Jerry Waddel "...And The Right Lane" (Christy Records) (LP)
(Produced by Wayne Gailey)
This amateur album from Albuquerque, New Mexico features mostly cover tunes, stuff like "Country Roads," "Okie From Muskogee," "Green Green Grass Of Home," and a few rock oldies like "Rip It Up" and "Johnny B. Goode." There's also one original, "Mama," which he wrote for his mom. Waddel's band included Dean Smith (bass), Larry Grubbs (organ), Rodney Ross (drums) with pedal steel by Wayne Gailey, who helped produce the album as well.
June Wade And The Country Congregation "Pick Hits" (Calvary Records) (LP)
(Produced by Hugh Davies)
This Southern California country-gospel combo started in the early 1970s, with guitarist Larry Brown backing two married couples -- Dale and June Wade, and Sharon and Tracy Dartt, with the original lineup recording this debut album. Genuinely twangy, the Country Congregation was from Apple Valley, California, a tiny desert town near San Bernardino which remained their home base for more than a decade. This album came out on an independent gospel label in Fresno, although the sessions were recorded at the Capitol studios in LA, with J. D. Maness playing pedal steel... (Heck, they even got Pat Boone to write their liner notes!) The country/countrypolitan vibe is pretty strong on here, with some great musicianship from the studio crew, particularly the pedal steel. Recommended!
June Wade And The Country Congregation "Think On These..." (Manna Records, 1978) (LP)
June Wade And The Country Congregation "Meetin' Time At Calvary" (Manna Records, 1978) (LP)
(Produced by Dale Wade)
June Wade And The Country Congregation "Live Thru Love" (Foxfire Records, 1980) (LP)
(Produced by Dale Wade & Terry Dwyer)
Recorded live in Victorville, California, at the "Western Desert Gospel Sing," an event founded by the Wades in 1979 which was both an annual festival and an ongoinging local gospel jam session...
June Wade And The Country Congregation "Rise Again" (Manna Records, 1978) (LP)
(Produced by Dale Wade & Hal Spencer)
Norman Wade - see artist discography
Randy Wade "The Only Known Recordings Of..." (Busch Country, 1979) (LP)
An indiebilly outing from Tampa, Florida... This album features some original material, including "The Country's Going Country" "You Stepped On My Heart."
Randy Wade "Tell The Mirror" (NPW Entertainment, 1999)
I'm not 100% sure, but I think is the same guy, just twenty years later... A pretty commercial-sounding, Top Forty-ish good-ole-boy album, along the lines of Travis Tritt, or folks like that...
The Waggoners "The Waggoners" (Lemco Records, 1973-?) (LP)
(Produced by Cecil Jones)
Originally from Bloomington, Indiana, guitarist Charlie Waggoner started out in country music in 1952, playing on radio and backing various stars... By 1969, he'd started his own band along with his wife, singer-guitarist Roxanne Waggoner, working at Holiday Inns and clubs, as well as opening for bigger artists. They were hosting their own TV show out of Knoxville at the time this LP came out; backing them are bassist Tony Wayne and drummer Larry Clifton. The Waggoners moved around a lot -- during the "Urban Cowboy" years they were working a steady gig in Daytona Beach, Florida, though they eventually moved back to Indiana. Years later, in the 1990s, the Waggoners co-founded a sing-out religious service they called the Country-Gospel Music Church, which was held at various venues in Nashville, often with older stars of the Opry dropping in to sing a hymn or two. Towards the decade's end, they relocated the "Church" to a venue near Gnaw Bone, Indiana, where they continued the tradition.
Bodie Wagner "Hobo" (Philo, 1975) (LP)
(Produced by Bodie Wagner & Michael Couture)
Folk troubadour Bodie Wagner hailed from Ohio but he traveled across the country, performing with likeminded artists such as his brother, Pop Wagner, or with hobo poet Utah Phillips, who contributed the liner notes for this album. Wagner's latter-day rail-riding, Woodie Guthrie-esque , world-wise rambling-man folkie persona can feel a little precious -- particularly on songs such as "I'd Like To Say I'm Proud" (written from the point of view of a noble, working-class trucker) -- but this album's gentle spirit will win you over, especially with the exquisite pedal steel and dobro accompaniment by Martin Grosswendt and Wagner's own delicate fingerpicking guitar work. His brother Pop sings on one track, the uptempo "Chugga Tramp," while Jim Ringer chimes in on the chorus of "I've Been On The Road," one of several excellent songs in this strong set of all-original material. There are a couple of children's songs, numerous nods to the working class, while on the topically-themed "America," Wagner marks the end of the Vietnam War with a declamatory song which both passes judgment on the war's planners but also affirms the growing apolitical spirit of the post-Watergate era, declaring that foreign wars and other global crises are "so far from me, so far from in my heart" that he can't worry about them anymore. It's probably the most interesting song on the album (though hardly the most enjoyable) and while one can understand the fatigue people felt after the big struggles of the 'Sixties were finally over, the message is a little muddled. Overall, a nice record, though you have to be willing to get into the coffeehouse folk-singer thing to appreciate its musical side.
Rick Wagner "Where'd The Whistle Go?" (Vetco, 1981) (LP)
(Produced by Rick Wagner & Dave Gordon)
One of the Vetco bluegrass label's rare forays into non-bluegrass, folkie/novelty territory... This one's a little too folk-scene for me, though it is a nice record, with contributions from labelmates Dave & Kay Gordon, who had success with their comedic Vetco "hits," recorded around the same time. There's some nice old-timey banjo plunking and flowery arrangements with cello and viola, novelty tunes such as "Nothing Rhymes With Chimes," and the John Prine-ish "A Good Fire" that don't quite stick, but are okay. The instrumentals kind of remind me of Jay Ungar, so not quite hippiebilly twang, but hardly strictly bluegrass, either.
The Wagon Wheel "Introduction To Wagon Wheel" (Wagon Wheel Recordings, 196--?) (LP)
(Produced by Don Franklin)
This album was an interesting combination of country twang and the more static confines of the square dance sound. The Wagon Wheel label was started by caller Don Franklin, a well-known figure in the Denver, Colorado square dance scene... This album may be of interest to country fans because the core of the band was drawn from the Texas-based dixieland/twang band known as the Levee Singers, with music director Smokey Montgomery and hotshot guitarist Ronnie Dawson, a pioneering rockabilly star who settled into a mellower mode during the late '60s. Also on board are Fort Worth, TX bass player Ken Cobb and guitar picker Bill Hudson, backing Franklin and two other callers... There are some actual songs on here, though many tracks were more made for dancing. Franklin owned the label up until 1981, when he sold it to one of his engineers, who took the label into a broader direction, getting more overt country material into the mix.
The Wagonmasters "Campfire Favorites" (Omega Records, 1960-?) (LP)
Originally from North Texas near Amarillo, fiddler Billy Beeman (1927-2011) and guitarist Bobby Beeman (1929-1994) started out in a family band with their sister Shirley. While they were just kids, they made their way to Southern California in the late 1930s where they performed several times at the newly-expanded Knott's Berry Farm amusement park. In 1954, the brothers were hired full-time to form the core of the Wagonmasters, the house band for the park's Ghost Town hoedowns. The band's long residency lasted through most of the 'Sixties, when they are said to have played over nine thousand shows total. They also produced a series of dude ranch souvenir records full of cowboy/western ballads, folk tunes and country covers. On this first album, the group consisted of the Beeman brothers and Bill's wife Rachel Beeman, as well as bassist Eldon Eklund and Harvey Walker on banjo. I'm not sure when this album came out, though I'm guessing 1960-61, since it includes a cover of Marty Robbins' big hit, "El Paso," along with a slew of cowboy songs and a few bluegrass-ish tunes as well. There's also a playful dash of zippy acoustic swing on "Boysenberry Boogie," an instrumental number that underscores the Beemans' admiration for the brother duo of Hugh and Karl Farr. After the Wagonmasters broke up in 1968, the Beemans started a new group called the Lobo Rangers and hosted an annual event called the Beeman Bash, at Billy Beeman's spread in Placentia, California. The brothers were also central figures in the foundation of the Western Music Association, which celebrates cowboy music and poetry. In addition to these old LPs, Billy Beeman wrote a self-published autobiography, Chronicles Of An Old Fiddler and recorded an album with the Lobo Rangers in 1991...
The Wagonmasters "Folk Favorites" (Omega Records) (LP)
The Wagonmasters "More Folk Favorites" (Omega Records, 1964-?) (LP)
The Wagonmasters "The Last Frontier" (Omega Records) (LP)
The Wagonmasters "Wagoncamp Favorites" (Omega Records) (LP)
The Wagon Wheelers "Wagon Wheelers" (Moon Records, 198--?) (LP)
Bluegrass and oldies from this all-covers band out of Brooklyn Center, Minnesota. A mix of '40/'50s-era standards such as "Ashes Of Love," "Faded Love," "Release Me" and "She Taught Me How To Yodel," as wella s (slightly) more modern material such as Doug Kershaw's "Diggy Liggy Lo" and Willie Nelson's "Funny How Time Slips Away," and even a smidge of western swing in there as well. Not entirely sure when this came out, though it looks early '80s -- they cover "Old Flames (Can't Hold A Candle To You)", which was a hit fo Joe Sun in '78 and an even bigger hit for Dolly Parton in 1980.
Wahoo Revue "Band Xing" (Avanti, 1976) (LP)
(Produced by Rod Abernathy)
This North Carolina band was really more of a bluegrass act, but since they cover "Friend Of The Devil" (as well as Cat Stevens' "Father And Son") I suppose they should be mentioned as part of the "country-rock" side of the 'Seventies indiebilly scene...
Wahoo Revue "Campus Bluegrass" (Leather Records, 1978) (LP)
Loudon Wainwright III - see artist discography
Tom Waits "Closing Time" (Asylum, 1973)
(Produced by Jerry Yester)
Although I suppose most folks would place alt-balladeer Tom Waits more in the "jazz" world, he certainly had an affinity with and connections to the early '70s country-rock scene. A SoCal native, Waits moved to LA in his early 20s, landing a regular gig at the Troubadour nightclub while living in the same neighborhood as many of the singer-songwriters who shaped the pop sound of the 'Seventies. His debut album has a strong acoustic feel, anchored by Waits' piano, with light, sparse, intimate backing that includes cello, trumpet, a modest rhythm sction and acoustic guitars. Notable among the backing musicians is Arizona oddball Shep Cooke, who had toured with Linda Ronstadt and was still trying to make it in LA, and adds a nice country shading to many of these songs. This record's a real classic, bridging the worlds of country-rock and erudite jazz while showing the tremendous stylistic breadth and power of the early '70s music world, and setting the stage for Wait's future career. There aren't many completely perfect albums in the world -- this is one of them.
Tom Waits "The Heart Of Saturday Night" (Asylum, 1974)
(Produced by Bones Howe)
Another early classic. Although those of us with "greatest hits" ears mainly concentrate on this album's title track, all of these songs are rich and resonant, fine examples of Wait's uncanny ability to recraft jazz and blues, and great opportunities to hear him crooning in his youth. Great band behind him, too, obviously having a lot of fun.
Tom Waits "Nighthawks At The Diner" (Asylum, 1975)
(Produced by Bones Howe)
Another classic. Although not really a live concert album (it was recorded in the studio with a small live audience) this certainly reflects what Wait's live shows were like at the time, and the amazing finesse he had has an entertainer. A hefty chunk of the album is taken up with his wry, rambling, personable introductions, and he sets a cozy tone that shows just how charming and charismatic he was as a young man. The album opens with some classics, the comedic "Emotional Weather Report" and the bleary-eyed "Eggs And Sausage," working steadily through a repertoire of Bukowskian boho ballads... For country fans (and kitsch-heads alike) the highlight may be his majestic cover of the old Red Sovine hit, "Phantom 309," a corny yet eternally satisfying recitation song about a haunted semi-truck... Waits, the prematurely world-weary poet of desolation, invests a tremendous amount of emotion and sincerity into his version of this cornball novelty song, and it's fair to say that this is the definitive, ultimate version of this song (with apologies to Red Sovine fans...) This album is a great document of Waits' early career, but it's also just a darn fine record.
Tom Waits "Small Change" (Asylum, 1976)
(Produced by Bones Howe)
One of his best and best-known albums, this disc delves deep into the Bukowskian mythos of strip clubs, petty crime, heavy drinking, and skating by on the edge of society. Another classic album, with memoriable songs such as "Step Right Up," "Invitation To The Blues," "I Can't Wait To Get Off Work (And See My Baby)," and the grim title song, "Small Change (Got Rained on with His Own .38)." The bleary-eyed romaniticism of his earlier work is replaced by a finely-crafted cynicism and painfully pure disillusionment... Although an undercurrent of self-conciousness and faux-boho posturing, these songs are so good it's easy to let go of your nagging doubts about Wait's whole boho-lowlife schtick. (Don't get me wrong: I'm a Tom Waits fan, at least up to a certain point, but it's also possible to peek behind the curtain and glimpse the Mighty Oz...) Anyway, this one's another highly rewarding, must-have record. A classic.
Tom Waits "The Early Years, v.1" (Bizarre, 1991)
(Produced by Robert Duffey)
If you're into the country-tinged, folkie feel of Waits' first album, these archival albums of his earliest recordings will come as a real treat. Sweet, stripped-down demos of classic Waits compositions and other works-in-progress, recorded before he hooked up with the Asylum label. Even with the flood of Waits-ian material available in the world, this stuff stands out.
Tom Waits "The Early Years, v.2" (Bizarre, 1993)
(Produced by Robert Duffey)
Jerry Jeff Walker - see artist discography
Jimmy Walker "Swamp Country" (Swamper Records, 1966) (LP)
(Produced by Billy Grammer, Guy McColsky and Bill Brock)
Hailing from Waycross, Georgia, Jimmy Walker penned eight out of twelve songs on this album, which is rounded out with other songs by Billy Grammer, Harlan Howard, and Sheb Wooley, who wrote the title track. Walker also released several singles, and did work on some films shot at the Okefenokee Swamp Park, including the lead track on this album, a song called "Swamp Country" from a 1966 movie of the same name.
John Walker "An Okie Boy" (Candy Apple Records, 1993) (LP)
A picker and songwriter from Lincoln, Nebraska playing acoustic folk and folk-blues, with a blend of original tunes and stuff from folks like Brownie McGhee. Includes Pete Blakeslee on dobro and Steve Hanson on guitar...
Sammy Walker "Song For Patty" (Folkways, 1975)
'70s singer-songwriter Sammy Walker was originally from Georgia but moved up North and became a NYC folkie and protege of folk legend Phil Ochs. This was his first album, and shows him perhaps a little to much under Och's philosophical sway, penning the strident title track about Patty Hearst and her violent sojourn with the radical-Left SLA; political material defines much of the rest of this album -- along with the inflammatory album art -- but nothing else stands out quite as starkly as that, with the closest runner-up being "A Simple Hour Operation," a quiet weeper about reproductive health issues. The benign ghosts of Woody Guthrie and Bob Dylan cast long shadows on this earnest-folkie debut, with Ochs himself singing harmony on a couple of tunes and producing the record. Like Ochs, Walker branched out stylistically, and his next two records on the Warner label were much lusher and more expansive... though this stark acoustic set has some surprises as well.
Sammy Walker "Sammy Walker" (Warner Brothers, 1976)
Sammy Walker "Blue Ridge Mountain Skyline" (Warner Brothers, 1977)
Sammy Walker "Songs From Woody's Pen" (Folkways, 1979)
Sammy Walker "Misfit Scarecrow" (Ramseur, 2008)
Bobbie Joe Walls "Just A Little Caring" (Hurshey Records, 1973-?) (LP)
(Produced by Hurshel Wiginton)
Fairly dreadful, decidedly obscure early '70s countrypolitan from a Nashville local... Ms. Walls played Music City lounge shows for many years, crooning and playing piano at venues such as the Embers nightclub and the Piccadilly Room in the late '60s and similar gigs throughout the '70s. I suppose this album was her shot at the bigtime, with a studio crew that included elite studio pros such as Harold Bradley, Grady Martin, Pete Wade, Buddy Harman, David Briggs and the Nashville Edition providing backing vocals. The big-budget production added up to a syrupy stew of pop-vocals excess, with some modest "country" touches, but overall a schmaltzy, bombastic sound more reminiscent of Diahann Carroll or Edie Gorme than Lynn Anderson or Loretta Lynn. It wasn't out of synch with the styles of the times, but in this case the music didn't age well. Alas. There's some original stuff -- songwriter's demos, no doubt -- as well as sovers of hits like "Country Roads," "The Night They Drove Old Dixie Down," and "Help Me Make It Through The Night" (on the country side) and "Bridge Over Troubled Water" and "Candy Man" (from the pop charts). This slick-looking, professionally produced record was released on the uber-indie Hurshey label, which was founded by session singer and Hee-Haw regular Hurshel Wigniton of the Nashville Edition (who even copied the Hershey chocolate label for its logo, doubtless raising a few eyebrows in the legal profession...) I think it was was the only album released by this Music City insider.
David Walsh "On A Roll" (Charta Records) (LP)
David Walsh "Somewhere In Canada" (Charta Records, 1988) (LP)
(Produced by Charlie Field)
David Walz "Country Old, Country New" (DaJu Records, 1980) (LP)
(Produced by Judy Wyllie)
A very private, very indie, DIY country set from a deep baritone singer out of Plymouth, Michigan. The record is packed with original material, along with a couple of Kris Kristofferson covers and some oldies like "Thunder Road" and "Ghost Riders In The Sky." Walz was, in some ways, an imperfect singer, but he's also plausibly in the Dave Dudley/Ernie Ford style of deep-toned country crooners. Although he's usually a little too schmaltzy for my tastes, this album does have one real gem on it, the novelty number "Half An Hour Later," a jaunty, genuinely lustful little song about a guy who really likes having, um, special snuggle time with his loyal, loving wife, who gets him up early before the kids have breakfast and is waiting for him when he gets back home from work. Great novelty song, with an uptempo bounce that suits Walz's voice.
Jerry Glenn Ward "Focus" (Mega, 1972) (LP)
(Produced by Larry Rogers)
This lazy, dreamy set of cosmic Southern swamp-folk seems like an odd match for the usually commercially-oriented Mega label, but it sure is a nice dose of noodly '70s introspective songwriting, a cross between Tom Rush and Tony Joe White, perhaps? My eye was caught by liner notes that include country pickers such as Tommy Allsup, Lloyd Green, Buddy Spicher and Bobby Thompson, and backup singer Ginger Holladay, but despite the wealth of talent on these sessions, it's possible that this album was never actually released for sale, since all the copies out there seem to be promos. Maybe Ward was given a recording "deal" as part of a songwriting contract, or maybe Mega pressed a few copies but buried the album once they realized it had no real hit potential? Regardless, it's the kind of moody, unusual album that folk-freak fans can really get into, although there is a strong rural vibe as well, with the Arkansas-born Ward in sort of the same mode as the more experimental Southern rockers on the Capricorn label, just with more languid, stripped-down acoustic arrangements. Some interesting lyrics, as well, including the slightly sad seediness of "Whatever Your Name Is," about picking up one-night stands while out on the road. There's speculation that this might be the same Jerry Ward who played bass in Jerry Jaye's band, and that seems likely since they were both from Alabama, and Ward plays both bass and guitar on this album, and also because Jerry Jaye was signed with Mega Records in the early '70s. Anyone know more about this album?
Kenny Ward "My Favorites" (United Audio, 196--?) (LP)
A native of Selving, Ohio, Kenny Ward covers country standards by Hank Williams, Hank Thompson, Ernest Tubb, Faron Young and Johnny Cash. Includes a version of "Folsom Prison Blues." From somewhere in the early- to mid-1960s.
Kelly Warren "Little Richie Records Presents..." (Little Richie, 1977) (LP)
(Produced by Little Richie Johnson)
Singer Kelly Warren grew up in Lamesa, Texas and was a contestant in statewide beauty pageants, going back to when she was eight years old, when she won the "Little Miss Lamesa" competition. She first went into the studio to record country music in 1976, recording a single with an all-star Nashville crew, and returned the following year to cut this album with backing by pros such as Lloyd Green, Charlie McCoy, Hargus Robbins, Buddy Spicher, Kelso Herston, et. al. It's a pretty rootsy, twangy record, notably packed with original material -- although there's nothing written by Warren herself, there is one track penned by producer/label owner Little Richie Johnson, along with several songs by composers signed to his publishing house. Things didn't really click for Warren on the charts, and later on she went into singing gospel music.
The Watermelon Mountain Jug Band "Cowboy Kazoo" (Cowboy Kazoo, 1975) (LP)
(Produced by The Watermelon Mountain Jug Band)
This amiable, plangent, novelty-oriented stringband from Albuquerque, NM was sort of a cross between Jim Kweskin, Tom Lehrer and Doug Sahm -- and they plow through a fun set of uptempo tunes, including a remake of the classic, "Drop Kick Me, Jesus" (which was a cult hit for Bobby Bare in 1976.) It's credited here to lead singer Jeff Burrows, but everyone else in the world says it was written by Paul Craft, though Burrows can claim credit for refashioning it as a high-school sports chant, like Country Joe's "Fixin' To Die Rag." They also pay homage to the Texas outlaw's big Fourth of July bash, on "Willie Nelson's Picnic," so if you're keeping a list of songs that namecheck Willie (and who isn't?) then here's a good one to keep in mind. All in all, this is a nice record, though less overtly country than a lot of the other albums listed here.
The Watermelon Mountain Jug Band "Tickle Tunes" (Cowboy Kazoo, 1978) (LP)
The Watermelon Mountain Jug Band "Kids Like Us" (Cowboy Kazoo) (LP)
Sneezy Waters & The Excellent Band "You've Got Sawdust On The Floor Of Your Heart" (Sneezy Waters, 1978)
(Produced by Sneezy Waters & Ted Gerow)
Canadian singer-songwriter Peter Hodgson took on the stage name of Sneezy Waters in the early 1970s, after playing in rock bands for several years and busking on the streets of Ottawa... He's best known for his role in the stage play "Hank Williams: The Show He Never Gave," where he portrayed Hank Sr. giving the fabled New Year's Eve show that never happened... Here, on his first solo album, Waters delivers a truly odd and unruly selection of hippie-era indie twang, with a strong folkie tendency, some honky-tonk parodies and a smidgen of soft, fusion-y jazz. His voice isn't particularly appealing -- whether because of his own limitation, or because he was parodying the genre, I'm not sure -- but some of the songs are curiously resonant, particularly on the album's second side. The title track, a hard-country novelty song, is kind of fun... Not sure I'd really recommend this one, but if you're digging deep into '70s alt-country, you might want to check it out.
Sneezy Waters "Sings Hank Williams" (Borealis, 1981/1999)
Hey, I've never heard of him, either, but this is kind of a fun amateur-hour countrifying... Sneezy doesn't have the world's most amazing voice, but he has a friendly tone, and seems to be enjoying himself on these relaxed, rollicking renditions of a dozen old Hank, Sr. tunes, with a fine band backing him up. Originally released in 1981. Enjoyable!
Vic Waters "Living This Kind Of Life" (Silver Jingle, 1978) (LP)
(Produced by Jerry Michael & Vic Waters)
Chuck Watkins "Chuck Watkins Ozark Jubilee: Country Music Family Style" (??) (LP)
Robbie Watkins "Collection #1" (Hobo Records, 1977) (LP)
(Produced by Kyle Lehning & Billy Sherrill)
A feller from Baltimore, Maryland who went down to Nashville to record this set at Jack Clement's studio with backing by some old pros...
Bobby Wayne "Big Guitar" (Jerden Records, 1964) (MP3)
A pioneering rockabilly artist from the Pacific Northwest, Spokane, Washington's Bobby Wayne recorded his first single back in 1955, and crossed freely between country and rock for a few years before settling on a country career. He was known both as a singer and as a guitarist, and in the post-rockabilly, surfy early 'Sixties, Wayne released a string of singles for the Jerden label, twangy instrumentals in the Duane Eddy style, many of which were collected on this mid-'60s LP. It's not totally sizzling or terribly innovative, but these are good, solid, workmanlike rock instrumentals, certainly worth a spin if you like the style. From here, Wayne went onto gigs with Freddie Hart's Heartbeats, with Wynn Stewart and with Merle Haggard's Strangers, as well as a hippie-era position in the house band of the Palomino nightclub in LA, along with steel player Red Rhodes.
Bobby Wayne "Big In Vegas" (Crown Records, 1970) (LP)
In his youth Bobby Wayne was compared to both Elvis Presley and Johnny Cash, although on this album his vocals often seem tremulous and uneven, and it took me a while to place the comparison: he sounds a lot like Wynn Stewart, albeit with funkier, more low-rent musical backing. As with many of the Crown albums, this includes a lot of original material, made even more distinctive by Bobby Wayne's wobbly singing. Definitely worth a spin, though a little goofy overall.
Bobby Wayne & The Country Gentlemen "Songs Made Famous By Johnny Cash" (Contessa Records, 197--?) (LP)
No idea when this one came out, but from the looks of it, I'd guess the early 'Seventies, maybe around 1971 or so. It seems highly likely that it's also a reissue of earlier material.
Bobby Wayne "Outlaw" (Picadilly Records, 1981) (LP)
The tail end of Bobby Wayne's long run as a cheapo-label workhorse... Actually, this early '80s release seems to be a song-for-song reissue of a western-themed album that came out around 1966, called Ballad Of The Appaloosa, though in the Willie & Waylon era, tacking on an "outlaw" reference couldn't hurt.
Denny Wayne "...And Texas Fever" (Longhorn Records, 1981) (LP) (LP)
In the late '70s and early '80s, New Jersey-based pianist and singer Denny Wayne -- aka Dennis Wible -- led an East Coast honkytonk country band called Texas Fever which was regionally popular, particularly in the Lehigh Valley area, as well as at the Lone Star Cafe in NYC. This album is packed with cover songs, mostly outlaw-y, Waylon-esque type stuff. This edition of the band included Steve Anderson on lead guitar, Walt Lapp on bass and Terry Reiss on drums, as well as a gal simply called "Anita" adding some vocals. Wayne played piano, fiddle and guitar, and sang lead on about half the album, while letting Anita and Anderson sing lead on three tracks each. The Longhorn label was out of Humble, Texas, though I'm not sure if Wayne had relocated to the Lone Star State for a while, or just went there to cut this record. Wayne was known regionally for hosting countless live shows and for encouraging other local artists, while working a day job as a bus driver in his later years. He also recorded a couple of live albums, Denny Wayne And Texas Fever Live and Still Kickin', though I haven't been able to track any info about the where-and-when of those releases.
Jim Weatherly "Sings, His Own" (Ozark Music Company, 197-?) (LP)
This was not the same Jim Weatherly who wrote "Midnight Train To Georgia," just in case you're wondering, but rather a guy from Springfield, Missouri who had a gig in the early days of Branson. This album was a souvenir of Weatherly's show, recorded with his band, the Ozark Music Makers, which included Mike Bried, Arnie Arnold and Wendell Daniel, with harmony vocals by Sharon Stoddard. The repertoire includes original songs such as "Blonde Hair On My White Coat," "It's Not Fair To Say You Love Me," "Out Of Sight, Out Of Mind" and "A Fall From Here (Will Surely Hurt)," and it's all pretty good! Weatherly's music had a nice, rough, old-school hillbilly feel to it, reminding me of Bill Carlisle in a way, with a rambunctious, see-what-works approach that put some of the sponteneity and fun back into country music. Or, in his case, kept it alive. Real-deal old-fashioned twang that was totally out of synch with what was happening in Nashville, and pretty enjoyable as a result.
J. C. Weaver "Volume One" (Wild Turkey Music, 1977) (LP)
J. C. Weaver "J. C. Weaver" (Wild Turkey Music, 1978) (LP)
(Produced by Billy James)
Susan Webb "Bye, Bye Pretty Baby" (ABC-Anchor, 1975) (LP)
With Gib Guilbeau, Herb Pedersen, Albert Lee...
Red Dog Weber "...And Custer's Last Band" (Big Horn, 1978) (LP)
Tiny Weeks "Heavy Equipment Man" (25th Records, 1979) (LP)
(Produced by Phil Nelson)
Eric Weissberg - see artist discography
John Wells "Moods" (Nashville International, 1977) (LP)
(Produced by Ron Coats & Reggie Churchwell)
Michael Wendling & John Hanson "There's Something About The Arco Desert" (Sheepeater, 1975) (LP)
Michael Wendling "Who Could Eat At A Time Like This?" (Sheepeater, 1977) (LP)
Despite the blechhy album art, there's some nice music on here. (The cover features a garish softcore-porn painting of a nearly-naked woman standing in front of an old wood-burning stove, with her backside towards us, in a not-so-subtle pose, the Idaho mountains in the background... I'm sure the boys in the band thought this looked great at the time, but it sure makes it hard to have this record out around company or the kids...) Anyway, this guy seems to have been from the Pacific Northwest somewhere, or possibly Idaho, where the label was from, and he was a pretty good banjo picker and guitarist -- the record starts off with the bluegrassy "Hamilton County Breakdown," and moves into some spacy, cosmic folk-twang ballads and then a bunch of tracks with loop-de-looping, Leo Kottke-style guitar riffs, with subtle accompaniment on pedal steel. If you're into Kottke's hypnotic/repetitive style, this is an excelent example of his influence on other pickers, and a surprisingly well-produced indie album. Worth a spin!
Michael Wendling "31 Of Mike's Favorites On Two Discs (With Skips) From The Vinyl Era" (2013)
This appears to be a straight reissue of three albums by Wendling, including the two listed above... And I guess, based on the album title, it was mastered straight off the old LPs rather than master tapes. Now that's old school!
Ken Wesley "Heartache Remover" (Gene Breeden Studios, 1979-?) (LP)
(Produced by Gene Breeden & Chad Heasley)
The songs on this album were all written by honkytonker Ken Wesley, with backing by a studio band that included Gene Breeden on guitar, Terry Crisp on steel and Bruce Watkins on fiddle and bass. I couldn't find much info about Wesley online, other than that these songs were composed and copywritten between 1977-79, and that his full name was Franklin Kenneth Wesley. A few of his tunes were covered by other artists, notably "Oh Lousiana," which was apparently recorded by Jim & Jesse in the 1980s, and Oregon's Jerry Bradley (another singer in Gene Breeden's orbit) included a couple of Wesley's songs on his album Once More For The Good Times: "Whatever We Had" and "We Never Ran Out Of Love" (which are also on this album...) If anyone out there knows more about Ken Wesley, I'm all ears!
West "West" (Columbia, 1968) (LP)
(Produced by Bob Johnston)
West "Bridges" (Columbia, 1969) (LP)
(Produced by Bob Johnston)
Jim West "Wild Country" (Gemini Records, 1972) (LP)
(Produced by B. Anthony Palmer)
Jim West & The Texans "If I'd Left It Up To You" (Gemini Records, 197-?) (LP)
Jim West "Good Things Goin' Down" (Home Comfort Records, 1977) (LP)
(Produced by Cliffie Stone)
A truly stunning set of hardcore honky tonk music, urgently in need of reissue. This all-original album by Oregon songwriter Jim West features several absolutely devastating cheating songs, real doozies like "Her Arms Were Always Warm" and "Another Night Of Cheatin'," as well as gems such as the album's forlorn closer, "Leavin' Kind." All the songs on here were written by West, with production by West Coast old-timer Cliffie Stone, and session help from rock-solid pickers like J. D. Maness, Gene Breeden and Billy Walker... West is a superior songwriter who sounds an awful lot like the young Merle Haggard... Fans of Dale Watson are gonna want to track this one down!
Sam West IV "Country By..." (Little Richie Records) (LP)
Ken Westberry "Ken Westberry" (Crackerbox Records, 1975-?) (LP)
Originally from Miami, songwriter Ken Westberry was a rock-solid Nashviller when he recorded this album on his own independent Crackerbox label... Best known as the composer of Gene Watson's 1975 hit, "Love In The Hot Afternoon" (along with about five hundred other songs), Westberry was a former rockabilly teen who found his niche in Nashville, working with his pal Charlie McCoy in the early '60s, before McCoy had cracked into the Music City elite. Admittedly, Westberry wasn't the world's greatest singer, but he sounded okay -- kind of a cross between Bill Anderson and George Jones, if you can imagine that -- and he carries these songs well. Westberry wrote or co-wrote all the tunes on here, with some interesting songwriting partners, including Mel Tillis, ex-con Harlan Sanders, Hal Harbour on a couple of tunes, and some other guys as well. The backing is pretty good -- presumably by his band, The Memory Makers, playing in a solidly uptempo, mid-1970s Top Forty-ish style. One of the highlights is a topical song, sort of an anti-Austin anthem called "Don't Come To Texas," where he warns all the would-be outlaws of the era that they gotta have a fiddle in their band if they want to sound like Bob Wills, and generally gives the longhair crowd a good-natured ribbing. All in all, this is a strong set for an off-the-radar vanity pressing, and it's possible the cheerful-sounding Westberry just missed the wave for his brand of country by a year or two, like so many folks back then. A few years later he released a couple of singles on the Doorknob label, though nothing charted, and a couple of other albums are out there, though I haven't heard them. Anyway, this disc is definitely worth checking out, despite the goofy-looking, swingerdelic cover art.
Western Boogie Express "Western Boogie Express" (Tell International, 197--?) (LP)
(Produced by Jerry Merritt, Larry Merritt & Robin Beck)
It would be really difficult not to be totally charmed by this raw, amateurish, enthusaiastic set of '60s/'70s cover tunes. I didn't even try. This four-piece band from Yakima, Washington was made up of two married couples: Shannon and Gary Robinson, and Mitzi and Donaldson, with a little additional piano plunking by producer Larry Merritt. They cover pop, country and Motown oldies, stuff like Bob Seger's "Old Time Rock'N'Roll," Bonnie Tyler's "It's A Heartache," "Take It Easy" by the Eagles, and Hank Strzelecki's oft-covered comedic ditty, "Long Tall Texan." The sessions were crudely produced and the musicianship is hardly waht you'd call slick, but that's definitely a plus in this case... Some unexpectedly tough-toned, fuzzed-out electric guitar zings up a tune or two, almost placing this in the same category of naifish power-pop by '80s/'90s bands like the Flatmates or the Fastbacks. The guys are the very epitome of "just plain folks" musicians, true amateurs singing songs that are just plain fun to sing, and giving it their all, in their own loveably un-commercial way. Dig it.
The Western Echoes "...At Bill Dugan's Country Music Inn" (Stone Records, 1976-?) (LP)
(Produced by Bill Dugan & Bill Haskins)
Dugan's was a country music joint that opened back in 1973 in Northern Illinois -- in a little town called Half Day, near Chicago. It catered to twangfans who didn't want to drive all the way to the big city to get see a show... The Western Echoes was the house band, with musicians drawn from throughout the upper Great Lakes region, Tennessee and the upper Midwest... The featured singers were Jack Weber, who had apparently been in a few bands before this, along with Libby Sheperd and her husband, Tennessee steel player Jim Shepard... There's no date on the disc, but they cover Joe Stampley's 1975 hit, "Roll On Big Mama," so between that and the groovy feathered hair on the kid in the back row, I'm guessing this came out in '76 or thereabouts.
The Western Echos "Live At The Nashville Room: London, England" (Map Records, 1971) (LP)
(Produced by Steve Vaughan & Roy Mullins)
Strange but true: this British country-covers band is actually a completely different group from the Chicago-area ensemble listed above. Go figure. The repertoire is more oldies and hillbilly oriented, with chestnuts like "Kawliga" and "Bury Me Beneath The Willow," and a few more modern tunes such as "Together Again" and "Okie From Muskogee."
The Western Echos "Four In The Morning" (Avenue Records, 1972) (LP)
(Produced by Gordon Smith)
I guess I'd file these country-lovin' Brits under "well meaning..." Although objectively the overall impact of this album is underwhelming, they clearly had a strong appreciation for authentic country music, both in their choice of repertoire (Louvin Brothers, Ray Price, Webb Pierce) and in their simple, back-to-basics approach, with spare arrangements centered around Ken Pierce's steel guitar and some sweet licks on bandleader Roy Mullins' mandolin. There are several contending influences at play -- straightahead old-school honkytonk, tempered by a bluegrass-ish flair, particuarly on the Jim & Jesse-influenced mandolin riffs, and a western-folkie strand as well. Where they fall flat is both on the vocals and on the overall delivery -- you can really hear them trying to hit their marks, and it sounds very effortful, in that we-only-have-a-little-bit-of-studio-time way that sometimes impacts these indie albums. Okay, so they sounded a little stiff, but so what? I guess there's no way to know how much looser they were live (or even how frequently they played) but perhaps one can read between the lines on the damned-by-faint-praise liner notes from British country critic Bryan Chalker, who goes out of his way to underscore that he hasn't even listened to the record, and had only seen the band play once, noting their "rough edges," as well as their rugged sponteneity. Harsh. On three tracks, they bring in a ringer, vocalist Pete Sayers, who has a smooth, folkie tone, and closes the album with a version of "Hobo's Lullaby." On balance, though, I'd say this is worth checking out, at least if you're into the more obscure threads of where country music crept into the English musical landscape.
Western Edition "Live? Well...Almost" (Wested Records, 1975) (LP)
(Produced by Ron Mason & Western Edition)
A live set by a twangy trio from Boise, Idaho... The band included singer-guitarist Don Hughes, bassist Jerry Long and drummer Joe Miller, working through a set that included rock and pop material like "Kansas City," "Play Me" and "Rock Me Gently," as well as country tunes such as "Before The Next Teardrop Falls" and "Brown Eyed Handsome Man." There's also an original tune, "Grow Old With You," written by the album's engineer, Ron Mason. The show was recorded in July of 1975 at a place called the Hi Ho Club, in Boise.
The Western Gentlemen "The Western Gentlemen Of Reata Pass" (Rodeo Records) (LP)
(Produced by Jack Miller, Buck Coghlan & The Western Gentlemen)
Formed in 1966, this Arizona trio was made up of bassist Harold "Buck" Coghlan, fiddler Willard E. "Slim" Forbes, and singer-guitarist Jon E. Severson (aka Johnny Dakota) who was originally from the Dakotas. At the time they cut this album, they were apparently holding down a regular gig at the Reata Pass Steak House, near Scottsdale, specializing in western (cowboy) songs, along with a dash of Willie Nelson, Roger Miller and Dallas Frazier, and one song written by Severson, "Broken Dreams." All three bandmembers had long histories playing various gigs, including Johnny Dakota's stint on the Sun Valley Barn Dance show in Minneapolis, and Slim Forbes' days playing with Marty Robbins, before Robbins split for Nashville.
The Westerners/Various Artists "A Few Of The Wild Bunch" (Wild West Recordings) (LP)
(Produced by Larry Jack)
This one's a little hard to decipher, but I think the deal is that this is a collection of several artists all individually backed by a band called the Westerners. The singers are Larry Jack, Bill Kramer, Marv Lindner and Skip Stanley... The album was released on a label from Brea, California (near Anaheim) and I'm guessing the guys were working at a club in the area when they cut this disc. Marv Lindner may be familiar to squaredance fans -- he was a popular figure on the Southern California "calling" scene and cut some records back in the '70s. Skip Stanley is fondly remembered for the Sputnik-era joke-a-billy single, "Satellite Baby."
Wet Behind The Ears "Wet Behind The Ears" (American Investment Company, 1980) (LP)
(Produced by Andy Waterman)
A fairly dreadful country/folk/rock crossover album by an ambitious band from La Crosse, Wisconsin. They covered some interesting tunes, stuff like Peter Rowan's "Midnight Moonlight" and Gram Parson's "Luxury Liner" alongside a few gooey originals that teeter between sort-of countryish and disasterously fusionistic. The main problem I have here is with the vocals by Karen Deutsch, who has too much of a Joan Baez/Judy Collins folkie hangover for my tastes, but also on a few songs they get into a florid fiddle-rock sound reminiscent of It's A Beautiful Day. Not my cup of tea, although I'm sure there are others out there who might dig it.
Wheatfield "Wheatfield" (Oval Records, 1980) (CD & MP3)
(Produced by Norton Buffalo & Jim Gaines)
An eclectic, though largely rock and boogie-blues oriented band from Modesto, California... Their country side asserts itself towards the end of the album, after a series of rollicking electric guitar-and-piano based roots rocker songs. Will Hobbs, Paul Douglas, Pete Wolfe, Kenny Sawyer and Kerry Canfield, with several original songs written by Hobbs, a couple more by John Powell, and a version of Michael Dinner's "Promised Land."
Whiskers And Lace "Whiskers And Lace" (Rain Tree Studios, 1979) (LP)
(Produced by Jerry Miller & Whiskers And Lace)
A bluegrass-flavored acoustic twangband from Alexandria, Pennsylvania whose repertoire included bluegrass, jazz standards and even a version of Rodney Crowell's "Song For The Life." The trio included Kevin Curry (guitar, fiddle and mandolin), Galla Higginbotham (guitar and bass), George Higginbotham (banjo and bass).
Whiskey Creek Old Time String Band "On The Rocks" (Farmers Record Co., 1978) (LP)
Mostly stringband twang from this Fresno, California old-timey band, though they do include one song called "Country Music Life."
Whiskey Creek Old Time String Band "Hoedown Boogie!" (Grasshopper Productions, 1980) (LP)
Whiskey Dreams "100% Proof Music" (GOS Records, 1980) (LP)
Whiskey Ridge "Liquid Luxury" (Chokecherry Records) (LP)
(Produced by Lewis Marten Peterson)
A Canadian country-rock trio from Swift Current, Saskatchewan, Whiskey Ridge featured lead singer R. C. Hummel, Brian Wiebe on bass, and Marty Nelson on drums. The album includes songs by J. J. Cale ("Call Me The Breeze" and "Tulsa Time"), Bob Dylan, The Eagles ("Peaceful Easy Feeling"), Merle Haggard ("Silver Wings") and Waylon Jennings ("Rainy Day Woman") as well as a couple of songs that were probably originals by the band, though there are no songwriter credits...
Whiskey River "Whiskey River" (Northland, 1978) (LP)
Whiskey River "Whiskey River" (1981) (LP)
(Produced by Randy Scruggs)
Whiskey River "In Concert" (Whiskey River Productions, 197-?) (LP)
(Produced by Bobby Humphrey & A. Svenson)
This band from Rapid City, North Dakota was not related to the Minnesota band above... This Whiskey River had their own radio show for a couple of years on station KIMM and play all cover tunes on this album, pretty standard stuff, including two medleys of music by Merle Haggard and Don Williams. I think the first track, "Band's Gonna Do It Again" is probably a reworking of the Charlie Daniels hit... The band consisted of Mike Crawford, Bobby Humphrey, Don McLaughlin, Laurie Payseno and "Stringbean" Svenson. They may have had a couple of records before this, though I haven't tracked them down yet.
The Whiskey River Band "Blended Whiskey" (Noteworthy Records, 1982) (LP)
(Produced by Tim Hale & The Whiskey River Band)
Whisky Hollow "We Know Better" (Shotgun Music Corporation, 1983) (LP)
(Produced by Steve Beach)
Recorded and produced in Ontario, Canada, this album includes three songs written by lead singer Lew Wilde ("Barroom Devil," "Mason Dixon Line" and "Heart Of Dixie") along with one by lead guitar Guy Wilkes ("Keep On Tryin'") and a cover of Jerry Jeff Walker's "Mr. Bojangles." Also in the band are fiddler R. J. Nellzy, Pat Brousseau on bass, and Joe Allain on pedal steel.
Bob White "Steel Trek" (Longhorn/Mid Land Records, 1984) (LP)
(Produced by Ben Jack)
A pedal steel instrumentals album, recorded at Ben Jack's BeJay Studios in Van Buren, Arkansas...
Buck White & The Whites -- see artist discography
White Cloud "White Cloud" (Good Medicine, 1972) (LP)
Perhaps best known as a rock music songwriter and record producer, Thomas Jefferson Kaye worked with big-name acts such as the Kingsmen, the Shirelles and later with artists on the edge of the country-rock scene, such as Loudon Wainwright III and ex-Byrd Gene Clark. He also recorded as an artist himself, releasing a few albums under his own name, though White Cloud was his first band to make a record, with one of the more distinctly country-oriented albums. Fiddler Kenny Kosek and multi-instrumentalist Eric Weissberg were in the band, playing gigs with Kaye on the East Coast before cutting this lone album... The following year, he released a couple of more rock-oriented records under his own name.
Danny White "Country Boy" (Grand Prix, 1987) (LP)
Seriously: why should Terry Bradshaw have all the fun, when it comes to country-singing NFL pros? Danny White, late '70s punter and early '80s quarterback for the Dallas Cowboys, tried his hand at singin' a few country tunes, including (yet another) version of Mickey Newbury's "American Trilogy," and a cover of "Let It Be Me." Ride, 'em, Cowboy!
Don White "Shades Of White" (Summit Records, 1974-?) (LP)
(Produced by Kenny Hanks)
A set of country ballads and pop standards, done country(politan) style by a middle-aged Midwesterner... The Summit label was in Poplar Bluffs, Missouri, though I'm not sure if that's where Mr. White was from... One clue is a delaration on the front of the album: "Don Endorses Clyde's Chapparal Club, Home Of The Finest Food And Entertainment," a joint in Caruthersville, a tiny town about fifty miles away, way down in the southernmost tip of the state... So that seems more likely to have been his stomping grounds -- indeed, there was a Don White who was the country clerk for neighboring Stoddard County... so who knows? Anyway, he mostly played old ballads like "Stardust" and "Pennies In The Rain," though there were some genuine country numbers as well: Willie Nelson's "Night Life," Don Gibson's "Sweet Dreams," a Hank Williams oldie. The repertoire is pretty old, but I'd guess from the look of things that this was pressed in the mid- to late-'70s.
Herold White "I Remember Love" (Music City Records, 1974-?) (LP)
Mack White "Let Me Be Your Friend" (Commercial Records, 1977) (LP)
(Produced by Mack White, Don Powell & Finley Duncan)
It took Georgia-born Floridian Mack White a long time to put this record out... Working for Nashville's Wesley Rose, he released a string of reasonably successful singles, with nine songs charting on Billboard between 1973-77, including three that cracked the Top 40. This album gathers those singles and a few other songs, including four Mack White originals as well as two by the writing team of DeWayne Orender & Don Powell, and several others represented by the Acuff-Rose publishing company... There's even a version of Fred Rose's "Blue Eyes Crying In The Rain." No info on the studio musicians, but it's a good bet there were a lot of "usual suspect" Nashvillers there... White sustained his momentum for a while, but slowly slid into the Back Forty and then off the radar.
Mack White "Lonely In The Crowd" (Commercial Records, 1982) (LP)
Mike White & The Sliter Brothers "Live At Jamboree, USA" (JAM-USA Records, 1977) (LP)
(Produced by Jimmy Brightman & Ron Grayson)
A longhair band from upstate New York that had a pretty strong local following and played on the Jamboree USA TV show for much of the group's seven-year hisory... The band's teenage steel player, Buck Reid (who was not on this album), was later recruited by country star John Anderson in the early '80s to be part of his band, leading to a long career as a highly successful touring musician.
Mike White "Mike White" (MW Records, 1980-?) (LP)
Although this was billed as a solo album, he was still working with the Sliter Brothers -- four songs are credited to the Sliters, alongside several covers songs and (perhaps) another original or two...
The White Sisters "Stepping On The Clouds" (Ripcord/Charter Records, 197--?) (LP)
(Produced by Ellis Miller)
The White Sisters -- Barbara, Janice and Jayne -- were a gospel trio from Yuba City, California and were members of the Pastor First Baptist Church in nearby Biggs. They made the trek up to Washington state to record at Gene Breeden's Ripcord Studios, singing strictly gospel material, with a couple of songs written by Janice White, "Never Has A Man" and "Troubles Will Soon Be Over." Although I'm not sure how country this album is overall, they also included a version of Larry Gatlin's "It Must Have Rained In Heaven."
The White Sisters "Happy Meeting" (Ripcord/Charter Records, 197--?) (LP)
(Produced by Gene Breeden & Blaine Allen)
This album includes two songs, "Smile" and "Happy Meeting," both written by Janice White and published by Ripcord.
Tony Joe White - see artist discography
Jerry & Judie Whitener "Putting It All Together" (J & J Records, 197--?) (LP)
This husband-wife duo from from Rochelle, Illinois traveled widely as evangelical preachers, also recording a bunch of records -- unruly, surprisingly twangy stuff with a pronounced hillbilly feel, reminiscent of Wilma Lee & Stoney Cooper, along with a little fancy, Chet Atkins-y guitar. This album looks to me like it was an early-1970s offering -- they refer in the liner notes to fans who liked their older records, and say they made this album as a way to recapture the feel of those earlier recordings, so I think this may have been the first of a string of LPs they self-released in the 'Seventies, with a couple of others listed below. They really harkened back to an earlier era, with an assertive rhythm section and steel guitar propelling them through jubilee and hymnal material -- definitely not a snoozy, organ-led church music set here! I'd love to have more information about them, if anyone out there can help...
Jerry & Judie Whitener "Life Is Worth Living" (J & J Records, 19--?) (LP)
Jerry & Judie Whitener "That Same Road" (J & J Records, 1975) (LP)
Whitewater "Springtime In The White Clouds" (American Heritage Music Corporation, 1973) (LP)
(Produced by Don Cedarstrom)
I think this one was more of a folkie thing... This Idaho group featured Michael Wendling on guitar, a picker whose solo work fit more into the "new acoustic" style, as pioneered by Leo Kottke...
White Water Junction "White Water Junction" (198-?) (LP)
(Produced by Jack Gilmer)
This commercially-oriented band from Calhoun, Georgia formed in 1978 and played together through the early '80s. Multi-instrumentalist Travis Stephens was their main songwriter, with additional material provided by steel guitarist Sammy Watkins, bassist Kenny Seabolt and Deborah Pearson. They played regional gigs at nightclubs in Chattanooga and Atlanta, opening for Nashville stars such as Charley Pride, and despite this album's funky, lo-tech artwork, they were aiming at a very glossy, contemporary, Top 40 pop-country sound. Not sure when this record came out, but I'm guessing around or after 1983, when apparently they were at their peak. It certainly has the airy, synthy sound of the times.
Ricky Whitley "Sit Down Job" (Major Label, 1976) (LP)
(Produced by Stan Dacus & Ricky Whitley)
A fun, raggedly album with a wealth of original material from this Atlanta, Georgia twang-auteur... There's a lot of stylistic variety on here, with Whitley hammering out a sizzling jump blues tune at the start, then sliding into some more relaxed acoustic twang as the album goes on. In an odd way, he kind of reminds me of much later artists such as Drive By Truckers and Ryan Bingham, kind of a post-modern redneck hipster vibe, with songs about drinking and hanging out, and a definite Southern feel. Except for one song about someone acting like a monkey (which while not actually racist, still has some uncomfortable undertones...) this is pretty strong material -- laid-back, but soulful and sincere, and definitely worth a spin. Of interest to fans of older, more traditional twang, in the liner notes Whitley dedicates the album to Thomas P. Darby, of the Depression-era bluegrass/old-timey duo Darby & Tarleton, who he says was his uncle(!) Now those are some real country music roots!
Benny Whitten & Kathleen Tod "First Time Around" (Solid Sound, Inc., 1975) (LP)
(Produced by Benny Whitten)
This indie album from Kansas City includes five original songs written by Ben Whitten, with Doyle Grisham playing steel guitar as part of the Nashville pickup band. This does seem to be a country-oriented record, although a different album, Whitten & Tod, was more of a disco/funk/AOR thing, with covers of Top Forty hits such as "You Make Me Feel Like Dancing," "Car Wash" and "You Don't Have To Be A Star." Benny Whitten and Kathleen Tod were a husband-wife duo, though they might not have been married at the time this album was recorded.
Whole Wheat 100% "Whole Wheat 100%" (CNR, 1977) (LP)
Whole Wheat 100% "Ice, Fire & Desire" (AVI, 1978) (LP)
(Produced by James Pike)
This one's actually here more as a buzzkill alert: I've seen this band mentioned as a country-rock outfit, and maybe they were on their first album, but this one's definitely a slick soft-rock/disco-funk set, sort of like a cross between Atlanta Rhythm Section and Little River Band. Not much twang, though: well, there are a couple of songs with a teeny bit of CSN-ish vocal harmonies, and the very last track, "Heart Of The Mountain," is indeed a straight-ahead country-rock song... sounds just like America's "Horse With No Name." But if you're looking for a lost country nugget, this disc isn't going to do the trick.
Bill Whyte "Making Music" (Calico, 1975) (LP)
(Produced by Royce Kendall & Jeannie Kendall)
Well, first off, he had the Kendalls on board to produce his album, so that's a pretty good sign... Missouri native Bill Whyte started out playing in high school bands and made his way to Nashville to cut this album, which is packed with strong original material. It's mostly your basic hippiebilly '70s cosmic country, with witty lyrics and plenty of bouncy, loose-limbed twang... Fans of New Riders Of The Purple Sage and similar bands might have fun with this one as well. Whyte stuck around in Nashville and worked as a radio deejay at WSM, briefly relocating to Cincinnati, then moved back to settle permanently in Nashville where he held down a longterm gig at WSM. Later on he refashioned himself into a country comedy artist, and has recorded and performed extensively under that persona, and has also had considerable success as a songwriter, placing songs with Top Forty artists of a calibre such as Rebecca Lynn Howard, Craig Morgan and Joe Nichols. It all started here, though, and this is a pretty good record... worth tracking down!
Wichita "Wichita" (Hush Records, 1978) (LP)
(Produced by Garrie Thompson & Don Baskin)
This was an excellent country-rock and outlaw covers band from Sunnyvale, California... Even though the the repertoire is all cover songs, the performances are quite vibrant and accomplished, and the joyful feeling the band put into this record is completely infectious. It's too bad these guys didn't write more original material -- they were clearly a top-flight twang band with lots of experience playing live. Anyone out there have more information about this group? I'd love to hear more of their story...
The Wichita Linemen "Meanwhile, Back At The Ranch" (High Fidelity Recording Studios, 1972) (LP)
(Produced by Don Powell)
Named after the big Glen Campbell hit, the Wichita Linemen was a "house band" at the powerful AM/FM radio station, KFDI, Wichita, which was one of the most influential country music outlets in the Midwest. Formed by a couple of DJs and their friends, the group started in 1969 and recorded several LPs as well as a number of commemorative 7" singles. They toured regionally for over three decades until disbanding in the year 2000. The core members included singer Don Walton and steel guitarist Don Powell; their stage show also apparently included old-school cornpone humor of the Hee Haw variety; this album is notable for the original material, including a lot of comedic songs, including several written by Mike Oatman, Terry Burford and Don Walton. I gotta say, though, that despite the band's pedigree and long-lived duration, this debut LP isn't really all that great. Several of the singers are flat-out not very good, and the guitar pickers tend to go a little note-happy... Probably the best singer in the group was Terry Burford, who sings lead on a couple of tunes, though he struggles to find a groove inside the clunky rhythms of the band. As with the performances, the songwriting is also rather iffy. In general, editing seems to have been a problem on this project, although they do tackle the sessions with gusto, and for those of you out there who are into so-bad-it's-good Schadenfreude, this disc would be rather rewarding. Worth a spin, just to satisfy your curiousity, but don't get your hopes up too high.
The Wichita Linemen "Alive And Pickin' At Piqua" (LP)
Piqua, Kansas is a teeny-tiny little town about a hundred miles east of Wichita, perhaps best know as the birthplace of silent film comedian Buster Keaton. I dunno if the Linemen actually played there or recorded this album there, but the name does have a certain tang to it...
The Wichita Linemen "The Wichita Linemen" (Linemen Records) (LP)
I'm not sure how many albums the Linemen wound up making (or singles -- there were quite a few of those as well, along with a few other commemorative projects commisioned by KFDI that the band also took part in...) Anyway, there were at least three LPs, not to be confused with the two recorded by the British band (below) that used the same name.
The Wichita Linemen (UK) "The Wichita Linemen" (Hillside, 1975) (LP)
This appears to be an English country band that had the same idea for a bandname as the guys who were actually from Wichita... A little confusing, sure, but the world's a crazy place!
The Wichita Linemen (UK) "Lightning Bar" (Hillside, 1977) (LP)
Lewie Wickham - see artist discography
Rusty Wier - see artist discography
Ray Wilburn & Jerry Moore "Communication With Ray Wilburn And Jerry Moore" (KSS-Kennett Sound Studios) (LP)
(Produced by Joe Keene)
Nice Chet Atkins-y guitar instrumentals from a couple of Missouri locals, guitarist Ray Wilburn and bassist Jerry Moore, with modest backing by drummer Jamie Holmes. Wilburn and Holmes were from Saint Charles and Hazelwood, MO, in the suburbs of north Saint Louis, and although I doubt they played music professionally, they were both fine pickers. Side One of the album is secular, while Side Two spotlights gospel standards such as "I Am A Pilgrim," "Lonesome Valley," and "Just A Closer Walk With Thee." Classic country guitarists such as Chet Atkins and Merle Travis are echoed in the performances and repertoire... This isn't a groundbreaking record, but it sure sounds sweet.
Wildcountry "Wildcountry" (LSI Records, 1976) (LP)
(Produced by Wildcountry)
Behold, the band that would become known as Alabama. Cousins Jeff Cook, Teddy Gentry and Randy Owen all hailed from Fort Payne, Alabama, in the northern end of the state near Huntsville. They formed a band in the early '70s and plugged away for several years playing theme parks and local bars before rustling up the cash to self-produce this album. It's packed with original material, including four songs written by the band's first drummer, John Vartanian, and others by the guys who would go onto Top Forty fame. Here's where it all began...
Wild Country "Wild Country" (Mico Records, 1978-?) (LP)
(Produced by Vic Ames & J. Centinario)
Brothers Jerry and Larry Sullivan started their own band back in the early 1960s while living in Vincennes, Indiana... Years later, like so many other starry-eyed hopefuls they headed out for Nashville and, while plugging away in Music City, recorded this album. Somewhere along the line they hooked up with fiddler Jack Little, a longtime veteran of the Porter Wagoner show, as well as drummer Vic Thomas, who was also from their hometown, but had made his way to Nashville way back in '61, landing a gig with singer Nat Stuckey. This album features two Larry Sullivan originals, "Little Faces Have Big Ears" and "You're On Your Way Out," along with covers of contemporary tunes by Larry Gatlin ("Sweet Becky Walker"), David Allan Coe ("Just In Time To Watch Love Die") and early '70s staples such as "Proud Mary" and Mickey Newberry's patriotic medley, "American Trilogy." There's no date on this album, but judging from the set list and the way the guys look, I'd guess it came out around 1978-79.
Wild Country "Boogie" (Bull Records) (LP)
(Produced by Verne Leeper & Matt Frazier)
A shaggy country quartet from Columbus, Kansas, down in the Southeast corner of the state, near Joplin, Missouri. No date on the album, but I'd guess it's early '80s, like 1981-83, just from how Alabama-esque/Oak Ridge Boys-y they look in the photos. In technical terms, this is a pretty crudely made record, though mostly just regarding the production values. The band itself was surprisingly good, and songwriter Verne A. Leeper had an ambitious agenda -- a small-town kid, for sure, but he had a taste for country-rock and pop that was sophisticated and diverse. Some songs are pretty straightforward melodic twang, while others have more of a confessional, introverted quality. For example, "How Many Times" is a broken-hearted bummer song that has the definite feel of a spiral-bound notebook highschool poetry, but even so there's something compelling about the singer's abject, rueful misery as he wonders aloud, how many times did you spend the night over at my place... and where are you now? Another one of those odd, imperfect gems that float up out of the ocean of self-released records. Not a classic, but it has its charms. Decades later, Leeper was still living in Columbus, and performing occasionally as the leader of the Verne Leeper Band.
Walt Wilder "Ode To Country Music" (Homa Records, 1974) (LP)
(Produced by Randy Sherman)
An early album on the regional Oklahoma City-based Homa label, with a slew of original material written by Oklahoma native Earl Walter Rodden (aka Walt Wilder, 1936-2013) as well as by his collaborators, Rocky Craig and Gene Crysler. There's also one cover song, a version of Cowboy Copas' "Signed, Sealed And Delivered." The liner notes say that Wilder mostly worked doing construction and iron work, but that he also owned a club... Sadly, it doesn't say which club (or clubs) he owned, nor who the musicians are playing on this album... Wilder, who was also a Vietnam veteran, kicked around in Nashville in the late '60s and hung out with Gene Crysler, who was a fairly successful Music City songwriter, and they worked on some tunes together. Wilder wrote some earlier songs including "Plastic Roses" and "Oklahoma City Okie," though neither were reprised on this album.
Wilderness Road "Wilderness Road" (Columbia, 1971) (LP)
(Produced by Jack Richardson)
A satirical agit-pop band of the hippie era, Wilderness Road included alumni of Chicago's fabled Second City comedy troupe (which later fed into the early Saturday Night Live TV show...) and on their first album they devoted themselves almost entirely to lampooning country music as a way to rip on evangelical fundamentalism. The "revival" music here is a broad swipe at Christian tent preachers and the perceived gullibility of their flocks... It's a worthy target for parody, I suppose, but about as subtle as a twelve-foot, flaming red hammer with air-horns attached... Mostly, though, I just didn't like their mockery of county music, per se, since as you may have noticed, I kind of like country music and find many counterculture attacks on it (like this one) to be frequently facile and off-base. But, whatever. Musically, this was pretty accomplished, with some hot picking and a few dips into Arthur Brown-ish semi-prog that let listeners in on the joke. Fans of the Fugs, or of old National Lampoon records and Firesign Theater might get off on this as well. I found it a little too grating.
Wilderness Road "Sold For The Prevention Of Disease Only" (Reprise, 1973)
Judging from their Spinal Tap-ish glam-metal costumes, I'm guessing that the focus of this album was rock parody and not more hick mockery... But I could be wrong. Maybe one day I'll find, out and let you know...
Wildfire "In The Weave" (Prime Time Records, 1980) (LP)
(Produced by Rod Shively)
Wild Oats "Country + Blue Grass" (Alshire Records, 1971) (LP)
(Produced by Ron LeGrand)
Although this Southern California band had a relatively ignominious beginning playing day-job shows at the Disneyland and Knotts Berry Farm amusement parks, their lone album features a wealth of original material, most of it written by lead singer Ron LeGrand. The music is solidly in the cosmic country style of the hippie-era Dillards and Byrds, with drifting, airy vocals and equally fluid arrangements, centered on the willowy pedal steel. It's worth noting that the steel player was a gal named Kathy Turner -- dunno if she did music else musically, but her spacy style compares favorably to other early-'Seventies hippie steel players who were reinventing the wheel at the time. The band probably just played generic bluegrass at their park gigs, as reflected in a trio of instrumentals, including a version of "Orange Blossom Special" where fiddler Bill Cunningham interpolates the melody with that of "Malaguena." Although clearly derivative of other early country-rock records, this album holds its own -- if you liked the Easy Rider soundtrack, you'll wanna check this one out.
Wild Oats/Homer And The Barnstormers "Flaming Banjos/Blue Grass Banjos" (Alshire Records) (LP)
This cheapo twofer combines two separate albums by different bands on the Alshire label... It seems to include all the material from the Wild Oats LP, even though it misleadingly pitches it as a bluegrass-only album.
Wild Oats "Wild Oats" (TK Productions/Clouds, 1977) (LP)
(Produced by Howard Smiley, Michael Laskow & Ray Martinez)
Meh. The first side of this album sounds pretty much like wimpy, mainstream country-rock/AOR, and reminded me of the band Firefall more than anything else (which turns out to be because Firefall members Larry Burnett and Rick Roberts are singing harmony...) It's all okay, unexciting but inoffensive. But then on Side Two everything goes sideways and most of the songs are actively irritating, worst of all is the first track, "Friendship," which just one big, gooey, poorly-written, self-indulgent trainwreck of a '70s song. The main man in this band was a guy named Marc Levy, who had the kind of thin, gangly voice that's hard to take seriously at this level, but might have been endearing on a private-pressing indie album. I dunno. If you're really, really into '70s country-rock you might want to check this out, but I couldn't find any reason to hang onto this disc.
Wildwood Flour "Live At The Lamplighter Club" (Akashic Records, 1973-?) (LP)
The country-folk trio of Ken Blake, Cappy Lyons and Ronnie Routh played gigs in and around New Orleans for much of the early 1970s, including a stint at the Lamplighters Club, where they recorded this live album. The set was all cover songs, including contemporary hits such as "Country Road," "Snowbird," "For The Good Times" and "The Theme To MASH." They also sang oldies, like "Ghost Riders In The Sky" and "You Are My Sunshine," as well as some slightly more alternative songs, such as John Stewart's "July, You're A Woman." The liner notes say they were all three songwriters, though sadly none of their own original material made it onto this album.
John Buck Wilkin "In Search Of Food, Clothing, Shelter And Sex" (Liberty, 1969) (LP)
(Produced by Don Tweedy)
Despite the extremely promising album title and the presence of a bunch of Muscle Shoals and Music City heavyweights (Larry Butler, Norbert Putman, Kenny Buttrey, John Lovell, et. al.) and country-sounding song titles like "The Nashville Sun" and "Boy Of The Country," this isn't quite as twangy as one might hope. Mostly it's a flowery, poetical pop-orchestral outing of the late-'60s variety, albeit a very good one. What makes this album noteworthy is that John Wilkin was the son of legendary country songwriter Marijohn Wilkin, and he pays tribute to her with a version of her song "Long Black Veil." He also sings a couple of Kris Kristofferson songs (Kris was one of his mom's many Nashville proteges) including one, "Apocalypse 1969," that he co-wrote along with Kristofferson... Overall, this is a very solemn (though not particularly gloomy) spiritually-inclined folk-psych outing... I think he really, really wanted to me taken seriously as an artist and all that... Anyway, if you're into fancy, experimental '60s pop, you might want to give this one a whirl.
John Buck Wilkin "Buck" (United Artists, 1970) (LP)
Oh, and the other interesting fact about this guy was that, as "Bucky" Wilkin, he was the lead singer and frontman for the mid-'60s surf-pop band Ronny And The Daytonas, who had a Top Ten hit... Apparently his mom had him performing on Opry-style country shows as a little kid in the '50s, so he'd been at this whole music business thing a while. Anyway, I guess these two albums were his only solo outings... I'm curious to hear this one as well, although it also looks like it's not very country.
Billie Jo Williams "Country Music Will Always Stay In My Heart" (Farview Records) (LP)
(Produced by Tony Farr & Doyle Grisham)
Pedal steel player Tony Farr helmed this '70s session, with guitar picker Doyle Grisham listed as engineer...
Buddy Williams "My Way" (DOC Records, 1978-?) (LP)
(Produced by Bill Nash & Bert Frilot)
In the early 1960s, singer Buddy Williams was in a pop vocals band called the Epics, which had a couple of regional hits on the East Coast but basically fizzled out, despite being signed to a major label. While in college at the University of Texas, he found work as a backup singer at the ACA Records studio, and got into the orbit of Bill Nash, who produces and performs on this album, as well as contributing two songs, "Come Back To Me, Girl" and "Tender Love." Most of the other songs are covers of pop and country hits, stuff like "Country Roads Take Me Home," "Tie A Yellow Ribbon" and "Me And Bobby McGee." Williams apparently did a lot of lounge singing gigs around Houston as well as out of state.
Chickie Williams - see artist discography
David Williams "Cowboy Time" (Trapdoor Records, 1985) (LP)
An all-original set by a fella from DeKalb, Illinois...
Doc Williams - see artist discography
Gary Williams "The Gospel Singer" (Gospel Time Records, 1975) (LP)
A charmingly clunky and utterly sincere gospel album by Spokane, Washington's surprisingly prolific Gary Williams, who kicked off his career in the late 1950s as a secular honkytonk singer but got religion sometime in the mid-'60s and stuck to Jesus ever since. I love this album because of its combination of plainspoken, guileless, true-believer fundamentalism, which is perfectly complimented by his musical rough edges. Every song lyric is all, "Jesus, Jesus, Jesus..." until he gets to "The Devil," where we go over to the Dark Side for a while. If you like your country gospel plain and simple, Gary Williams is your man!
Gene Williams & The Country Junction Band "Memphis Country" (Cowboy Carl Records, 1980) (LP)
Hank Williams, Jr. - see artist discography
Mentor Williams "Feelings" (MCA Records, 1973) (LP)
(Produced by Troy Seals & Mentor Williams)
A rootsy recording session by 'Seventies songwriter and record producer Mentor Williams, who is perhaps best known for writing the song, "Drift Away," which was a Pop hit for Dobie Gray in 1973 and also hit the Country Top Ten the same year as the title track of Narvel Felts' debut album. Williams was the brother of AOR star Paul Williams, and later became the life partner of Lynn Anderson. He's backed on this album by a Nashville studio crew that included David Briggs, Dave Kirby and Weldon Myrick, along with other "usual suspect" superpickers.
Merle Williams (Pork'A Lot Records, 1978-?) (LP)
Mike Williams "The Radio Show" (A B.F. Deal Production, 1975) (LP)
Mike Williams "Free Man, Happy Man" (B.F. Deal, 1977) (LP)
(Produced by Lars Lundahl & Chet Himes)
Mike Williams "Comin Atcha" (B.F. Deal, 1979) (LP)
Fans of Texas folk-twang goddess Nanci Griffith may be familiar with Mike Williams's uber-indie BF Deal label, as her first solo album came out on BFD in 1978... Mike Williams produced, played guitar and sang backup vocals on her folk-tinged debut, and Nanci returns the favor here, singing a few sweet notes on Comin' Atcha.
Pete Williams "Sings Old Country Favorites" (Pee Wee Records) (LP)
Rex Williams "Good Time Friends" (Bear Creek, 1980) (LP)
(Produced by Dick Weissman)
Well, John Denver certainly didn't have a lock on Colorado country, as this amiable, eclectic indie acoustic album demonstrates... Not sure what Williams' story was, but he had lots of high-powered friends, including former '60s folkie and banjo guru Dick Weissman as well as bluegrasser Tim O'Brien, who at the time was still in the Boulder-based Hot Rize band. The vibe on this album is pretty mellow, but also shows wide stylistic range, spanning soft, folkie country-rock, novelty twang such as "Hurry Back," wistful romantic material and a bit of soft-rock AOR in the style of David Gates, et. al. and a bit of pastoral, back-to-nature hippiebilly, as on the title track and "Just Fishin'," which the liner notes say was featured in a film called Ventana (which I can't find any additional information about...) Anyway, this isn't a great record, but it is a nice, simple set, and a fine example of laid-back, easygoing musicmaking among family and friends, and a nice window into the Colorado indie-twang scene of the time.
Terry Williams "Magic Bottle Of Wine" (197--??) (LP)
Tuffy Williams "Tuffy" (Tuff Stuff Records, 1982) (LP)
Piano-based countrypolitan from Independence, Missouri -- mostly all-original material, with just a couple of cover tunes.
Williams World "Flash-In-The-Pan" (Viking Recordings, 1974-?) (LP)
(Produced by Wade R. Williams)
A family band from Denver, Colorado, led by mom and pop, Carol and Ralph Williams, but showcasing their thirteen-year old daughter Pam Williams, who played the banjo and wrote several of the songs on this album, including "World's A Battle Ground," which was co-written with her older sister Tammy. Mostly bluegrass standards, as well as covers of "Ghost Riders In The Sky" and Kris Kristofferson's "Sunday Morning Coming Down."
Willis/Carlan/Quinn "Tin Roof" (Sun Records, 1980) (LP)
(Produced by John Hall)
This Florida band included the trio of Danny Willis, Karen Carlan and Mike Quinn... hence the name... Although this is sometimes described as a bluegrass album, I'd peg it more "country" or country-pop. And yeah, they do country-rock covers of bluegrass standards like "Uncle Pen" and "Rocky Top," but also some new stuff that reminds me of Jonathan Edwards, as well as a couple of truly dreadful soft-rock tunes. On balance, though, this is worth checking into if you're into '70s-style country rock. Not mindblowing, but solidly in that tradition. It's also been reissued on MP3 as part of the Shelby Singleton back-catalog.
Leonard R. Willis "Everybody Lies To Linda" (Valentino, 1977) (LP)
A set of all-original material, recorded on a Nashville indie label...
Leonard R. Willis "She Won't Stay Long Enough For Breakfast" (Tangerine, 1977) (LP)
The Vic Willis Trio "Stars Of The Grand Ole Opry" (First Generation, 1981) (LP)
(Produced by Pete Drake)
Well, you gotta give the old guy credit for trying to keep up with the times... John "Vic" Willis was a surviving member of the Willis Brothers, a second-string honkytonk/pop band whose heyday was in the 1950s and '60s, and who had been Opry members since the late '40s. After one brother died and another retired in the '70s, Vic Willis decided to go it alone and recruited Curtis Young and C. W. Mitchell to round out a vocal trio... They're backed here by Pete Drake's studio crew, including Hargus Robbins on piano, a bunch of usual suspect guitatists, Pete Drake and Jimmy Crawford on steel, and Vic Willis chugging away on accordion. The accordion is the sole reminder of his 1940s origins; the rest of the record has a contemporary late '70s/early '80s feel, with glossy arrangements and slick-sounding production, and songs by writers such as Rick Beresford and Hapgood Hardy. Includes a nice version of Dave Kirby's "Colorado," alongside covers of recent hits such as "Old Flames Can't Hold A Candle To You" and "If I Said You Had A Beautiful Body." Willis seems to have been aiming at a Bellamy Brothers-style harmony vocals sound, and on a few tunes the trio sounds pretty strong, although when the other guys drop into the background, you can hear the creakiness in his voice. No worries, though: it's not a mind-blowing record, but it is a pretty credible effort for an old-timer of his era.
Willow "Willow" (20th Century Records, 1973) (LP)
(Produced by Don Black & Dennis King)
Seventies soft-rock with some country influences... I've seen mentions that this trio was originally from the San Francisco Bay Area, but haven't been able to completely confirm it yet.
Willow "Branching Out" (20th Century Records, 1974) (LP)
(Produced by Don Black & Dennis King)
This one's definitely worth knowing about if you're a fan of 'Seventies soft-rock... The trio of Kevin Dolan, Barry Fitzgerald and William McSweeney took their cues from Crosby Stills & Nash, playing a far-flung, eclectic mix of country-rock, soft-psych sunshine pop and shiny AOR, sounding quite a bit like contemporary bands such as America and Poco. This album's kind of a mixed bag -- some tracks are really nice and hold up well over the years, although when the band aims for a more rugged rock-pop sound, the songs feel slightly brittle and the album begins to feel more scattershot. Still, the mellow tunes are nice and well-produced with lots of bright harmonies and sonic texture -- this disc could definitley be considered a lost gem of the era, though twangfans may have to work at it a little to hear the country influences.
Willow Creek "Willow Creek" (Arm Records, 1979) (LP)
(Produced by Michael Fee & Richards Bruno)
Aw, phooey. You figure with a name like Willow Creek, these guys would at least pick a little bluegrass, but as it turns out they were basically an amateur, acoustic-oriented soft-rock band. I suppose there's a reasonable case to be made placing them into the '70s "country rock" sound, but only in the same way you might also include bands like America or Firefall. There are some pop-rock covers -- of the Beatles, Neil Diamond and the Isley Brothers -- as well as the "Sunshine Medley" which mashes up Jimmie Davis and Jonathan Edwards, and a little country stuff from the Jimmie Rodgers and Carter Family catalogs that closes out the album. There are also four original songs by singer Michael Fee, who was clearly the leading force in this band. This didn't really wow me, but it's yet another example of "just plain folks" making their own music, back in simpler times. Several tracks were recorded live at Burnham's Opera House, a bar in St. Louis, Missouri where Fee had previously led the house band, then called the Bushwackers.
Bill Wilson "Songs From The Catalog Of Sonobeat Music Company" (Sonobeat, 1969) (LP)
(Produced by Bill Josey Sr. & Rim Kelly)
Midwestern singer-songwriter Bill Wilson was a Vietnam veteran, still enlisted in the Air Force when he made his way to Austin, Texas and recorded this set for the Sonobeat micro-label, run by Bill Josey and his son, Rim Kelly. The abum was a songwriter's demo, with only a hundred copies pressed, and most of these passed along to music business types. Eventually it paid off: Wilson did get signed to Columbia and cut the album Ever Changing Minstrel (reviewed below) although he eventually returned to his home in Indiana after a stint in Nashville, and settled into local-legend status. The Sonobeat record remains one of the more elusive items in the folk-freak pantheon, still in need of reissue nearly fifty years after its release... It's a solid set, just Wilson and his guitar, intoning with a very serious, brooding, thoughtul folkie urgency, recalling earlier acoustic pioneers such as Tim Hardin and Tom Rush. Before cutting his Columbia LP, Wilson worked on a few equally obscure Sonopress projects -- playing guitar on records by Herman Nelson and Mariani, as well as one album with his own group from Bloomington, the Pleasant Street Band.
Bill Wilson "Ever Changing Minstrel" (Columbia/Tompkins Square, 1973)
(Produced by Bob Johnston)
This is an Americana/folk-freak "lost gem" that really lives up to the hype... Bill Wilson, an Indiana unknown who recorded one lone album for Columbia Records in 1973, was a distinctive artist whose legacy was lost for four decades, since the distribution on the original album was so poor that it practically became a mirage. He's backed on this set of driving, hypnotic originals by a top studio crew under the direction of veteran producer Bob Johnston, a set punctuated by funky bass lines, soaring vocal choruses and slippery Southern rock guitars, but most of all by his own insistent acoustic guitar and half-chanted vocals. There's a definite "hippie" vibe to this album -- cosmic, spaced-out, prophetic lyrics and a searing, solipsistic urgency -- with a richly textured, eclectic early '70s sound. Perched halfway between Tony Joe White's swampy blues raps and the outlaw folk of Townes Van Zandt, Wilson had a knack for crafting sinuous, alluring refrains, choruslike verses which he would repeat over and over like liturgical chants. Indeed, several songs on here have religious themes, notably "Father Let Your Light Shine Down," a perky, soulful song that could have made it into the country gospel canon, had Wilson gotten a little more exposure. Other gems include the wind-blown folk tune "Rebecca," and "Black Cat Blues," a chain-gang ballad worthy of Robert Pete Williams. Wilson is an artist who's difficult to pin down stylistically, evoking Jerry Reed, Tom Rush and James Talley among others, and he definitely embodies the spirit of early '70s experimentation. If any of this piques your curiosity, by all means pick this up -- it's albums like this that reissue labels were made for.
Bill Wilson "Talking To Stars" (Bar-B-Q, 1976) (LP)
(Produced by Mark Bingham & Mark Hood)
Following the flaming fizzle of his major-label debut, Williams settled back into Midwestern life, recording this equally odd album in Bloomington, with what I assume was a largely local band. (BBQ label owner Mark Bingham was another record industry refugee who came back to Indiana after a stint in LA and helped record a number of odd, obscure artists in the '70s and '80... The liner notes list a "Mac MacNally" singing backup on one track, who I assume is a teenage Mac McAnally, future Nashville songwriter; I was too lazy to look up all the other folks...) Anyway, this starts out on a similar note to his '73 album, a folkie-twang set with a spiritual undercurrent -- touches of disco, both mocking and sincere, lick around the edges of a few songs, and the lyrics seem more concerned with romance than before. On Side Two, he gets into a heavily cosmic folkie vibe, reminiscent of Tim Hardin, Fred Neil and Tim Buckley, and that's groovy if that's what you're looking for... A personal, searching album and an intriguing slice of '70s DIY Americana, but far less country twang overall.
Bill Wilson "Made In The USA" (Redbud, 1980) (LP)
(Produced by Bill Wilson & Michael Ebert)
There are still some groovy touches here -- odd, personal lyrics, unusual arrangements -- though now Wilson seems to be all but a solo performer, thrumming away on the guitar and filling the void with his impassioned vocals. He compensates by coming up with surprising sonic textures and processing his guitar sounds in a Leo Kottke-esque way. Wilson had definitely become a voice in the wilderness and had fully embraced that role -- of all his albums, this is probably the least accessible or immediately appealing, but if you work at it a little bit, it has its rewards.
Dennis William Wilson "One Of Those People" (Elektra, 1979) (LP)
Songwriter Dennis William Wilson (by the way, not the same guy as the late Beach Boy, who died in 1983...) was also a session picker who popped up on several albums throughout the '70s...
Larry Jon Wilson "New Beginnings" (Monument, 1975)
(Produced by Rob Galbraith & Bruce Dees)
An alluring debut from this Americana auteur, a growling, smoky Southern spiritualist with a funky, swampy feel similar to Tony Joe White, with an echo of Bill Withers' brand of wistful, meditative nostalgia. (He also has the same rich Georgia drawl as Jerry Reed; on a tune or two you could almost mistake the two for one another...) This idiosyncratic album didn't dent the charts, but it has a bunch of songs on it that became staples of '70s freeform radio: I remember hearing "The Truth Ain't In You" and "Broomstraw Philosophers And Scuppernong Wine" on KFAT, lo those many years ago. Most of the musicians seems to be from the Muscle Shoals side of the tracks, though country sessionman Lloyd Green plays steel on several tracks. This record's a real find and one of the decade's true classics; a one-of-a-kinder, for sure. (Reissued on CD along with his second album, reviewed below.)
Larry Jon Wilson "Let Me Sing My Songs" (Monument, 1976)
(Produced by Rob Galbraith & Bruce Dees)
His second album has a much more disciplined, streamlined, more overtly pop-folk sound -- still bluesy but less Tony Joe White, more Fred Neil, if not quite Gordon Lightfoot. It's not quite as much fun, but it did yield Wilson's lone entry into the Country charts, the mellow "I Think I Feel A Hitchhike Comin' On," which didn't go very high, but did make it into the back end of the Top 100. The country element is even more in the background, though Weldon Myrick sits in as a session player, adding a few licks on the dobro. This isn't as striking a record as New Beginnings, but still worth a spin, particularly if you're drawn to Wilson as an auteur artist.
Larry Jon Wilson "Loose Change" (Monument, 1977) (LP)
Larry Jon Wilson "The Sojourner" (Monument, 1979) (LP)
Larry Jon Wilson "Larry Jon Wilson" (Sony-BMG/Drag City, 2008)
Larry Jon Wilson "New Beginnings/Let Me Sing My Songs" (Omni, 2011)
A swell twofer reissue, with Wilson's first two albums sandwiched together. I wonder if they'll reissue the other two Monument albums as well...(?)
Mura Wilson "From Here To Nashville" (Page One Records, 1969) (LP)
Page Wilson "Road Tired, Wired And Ready" (Signal Mountain, 1983) (LP)
A stalwart of Richmond, Virginia's country scene, singer Page Wilson and his band Reckless Abandon released a couple of albums in the '80s, with Wilson later slipping into a long career as a local radio DJ. This debut album has some pretty solid, hard-country honkytonk on it, nice stuff about drinking and dreaming of lost loves and heartache... Ultimately, Wilson's story was pretty sad: he had a hard time making ends meet in his later years and when he started having health problems, things really fell apart because he didn't have health insurance and couldn't get the care he needed. In 2011, he was found dead in his home, after having suffered from various medical problems... a tragedy, really. But he left some good music behind!
Page Wilson "Best Of The Situation" (Signal Mountain, 1985) (LP)
Page Wilson "Bridge Of Love" (Plan 9 Records, 1999)
A live album...
Smokey Wilson "Country Music Boogieman" (Expression Studios. 197-?) (LP)
(Produced by Dick Knight)
This late-'70s album was recorded in Las Vegas by Lone Star honkytonker Smokey Wilson (not to be confused with the West Coast bluesman of the same name) along with his band, Texas Highway, which toured the Southwest and the Rockies in theie heyday. It's all original material, kind of a perky blend of twang and rock, with a hint of R&B in the mix. Wilson, who settled down in Cuero, Texas, has recorded several albums later in life -- during the CD era -- but I think this was his only album from his '70s outlaw days.
Clayton Winchester "Clayton Winchester" (Talon International, 1988) (LP)
(Produced by Bob Tubert & John Kelton)
A pop-country hopeful from Isleton, California (near Sacramento) singer Clayton Winchester wasn't bad, although some of these songs get a little florid, particularly on the more ballad-y end of the spectrum. Winchester kinda reminds me of Moe Bandy -- he's working in a slick but rootsy style, with a hard-country/honkytonk undercurrent that was a little at odds with the high-tech sound coming out of Nashville at the time. But a lot of these tunes may catch your ear, and it's an interesting song selection. Winchester only wrote one of the tracks, "Good As Any Man," which closes the album -- in addition there are a couple of songs provided by Linda Darell and several more credited to producer Bob Tubert. I suppose this may have been one of those songwriter showcase albums that they make in Nashville -- sort of a glorified demo tape -- but it's nice that this guy got a chance to put himself on wax. Perhaps the most notable feature is that an up-and-coming Shelby Lynne sings back-up on a few tunes, just one year before her own debut in '89.
Jesse Winchester - see artist discography
Wisconsin Opry "Live Country Music Show: Wisconsin Dells' Newest Family Attraction" (1979?) (LP)
(Produced by Jim Lake & Kent Kesterson)
A souvenir album from the Wisconsin Dells tourist attraction which in the late 1970s added a country music show to its entertainment menu... The band on this first album included three lead vocalists, Jerry Beschta, Julie Keller and Ellie Peters who take turns singing on a mix of classic oldies and newer tunes, including some hip and mildly surprising modern selections. Keller takes a pass at a cover of the old George Jones hit, "He Thinks I Still Care" and Emmylou Harris's "Boulder To Birmingham, while Peters closes the album out with a version of "The South's Gonna Do It Again." I think these folks were fairly young musicians who were probably happy to have the gig -- apparently they traveled to Missouri to record the album at the KBK/Earth City studios in Saint Louis.
Wisconsin Opry "Live" (1979?) (LP)
(Produced by Bill Schulenberg)
As on the first album, the musicians at the Dells seem to have been allowed to play stuff they liked, and made some pretty hip selections: they cover several songs that Emmylou Harris recorded in the late '70s, along with some Hank Williams, a version of "Aint Nobody Here But Us Chickens" (which I'm guessing they got off the Asleep At The Wheel version, not from Louis Jordan) as well as "Crazy," and... wait for it... wait..... wait... "Viola, An American Dream," which was a huge hit for Starland Vocal Band, but it also technically a Rodney Crowell song. The only distinctive track, really, is the novelty tune, "400 Hogs," which is sort of a shout-out to the 4H crowd. No release date on the record, but I'm guessing 1979, or maybe '80, based on the set list. Nothing special here, really, but I guess if you were at the Dells back then, possibly working as a candystriper, this might be a nice whiff of Dairyland nostalgia.
Wisconsin Opry "Live Country Music Show, v.3" (1985-?) (LP)
Jennifer Wise "Just Jennifer" (BOC/Audioloft, 197--?) (LP)
(Produced by B. J. Carnahan)
Although she's pals with producer B. J. Carnahan -- who was pals with Johnny Cash -- this album has far less twang to it than you'd expect from inside the orbit of the Macks Creek, Missouri mom-n-pop indie scene... Basically, this is a fairly generic, low-energy set of wispy folk-pop, crooned by Ms. Wise in a Karen Carpenter-esque milkiness. She wrote most of the songs on here, including two co-written with Carnahan. She also covers "Welcome To My World," David Mallett's "Garden Song" (aka "Inch By Inch," most famously recorded by Pete Seeger) and the Hank Williams oldie, "I'm So Lonesome I Could Cry," which is the most country-sounding track on the record. The album was arranged by Brad Edwards, who presumably also plays on the sessions (no musician credits, alas...) Not much to get worked up about on this one, though I did like the pedal steel on the Hank song.
Al 'Porky' Witherow "Are You Satisfied?" (Cerylaine Records, 197--?) (LP)
(Produced by Al Curven)
Born in York, Pennsylvania, Alfred "Porky" Witherow (1935-2004) was a child musical prodigy in the 1940s, and while in his teens he toured with Bob Hope's USO show during the Korean War. Settling down in Vails Gate, New York, he cut a few singles and recorded some self-released albums but seems to have retired from music sometime in the 1970s, eventually moving to Florida, where he passed away in 2004. As far as I know, this was his first full album, recorded while Witherow was a regular on the WWVA "Jamboree" sohow.
Al 'Porky' Witherow "Sings Everybody's Favorites" (Artic Records, 1974) (LP)
Al 'Porky' Witherow & Birdie Lee "Duo Dynamite" (Artic Records, 1974) (LP)
(Produced by Loryn Atwell)
Originally from West Virginia, "Miss Birdie Lee" was living in upstate New York when she joined singer Al Witherow's group, the Country Mystery, learning to play bass in order to fill an open slot in the band. On this album they mostly sang duets in a kind of old-school style reminiscent of country duos like Carl Butler & Pearl or the Mosbys, and less like the slicker-sounding stars of the day, such as Conway and Loretta. The band included Lee's husband Dallas Eugene on drums, bassist Roger Ray, fiddler June Eikard ("Canada's Lady Of The Fiddle"!), pianist Wayne Sexton, Dee Woodmore on lead guitar and Buddy Gregory playing pedal steel. The musical backing is also a little rough around the edges, in a way that I find appealing -- there was genuine twang in here, as well as a degree of amateurism that's kind of appealing, particuarly given the direction country was headed in at the time... Definitely worth a spin!
Ken Withington "Don't Try To Stop Me" (Focus Records, 1974) (LP)
Australian-born gospel singer Ken Withington (1945-1997) billed himself as "the singer from down under," though he emigrated to the US and became a citizen in 1977, eventually settling down in Kern County, California, performing both locally and on the national stage, including appearances at the Grando Ole Opry. Before his move to America, Withington also recorded in Australia, including this early '70s LP.
Ken Withington "He's Risen" (JCL/Jesus Christ Is Lord) (LP)
(Produced by Clyde Beavers)
After moving to the States, Withington became one of the clients for Nashville songwriter Clyde Beavers' gospel-oriented JCL label, which produced Southern Gospel records in the late 1970s. Withington still had some twang to him, though, as seen in his inclusion of several Hank Williams songs...
Ken Withington "I Thank You God" (JCL/Jesus Christ Is Lord) (LP)
(Produced by Clyde Beavers)
Kate Wolf - see artist discography
Allen Wolfe "So Hard To Believe" (Press Records, 1973) (LP)
(Produced by Bud Billings)
An aspiring songwriter from Fort Myers, Florida, Allen Wolfe took time out from his day job as a barber to self-release this album, which is packed with his own compositions... The testimonial liner notes are by Billie Jo Spears, who says she met him at a Florida "jam session..." The backup musicians are simply listed as the "Oak String Band," though no individual pickers are named.
Jimmy Wolford "The Hatfields And The McCoys" (Wolf Records, 1976) (LP)
A concept album about the fabled Hatfield and McCoy feud...
Austin Wood "...Swings Cross Country" (Sure Records, 1961-?) (LP)
The first LP by Missouri bandleader Austin Wood, who was one of the early musicians to set up shop in the Lake Of The Ozarks resort area. With a career dating back to 1948, Wood cut numerous singles in the 1940s and '50s and ran a venue near the Bagnell Dam originally called Austin's Nashville Opry, which was booking major national stars well into the late '60s, when the name was changed to the Austin Wood Auditorium. He also held regional gigs on radio station KTTN as well as on KOMU-TV in nearby Columbia, both as a DJ and performer. His band, the Missouri Swingsters, recorded a variety of styles, including western swing, honky tonk and even some Bill Haley-esque rock'n'roll. As far as I know he only recorded two full albums, though many of his singles have been gathered on a couple of uber-collector best-ofs, including the CDR below...
Austin Wood "Songs To Remember" (Sure Records, 1966-?) (LP)
Austin Wood "...And His Missouri Swingsters" (BACM) (CD)
Billy Wood "Just What I Had In Mind" (Music City Records, 1979-?) (LP)
(Produced by Curly Chalker & Jack Logan)
This has some of the most forthcoming liner notes I've ever seen for this kind of album... Wood describes how he'd spent the last twenty-plus years playing with his band, The Virginians, and that having hit the ripe old age of 42 and moving to New Jersey, he realized he was just plain tired of going out on tour and of all the hassles of playing live. So, he decided to make an album, mostly just for himself and his wife Lynn, to remember the good times he had playing in a country band. The disc is packed with cover tunes, including versions of "Today I Started Loving You Again," Eddie Rabbitt's "Two Dollars In The Juke Box," "Whiskey River," "Behind Closed Doors," and the like.
Little Joe Wood "With Alot Of Help From My Friends" (Sound 80 Studios, 1977-?) (LP)
(Produced by Cal Hand & Tony Matlock)
Dunno much about this low-key country-rock/folk outing from Minnesota... Wood covers some hits and oldies, as well as some original material -- his pals included pedal steel player Cal Hand, who plays on the album and co-produces, though the other players seem pretty obscure. Anyone know more about this guy?
Nancy Wood "Imagine That" (Lovelight Music, 1984) (LP)
(Produced by Byron Hill & Nancy Wood)
This double LP set collects work by Bremen, Germany's Renate Hildebrandt (aka Renate Kern) a European pop singer who "went country" in the early '80s in an effort to bump-start her flagging career. This was her second album working with Nashville songwriter-producer Byron Hill, and she sings a lot of his material as well as songs by fairly obscure writers such as Red Lane and Ava Aldridge, along with a couple by Marc Molen, who was affiliated with the Lovelight label, and I suspect was a German country artist as well. Although these tracks seldom really catch fire, it's a pretty solid set overall, with backing by a ton of Nashville studio pros: Sonny Garrish, Doyle Grisham, Fred Newell, Buddy Spicher, Chip Young and the like. Wood sings with a convincingly American accent, though she often seems a bit too controlled -- I imagine she sounded looser when singing auf Deutsch. Anyway, this is okay stuff, a little slick, but twangy enough for a spin or two. She also recorded an album under her German stage name -- Renate Kern -- in 1981, also with Byron Hill on board as producer.
Windy Wood & The Sons Of The West "Kings' Row: A Gallery Of Western Swing Masterpieces From The Reigns Of Bob Wills And Spade Cooley" (Rimstone, 1981) (LP)
Wow... there's an album title for you!! R. T. "Windy" Wood was a Texas-born western swing bandleader who played and recorded extensively over the decades, including a couple of singles way back in the 1950s, and several tape-only albums during the 'Seventies era of 8-tracks and cassettes. Wood, who passed away in 2004 at the age of eighty, was just a kid when guys like Milton Brown, Bob Wills, Leon McAuliffe and Spade Cooley were defining the western swing genre, but he learned fast and took up the baton, working with a number of veterans of old Bob Wills bands, as well as welcoming revivalists such as Ray Benson and Asleep At The Wheel. He recorded over a dozen albums, though only a handful originally came out on vinyl. Wood lived in Claude, Texas near the Panhandle until finally retiring to nearby Amarillo when he needed to move into town... But he was playing music right up to the end, mostly free shows for old-timers in rest homes and retirement communities who still enjoyed the old-time sounds.
Windy Wood "The Bob Wills Connection" (Rimstone, 1981) (LP)
Windy Wood "Classic Sound Of Western Swing" (Rimstone, 1983) (LP)
Windy Wood "West Texas Swing" (Sundown Records, 1986) (LP)
John Woodruff "Country Soul" (Woodcock, 1982) (LP)
(Produced by Brian Webster)
Bob Woods "Hillbilly Cadillac" (Bennett-House Records, 1982) (LP)
(Produced by Marley Monson & Bob Hudson)
An indie outing from a California roots-rocker who crossed rockabilly and country twang... In the early '70s, Woods played western swing in a Sacramento-based band called Tokpela, and he blends some hillbilly swing in, along with trucker twang, bar-band R&B and hillbilly boogie. Good songs, decent picking, kind of an iffy singer, but still cool in the way his musical mix anticipates the hillbilly retro of "Americana" scene bands such as Big Sandy & The Fly-Rite Boys, et. al. Woods plays lead guitar, and is backed by a wide cast of players, including pedal steel players Pat Finney and Dave Wren, Jerry McKinney on saxophone, Rex Coomes on fiddle and various harmonizers and backup singers. Nice energetic set, with most songs written by Bob Woods, three by Kevin Blackie Ferrell and a stripped-down rave-up rendition of Carl Perkins' "Soul Beat." Give 'er a spin!
Bob Woods "Don't Forget The Trains"
Bob Woods Trio "Railroad Money"
With Gene Parsons...
Bob Woods "This Town" (2011)
Lori Lee Woods "In Nashville" (Flash Records, 1972) (LP)
(Produced by Eddie Miller)
As a teenager, Missouri native Lori Woods was in a KCMO-area all-girl band called The Hurricane Girls, where she played several instruments. In 1971 she went country and set out on her own, recording a single for the K-Ark label, and then fell into the orbit of producer Eddie Miller, who helped record this album. This appears to have been a Nashville publishing demo album, with Miller contributing two songs on Side One -- "Release Me" and "Climbing The Walls" -- along with a couple by R. Williams ("All Or Nothing" and "Be What You Want To Be"), one by Tom Ghent ("Till Sunrise"), and covers of "Rocky Top" and "Crazy Arms." Ms. Woods also got to record three of her own songs, "Best Thing," "Charley Baby" and "Charleston," which were all tucked away at the end of Side Two. Sadly, there's no info on the recording date or the musicians involved, but I'm guessing 1972, as that was the year she earned a mention in Billboard as an up-and-coming new artist.
Lori Lee Woods "Touch Me (If You Care)" (Legs Records, 1981) (LP)
(Produced by Col. David Mathes)
Steve Woods & The Slingshot Band "Highway Bound" (Mercury, 1981) (LP)
(Produced by Larry Butler & Billy Sherrill)
A pretty dull album that never came close to the charts, although I'm not sure why -- it's not that different than other stuff that did well at the time. Sort of a Johnny Lee-meets-The Oak Ridge Boys vibe here, with uninspired though competent backing by a band that included fiddler/guitarist Steve Hill, a talented veteran of the Texas twang scene who later went on to work with Chris Hillman and the Desert Rose Band. This album's a dud, though, mostly because of the singer. My guess is once they had it in the can and realized it was a stiff, the label just 86-ed the promotions and let it die a quiet death. If you really, really are into the mellower end of the early '80s country sound, you could check this out, but there's certainly better stuff out there.
Woodstock Mountains Revue "Music Among Friends" (Rounder Records, 1972) (LP)
This free-floating alamgamation of folkies, post-folkies, bluegrassers and wandering roots musicians included such luminaries as Pat Alger, Eric Andersen, Larry Campbell, John Herald, banjo whiz Bill Keith, jugband pop star John Sebastian, and brothers Artie & Happy Traum... to name a few! Sometimes also called "Mud Acres," the group was sort of a fraternal lodge for mellow, super-talented acoustic musicians -- they were neighbors in upstate New York, and over the course of the years released several albums, all of which are packed with resonant little goodies...
Woodstock Mountains Revue "Music From Mud Acres" (Rounder Records, 1974) (CD & MP3)
Woodstock Mountains Revue "More Music From Mud Acres" (Rounder Records, 1977) (LP)
Woodstock Mountains Revue "Pretty Lucky" (Rounder Records, 1978) (LP)
Woodstock Mountains Revue "Back To Mud Acres" (Rounder Records, 1981) (LP)
The Wray Brothers Band "Cowboy Sangers" (CIS Northwest, 1982) (LP)
(Produced by Larry Messick & Dave Mathew)
This one looks good, although these longhaired Portlanders may have been just goofing around... The material is all originals, except for a cover of a Jimmie Skinner song ("Doin' My Time"), with promising song titles ("Briars In Her Britches," "Country Sangers," "Country By-God Music") though they have some weird instruments in the mix -- Moog, synths, orchestra bells, woodblocks -- as well as a banjo and pedal steel, so I sense a bit of tounge-in-cheekishness going on around here. Either way, I wanna check it out.
Vernon Wray "Wasted" (Vermillion Records, 1972)
A stunning ultra-indie release from Vernon Wray, the older brother of rock guitar pioneer Link Wray, who in the early 1970s dropped out for a while and moved to Tucson, Arizona, where he recorded and self-released two intense and deeply personal albums. The second record, Wasted, was originally only pressed in a few hundred copies, which he sold at local gigs. It's a remarkable album, and a real find for hardcore fans of hippie-era country, with Wray (backed by his brothers) churning through mournful, contemplative, moody folk and tough, rugged country gems -- it's a real outsider-art album, and a compelling, cohesive statement by an artist with a truly singular vision. There's little of the brash, post-rockabilly proto-grunge of the Wraymen recordings, though the same level of intensity is there, just in a seemingly quieter mode. Highly recommended.
B. J. Wright "B. J. Wright's First Album" (NSD/Soundwaves, 1980) (LP)
(Produced by Ronnie McDowell, Joe Gibson & Noel Gibson)
B. J. Wright was from Portland, Tennessee and recorded this album in Nashville, with Top Forty star Ronnie McDowell as his patron -- McDowell co-produced the album, wrote the liner notes, and contributes one song ("You Loved The Devil Out Of Me.") About half the songs are B. J. Wright originals, and I'm just gonna go out on a limb and say that the song, "J.R." was related to the Dallas TV show. This album seems to have taken a long time to put together, with sessions at four different studios and contributions from a variety of studio musicians, probably over a series of sessions.
The Wright Brothers Overland Stage Company "Cornfield Cowboys" (Wright & Perry Record Company, 1975) (LP)
Jerry Wright "My Kind Of Country" (Raboulliet Records) (LP)
From Simonton, Texas...
John Lincoln Wright - see artist discography
T. Z. Wright "T. Z. Wright" (1977) (LP)
Singer-songwriter T. Z. Wright originally hails from Oklahoma, but was living in New Mexico when he cut this album, leading the house band at a place called the Motherlode, in Red River... This album features a bunch of original material, and some swell pedal steel guitar throughout... He even kinda reminds me of Dick Feller!
Bob Wurst & The Countrified "Any Old Song" (New Image) (LP)
This Toledo, Ohio band featured lead vocals by Bob Wurst, with backing by his peeps, Jerry Lavender, Rick Spitler and Mark Hall (a group which, one might assume, had more than its fair share of teasing during their grade school days...) Anyway, this is solidly mediocre bar-band material: they play some rootsy stuff, songs like "Tulsa Time," "Take This Job And Shove It," and "The Auctioneer," as well as plenty of scary '70s pop songs, such as "You Needed Me" and "Three Times A Lady" -- whatever was popular at the time. So, eek, maybe just a little. The vocals and the picking are both a little wobbly, but like many of these kinds of records, it's a true portrait of a working band, "real folks," way beneath the Nashville radar. These guys also apparently toured with fellow Ohio twangster Gary Shope, who was a popular regional entertainer, but doesn't seem to have recorded any albums himself.
Billy Wyatt "On Dreams Alone" (Manaoa) (LP)
The Wyatt Brothers "From The Mountains To The World" (Wyatt Records, 1983) (LP)
Johnny Wyatt "One Who Cares" (Hill Country Records, 1976) (LP)
Bandleader Johnny Wyatt was a regional performer who played throughout the South and Southwest, eventually hanging his hat in Trinidad, Colorado which was his center of operations for most of the '70s. Later in the decade he also recorded a couple of singles on his own label, Wyatt Records, eventually retiring in Las Vegas. I believe this was his only LP. (Thanks to the great regional blog, Pueblo City Limits for info on this artist.)
Wyld Oats "Stage One" (1979) (LP)
This was a band from Schaumburg, Illinois... Other than that I don't have much info on them.
Wynn & John "Live At The Casa Nova" (Casa Nova Records, 197--?) (LP)
This mustachioed disco-era duo may actually have been a trio -- there's some unidentified gal pictured singing with them on the back cover -- but regardless, they seem to have been the house band for a while at the Casa Nova nightclub in Ypsilanti, Michigan sometime in the early-to-mid 1970s. They cover popular country standards such as "Country Roads," "Rocky Mountain High" and "Okie From Muskogee," as well as straight-up pop songs like "I Believe In Music," "Alone Again (Naturally)" and even a version of "Ebb Tide." So, they were a working band in the true bar-music tradition, playing what folks wanted to hear while slouched over their beers... Anyone out there know more about these guys?
Ron Wynne "From The Heart" (Jetisson Productions, 1983) (LP)
(Produced by Larry Prater & Fred Martin)
This Colorado honkytonker includes two of his own songs, "You Call The Shots" and "The Only One," along with covers of classics by Willie Nelson, Terry Fell, Hank Cochran and others...
Gail Wynters "A Girl For All Seasons" (Hickory, 1967) (LP)
(Produced by Wesley Rose)
Wow - what a weird record. I mean, it's on the Hickory label, and it's got this groovy, Mod cover art... I saw several country songs listed on the credits, along with a few '60s pop vocal hits, and Ray Stevens of all people doing the arrangements, so I thought, okay I'll bite. But there ain't no twang on this thang: Ms. Wynters, born Nancy Gail Shivel, was a preacher's daughter from rural Kentucky who developed a love of jazz and blues vocals... Here, styles herself as a white-girl soul singer, ala Dusty Springfield, and the arrangements are lavish, baroque '60s pop with a heavy dose of bluesy Northern Soul... Hardly what you'd expect on old Roy Acuff's label! Wynters frequently slides into a low, growling Shirley Bassey/Eartha Kitt mode, and while there are some "country" songs on here, they are bent out of recognition into big, brassy pop numbers -- probably the weirdest song on here is the brassy, overwrought arrangement of the Louvin Brothers' sweet, demure ballad, "When I Stop Dreaming." But even as a devoted obscuro-twang fan, I just couldn't find a rationale for hanging on to this one... I guess, though, this wasn't just some weird vanity record -- Wynters recorded for several labels and made a modest reputation for herself as a jazz-standards stylist. This album appears to have been just a matter of circumstance, with Wesley Rose willing to test the waters for more pop-oriented material, and although this was her first album, it's the only one that has any tangential conenction to country or Nashville.
Wyvon "Wyvon" (Gervasi Records, 1983) (LP)
(Produced by Jerry Shook)
This Texas honkytonk crooner's full name is Wyvon Alexander, and this record is pretty darn good. Robust, soulful, and packed with original material, this is a nice mix of hard-edged barroom ballads and smoother commercial country. This might appeal to fans of Ed Bruce, Vern Gosdin or Waylon Jennings -- kind of in that general territory. Definitely worth a spin!
Hick Music Index