Some 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: firstname.lastname@example.org.
Become a supporter of this podcast (with thanks!!): www.patreon.com/ifthataintcountry
George Jones, Melba Montgomery & Judy Lynn - A King & Two Queens
In this week's episode we've got a magnificent snapshot of the talented United Artists country roster: "A King & Two Queens" (1964). Initially conceived as a soundtrack-centric label in conjunction with it's film wing, United Artists Records later expanded to jazz and rock and roll. Furthermore, when the legendary Pappy Daily moved from Mercury/Starday to United Artists in 1962, he brought George Jones with him. Also along for the ride was the newly-signed Melba Montgomery and Judy Lynn, both fresh to UA in 1963 and 1962 respectively. Even though "A King & Two Queens" is a compilation of previously released material, pretty typical for the era, it feels slightly more cohesive in that each artist has four cuts and they rotate evenly throughout the LP. But more importantly is the quality of the material: straight ahead fiddle-and-steel honky tonk with no messing around. A snapshot of the small but mighty country roster at United Artists in 1964.
Porter Wagoner - I'll Keep On Lovin' You
In this week's episode we're featuring a 1973 album from Porter Wagoner: "I'll Keep On Lovin' You". Porter was churning out three or four LPs a year for RCA at this point, his TV show was still as popular as ever and his duets with Dolly Parton were about near their commercial peak. The Grand Ole Opry star maintained a superb level of consistency in his traditional country output and does again here on our feature album. Buck Trent's electric banjo is front and centre on "Can You Tell Me" as is Porter's easy style of recitation (this reviewer is a sucker for those) on "Through The Eyes Of A Blind Man". And despite any working or personal differences that came after 1973, Wagoner was not too proud to use Dolly Parton's prodiguous skill as a writer on this album, cutting four from Dolly's pen including a couple of gems in "Jasper County Law" and "Talkin' To Myself". Like many Opry stars of the past, Wagoner doesn't get a whole lot of love in conversations about country music these days but as we'll discover, his back catalogue is absolutely worth exploring.
Johnny Russell - Here Comes Johnny Russell
In this week's episode we're featuring the final album in Johnny Russell's six short years at RCA Records: "Here Comes Johnny Russell" (1975). A big man with a big heart and a big voice, Russell turned to songwriting in his mid-teens (mostly out of necessity) and in 1959 scored a B-side on Jim Reeves monster "He'll Have To Go". Russell's "In A Mansion Stands My Love" got the attention of Chet Atkins and it was that relationship which bore fruit many times over for the talented Mississippi entertainer. "Act Naturally" from Russell's pen proved highly lucrative when Buck Owens and a slew of others cut it in 1963 onwards, and he was soon hired to The Wilburn Brothers' Surefire Music where he worked for a number of years. Like many performers however, Russell wanted to sing - growing frustrated at his lack of opportunities he even moved back to California for a time before Atkins finally put him on RCA in 1971. Recognition in the form of several hits songs came Russell's way and his output over six years remained consistently strong. "Here Comes Johnny Russell" is an enjoyable listen and worthy of a feature this week.
Reba McEntire - Have I Got A Deal For You
In this week's episode we're traveling back to the mid-80s and remembering the two year, two album period where Reba McEntire could have staked her claim as the pre-eminent female voice of country's new traditional movement. Our feature album this week is 1985's "Have I Got A Deal For You", which continued Reba's sensational start for MCA Records (following up "My Kind Of Country" (1984)). Speaking of that period in her career in a later interview, Reba said: "I wanted steel guitar. I wanted fiddle. I didn’t want the orchestra coming in and playing on my songs. I wanted more country songs." And a move from Mercury to MCA saw that desire come to fruition - albums with well-selected songs dripping with steel guitar from Weldon Myrick and playful fiddle licks from fiddle maestro Johnny Gimble were hallmarks of Reba's material at this stage. As the new traditional movement really kicked into gear, however, McEntire's sound drifted further towards the pop charts and by the end of the decade 1985's "Have I Got A Deal For You" was ancient history. But what a history - let's explore!
Roy Drusky - Greatest Hits, Vols. 1 & 2
In this week's episode we're cherry-picking the best hard country cuts from our twin feature albums on Roy Drusky: "Greatest Hits, Vols. 1 & 2" [1965, 1968]. Blessed with a heckuva radio voice, when Drusky's baseball dream didn't materialise he found work as a DJ at several stations before coming to prominence as a songwriter. Hits with Faron Young and others in the late 50s eventually lead to a contract with Shelby Singleton's Mercury outfit in 1963. Seen largely as Mercury's answer to Eddy Arnold, Roy Drusky's smooth baritone fell firmly into the country crooner category; a subgenre out of favour with country fans today (a fact which might explain Drusky's relatively obscurity despite his success). However, with a keen ear for a good country song, Roy Drusky cut a number of great traditional country songs during his 60s heyday and we'll pull 'em out for ya this week!
Sean Burns & Lost Country - We Gotta Lotta Truckin' To Do
In this week's episode we're jumping in the semi and travelling north to get our twang on with Winnipeg's Sean Burns & Lost Country. One of only a handful of traditional country acts playing that city, Burns and the band stayed busy in 2020. In between lockdowns they managed a Bakersfield EP and our feature album this week: an all big rig affair on "We Gotta Lotta Truckin' To Do" (2020). Anchored by Burns' unique and in-your-face delivery (bending notes within an inch of their lives), Lost Country race through a familiar-yet-fresh set of 13 truckin' covers (including one original). Leaning on the legends of this high-energy subgenre, renditions of songs made famous by Dave Dudley, Red Sovine, Del Reeves, Dick Curless and The Willis Brothers will keep your eyes wide and on the road. Recorded at their home away from home in the historic Times Change(d) High & Lonesome Club in Winnipeg, "We Gotta Lotta Truckin' To Do" is a twangalicious and infectious slice of Sean Burns & Lost Country live and we couldn't help but include the whole dang thing in this week's show.
Fantastic podcast! Love traditional country, and Western Red really delivers it here. My favorite of all the podcasts that I listen to.
If you like REAL country music, you’ll absolutely love this podcast. It doesn’t get any better! No other podcast that I’ve found even come close to this one!
This is ok I guess
I mean if u like this stuff go u but...me this is not my thing this is not the kind of country I like I like the modern things but this can go in the trash sry artists try harder next time!!😌😔🌚👀