Great country recording

Plus Kasey to SO easy on the eyes, like a young Jessie Colter. Waylon Jennings was one lucky guy. Roy Orbison had a real good lookin’ wife too, Barbara. I saw her at the tribute show to Roy held at The Wiltern Theater shortly after his death, and she was stunningly beautiful.

I hear why some find Kasey’s voice child-like, and I agree @bob540, I like that. Julie Miller (Buddy’s wife and collaborator) has a similar quality (she’s a great songwriter, and her albums with Buddy are fantastic), as did Victoria Williams. Some also have a "problem" with Iris Dement’s voice, but she’s my absolute favorite living musical artist. I learned of her in an interview with Merle Haggard in the early-90’s, who was raving about her. His recording of her heartbreaking "No Time To Cry" (the best song I’ve heard in a long, long time) is good, but hers is imo much better. You have GOT to get her My Life album.

For a stand-out recent-ish recording of an old Country song, listen to Buddy Miller’s absolutely superb version of Tom T. Hall’s great "That’s How I Got To Memphis". Classic is an understatement! Buddy sings it SO good, and the musicians on the recording are as good as they come.

Speaking of good musicians: Emmylou Harris for years had had one of the best bands in the world, commonly known as The Hot Band. Here are some of the players who have been members: Vince Gill, Tony Brown, Rodney Crowell, guitar greats Albert Lee and James Burton (he was in Ricky Nelson’s band in the late-50’s/early-60’s, and later played for Elvis), pianist Glen Hardin, drummer John Ware (who studied with The Band’s Levon Helm in ’67), pedal steel guitarist Hank DeVito (writer of ""Queen Of Hearts", a hit for Juice Newton but done better imo by Dave Edmunds), and bassist Emory Gordy Jr. (who was also in Dylan’s band for quite a while). Buddy Miller has served as Emmylou's bandleader/guitarist/harmony singer for a number of years now.

Thanks @winoguy17, I didn’t know that. I have their All About Town and Are You Through Yet (live) albums (filed between my Redd Volkaert and Townes Van Zandt albums ;-). On what album is their version of "THIGTM"?

Quite a few people perform the song live: Marty Stuart, Rosanne Cash, Kelly Willis. A good song is a valuable thing! Al Anderson of NRBQ left the band to concentrate on writing, relocating to Nashville. A fair number of the musicians on all those 1970's L.A. singer/songwriter albums have moved there too, following the songs. 

Some excellent new additions above.

@reubent’s "Thinkin’ Problem" by David Ball, an absolute Hard Country classic in the tradition of Merle Haggard. I became an instant fan of David’s upon hearing it and him for the first time. Carrie Rodriquez & Chip Taylor (he’s the writer of "Wild Thing"!) made a coupla albums together, good stuff.

@ricpan: Cornell Hurd! He’s an Austin Texas institution, a great songwriter and live entertainer. He has the wit and humour of Dan Hicks, and has written some doozies. Junior Brown included one of them on an album of his, and Springfield Missouri’s The Skeletons (a great Roots Rock band) recorded his "If You Play With My Mind You’re Gonna get Your hands Dirty". The Skeletons’ drummer Bobby Lloyd Hicks was later a member of Dave Alvin’s (The Blasters) band. Hurd band drummer Lisa Pankratz was a member of Alvin’s band The Guilty Women.

Guitarist Paul Skelton plays on Hurd’s Fruit Shack album, and a bunch of others. He’s the guitarist of the first two albums by Wayne "The Train" Hancock, another Austin institution. Paul played in Hurd’s band when we were all still in San Jose, and then Paul and I moved to L.A. together in ’79 to seek our fame and fortune. When that didn’t pan out ;-) Paul moved to Austin to rejoin Hurd, living there until his death (a 2-pack a day man) in 2009.

To show you how small the music world is: Skelton played on those two Hancock albums, but didn’t go on the road with him. Guitarist Evan Johns did, which I didn’t know when a few years later my services were engaged for the recording of Evan’s Moontan album. Six degrees of separation!

Jessie Winchester’s debut album is a beaut, produced by The Band’s Robbie Robertson. It’s on Bearsville Records, started by The Band and Dylan manager Albert Grossman. Other Bearsville artist include NRBQ, Todd Rundgren, Foghat, Bobby Charles, and The Butterfield Blues band. Great label!

In the very late 60’s The Dillards did an album with Gene Clark of The Byrds, an album that was part of the late-60’s/early-70’s longhair Country movement, which also included Dylan’s John Wesley Harding and Nashville Skyline albums, the first two by The Band, The afore-mentioned Sweethearts Of The Rodeo by The Byrds and The Gilded Palace Of Sin by The Flying Burrito Brothers, Poco, Asleep At The Wheel, and Commander Cody & His Lost Planet Airmen (with steel guitar wiz The West Virginia Creeper and guitarist Bill Kirchen), a great live band.

The suggestion by @boxer12 of Old & In The Way is a good one. It was released in 1975 on LP by audiophile label Acoustic Disc, and features excellent recorded sound quality. They were the ultimate longhair Bluegrass band, a real bunch of hippies.

A bass player who was a member of the same band as I in San Jose (though at different times. He was leaving as I was arriving in 1971)---Todd Phillips---went up to Marin County to take mandolin lessons from O&ITW member David Grisman. Grisman told him there were a lot of really good mandolin players, but a shortage of upright bass players. Todd took his advice, and made himself into a very busy professional musician, both as a sideman and as a member of some great Bluegrass bands, working with the likes of guitarist Tony Rice, the late Art Dudley’s favorite flat-picker.

I last played with Todd in 2012 (I believe it was), and use my memory of the live sound of his 18th Century upright German bass vs. recordings of same in my evaluations of speakers and subs. I also use recordings I made (with a pair of small-diaphragm condenser mics directly into a Revox A77) of my Gretsch drumset and Paiste 602 cymbals. Better drum sound than that heard on almost all my LP’s and CD’s!

Right, @boxer12?! Even cooler, Todd ended up working with Grisman, as an equal. All it takes is talent! Todd, like the rest of us suburban musicians, became interested in Roots music after hearing it played by The Band and the other great late-60's groups, plus Dylan's John Wesley Harding and Nashville Skyline albums (recorded in Nashville with all the 1st-call studio musicians): The Byrds Sweethearts Of The Rodeo album, the Will The Circle Be Unbroken album, The Flying Burrito Brothers Sin City album, etc.

We all traced the music back to the 30's, 40's, and 50's, back to the first generation of musicians, songwriters, and singers who created it originally. While most the English guys focused on Blues (Clapton, Page, Peter Green, etc.; Richard Thompson, Albert Lee, and Dave Edmunds were notable exceptions. Thompson's Fairport Convention was very influenced by The Band and their own local music, Albert by Country guitarists and pedal steel players, Edmunds by Chuck Berry and Rockabilly), when we had drunk from the Blues well 'til we were satiated, we turned to the other major Rock & Rock ingredient: Hillbilly/Bluegrass/Western Swing, etc.

Later we would discover the music that was the direct forbearer of R & R, the Jump Blues of the late-40's/early-50's. Louis Jordan rules! Asleep At The Wheel performs Jordan's "Choo Choo Cha Boogie" (as did I in a mid-70's Bay Area band), and Lyle Lovett's Big Band digs into the style. Dozens of "honkers" (sax players) and "shouters" (singers such as Big Joe Turner) were making the music that Elvis, Jerry Lee, and all the other white hillbillies were listening to on the Race stations in the South, along with The Grand Old Opry. There is a great Jump Blues double-LP compilation entitled Honkers & Shouters, a good introduction to the genre.