, Flynn & Jenkins "Smokey Mountain Feeling" (Hubbard, 1977) (LP)


Charlie Edwards "Old And New - Rawhide, Arizona" (Crystal Records) (LP)
(Produced by Sue Overson)

Another independent offering from Phoenix, Arizona... Edwards was born in Indiana but moved to Arizona as a child in 1936. He was a former championship fiddler and played music locally for a number of years. The originals on this record are credited to "T. Gayle" while the album also includes covers of Hank Williams, Waylon Jennings and Pee Wee King...


Hal Edwards "Rollin' Country" (Stylist Records, 1971) (LP)
(Produced by Bob Ashton)

Edwards appears to have been from Sterling, Colorado, backed by an all-locals, Denver-area band -- they recorded in Nashville, but without all the usual hired-hands Music City superpickers. Half the songs on here are Edwards originals, with one more by producer Bob Ashton (who contributes the oddly-titled "I Can't Be One Of Two Anymore").



Jonathan Edwards - see artist discography


Lawrence Mark Edwards "Ridin' High In Mexico" (Buffalo Thunder, 1984) (LP)
(Produced by Lawrence Mark Edwards)

From Duncan, Oklahoma...


Paul Edwards "Country Music Entertainer" (WPA Records, 1980) (LP)
(Produced by Paul Edwards & William P. Arnold, Jr)

A country DJ from Springfield, Massachusetts, Paul Edwards also apparently performed at the WWVA Jamboree and on the Opry at some point... The repertoire on this album is all oldies, stuff like "Wreck Of The Old 97," "The Cat Came Back" and "Blue Eyes Crying In The Rain," though there are a few standout titles, such as "Don't Be Angry," "Battle Of Armaggeden"(sic) and "Grand Ole Opry Show Playin' Somewhere."



Stoney Edwards - see artist discography


Eighth Avenue String Band "EASB" (1981) (LP)
Chico, California's long-lived Eighth Avenue String Band was an amiable bluegrass/hillbilly swing band with a repertoire that spanned from Bill Monroe and Don Reno to numerous Tin Pan Alley oldies such as "Sheik Of Araby" and "My Blue Heaven," with a highlight being their cover of Reno & Smiley's "Country Boy Rock'N'Roll." There are also a few singing cowboy tunes, all sung by a feller named Rick Crowder, who went on to specialize in the style, taking on the persona of Sourdough Slim, and performing comedic routines on the "Western music" circuit. This early live album is pretty rough-hewn though rambunctious, performed with maybe a little more enthusiasm than panache, but fun nonetheless. They recorded several albums and a version of the band was still around decades later, playing bluegrass festivals and local events...


Eighth Avenue String Band "Take Me Back" (Ashland, 1983) (LP)
(Produced by Eighth Avenue String Band)

An excellent album, probably their best. The music is mostly acoustic swing, with a trace of bluegrass in the mix... This time around the boys are joined by a gal singer, F. Theo Brozowsky, who's a little rough-edged but lively and fun. The whole record has a nice vibe, with the enjoyment of the musicians -- and their considerable talent -- coming through in buoyant, relaxed performances. Recommended!


Eighth Avenue String Band "Stirrin' Up A Ruckus" (EASB, 1984) (LP)


Eighth Avenue String Band "On Stage" (Ashland, 1986) (LP)
(Produced by Rick Dugan & The Eighth Avenue String Band)

A nice album, gathered from live performances in clubs, campus gigs and crafts festivals held in Berkeley, California, Davis, Fresno and Stockton...


The Coon Elder Band "...Featuring Brenda Patterson" (Mercury, 1977) (LP)
(Produced by Jim Ed Norman)

Bandleader Coon Elder was a regionally popular figure in from Memphis, mixing swampy white soul with country twang and chunkier Southern rock... This was his only album, and was also a showcase for singer Brenda Patterson, who had previously recorded three albums as a solo artist -- her throaty, bluesy style draws this album into Tracy Nelson/Maria Muldaur territory, while Elder's roadhouse rock'n'soul has a slight Delbert McClinton-esque feel to it, a Southern bar-band sound, but with some Muscle Shoals soul coming out in the horn section... I suspects that working with an old-time mainstream Nashville producer like Jim Ed Norman is partly what gives this album its mellow feel, though there are still some gritty lyrics and a distinctly rootsy undercurrent. For country fans, highlights include "Send Him Home To Mama," the bluesy "Grinnin' My Blues Away," and their version of "I Ain't A Cowboy (I Just Found The Hat)," one of the great musical satires of the '70s urban cowboy scene. An eclectic album, and a nice picture of the shifting boundaries where longhair country met Southern rock. Although Elder never made another album, he kept playing locally around Memphis, and released at least one single after this album, "The Russians Ain't Coming," on Pharoah Records. Elder was killed in a 2011 traffic accident.


The Electric Horsemen "Live Palm Springs" (DW, 1980) (LP)
This lounge show bar-band played at a now-extinct Palm Springs watering hole called Lucifer's, with clompy covers of '70s standards such as "Mamas, Don't Let Your Babies Grow Up To Be Cowboys," "Up Against The Wall, Red Neck Mother," and "Outlaw Women."


Eli Radish "I Didn't Raise My Boy To Be A Soldier" (Capitol Records, 1969) (LP)
(Produced by Roger Karshner)

The Eli Radish Band is considered, in retrospect, to be one of the seminal roots-rock/Americana acts of the hippie era, and fostered the talent of actor/producer Danny Sheridan who became friends with future "outlaw" icon, David Allan Coe. Originally a late '60s regional band from Ohio, Eli Radish scored a major label deal, but only released this one album, a topically-themed set of edgy modern covers of old war-related songs, meant as a blow aimed at the war in Vietnam. The choice for a twangy proto-jam band to mimic the agitprop antics of folks like Country Joe & The Fish seemed a little odd, and indeed, few people in the record-buying public got the joke, such as it was. The album sank like a stone, though the band plugged away, touring nationally for several years before calling it quits in the early '70s.


The Eli Victor Show "The Eli Victor Show" (EVS) (LP)
(Produced by The Draggoo Brothers)

Negligible earnest folkie stuff from a trio of brothers -- Jim, Roy and Tom Draggoo -- who are working mostly in the Chad Mitchell Trio/Smothers Brothers mode, very retro for the time it was made (early '70s somewhere...) They cover folk oldies such as "The MTA Song" and "Abraham, Martin & John," as well as a couple of John Denver tunes and current pop tunes like Mac Davis' "I Believe In Music." I've seen this listed as a country-rock record, but that's real stretch: they do cover a Mason Proffitt song ("Two Hangmen") and lampoon Johnny Cash on a three-song, fake-live medley that ends with an unfunny cover of Mason Williams' "You Dun Stomped On My Heart." Really, I wouldn't say there's much to recommend this one, unless you're heavily into the earnest '60s folk sound and its later permutations...


Elk River Biscuit And Gravy Band "Eat It Up" (Rancher Records, 1978) (LP)
(Produced by Arnie Christiansen)

This is one of the most obscure -- and best -- of the hippiebilly swing albums of yesteryear. Apparently these guys were from the teeny, tiny town of Emporia, Kansas, and recorded in nearby Manhattan... Truly the hinterlands of the Midwest... but man, did they rock! The band's fiddler, Mark Kline, was a first-rate talent, joined on a few tunes by local pedal steel player John Briggs as well as the band's own Roger Cook on lap steel, each of them getting in plenty of tasty licks. Lead singer Kenny Craig wrote most of the songs, holding forth in an exaggerated rural drawl that fits the music well. His name-dropping outlaw anthem, "I'm Country," is an album highlight, as is their rugged rendition of John Sebastian's "Jug Band Music." The album's only weak spot comes on the rambling "Singin' Sensation," which is about a bar-band singer who's just trying to get by, moving from gig to gig, which is a fine idea for a song, except that in one verse Craig needlessly includes the n-word in order to underscore just how hard the guy was working. (As in, "working like a...") Oh, well. But overall, this is a very impressive, very listenable, very fun set of prime '70s twang which could stand shoulder to shoulder with classics by Jerry Jeff Walker, Asleep At The Wheel, and others. I'd love to learn more about these guys... anybody out there who can chime in?


Don Elkins & The Missouri Poor Boys "In My Style" (Nugget Records, 1969) (LP)
This Midwestern combo had been around for a few years before cutting this album... In the mod-1960s, the group played on radio station KLPW, in Washington, Missouri and played shows in Owensville and other nearby towns in the stretch between St. Louis and Springfield. They also apparently played at the Cannon Dam Opry, a musical variety venue further to the north that was still in operation well into the 21st Century.


Ed Elliot "Knock Three Times" (K-Ark Records) (LP)
(Produced by Johnny Capps)

A Connecticut native who worked as a radio DJ in Milford, Ed Elliot formed his band in 1960 and played mostly local gigs... This album is packed with cover tunes, though possibly there were a couple of originals in the mix(?) Apparently he started Elliot in a rockabilly duo called Charley & Junior, which cut a single for MGM, back in the 'Fifties.


George Elliott "George Elliott" (Elite Records) (LP)
(Produced by Fred Carter, Jr.)

This label was from South Carolina, though I'm not sure if Elliott was as well... Anyway, he had a bunch of hotshot studio pros backing him up -- Hoot Hester, Buddy Emmons, Charlie McCoy, Fred Carter, Jr., Vic Jordan, and a bunch of other usual suspects Nashville types. Also an interesting song selection, with what looks like lots of originals: two by Bill Price, one by Buzz Rabin, a Mel Tillis song, capped off by one of George Elliott's originals, "You Never Seen Me Cry."


Tom & Honey Lou Elliott "Wright County Country" (Artronics/Jem Records, 1971) (LP)
(Produced by Art Boyd)

It might have been back in '71, but that big, old handlebar moustache wasn't a hippie thing, even if there was a goatee underneath it... At the time they recorded this album in Nashville, the husband-wife duo of Tom and Honey Lou Elliott had spent several years on the road as itinerant horse trainers and livestock wranglers, and decided to cut a country album kinda just for the fun of it... Originally from the tiny town of Buffalo, Minnesota, they moved all across the upper Midwest, and eventually settled down in Benson, Arizona (and, many years later, recorded a couple of cowboy/western albums celebrating their adoptive state...) But Tom Elliott's look has stayed pretty much the same: that's a real-deal cowboy face. This mostly-honky tonk album is a swell mix of cover tunes and originals, kicking off with the topically-tinged "Goodbye Saigon" -- he also wrote "Looking For Happy," both of which are great songs. The other originals come from a guy named Joe Allen, who seems to have been their contact person in Music City: the album was recorded in separate sessions in Minneapolis and Nashville, and Allen plays rhythm guitar in the Nashville crew, along with studio pros like Ken Malone, Hal Rugg and Buddy Spicher. Tom Elliott played bass and Honey Lou held down the rhythm guitar on the Minnesota sessions, but in Nashville they both just sang the songs. At any rate, this is a pretty cool record -- sometimes it sounds poorly recorded, but the music is a gas, and they sound like they had a lot of fun, particularly on a live track where Tom Elliott busts out with some fairly impressive yodelling. No fooling! Worth a spin if you can track it down.


Elliott, Walter & Bennett "Zeta Reticuli" (Jam Records, 1975) (LP)
The Houston-based trio of Jerrel Elliott, Clark Walter and Gerald Bennett have kind of a cult following as purveyors of odd, esoteric Texas folk-prog twang, with overtones of '70s soft-pop and contemporary Christian music mixed in as well... From a twangfan's perspective (mine) I'm not sure there's much here to recommend these albums, but they are very DIY and obscuro, for what that's worth. Apparently the title track of this album is based on a notorious early-1960s alien abduction case... I haven't heard the album, but I gather it's rather prog-a-licious, in an acoustic-electric kinda way. (An earlier lineup of the band, with keyboard player Pat Hamilton, went by the acronym H.E.W, releasing an earlier, self-titled album on Jam Records.)


Elliott, Walter & Bennett "Elliott, Walter & Bennett" (Jam Records, 1976) (LP)


Elliott, Walter & Bennett "You Know How I Feel" (Jam Records, 1978) (LP)


Elliott, Walter & Bennett "Elliott Walter Bennett" (Jam Records, 1979) (LP)
(Produced by Elliott, Walter & Bennett)

This album opens with a couple of truly dreadful, synthesizer-led folk-prog tracks. Yech. Then they shift into twang and novelty tunes -- the tempo picks up with some lively Texas fiddle courtesty of John Henry Adams, on the Christian-oriented "I See A Great Light Comin'," which moves into one of their Bellamy Brothers-ish vocal tunes, and a novelty number called "It," which is kind of funny despite the lackluster musical backing. Similarly, the electric guitars on "Old Rockers" fail to really catch fire. A little bit of twang threads through the rest of the record, though not enough to get me too excited. Thematically, they split their interests between romance and philosophy, with another Christian-ish tune about humanity's fall from grace ("For All The Right Reasons") but again, while they merit mention here, this still isn't what I would call a country record. Doesn't do much for me.


Elliott, Walter & Bennett "Elliott, Walter & Bennett" (Jam Records, 1980) (LP)
(Produced by Elliott, Walter & Bennett)

This was, possibly, the last(?) album by EWB, and I'd say for the most part it's pretty dreadful... Or, well, lackluster, or at the very least "not my cup of tea." Side One opens with some uptempo material, perky drums and group vocals that I think were aiming for a pop-country sound similar to the Bellamy Brothers, and I think these guys might have been trying for a hit. But this disc also has that lack of polished ooommpf that separates the major label hitmakers from the limited-budget little-leaguers; these guys had the intentionality, but not the unlimited studio time to make it happen. Anyway, nothing on here really connects viscerally or stylistically for me. Side Two briefly diverges into more folkie, almost twangy material, and then grinds to a halt with a couple of slower folk-prog dirges... All in all, I'd say this is skippable.


Dolan Ellis "Who's Gonna Run The Truck Stop In Tuba City While I'm Gone?" (Capo Records, 1972) (LP)
An original member of the prefab 1960s folk-pop band, the New Christy Minstrels, singer Dolan Ellis retired from the big city show biz limelight and decamped to Arizona where in the late '60s he was dubbed "the Bard of Arizona," as well as the "Official Arizona State Balladeer." You can see why when you tap into this kooky, regionally-themed set, packed with novelty numbers such as "Arizona History 101," "Goin' Home To Springerville," "Flight To Phoenix," and of course the tongue-twisting title track, a sort-of topical song which is an album highlight. In it, a henpecked husband finally has enough, packs his bags and tells his "plain bad broad" of a wife that she can run the friggin' bar by herself, and then the narrator steps in to deliver a small sermon about how "women's liberation needs a slightly different point of view," and how it's a woman's job to puff up her lover's ego so that he can, um, "make her feel like a woman." What?? Oh come on, people, there's nothing sexist about that... it's just plain old scientific fact! Am I right, fellas? Back me up here, guys... Anyway, there are also a bunch of song on here that are -- to be honest -- pretty lame. The music, the vocals, the lyrics are often forced and awkward, but the ricketty nature of the album adds a DIY, so-bad-its-good charm, although in reality I doubt I'd ever want to listen to any of these songs again. The album's closing track, "Then Came Man," is also a real stinker, an earnest but unlistenable screed about how humans have screwed up the environment -- I agree with the message, but the song is incredibly artless and, like "Tuba City," ripe for hip mockery from our oh-so-evolved perspective here in the future, where we don't have have any problems like that, and all the music is better, too.


Dolan Ellis "Touch The Earth" (Capo Records, 1975) (LP)


Harland Ellis "Songs Ole Harland Sings" (Custom Cavern, 197--?) (LP)
Dunno anything about this guy - this is a very generic-looking album from one of the many "custom" labels in the Ozarks area... If I find anything else out about this one, I'll let you know.


Dusty Ellison "Pure Pleasin' Country" (Pleason Records, 1988-?) (LP)
(Produced by Jerry Parker & Randy Merryman)

California cowboy Dusty Ellison (1918-2002) recorded a handful of singles back in the late 1940s and early '50s, playing a mix of heartsongs, novelty numbers and sentimental tunes. He kicked around in Southern California for several years, playing gigs alongside western swing stars such as Bob Wills, Spade Cooley, Cliffie Stone, Smokey Rodgers and Tex Williams, mainly in and around Los Angeles. Ellison and his band The Saddle Dusters had a regular slot on radio station KXLA, Pasadena, and in 1949 he landed a gig headlining the "Red Barn Roundup" shows at the Avodon Ballroom in LA. The concerts were an outgrowth of deejay Tom Brennan's "Roundup" radio show, and were a precursor to KXLA's long-running "Town Hall Party," which took over the Friday night slot in 1951. Around this time, Ellison recorded three singles for the 4-Star label, though nothing really clicked on the charts. Ellison seems to have vanished from the scene pretty suddenly and stopped recording in the early 'Fifties, after a couple more 78s cut for London Records. This LP came out sometime in the '80s on a label from Sacramento, with Ellison apparently retiring up in the Gold Country and passing away in '02.


Zelda Ellison "I Know The Feelings" (Texas Soul, 1977) (LP)
(Produced by Don Caldwell & Lloyd Maines)

A Lone Star gal, singer-pianist Zelda Ellison was a member of the West Texas Opry, a loose-knit group that included Lloyd Maines and others in the late 1970s -- around that same time, she recorded this record at Maines's fabled Caldwell Studios in Lubbock, with a lot of high-powered pals to help out. The band includes Ponty Bone on accordion, Lloyd Maines playing banjo and steel, and several other local Texas pickers. The repertoire includes covers of Merle Haggard, Kris Kristofferson, Freddy Fender and Jessi Colter's "I'm Not Lisa," as well as the title track and one other by C. Bishop and "Lollypops And Candy Dreams," which was co-written by Maines.


Elmo & Patsy "Elmo & Patsy" (Homestead, 1974) (LP)
Success can really be a bitch, sometimes. Although Dr. Elmo Shropshire and his (then) wife, Patsy Shropshire were members in good standing of the California bluegrass scene of the early 1970s, after they had a national hit with "Grandma Got Run Over By A Reindeer," the duo was forever to be associated with a one-note novelty song that many people consider one fo the most annoying holiday songs ever recorded. They had a long history before that, though, including a couple of albums with their first band, the Homestead Act. And FYI, the "doctor" in Dr. Elmo's name is for real: in addition to being a novelty song legend, he was also a practicing doctor of veterinary medicine. Which is probably how he knew so much about reindeer, right?


Elmo & Patsy "Will You Be Ready?" (Oink Records, 1980) (LP)


Elmo & Patsy "Grandma Got Run Over By A Reindeer" (Sony/Epic, 1984)
Though the song... you know which song... was originally written in 1977 and first recorded by Elmo and Patsy in 1979, it didn't become a national hit until the winter of 1983, when the video version was released to MTV. Then came this album, which also features other strained novelty numbers such as "Percy, The Puny Poinsettia" and "Senor Santa Claus," as well as some country-grass covers of holiday standards such as "Jingle Bells" and "Silent Night." By the way, Randy Brooks, the guy who wrote "Grandma" was also in a band called Young Country, and released his own version of... the song... which you can track down as well.


Randy Elmore "Here Comes That Boy Again" (Blum Records, 1981) (LP)
A fiddler from Forth Worth, Texas, Randy Elmore digs into some tasty bluegrass and western swing... He's also known for his work with freewheeling steel guitarist Tom Morrell, who's not on this album, though they wound up playing together for years. The songs on this album come from a variety of sources, including covers of classics by Hank Williams and Bob Wills.



Joe Ely - see artist discography



Jon Emery - see artist discography


Wild Bill Emerson "Harland County" (E&R REcords, 1982) (LP)


Emerson's Old Timey Custard-Suckin' Band "Emerson's Old Timey Custard-Suckin' Band" (ESP Disk, 1970) (LP & MP3)
This Maryland-based quartet created a remarkably forward-thinking mix of avant folk and old-timey/bluegrass music, with off-kilter banjo and distinctive, plainspoken vocals that anticipate Peter Rowan's sound later in the decade... The band drifts into unusual, inventive rhythms as well as an intriguing mix of material. There's a sweet, sparse cover of Jesse Winchester's "The Brand New Tennessee Waltz," and they give the Johnny Cash classic "I Still Miss Someone" an amazing makeover, transforming it into a meandering folk-freak ballad; on "Daybreak Blues," they delve into experimental picking similar to Tony Trischka's early banjo outings. Not the drag-racing, high-lonesome style of classic bluegrass, but also not quite the breezy jazz stylings of the space grass pickers to come. They also aren't the arch, arty types you might expect, given the avant reputation of the ESP Disk label -- these guys were inventive, but also just being funky and playful, and having themselves some fun.


Blake Emmons "I Wish You Love" (Condor Records, 1976) (LP)


Blake Emmons "First Flight" (Columbia, 1983) (LP)
Apparently Canadian country singer Blake Emmons was once the host of a Hee-Haw-like TV show called Funny Farm. It had been cancelled by the time this disc came out and, like the program, this album came and went without raising many ripples on the pond... In fact, it tanked, although his earlier Canadian releases had some modest success on the Northern country charts. Emmons only put out two albums, but he had a modest string of singles going back to the late 1960s, and interestingly enough, his singles had more of a novelty flair to them than the stuff on his albums.



Buddy Emmons - see artist discography


Myra English "Drinking Champagne" (Hula Records, 1968-?) (LP)
(Produced by Don McDiarmid Jr. & Bill Lang)

The first album by Hawaiian country singer Myra English (1933-2001) whose 1968 version of "Drinking Champagne" became a huge regional hit on the islands. English started out as a child performer -- growing up in Paia, Maui, she led her own band and performed regularly during the 1940s. She moved to Honolulu after she graduated high school in 1951 and sang and played ukulele at military service clubs before moving to the mainland with her husband, a military man who moved around a great deal. In 1968, while living in Seattle she heard Cal Smith's version of "Drinking Champagne" and recorded a Hawaiian-ized version of the song after moving back to Honolulu. The success of her single led to a gig at the Outrigger Hotel, and to the recording of this full-length LP, which features a few Hawaiian-themed songs, such as "Ku'u Sweetie" and "Aloha Ka Manini," along with a bunch of country covers, including Bill Mack's "Drinking Champagne" and contemporary hits such as "For The Good Times" and "Many Happy Hangovers To You." Riding her local celebrity, Ms. English became a tourism spokesperson and was friends with several of Hawaii's biggest stars, such as Genoa Keawe and Melveen Leed.


Myra English "Oh How I Miss You Tonight" (Hula Records) (LP)
(Produced by Don McDiarmid Jr.)

It's mostly Hawaiian-themed songs this time around, although there's some country material as well... the tracks include "Remember My Island," "Biding My Time," "Maui Moon," "Kuulei," "Pu'u Anahalu," and of course the title track.


Ennis & The Outlaws "First In Line" (Worldwide Sound Records, 1982-?) (LP)
(Produced by M. W. Elliott & Ron Wheeler)

This outlaw bar-band from Palestine, Illinois featured lead singer Michael "Ennis" Elliott, along with steel player Paul Kidwell and drummer Steve Kidwell, who dedicate the album to their relative Janet Kidwell, a country radio DJ who played the comedy character "Cuzzin Jenny," drawn from of old-time hillbilly variety acts. They give good-natured, bluesy, boozy renditions of old favorites while adding some tasty new tunes to the country canon... Original songs include "First In Line" by Michael Elliott and "Grant Me" by Paul Kidwell. They cover a wide range of hard country songs, from classic Jimmie Rodgers stuff to "Would You Catch A Falling Star," which was a hit for John Anderson in 1981. One of the album highlights is their version of Adam Mitchell's "Out Among The Stars," a chilling, sorrowful, challenging song about a liquor store robbery that ends in a confrontation with the police -- widely covered in various genres, it was also recorded by Johnny Cash, Waylon Jennings and Merle Haggard at various times in the 1980s. Since there's no date on this album, I'm not sure where exactly it fits in with the better-known celebrity versions, but the Outlaws may have been one of the earlier bands to cover it following Mitchell's original recording in 1979. They close the album with a languid instrumental version of "Faded Love," showcasing some particularly sweet, ornate pedal steel riffs. A fine album... Anyone know for sure what year it came out?


Bill Erickson "This Time It's On Me" (1985-?) (LP)
(Produced by Bill Erickson & Phil Johnson)

Smooth-sailing California country with dips into New Riders-esque country-rock and would-be countrypolitan ballads. Erickson seems to have been from Santa Ana, California or thereabouts -- he thanks several SoCal clubs in the area -- the Silver Saddle, the Crazy Horse Saloon, Rosey's and the Rib Rack -- and his band seem to have been all locals. Of note, along with pedal steel player Kirk Eipper and fiddler Doug Atwell, is backup singer Jann Browne, whose own later forays into the Top Forty world produced a couple of really fine neo-trad honkytonk albums. This album is pleasant and unpretentious... In addition to three songs written by Erickson, there are a few cover songs, including a couple by Sam Parsons, notably "God's Alive In Arizona," which was first recorded in Parsons' own solo album in 1974. It's not clear if there was a direct connection between the two singers -- Parsons doesn't appear on this album, and I don't see any crossovers between their bands. A newspaper profile said that this album came out in 1985, though it seems like it should have been much earlier... Anyone know for sure?


Rod Erickson "She Taught Me To Yodel" (GNP-Crescendo, 1976) (LP)
(Produced by Gary McDonall)

Yodeler Rod Erickson (1938-2015) grew up in Alberta, Canada but moved to Idaho in his teens, learning how to sing and pick guitar in his twenties. He had a surprise hit in the early 'Seventies with his revival of "She Taught Me To Yodel," following it up with covers of other cowboyish oldies such as "Cattle Call," "Riders In The Sky," and "Yodel Your Troubles Away," which are all included on this album. Erickson made it to Nashville and toured nationally with stars such as Grandpa Jones and Johnny Paycheck, but he found life on the road precarious and unrewarding and returned to Idaho to perform locally and hold down his day job as an electrician. He and his wife Nancy bought a restaurant in Spirit Lake called the Fireside Lodge -- he had played there for many years, and became the owner in 1989, running it for over two decades before selling it to the city to develop as a park. This was his only mainstream country album -- Erickson later self-released several gospel records, including several CDs.


Scott Erickson "Sad Song Sing Along" (Ribbon Rail Records, 1978) (LP)
(Produced by Mark D. Litz)


Bill Ervin "Bill Ervin" (No Mountain Records, 198--?) (LP)
(Produced by Steve Fromholz & Nick Carlton)

Lone Star singer-songwriter Bill Ervin was pals with iconic Texas troubadours such as Steve Fromholz and Shake Russell, who both play on this album, along with Jimmie Fadden, all of whom Ervin performed with regularly over the years. The song on this album are by Ervin, Fromholtz and Russell, along with a version of Rodney Crowell's "Song For The Life." The No Mountain label was located in Midland, deep in the heart of Texas.


Durward Erwin "...Sings Mod 'N' Country" (Canary Records, 1968) (LP)
(Produced by Tommy Strong)

A Kentucky native who moved to San Francisco and worked as a trucker, Durward Erwin was a regular at the 23 Club in Brisbane, CA, one of the Bay Area's most lively country bars. According to his own website, Erwin made a pilgrimage to Nashville in 1968 to record this album with backing from some top talent. It's a straight-up "Nashville Sound"-style country-pop vocals album, with a medium-sized string section sparsely fronted by bassist and a plinky Floyd Cramer-ish piano... And, of course, by Erwin's vocals, which are solidly in the country crooner camp, beefed up by the perky Nashville Sounds chorus (aka former members of The Anita Kerr Singers.) It's not a wham-bam home-run kind of album, but for an uber-indie album, it's pretty fully-realized, big-sounding set... Erwin's muses are songwriters Gertrude Faith, Grace Tindell and Earl Miles, with most of the songs written by Miles, the owner of the Canary label. Anyway, this is another heartwarming indie/vanity album, not as good as the stuff it's trying to emulate, but in some ways much more charming and sincere. Certainly worth a spin... Erwin also released a couple of singles from this album on the Redwood City-based Canary label, including a few non-album tracks, and apparently continued to record many years later, as seen below.


Durward Erwin "Reminisce" (Big Stah Studios, 2013)


Art Essery "Modern Country" (Maplewood Records) (LP)
Originally from Ontario, Canada, singer Art Essery eventually relocated to Minnesota, where he toured regionally with a compact band featuring his wife Jan Essery on bass and vocals, guitarist LeRoy Glazier, and Jim Blakney on drums. This album was recorded in Cedar Falls, Iowa and features a song Jan Essery wrote a song in tribute to her father, who had recently passed away.


Art Essery "Drinking Champagne" (Country Records) (LP)


Art Essery "Here Today And Gone Tomorrow" (Four Winds Records, 1973-?) (LP)


Est "Sundgauer Country Boy" (Studio Omega, 1978) (LP)
(Produced by Michel Schmitt & Andre Muller)

We're going really far afield on this one, all the way to Strasbourg, France, where in the late '70s a group of longhaired European twangfans recorded this odd album -- intended, they said, as an homage to the American country-rock band Poco. There's a strong undercurrent of prog-psych underneath many of these cosmic cowboy tunes, but you can hear the hippiebilly influences loud and clear, and there's some particularly good pedal steel work and lively banjo picking as well. The copy of this album I found has the added charm of a long inscription written by bandmember Pierre Speckler (presumably written to a DJ or music critic?) in which he explains that Est was about the only country-rock band in France at the time, and that the album was "recorded in not too good conditions" (although it sounds great to me!) The Alsatian band seems to be mainly made up of guys of German-Swiss ancestry, which perhaps helps explain their affinity for American country music... They sing in French, English and Alsatian, and really the only weak part of the album is when they sing in English, which inhibits their phrasing and fluidity, even though it is charming as well. All in all, a very interesting album from a band that charted a unique course amid a contemporary musical landscape dominated by '70s rock, prog and jazz.


Pete Estes "Dealer's Choice" (BOC, 1983) (LP)
(Produced by Myron Smith & Pete Estes)

An exceptionally good indiebilly album from a top-flight band... This one's on a par with many "classics" of the genre, from folks such as Alvin Crowe, Deadly Earnest, or Cornell Hurd. And that's high praise, in my book. Estes was a bar-band singer from Chillicothe, Missouri, singing a mix of original songs and covers, including stuff by the likes of Rodney Crowell and Lefty Frizzell. He mixed jovial country-twang with discreet amounts of boogie rock and blues, tapping into a rock vibe without getting all clunky about it. Best of all, all the guys in the band were on top of their game and kept a nice, good-time vibe rolling throughout. Estes kind of reminds me of Gary P. Nunn as a singer -- he didn't have a great voice, but the voice he had, he used just right... If you get a chance to check this one out, definitely go for it.


The Etcetera String Band "The Harvest Hop" (Moon Records, 1975) (LP)
(Produced by Dennis Pash)

I'm running a little far afield on this one, but I just can't resist a good, twangy band from Kansas. This Kansas City, Kansas trio specialized in pre-jazz, pre-country old-timey music, rags and cakewalk instrumentals, with particular emphasis here on composers from Kansas and Missouri, which is what makes this album particularly unique. A handsomely illustrated and copiously researched insert details the careers of regional turn-of-the-century composers such as E. Harry Kelly, Ed Kuhn, Charles L. Johnson and Charles A. Gish who clustered together in Northwestern Missouri, performing together in marching bands and other venues, and whose work complimented that of the better-known Scott Joplin, who hailed from nearby Sedalia, and whose ragtime tunes defined the popular music of the era. Like their obscure idols, the fellas in the Etcetera String Band stuck close to come, playing local gigs mostly in and around Kansas City. This first album is largely defined by the mandolin work of Dennis Pash, with firm but humble accompaniment by guitarist Kevin Sanders and fiddling by Pat Ireland that often seems obscured in the mix. There's not a lot of stylistic or sonic variety to this album, but it is compelling and immersive nonethless. Highly recommemended, particularly for fans of retro-ologists such as Steve Grossman or Bob Brozman.


The Etcetera String Band "Bonne Humeur" (1990-?) (LP)
Years later, the group explored Carribean and Latin themes, resulting in this album. Eventually, Dennis Pash moved to San Francisco and formed a new group, the prolific Ragtime Skedaddlers, and the remaining bandmembers -- who now included art therapist Bob Ault, and a musical multi-instrumentalist in his own right -- formed a new old-timey/ragtime trio called The Rhythmia.


The Eustice Hocke Memorial Album "The Final Live Performance" (Dire Wolf, 1972)
(Produced by George Hanson & Ralph Wittcoff)

A fine live set of straight-ahead bluegrass and old-timey music from a Minneapolis, Minnesota group with a sharp, concise sound in an electrifying live set at an old venue called the New Riverside Cafe. The repertoire is almost entirely bluegrass classics, songs like "Little Maggie," "Bill Cheatum" and "Footprints In The Snow," although they also give an excellent rendition of Hank Williams' "Lost Highway" and dip lightly into pop with a funky rural cover of "Proud Mary," but that's about it for nontraditional material. There are no composer credits, but I think there is one original tune on here, a fun instrumental called "This And That There" -- although it's possible that this came from somewhere else too (anyone know for sure?) Only two musicians are listed on the jacket, Ron Colby (who played some really hot banjo) and Craig Ruble playing fiddle, guitar and mandolin, though clearly there are other pickers backing them up, including an unidentified vocalist who hits the Jimmy Martin-style high-lonesome sound on several tracks. Also worth noting is the Grateful Dead-ish iconography in the album art: the Dire Wolf label logo and a big old, Dead-ish skull on the cover. Musically, though, this is pure mountain music. Oh, and Eustice Hocke? Made up, as far as I can tell: they dedicate the album to him, claiming that he died pouring a glass of milk, and promise to use the proceeds from the album to build a Eustice Hocke cultural center in his nonexistent hometown of Dwildy, Iowa. Hey, man, they can make as many in-jokes as they want to, as long as they play all sweet like that. Whoever these guys were, they were good.


Dave Evans "Foxy Lady" (Broadland/McDaniel Records, 1978) (LP)
(Produced by Dave Evans & Mike Reid)

I'm not sure where songwriter Dave Evans and guitarist Mike Reid were from, but like countless others they made their way to Nashville to cut an album with some heavyweight studio pros backing them -- Sonny Garrish and Doug Jernigan on steel, Harold Bradley playing rhythm guitar, Johnny Gimble on fiddle, and so on. Still, they seemed to be in the driver's seat for these sessions, with Reid playing lead guitar and Evans writing almost all the songs. He covers Mickey Newberry ("American Trilogy") and Jimmy Reed ("Baby, What You Want Me To Do") but otherwise, it's all originals.


Kyle Evans "Kyle And Company" (United Audio Recordings, 197--?)
This was the first album by rodeo singer Kyle Evans (1947-2001), a farm kid who grew up near Wessington Springs, in South Dakota. When he was young, Evans was a huge Jim Reeves fan and when he was still a teenager he formed this band along with one of his cousins and some other local farm kids. Under the name "Kyle And Company," they played county fairs and ag shows and cut this album, which is all cover tunes, mostly country standards by Merle Haggard, Johnny Cash, Jack Greene, Merle, Jim Reeves, and more Merle. The guys look really, really young, like either teenagers or in their early twenties, so I'm guessing they cut this record not long after they first got together in 1969. The other bandmembers -- Brian Bergeleen, Lennie Fagerhang, and Dale Schimke -- played with Evans throughout the '70s, but basically they went back to farming for a living. In the early '80s Evans got hooked up with the rodeo circuit, and was able to make his living playing music, with calf roping as a hobby. Eventually he cut over a dozen albums of cowboy songs, and became a well-respected figure on the "western" music scene.


Even Dozen Jug Band "The Even Dozen Jug Band" (Elektra, 1964)
A folk-revival proto-supergroup which featured David Grisman on mandolin, along with other luminaries such as acoustic blues picker Stefan Grossman, singers Maria Muldaur and John Sebastian (later of the Lovin' Spoonful), guitarist Steve Katz and even arranger/pianist Joshua Rifkin. The album was full of salty old-time blues tunes, and presaged the work of Muldaur's next port of call, the Jim Kweskin Jug Band. Interesting early stuff from the heyday of the folk revival.


Leo Everett "The Pure Sweet Country Sounds Of Leo Everett" (Jester Records) (LP)
Originally from Billings, Montana, singer Leo Everett moved to Colorado in 1981 and became a fixture on the local scene. This album was recorded in the late '70s, when he was still in Big Sky country.


Leon Everette "I Don't Want To Lose" (Orlando Records, 1980) (LP)
(Produced by Jerry Foster, Bill Rice, Ronnie Dean & Leon Everette)

Although he did eventually break into the Top Forty scene, South Carolina's Leon Everette had real indie roots, as heard on this outsider-label, non-Nashville album, which yielded a few back forty singles, enough to get him onto the major-label radar. The sessions were produced under the patronage of the songwriter-producer team of Foster & Rice, whose composition, "Over," hit #10 on the charts, providing Everette with his entry into early '80s Nashville. All the songs on Side One were written or co-written by Roger Murrah, and they mostly seem like see-what-sticks, hoping-for-a-hit material -- slick but slightly jittery, uptempo country stuff with a generic '70s sound. Side Two provides more variety and perhaps a better picture of the possible directions Everette could have taken: the first song is more of the same, though "Over" changes the tone with a slower, more contemplative ballad, nudging Everette into the sound he would excel in on his RCA recordings. Perhaps even more telling was his version of Mark Knopfler's "Setting Me Up," which had been most recently recorded on Albert Lee's album Hiding, and Everette follows that template pretty closely. Indeed, he sounds quite a bit like Lee's country-rocker buddy Rodney Crowell on the next couple of tracks (including a poppy version of Hank Williams's "I Saw The Light") and though it was even better when Everette found his own voice and style on his RCA albums, this early allegiance to the Crowell sound is kinda cool. Definitely worth checking out.


Evergreen Blueshoes "The Ballad Of Evergreen Blue Shoes" (Amos Records, 1969) (LP)
(Produced by Mike Post)

Another footnote to the LA country-rock scene: this short-lived band combined the talents of picker Jimmy Ibbotson, Allan Ross (nee Al Rosenberg) and bassist/scenester Skip Battin, who was trying to parlay his earlier success in the one-hit wonder pop-rock group Skip & Flip into something more relevant to the hippie-era rock explosion. Apparently, this album is a glorious mess, mashing up gospel oldies such as "Life's Railway To Heaven" and a countrified version of the Incredible String Band's "Hedgehog Song" together with contemporary psychedelic rock... The album was pressed in small numbers, sank without a trace and of course has a cult reputation... It also has an awesome album cover, showing a group of naked hippies (no, really...) holding hands and dancing in a circle in a field in a forest. If you look close enough, you can even see some of their naughty bits. The band played gigs in the Topanga Canyon/Hollywood Avenue scene, but fizzled out after the album came out, with Battin going on to bigger and better things in various incarnations of the Byrds and Burrito Brothers. Apparently, Jimmy Ibbotson was in this bands as well, hopping from here into a membership in The Nitty Gritty Dirt Dand.



The Everly Brothers - see artist discography


Don Everly "Brother Jukebox" (ABC/Hickory, 1977)
An endearing, if somewhat uneven, solo album by this much-beloved Everly brother. Going all-out country/countrypolitan on this one, Don hits a home run with the title track -- his definitive rendition of Paul Craft's "Brother Jukebox" has one of the greatest singalong choruses ever committed to wax, and remains one of my favorite lost-nugget country oldies... The rest of the album is much iffier, though, with Everly straining at the edges on more than a few of these songs, especially the more sensitive, emotive ballads. Still, it's worth it for the one song, and intriguing for devoted Everly fans and idle bystanders as well... Great song!


Ever Call Ready "Ever Call Ready" (Marantha Music, 1985)
(Produced by Al Perkins)

A country-rock supergroup jamming on some old bluegrass tunes and singing some gospel songs... The ensemble includes Chris Hillman, along with Bernie Leadon and Al Perkins, as well as fiddler David Mansfield and bassist Jerry Scheff. They are clearly getting a kick out of singing the old songs, but a lot of it sounds tongue-in-cheek, such as their cover of the fundamentalist novelty anthem, "Don't Let Them Take The Bible Out Of Our School Rooms..." Other songs seem more soulful and sincere. Fun stuff -- some of it quite sweet.


Jimmy Exley "Sings His Favorite Songs" (Voice Of Country, 19--?) (LP)
A devoted amateur musician, Mr. Exley owned a lumber company in Cylo, Georgia, but loved to play country music, and at some point got a chance to perform at the Grand Ole Opry... Despite the generic-sounding album title, it actually looks like the "favorite songs" on here are tunes that Exley wrote himself... I'm not sure of the date on this album, but I'm guessing late 1960s, maybe as late as 1970, '71. Apparently Mr. Exley passed away in 2013, and as far as I know, this was his only record... Anyone have more info about this one?


Expression "Expression" (Expression Records) (LP)
This muttonchoppy quintet recorded this album live at the Riverside Hotel, in Reno, Nevada, although I'm not quite sure what year. Looks like it was mostly covers, and not just country stuff -- tunes like "Georgia On My Mind," "Country Roads" and "The Letter." So it was a mix of country and pop-soul, possibly with a Christian folk-rock slant on things? One of the bandmembers, Kirby St. Romain, was part of the early 1960's teen-pop scene down in Texas, scoring a modest regional hit when he was still a kid. He was also in a mid-'70s band called Kansas Rain, although he seems to have pulled up stakes and moved to Nevada later on to be with this band. Anyone have any more info about these guys?


Expression "Portrait" (Expression Records) (LP)
(Produced by Bob Kelly & Expression)

A slicker-looking, slicker-sounding set which is more rock/funk oriented in some parts, but still pretty rootsy. Includes a zippy version of the Eagles' "Already Gone," along with "Take It Easy," "Delta Dawn," and other overtly twangy country/country-rock hits of the day. This was basically the same lineup as before, with Jerry Brown, Frank Cole, Bob Kelly, Jay Ramsay and Kirby St. Romain credited as the main members. Alas, still no indication when this came out, but I'm guessing 1976-78-ish.


Ezze "I Can Almost Touch The Feeling" (Delivery Records) (LP)
(Produced by Eddy Fox)

Lord only knows who "Ezze" was, but he did book some time at the Marty Robbins studios in Nashville, with a few top players such as Buddy Spicher and Larry Sasser backing him. Also of note are several songs written by Shirl Milete, a songwriter who also released an album of his own in the late 1960s...






Hick Music Index


Copyright owned by Slipcue.Com.  All Rights Reserved.  
Unauthorized use, reproduction or translation is prohibited.