A couple of musicians are on their way to a show at a country bar. Along the way, they pick up a couple of sexy hitchhiking ladies and decide to pull over for a pitstop. Eventually, they make it to the bar and uncover that the deep voiced country singer that also plays there is also a pimp who uses the "waitresses" to make him some extra cash. It is up to our musician heroes to put an end to the singer and his operation.
Continuing with the stylistic developments of Stranded, Country Life finds Roxy Music at the peak of their powers, alternating between majestic, unsettling art rock and glamorous, elegant pop/rock…
"Country Cuzzins"A young woman living in L.A. goes back to her family's homestead way up in the mountains for a family reunion. At first put off by her relatives' hillbilly ways, she soon decides to let her hair down and join in the fun. Before she leaves she invites them all to stop by her place in Los Angeles if they're ever in the area. They soon are, and they do. "Midnite Plowboy" Junior comes from the country to Hollywood where he soon ends up living in a house full of prostitutes. As payment for his rent, Junior is assigned the task of driving the girls around in a van that doubles as a place to have sex.
Wayne Berry was in L.A. in the mid to late 60's, attempting to put together a singer/songwriter deal. A&M signed him for some demos, at least one of which was released, but evidently that deal didn't last. He hung out with a few songwriters and attempted some collaborations, the one of note being with the post-We The People (2) and pre-Cowboy (2) Tommy Talton. They shopped a few songs and had songs cut, but nothing ever came of that.
Berry ran into a bunch of people in L.A. and formed Timber, who released two albums, the first, Part of What You Hear, on Kapp (co-produced by Joni Mitchell's ace producer Henry Lewy) and Bring America Home on Elektra (produced by ex-Don & The Goodtimes and Touch guru Don Galucci. Neither album went anywhere, though Berry's touch as songwriter led to the solo contract with RCA..
Although Orrin Keepnews' Riverside Records was primarily a jazz label, the company dabbled in blues in the 1960s – and one of the bluesmen who recorded for Riverside was John Lee Hooker. Recorded in 1960, this Keepnews-produced session came at a time when Hooker was signed to Vee-Jay. The last thing Keepnews wanted to do was emulate Hooker's electric-oriented, very amplified Vee-Jay output, which fared well among rock and R&B audiences. Keepnews had an acoustic country blues vision for the bluesman, and That's My Story favors a raw, stripped-down, bare-bones approach – no electric guitar, no distortion, no singles aimed at rock & rollers.
Like everything on Memphis Slim's album Goin' Back to Tennessee or Alvin Youngblood Hart's "Tallacatcha" (a Western swing performance worthy of Bob Wills), Clarence "Gatemouth" Brown's 1975 Barclay album Down South in the Bayou Country completely transcends any and all attempts to confine this diverse artist within the artificial parameters of blues or any other preordained category. Consisting mostly of songs written by Hoyt Garrick, Jr., Charles Gressett, and David Craig with additional tunes by J. Loyd and Joe Stampley, this pretty parfait of country & western, Southern rock, cowboy hoedown, and electric Cajun soul music was recorded during February and March 1974 in Bogalusa, LA. Gatemouth, fresh from his tenure as Deputy Sheriff of San Juan County, NM, sounds particularly pleased to be active at the center of a project so completely infused with authentic Southern sensibilities. Perhaps the most satisfying track off of the original album is "Loup Garou." This hoodoo funk ritual with background vocals by Geraldine "Sister Gerry" Richard sounds as if it might have been influenced by Dr. John's "Loop Garoo," which had appeared on that artist's Atco album Remedies in 1970.