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 episode, we're featuring a 2004 album from Oregon cowgirl Joni Harms: "After All". Having written or co-written all 13 tracks on the album - and with some great Nashville studio talent to back her up - you can't help but feel that these songs are a snapshot of life in Joni's hometown of Canby, Oregon. With a sincerity and authenticity that's hard to come by unless you're the real deal - on this album Joni makes her way through familiar subject matter ranging from matrimonial celebrations in "A Cowboy Wedding", to dancing on a Saturday night in "West Texas Waltz", to life out on the ranch in "Cowboy Coffee". The songs are consistent with Joni Harms' entire career - wholesome and family oriented (so is Joni) - and with a warmth and genuineness of character that's as evident in person as it is in her music, this stellar release really was a pleasure to feature.
In this episode, we're featuring a 1991 tribute from Johnny Paycheck to George Jones: Johnny Paycheck Sings George Jones. It's true that Paycheck's vocals were on the decline in the early '90s, having recently served a 22-month prison sentence, but to hear this album is a country music timepiece: Jones was the man who gave Paycheck his first regular gig in Nashville - playing bass and steel guitar as part of The Jones Boys - and the two remained close friends until Paycheck's death in 2003. There were those who suggested George Jones' iconic warble was based on Johnny Paycheck's own sound, or vice versa - but as a boss, friend and mentor, Paycheck and Jones were inextricably linked until the very end - indeed, it was Jones who paid for Paycheck's burial plot in Nashville when he passed. That fact alone makes this tribute album required listening.
In this episode, we're featuring the latest EP from East Texas' own Jake Penrod: Out Of Control. Early on in his career, Jake made his mark as a Hank Williams-influenced country musician - physical similarities notwithstanding, he adopted his own take on Hank's nasal moan and forged a critically acclaimed path doing so. However, on this latest EP, which I won't hesitate to call his breakout release - Jake Penrod has come into his own sound - a sound reminiscent of his hillbilly influences in Hank and Lefty, but with a 21st century clarity, individuality and one helluva range. Jake wrote all the tracks on this EP, employed the best session musicians in Bobby Flores, Jake Hooker and Randy Reinhard on steel - and the result is sublime.
In this episode, and back by popular demand, we're again featuring the most successful commercial album for Texas icon Johnny Bush: You Gave Me A Mountain (1969). Bush's career, as detailed by Pete Drake on the rear of the vinyl album, had hit stumbling blocks at every turn, and had been turned by down by most of the major labels of the day. Drake, though, heard something in his voice which "just needed the right song". So the steel-guitar maestro signed the unknown Bush, and the one-time drummer for Ray Price's Cherokee Cowboys launched himself to the brink of stardom with this album - the title track going to #7 on the charts. But overall, it must be said that this is one of the finest examples of why Johnny Bush is regarded as a Texas honky tonk icon - the notes that he hit are mountainous, sure enough.
In this episode, we're featuring the 1969 debut on the Smash label for Linda Gail Lewis: The Two Sides Of Linda Gail Lewis. Like her older brother Jerry Lee Lewis, Linda Gail later cut plenty of high-energy rock and roll material, but unlike him, this was her most successful release of her relatively short country career. Featuring a Top 10 duet with said older brother in Don't Let Me Cross Over and some choice Hank Williams and Hank Locklin cuts, this is yet another release from a family so flush with talent they could try their hand at rock and roll, country and even boogie woogie. Thankfully on this wonderful debut, Linda Gail Lewis chose country.
In this episode, we're featuring a 1965 release from Starday Records, highlighting a different side of Roger Miller: Wild Child (Madcap Sensation Of Country Music). This album illustrates the early honky tonk sides of Roger Miller - rather than the novelty songs which were making big money for Miller and Smash records at the time - including some he wrote himself, and a few covers, done very nicely in a style you don't hear too often from this top notch country singer/songwriter: Under Your Spell Again, Country Girl and Playboy - while hits for other artists - are expertly covered here by a Miller and a laidback Nashville team. This album, packaged to entice fans of Dang Me and Chug-A-Lug, uncovers a hard country side of Roger Miller that would likely be new to the casual fan. Top quality release.
In this episode, we're featuring a 2015 self-titled release from North Carolina-based The Malpass Brothers: The Malpass Brothers (2015). Sporting pompadours and rhinestone western suits, these two are a throwback to the days when close harmony and traditional country music ruled the airwaves. Many of the songs on this album are well-chosen covers, but there are a few great originals too, which blend in so well with the late 50s/early 60s material you wouldn't know. Highlights include I Met A Friend Of Yours Today (Mel Street), A Death In The Family (Bill Anderson) and Satan And The Saint (The Louvin Brothers) where their brotherly harmonies are on show in exquisite fashion. Endorsed and produced by bluegrass legend Doyle Lawson this is proof that traditional country music lives in the twenty-first century.
In this episode, we're featuring a 1969 compilation album on the Pickwick label: Guest Stars Of The Hee Haw Show. As the name suggests, the music featured here is all from artists who appeared on the massively successful Hee Haw TV show in it's first year on air, carried to a national audience on the CBS network. However, the music from these artists, including George Jones, Sonny James, Faron Young and Ferlin Husky - is all from the very early parts of their careers - mostly the 50s through the early 60s - and as such, it's a unique look into some of the traditional country music sounds of that era. Particularly strong cuts from Bakersfield icon Wynn Stewart, who was a good friend and mentor to Buck Owens.
In this episode, we're featuring the biggest selling record in the career of Johnny Sea: The World Of A Country Boy (1964). Gulfport, Mississippi can lay claim to this prodigious baritone, who owes an awful lot to Johnny Cash on this record - at least in terms of sound - but who's choice of material differentiates it from The Man In Black. Some great covers of some classics on this album, including Blue Moon Of Kentucky and Mystery Train, as well as the lead off (and most successful) single: My Baby Walks All Over Me.
In this episode, we're featuring the biggest album for Jeannie Seely from the 1970s: Can I Sleep In Your Arms/Lucky Ladies (1973). Known as "Miss Country Soul" in the country music fraternity, this Pennsylvania native certainly doesn't lack for feeling in this release on MCA Records - her first after a short career at Decca. Jeannie's style shines on this album, from classic ballads like the title track to a tongue-in-cheek nod to her home state in Farm In Pennsyltucky. 
