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 "I."
Jimmy Ibbotson "Nitty Gritty Ibbotson" (First American, 1977) (LP)
(Produced by Dik Darnell)
The album title refers to Jimmy Ibbotson's longtime off-again/on-again membership in The Nitty Gritty Dirt Dand, an eclectic group whose style is echoed in this far-flung record, although he had left the band in '75... Ibbotson also was a frequent collaborator with Dirt Band honcho John McEuen (notably in the band The Wild Jimbos) although McEuen doesn't appear on this album... Some notable sidemen include Canadian bluesman Ray Bonneville on harmonica and John Macy playing steel guitar. All but one of the songs were written by Ibbotson...
Joe Ice "Breaking The Ice In Nashville" (Pyramid Records 1977) (LP)
Well, despite his (--snicker, tee-hee--) cool name, this would-be honkytonker from Bayfield, Colorado actually cut an uber-DIY album which is a model of so-bad-its-good-ishness. The adenoidal Joe Ice (which was apparently his real name) was not a terribly good singer, and the production of this album is also pretty remarkable... The mix is incredibly murky, and the performances are wild and chaotic... The (unidentified) pedal steel player was pretty good, but both the lead guitar and the keyboard player were totally out of control -- note-happy and showboating whenever possible. It's definitely a country album, and Ice was definitely a country boy, but these musicians sounded like rockers at heart. Perhaps Ice could have made a more credible record with better editing and greater restraint on the part of band, but honestly it wouldn't have been half as much fun... This record really was a goofy trainwreck, and has to be heard to be believed. So, let's drink a toast to the dreams and the dreamers... Sometimes they really make those records, after all!
The Ides Of March "Midnight Oil" (RCA, 1973) (LP)
(Produced by Frank Rand & Bob Destocki)
This was the fourth album by the Chicago-based rock band Ides Of March, who had a big hit early in their career ("Vehicle") but struggled to keep their momentum in the years that followed. They "went country" on this eclectic set, anchored mostly in the boogie rock of the time, with a hint of Southern rock, but also some definite hippiebilly twang. Rusty Young, of Buffalo Springfield and Poco fame, kicks in some tasty dobro and pedal steel licks, and while a few tunes lapse into the forced rock-star profundity of the time, there are also quieter, more acoustic moments that seem pretty nice. The group disbanded after this album came out, with lead singer Jim Peterik moving into the Southern rock scene as a songwriter for artists like Sammy Hagar and 38 Special -- an improbable third act came when he founded the band Survivor (yes, that Survivor...) and scored an early-'80s megahit with "Eye Of The Tiger." Jeez...who'da thunk it? Anyway, this album isn't earthshaking, but it's certainly worth a spin if you're really delving into the history of '70s country-rock.
Harley & Patty Ihm "Cowboys And Lovers" (LCM Records, 19--?)
(Produced by Don Silvers)
A Canadian duo who came to Nashville to record... The songs are all written by Harley Ihm, including the regionally-themed "Canada Cowboy." The backing band doesn't seem to have been Nashville usual suspects -- maybe the Ihms even brought their own band(?) Anyone out there have more info about these two?
The Illinois Country Opry/Various Artists "Third Anniversary Album" (Gilbert Productions, 1971) (LP)
A souvenir record from the Illinois Country Opry, based in Petersberg, Illinois, one of the countless local "opry" variety shows that operated across the country before WSM lowered the boom and took a few of them to court over the name. This show was operated by the Gilbert family, with some family members performing on stage. I'll go out on a limb and say there were probably earlier albums in this series, as well as ones that fill in the gaps, but these are the only ones I've laid eyes on so far, so for now I'll just list the ones I know for sure were pressed as actual albums...
The Illinois Country Opry/Various Artists "Fifth Anniversary Album" (Gilbert Productions, 1973) (LP)
The Illinois Country Opry/Various Artists "Eighth Anniversary Super Album: 14 Super Hits" (Gilbert Productions, 1976) (LP)
This edition of the Illinois Opry includes Phil Decker, Carlotta Gail, Pam Gilbert, Kent Gordon and Jack Lewis...
The Illinois Country Opry/Various Artists "Ninth Anniversary Album" (Gilbert Productions, 1977) (LP)
(Produced by Chet Gilbert & Bill Olszewski)
For this album Ken Decker acted as stage manager with Pam Gilbert, Paul Lewis, Jack Lewis, Carlotta Gail and Kent Gordon featured as soloists.
Illinois Speed Press "The Illinois Speed Press" (Columbia, 1969)
The commercialized country-rock sound is usually thought of as being a Southern California export, but this band out of Chicago had an important early role in its development... Guitarists Paul Cotton and Kal David had been in a variety of garage and pop bands before meeting each other and forming this band, which honed some of the same kind of vocal harmonies and acousti-electric picking styles that flooded the LA scene. In fact, after the ISP broke up, Cotton was recruited to join an early '70s lineup of Poco, bringing some of his songs with him and staying with the band off and on for several decades. Although this earlier band had rougher, more rock'n'roll edges, their mellower numbers have a familiar feel, definitely worth checking out if you're mining deep into the mainstream country-rock sound.
Illinois Speed Press "Duet" (Columbia, 1970)
The Incredible Broadside Brass Bed Band "The Great Grizzly Bear Hunt" (Poison Ring Records, 1972) (LP)
This thumpy electrified jug band from New Britain, Connecticut had some twang in there, but mostly they were a party band, with a heavy beat echoing around the washboard and kazoo... They were sort of like the earlier, more rock-oriented Youngbloods, but with a harder, less laid-back hippie vibe. Not quite a full-on boogie-rock band like Hot Tuna or Canned Heat, but kind of in that general direction. One of the leading forces int he band was singer Bill Comeau, who is perhaps best known for his Christian folk music, recorded before and after this band was formed.
Toni Ingraham "This Is Toni Ingraham" (Artists Recording Studios, 1976-?) (LP)
(Produced by Junior Bennett)
California-born singer Toni Ingraham had a background in pop/big band vocals, including gigs with bandleaders such as Ray Anthony and Esquivel where she played Vegas and the hotel circuit... In the 'Seventies, though, she "went country" and switched to playing state fairs and rodeos. This album is an all-hits set of country covers, specializing in chart-toppers originally sung by female artists: "Funny Face," "Top Of The World," "Happiest Girl In The USA," "Teddy Bear," "No Charge," et. al. To be honest, I found her vocals a little lacking in oomph, but it's a decent snapshot of a working, ground-level country artist. The backing band, led by fiddler Junior Bennett, seems to have been all Cinnicinnati locals -- guys like Denny Rice, Gary Toy and Brownie Mannett -- though I'm not sure if Ms. Ingraham was living in the Midwest when she cut this album.
Jerry Inman "Lennon-McCartney: Country Style" (Columbia, 1968) (LP)
Jerry Inman "You Betchum!" (Elektra-Asylum, 1976) (LP)
(Produced by Snuff Garrett)
An odd but alluring album by a guy who was part of the Southern California country scene, apparently playing in the house band at the fabled Palomino nightclub around the time this album was released. He sings with a gruff, old-man voice and gives off a grizzled, rodeo-rider vibe. There are a couple of scary, bombastic pop vocal ballads that interrupt Side One, but the rest of the record has some sly, slick country stuff with curiously rough edges. A bunch of well-observed cheating songs, including Bill Haney's steamy, sleazy "She's Lying Next To Me" and equally seedy entries such as "When It Rains, Don't It Pour" and "Scotch And Soda," as well as the more novelty-oriented "Woman With A Gun" (about a wife who tracks her unfaithful hubby down at his favorite bar, and she comes packing heat...) and "She Loves To Hear The Music" (a somewhat depressing story-song about a middle-aged secretary at a Nashville music publishing company who likes to sleep with the clients... A little too backlash-y for me, I'm afraid.) Anyway, Inman was an interesting character -- this record might not leap out at you right away, but there are some subtle, effective performances that are definitely worth checking out.
International Submarine Band "Safe At Home" (LHI, 1968)
(Produced by Suzi Jane Hokum)
Before he crashed the party over at Chris Hillman's pad, Gram Parsons was working a lot of his ideas out in this short-lived rock-country combo. Most of the tracks they recorded were uneven, though charming. This album was recorded for Lee Hazelwood's LHI label, with Hazelwood's then-girlfriend Suzi Jane Hokom trying her hand as a record producer... Most of the songs were cover tunes or songs provided to the band by the label, although several Gram Parsons classics are showcased here for the first time, including irresistible gems such as "Strong Boy" and "Blue Eyes." Also includes an early version of "Luxury Liner," a song which Emmylou Harris and Albert Lee resurrected in 1977 with jaw-dropping results. This also includes a nice version of "Do You Know How It Feels to Be Lonesome," a song co-wrote with blues-rocker Barry Goldberg... Not the most cohesive album ever, but it has a nice, naive, earnest charm and it definitely worth a spin.
Iowa Lite String Band "Iowa Lite String Band" (ILSB Records, 1981)
(Produced by Iowa Lite String Band)
An ultra-DIY outing from this longhaired, Midwestern bluegrass-twang band, from Fort Dodge, Iowa. They were stronger on the bluegrass side of things, particularly banjoist Brad Wilson, who was pretty good; when they got into more of a thumpy honkytonk mode, things could get a little shaky. Great record, though, warts and all, particularly in the repertoire. The tunes are all originals, except for their live version of Hank Williams' "I Saw The Light" and a zippy runthrough of "New Blackberry Blossom," and songwriters Paul Dunn and Brad Wilson came up with some winners. Highlights include "Headin' Down To Texas," which namechecks Willie Nelson and the rest of the Lone Star groovers, as well as "Sad Arcade," which is a bittersweet, boogie-rock novelty song about a pinball wizard who can beat any machine, but wishes he had a better way to spend his time. I'm not sure if any of these guys made any other records, but this is a fine latter-day hippiebilly offering. If you like folks such as the Dusty Chaps or the Cornell Hurd Band, this is kind of in that same general range.
Iowa Rose & Riff-Raff "Steppin' Out" (Checkered Records, 1982) (LP)
(Produced by Iowa Rose & Riff-Raff)
Despite the state-specific bandname, these string-swing revivalists were apparently from (or living in) teeny-tiny Brethren, Michigan when they cut this album, a semi-nonexistent locale which is way in the middle of nowhere, up north, near Lake Michigan. The quartet probably got its name from one member, Jeff Rose, who wrote four of the band's original songs. They cover material as diverse as the swing-R&B oldie "Choo Choo Ch-Boogie," folkie Don Lange's "Old Wooley" and jazzman Nat Adderley's "Work Song."
Iron Horse "Iron Horse" (Iron Horse Records, 1981) (LP)
(Produced by Jim Dicks, Mike Yates, Ken Scheidler & Steve Lesser)
This rock/country band from Indianapolis, Indiana featured a slew of original material, most of it written by singer-bassist Jim Dicks. Songs include "Cowboy Day" and "North Dakota Reel," "Down In The Canyon," but also less rural-sounding tunes, such as "I Wanna Go To War" and "Morocco." Other bandmembers include Ken Scheidler on banjo and pedal steel, Mike Yates on acoustic guitar, and a slew of family and friends to fill out the sound around the main trio. Anyone know more about these guys?
Chuck Irvin & The Plainsmen "San Diego California" (Showboy Records, 1980) (LP)
(Produced by Chuck Irvin & Ray Griff)
Dunno much about this fella... I thought he was from California because of the album title, but it turns out he's a Canadian old-timer -- I'd guess his heyday was in the 1950s or '60s, and much of this album seems like a nostalgic journey. Some cowboy stuff and old-timey western/sentimental tunes, as well as more robust honky-tonkish material, with a debt to fellow northerner Hank Snow... Irvin sometimes sounds a little shaky as a singer, but on the whole, this is a pretty satisfying set... Definitely worth a spin!
Chuck Irvin & Jackie Corbett "Home Coming Time In Nova Scotia" (Showboy Records, 1980) (LP)
This album sticks closely to Irvin's Canadian roots, with duet vocals featuring gal singer Jackie Corbett. Along with classics like "Apple Blossom Time In Annapolis Valley" and "Home Coming Time In Nova Scotia," they sing "A Tribute To Wilf Carter" and several other songs with Nova Scotian themes.
Peter Isaacson "...Sings The Songs Of Dylan, Donovan, Lightfoot, Hardin And Others" (Altair, 1971) (LP)
Can't get much more "folkie" than this... I think Pete Isaacson started out as a folk singer in Wichita, Kansas (correct me if I'm wrong!) and he was known even as far back as the late '60s for adding electric guitar and drums to his band. Check out below for some info on Isaacson's country side...
Peter & John Isaacson "Peter & John Isaacson" (Philo/Fretless, 1975) (LP)
(Produced by Peter & John Isaacson)
A nice set of casual-sounding folk-and-country from brothers John and Peter Isaacson, with Peter being the main songwriter, lead singer and guitarist. Some of the songs are too far into the straight-up 'Seventies folk sound for my tastes, though nothing on here is at all unpleasant... The country stuff is really nice, though, particularly with the dreamy pedal steel licks added by Herb Jones on songs like "Coming Home To Houston." I thought maybe Isaacson's wife Karen was singing uncredited on a tune on a tune or two, but listening closer, it might actually be his brother, adding a near-falsetto counterpoint with a touch of the uncanny "brother harmony" feel. A really sweet, soulful album that holds up well over the years.
Itinerant Musicians License "Itinerant Musicians License" (Front Hall, 1972-?) (LP)
This hippie-folkie old-timey string band was an offshoot of the Canterbury Orchestra, an amorphous New Hampshire ensemble led by multi-instrumentalist Dudley Laufman, who plays accordion on this record... He's joined by several fiddlers -- Jack Perron, Randy Miller and Fred Breunig -- on a lively acoustic set. Laufman also recorded a solo album (or two) back around the same time.
Dennis Ivey "Dennis Ivey" (Lakeview Records) (LP)
Starting in the late 1960s and throughout the '70s, Dennis Ivey and The Waymen were the house band at the Lakeview Club, near College Station, Texas. While there, as Ivey fans like to point out, he frequently sang Terry Stafford's song, "Amarillo By Morning," which later became a Top Five hit for George Strait. As with many East Texas troubadours, fame eluded Ivey, but he did record a couple of great albums back in the day, where his Ray Price-like vocals were captured, riding atop classic Texas shuffle honkytonk.
Dennis Ivey "Texas Bound" (Lucky Day Records, 1983) (LP)
(Produced by Dennis Ivey & A. V. Middelstedt)
Dennis Ivey "Something Old, Nothing New" (IMG Records, 2008) (CD)
Hick Music Index