Our TOPPODCAST Picks 
Stay ConnectedSome call it old country; classic country; real country. We call it traditional country, and that’s exactly what we do here at “If That Ain’t Country”.
For three hours each week, we feature the very best traditional country, honky tonk, bluegrass and western swing from the golden years ’til today. It’s pretty simple but we think you’ll like it.
Hosted by Western Red – it’s US country with an Australian twist, keeping true to the traditions that make country great.
With a genuine love and deep respect for the foundations of the genre, the legends are right alongside the best of today’s independent artists – a mix you won’t find anywhere else.
For more information, email: westernred@ifthataintcountry.net.
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In this week's episode we're featuring a relatively rare lead vocal performance from Kentucky fiddleman Hoot Hester: "On The Swingin' Side". Stints with local Louisville-area bluegrass bands lead to work with legendary road bands including Jerry Reed and Mel Tillis' Statesiders, the latter an outfit which Hester relished his time in for it's professionalism. Fellow Statesider alum Paul Franklin appears on "On The Swingin' Side" to help Hester and an all-star cast through a solid album of covers (Bob Wills pops up, naturally) and some great Hester originals, showing us fans that years before The Time Jumpers, Hester was ready to stretch out on vocals and swing!
In this week's episode we're featuring some unearthed West Coast country on the hitherto-unknown Howdy Glenn from our friends at Omnivore Recordings: "I Can Almost See Houston: The Complete Howdy Glenn" (2023). Glenn's place in country history is significant enough given that he was a black country singer based in California, but add to that fact that Howdy Glenn was a working firefighter for the City Of Inglewood, that he was once signed to Warner Brothers Records AND was nominated for an ACM Award, and you've got some serious intrigue. A full-throated, dynamic and charismatic performer, exactly why Glenn's catalogue remained buried until now is the subject of this week's show and also proved a great opportunity to play some solid 70s country even the most ardent country historians had never heard before.
WARNING: Country music nerdity alert! Well, no more than usual I suppose.. Anyway, this time it's something a little different! An unedited chat with music historian and author Scott B. Bomar ("The Bakersfield Sound", "The Byrds: 1964-1967") ahead of his latest project: "I Can Almost See Houston: The Complete Howdy Glenn" set for release on Omnivore Records on Jan. 20, 2023. Audio episode to follow, but this was a fantastic opportunity to pick the brains of Bomar who does for a living what most of us country nerds dream of. His work on the previously unknown Howdy Glenn is going to be fantastic, take a listen to the behind-the-scenes chat.
In this week's episode we're featuring the music of one of The West Coast's most popular club draws in Missouri's Gene Davis. Davis tripped over to The Golden State in '53 and his go-getter attitude, tasty guitar licks and solid country vocal saw him hired almost immediately. Establishing himself and The Gene Davis Band (later The Star Routers) as one of the most in-demand acts on the booming LA & SoCal club scene, Davis appeared alongside the area's big names on TV shows, radio and of course on stage: in no uncertain terms helping to lay the groundwork for what is now known as The Bakersfield Sound. Somewhat of a trendsetter in more ways than one, Davis' time at the legendary Palomino Club and the dazzling list of names who passed through his employ over years is testament enough to the man's musical talent and his output (though not a national hitmaker) is worthy of this week's airtime.
In this week's episode we're featuring a delightful compilation on Johnny Dollar (yes that was his real name), put out in 1982: "Down Life's Highway". Despite the vague album artwork and even more general liner notes, don't be fooled: this is a quality ten song collection of solid (mostly long forgotten) honky tonk gold. Every single song on this album was originally recorded for Chart Records between 1968-1971 (in this reviewer's opinion, Dollar's strongest career output) and there are no duds to be found. High-energy honky tonk with plenty of truck driving tunes, there's a lot of Del Reeves to Dollar's material but the latter remains a lot more obscure outside of rockabilly and hardcore country fans. Take a trip "Down Life's Highway" with Johnny Dollar and enjoy some cracking traditional country music laced with clever, catchy writing and Lloyd Green's steel guitar work.
In this week's episode we're featuring the one album release for dobro-maestro Randy Kohrs and his short-lived band The Reel Deal: "Now It's Empty" (2003). Produced by the Iowa native in his own Slack Key Studio, "Now It's Empty" was mostly recorded without overdubs using Royer, Vintage RCA and Fostex ribbon microphones to emulate a 1950s feel. With several originals fitting the mould beautifully, well-chosen covers from the George Jones catalogue, James O'Gwynn and a couple from Stonewall Jackson slide into that old school vibe nicely and Kohrs bluegrass-suited tenor lead vocal gives a strong foundation on which to lean. Production remained understated yet twangy and with steel guitar from the sensational John Hughey (still sounding magnificent even in his late 60s), "Now It's Empty" is a solid album that went under the radar at the time and is worth a re-listen.
In this week's episode we're featuring the debut album for Beaumont's George Dearborne: "Old Brown Bottle" (2020). Make no mistake though, this is not Dearborne's first rodeo. Embedded in the area music scene during the 70s and 80s, Dearborne met a teenage Mark Chesnutt when he himself was only a few years older. Years later, Dearborne and his renowned band "Branded" would become the house act at the Beaumont's legendary low-slung honky tonk Cutter's - a position held by Chesnutt only a few years prior. Nashville didn't work out for Dearborne however, and he gave music away for 22 years, picking it up again in 2016 and reforming "Branded" with new and all-star personnel. Fast making a name for himself around the Lone Star State, "Old Brown Bottle" is a welcome debut for traditional country fans who enjoy straight ahead country shuffles with a good sense of fun. The best pickers money can buy appeared on "Old Brown Bottle" and you can hear the quality with every track. Highlights are numerous: the steel guitar intro from Mike Johnson on "One More", Wes Hightower's blending with Dearborne's lead vocals on "A Fire That Just Won't Burn" and two Ray Price shuffles are obvious standouts.
In this week's episode we once again opened up the request lines to the members of our Traditional Country Tragics Facebook group for an all-request show! Requests came in from all over the USA and further afield, including cuts from Porter Wagoner, Faron Young, Slim Dusty, Daryle Singletary and plenty of curve balls. You made the playlist this week and I've got to say that you all have great taste. Cheers!
In this week's episode we're showcasing the country roots of revered Memphis-born rocker Eddie Bond: digging into Bond's back catalogue for some forgotten hard country magic and featuring a self-released LP from the 70s in tandem - "Caution: Eddie Bond Music Is Contagious". Bond's early influences were undoubtedly country and his time with The Snearly Ranch Boys before forming his own band The Stompers cemented those influences. Initially The Stompers themselves were essentially a country and western band with rockabilly overtones, taking in some legendary talent by the mid 50s including iconic steel guitarist John Hughey. But when rock 'n' roll hit Eddie Bond jumped on board, recording a slew of rockers (mostly for Mercury) between 1955-1957. Rediscovered twenty years later in the midst of the European rockabilly revival, Bond remains mostly remembered today for those rockabilly cuts but this week we're showcasing the hard country side this week of one of the few rockabillies actually born and bred in The Home Of The Blues.
In this week's episode we're featuring a Conway Twitty album taken from smack dab in the middle of his hard country years (approx. 1965-1975): "Darling, You Know I Wouldn't Lie" (1969). Turning again to his go-to hardcore country lyricist Wayne Kemp (an old running mate from his days in Oklahoma City), Twitty scored his third consecutive Top 5 hit with the cheating-themed title track. A further exploration in song of Harlan Howard's "Life Turned Her That Way" theme presents itself on "Bad Girl", promptly followed by the corresponding "Bad Man". Interesting to note both tracks written by Twitty himself, who also added a dynamite hard country shuffle to round out Side A of the album in "Table In The Corner". Even the filler from this period in Conway's career is top-notch: a cover of Tom T. Hall's "Ballad Of Forty Dollars" rips as much as the original and even though it's hard to top a George Jones vocal, the Owen Bradley/Decca arrangement and production on "When The Grass Grows Over Me" and "Window Up Above" makes for superb listening. Quality stuff!
