October 2024 Wrap-Up
Episodes 022-026 highlights: unwrapped, behind the scenes, backstories, details + video links.
Good morning, good afternoon and good evening friends. Thanks for stopping in this month for the October 2024 wrap-up of the Boots & Saddle Show. 5 Tuesday’s in the month meant 5 episodes, a ton of beautiful country music and even more to chew on.
This month we introduced a segment (the “Staple-of-the-Week) in conjunction with a new sponsor, another local business, Fine Form Upholstery. Dan Russell is the man behind Fine Form and on the seat behind the Pedal Steel guitar for local acts like Andrew Neville & The Poor Choices, Darren Lavallee, and with me in Lost Country. His day gig is running Fine Form and he’s in high demand over there on Annabella Street in Winnipeg. I’ve invited Dan to choose a song for the episode each week and he’s knocked it out of the park with every one so far. Folks, for a smooth recovery call Fine Form Upholstery. Find them on IG: www.instagram.com/fineformupholstery
I’m comin’ right at ya from the back of the Corb Lund tour van again this month. Chipping away at the newsletter over the course of a few long travel days beginning somewhere in North Carolina as we made our way up to Raleigh for a show at the Rialto Theatre before resuming amongst the corn fields of Iowa headed toward Sioux City for a show at a dirty little rock ’n roll club. I like playing joints like that. Especially early-mid week. Playing big stages, festivals or other civilized venues is nice but it’s good to get back into a greasy bar to do it the way we all used to do so often. Ya know the kind… shitty PA system, compromised mic stands, dirty drum rug, the hiss of a monitor that badly requires servicing (or replacing), crusty sound tech, hip bartenders. Feels like home. Maybe because that’s as far as I ever thought I’d get, or deserved to be in. Maybe not, I don’t know. But I do know that I value every gig I’m fortunate enough to do. Every day I can stretch out living this life to avoid doing something I don’t like or want to do. It’s a blessing. We’ve been out for almost 4 weeks at this point I’m writing. I’m tired and I miss my family but I wouldn’t trade this for anything. I wake up feeling lucky and grateful every day for this job/life.
The final addition to this month’s newsletter is being written once again from the back of the van, today in Montana as we make our way to Bozeman for a show at The Elm. It’s a beautiful and very new theatre in the strongest region/market for Lund in the USA. We played it in 2022 when it was brand new and had a great one. Looking forward to the show tonight.
Its been fun and also a little bit stressful making shows and finding the time to do so while out here on the road across the U.S this month. I’ve made great use of my time for Boots & Saddle and recorded 3 shows in one week that put me well ahead of schedule which is a good and bad thing. It’s nice to get ‘em done when I can and to not have to rush through it but the downside to pre-recording weeks ahead is missing being able to touch on things/news/events that happen in real time. October saw the passing of a local Winnipeg musician named Don Zeuff. Donnie is well known as a member of the D-Rangers, a staple on the Western Canadian music scene for over 20 years and the band that built that Times Change(d) High & Lonesome Club as we know it. I can’t say I knew him very well but over the years I ran into Donnie at the Club and on the road and he was always a kind man. Condolences to his family, friends and bandmates. Here’s a taste (a full set, no less!) of DZ and the D-Rangers at home in Winnipeg:
After the U.S leg of the Fall Tour wraps up, I’ll have about 72 hours at home before departing for another 10 shows with Corb in Alberta & Saskatchewan. Hope to see you out there somewhere, friends. And for those of you in Winnipeg, you can expect extreme over-saturation of the local market this winter as I am piling up Lost Country + Solo & Duo show dates for when I’m off the road. Follow me on the IG & FB @seanburnsmusic or check www.seanburns.ca to stay up-to-date.
Okay, let’s do this.
EPISODE 022
Recorded from home base at Boots & Saddle Headquarters back home in the basement in Winnipeg, Episode 022 is the only one I made at HQ for October. We kicked off the month of shows with one my favourites to ever do it, the great Loretta Lynn. We heard a lot from Loretta this month as I’ve been on a bit of a kick (something that happens for me with her music a few times a year). Loretta’s on the Mount Rushmore of Country music singers to me. Top 5, at least Top 10 in my heart and mind.
Written by Bill Anderson and originally released by Connie Smith on her self-titled 1964 album, we heard Loretta doing ‘Then and Only Then’ to bring Episode 22 in on. I noted on the broadcast, and continue to ponder this, but I love how in that era of Country music multiple artists would be cutting the same song, sometimes within the same year. With the music business suits & scum making decisions, was it the label or the producer’s choice? Was it the artist making the call or suggestion? I don’t know. I wish I did. All I’ve come up with is that if a song hit for someone maybe another label and/or producer wanted one of their own artists to capitalize on that songs success and so they’d cut their own version of it. Thinking more as a fan, it’s a lot cooler and more exciting than just finances. If you like a song Connie Smith sang but Loretta was your favourite singer, maybe you thought to yourself, what if Loretta sang this one instead? A great song is a great song and so many of them from the 1950’s-60’s were cut and covered a by a plethora of artists within a few years of their initial release. Loretta’s version of this particular song was released on June 14, 1965, by Decca Records and of course produced by Owen Bradley. With Bradley came some of the earths finest musicians ever and the album features names like, Buddy Harman (Drums), Don Helms (Steel), Floyd Cramer (Piano), Junior Husky and Bob Moore (Bass), Grady Martin (Guitar) and Hal Rugg (Steel), among others. Rugg did most of the heavy lifting and hot pickin’ but you steel guitar nerds already knew that…
Here’s Connie Smith singing it live:
The Loretta cut we spun on the program:
And what the heck, while we’re here, let’s go to Bill Anderson, the song’s writer:
I’ve been talking about this in the real world to friends & musicians and on the air to a broader section of friends, but I’ve got my sights set on being Canada’s Jake Hooker. If your aren’t aware of Jake Hooker, it’s no real surprise. He’s a regional Texas cat who, far as I can tell, doesn’t really ever perform outside the republic of TX all that often. Like, almost never actually. I’ve spoke about Jake on the program fairly regularly and hope to adopt the pedal steel, fiddle, drums, upright bass configuration to some Lost Country shows in 2025. We listened to lots of Jake Hooker in the van in September on the short little run we did to Alberta (I can’t and won’t call 4 shows a “tour”) with Lost Country and here’s one that was on heavy rotation that also got the spin on Episode 022:
On November 1, Jerry Zinn and his band West of Texas are set to release Hot Motel Nights, the follow-up to their 2021 record Heartaches, Hangovers & Honky-Tonks. I’m a fan of the group and what they do. As far as I can tell, they’re the best of the Los Angeles area acts on the scene that have the kind of traditional sound that moves me. We heard the lead-off single ‘I Can Almost Taste The Whiskey’, from the new record on Episode 022. Here’s the official video:
Expect to hear much more from Hot Motel Nights in the coming months.
EPISODE 023
Recorded on a night off from room 212 at the Hilton Garden Inn in downtown Lincoln, Nebraska after indulging in what proved to be a subpar offering at a local Italian restaurant, Episode 023 featured a tribute to the recently fallen, Kris Kristofferson.
A celebrated songwriter, musician and actor, Kristofferson was a Golden Globe Award winner for his work on the screen and inducted into the Songwriters Hall of Fame as well as the Country Music Hall of Fame for his incredible musical contributions. The list of folks who cut his songs is vast and impressive: Charley Pride, Janis Joplin, Gordon Lightfoot, Roy Drusky, Billy Walker, Sammi Smith, Ray Stevens (who was the first to record ‘Sunday Morning Coming Down’), Faron Young, Willie Nelson, Loretta Lynn, Dolly Parton, The Grateful Dead, Dottie West, The Statler Brothers, Jerry Lee Lewis, Carly Simon, Waylon Jennings, Freddy Fender, Roy Orbison. And that’s just scratching the surface.A deeper tribute to Kristofferson could have spanned the entire episode or really even an entire month of radio shows but I scaled it back to just a handful of songs after reading a brief bio and description of his accolades on the air.
We spun 4 cuts that Kris Kristofferson wrote (or co-wrote) on Episode 023. One from the man himself but before that we heard 3 from some gigantic names in Country music (Ray Price, Johnny Cash, Roger Miller). Plenty of folks cut ‘Me and Bobby McGee’ over the years but I’ve always loved what Roger Miller did with it. Especially his re-recorded version which we heard on the broadcast. There’s no denying the power of Johnny Cash singing ‘Sunday Morning Coming Down’ and though it was a bit predictable, I couldn’t ignore it and felt it necessary to include ‘For The Good Times’. Man, that one really crushes me. Kristofferson was not a gifted singer by any means but even his own version of the song is really pretty. Raul Malo did an incredible take of it in the mid-2000’s on a beautiful record called ‘After Hours’ which I highly recommend. Here he is with a live version from the legendary Gruene Hall in Texas:
Still, I’m not sure there’s any way to top Ray Price doing ‘For The Good Times’. It’s not the honky-tonk style Ray became famous for as by that point in his career it was fully slick, Countrypolitan, tuxedo-wearing crooner. I understand how that would have ruffled feathers with some musicians and fans at that time. And I mean, sure, I prefer the 50’s honky-tonk shuffles and early 60’s Night Life era Ray Price to the polished later-60’s sounds too but there’s no denying the impact of Price singing ‘For The Good Times’. Truly, one of the most beautiful things I’ve ever heard. Here’s Ray singing it live. Goddamn it’s pretty:
The first time I ever heard ‘For The Good Times’ seems like a lifetime ago. It was the spring of 2006 in a southern Caribbean island called Curaçao. This was back in my cruise ship days and on this particular contract I was in Curaçao once every couple of weeks. There was a street performer playing in the market who I’d go to hear and every time. Older fella playing a real beat up guitar. The man brought me so much joy with his music and being young and flush with cash myself, I’d tip him generously.
One day, he pulled out ‘For the Good Times’. I was floored by the song and his performance of it. I had goosebumps and the hair on my arms stands up even now remembering the experience. At that point I was only familiar with the early era of Ray Price and hadn’t dug into Kristofferson really at all beyond a few of the big hits others recorded. I asked him who sang the song originally and he said he didn’t know, but “maybe Engelbert Humperdinck?”. He wasn’t wrong, Engelbert did cut, ‘For The Good Times’:
All these years later, I wonder where that man ended up. I wish I could tell him how much that impacted me. I’m thankful that even though it’s very short and of poor quality I do have some video evidence of the event:
As I’ve said on the air, I’m really digging the new record from JP Harris. I’m not surprised I like it but I didn’t count on digging it as much as I do. Check out the official video for ‘Dark Thoughts’ which we heard on Episode 023:
Shout out once more to Ralphie (@flacotechs78 on IG) for getting in touch with me via the Boots & Saddle Instagram in regards to ‘You’re Still On My Mind’. Back on Episode 016 (the Cover Song Episode) I spun Shaela Miller’s version of the song which she scooped from an old George Jones record. Episode 021 would be the answer episode to 016 where we heard the original versions of those songs and I went to George Jones for ‘You’re Still On My Mind’. With thanks to a listener in Houston, TX, I was corrected. Born in Laurel, MS, it was Country and Rockabilly singer, Luke McDaniel (who also recorded under the stage name Jeff Daniels) that originally wrote & recorded ‘You’re Still On My Mind’. I sincerely appreciated the correction and vow to do deeper due diligence in the future.
One of my favourites from this month of shows was our Fine Form Upholstery “Staple-of-the-Week” for Episode 023. Charlie Louvin and ‘See the Big Man Cry’. Here’s Charlie singing it live on the Porter Wagoner Show from 1967:
EPISODE 024
Recorded this one on a night off while in room 815 at the Hilton Hotel by the Nashville Airport. That was a nice room! As I said on the program, it was a hard decision to stay put that night and not jump in a cab down to lower Broadway to take in the bright lights & country music at Robert’s Western World. But I did the right thing - I knew if I went to Robert’s I would have stayed til’ closing time and wouldn't have made a radio show. I paid the price in the name of Boots & Saddle and have no regrets. 024 was a good one! Speaking of bright lights & country music, we heard Whisperin’ Bill Anderson sing that very song which was the title track to a 1965 record by the legendary songwriter and country music singer. Produced by Owen Bradley for Decca Records, the album was recorded in July 1965 at Columbia Studios Nashville and released in November 1965. Harold Bradley, Grady Martin (Guitar), Floyd Cramer (Piano) Roy Huskey, Joe Zinkan, Bob Moore (Bass), Weldon Myrick, Pete Drake (steel guitar), and The Jordanaires are among those credited for their expert work on the record which features songs from Bill’s pen like I’ll Go Down Swinging, and Cocktails + covers like The Wild Side of Life, How the Other Half Lives, Truck Driving Man, and (a killer shuffle version of), I’m Walking the Dog.
In 1966, Ricky Nelson released a record of the same name featuring a cover version of the title track. I’m not much for the hippie-country but I’ve always loved Ricky Nelson and am still in to his take of the song.
Here’s Ricky Nelson with Bright Lights & Country Music:
And here’s the entirety of the record by Bill Anderson. It’s worth a spin for all the reasons listed above (and more):
Another quick correction for any of you who pay as close attention as I like to wish (and pretend) I do to shit like this…
I stated it was 1990 that Junior Brown released his dynamite record, 12 Shades of Brown. I was incorrect - it was 1993. Forgive me. Thank you.
In October our friend, Branson Anderson made his first foray in to Canada with a handful of dates across the prairies. Branson has opened for us on the road with Corb Lund a ton over 2023 and some here in 2024. He’s a great opener and has made himself quite valuable to the operation by assisting with merch, helping us with loading in and out every night and even fixing the Corb Lund tour van a few times. Most importantly, he brings it 100% up there every night on stage and in the process of riling the crowd up ahead of our show, he wins fans of his own. I sure hope you folks up there in AB, SK, MB caught his show.
Branson’s videos have been great offerings too and this one is no exception.Here’s the official video to ‘The Searchers’, the single we heard on the episode:
The Regional Round-Up for Episode 024 took us to America’s dairyland, the state of Wisconsin stemming from a series of compilation records called, Driftless Dreamers in Cuca Country. For more on this series check these links:
EPISODE 025
Episode 025 started out as a bit of a tough one for me on a personal level. New Orleans is a tricky one and it was my first time back there since I cleaned myself up. March 2013 was the last time I’d been to New Orleans and after some false starts, by 2017 I had finally accepted I was powerless over alcohol and quit drinking. Over the last 7+ years, I’ve faced all kinds of challenges to my sobriety; deaths, births, holidays, vacations, personal and professional highs & lows but I’ve not buckled and have remained alcohol-free since Feb. 12 2017. And real-talk - I embraced the “California Sober” way of life for quite awahile but as of December 18, 2024 I’ve dropped all recreational substance use (and even coffee). It’s been one day at a time and some of those days are tougher than others. Thank you to everyone who reached out after hearing the episode.
We played at the House of Blues in the French Quarter opening for 49 Winchester
on what was a very hot & humid day in New Orleans. The excitement and the energy of that city are palpable. I was excited but also nervous as we rolled into town and as a result avoided making any plans for myself ahead of our arrival. As it turned out, I didn’t leave the venue after soundcheck outside of going to sit in the van for a while before we went on stage. I guess there’s some sense of safety and comfort I’ve established sitting in this seat for thousands and thousands and thousands of miles over the last few years. After our set the boys in the band were quick to hit the town but I headed back to the hotel. I settled in and took it easy, waking up the next day and making the most of our late check-out to recored Episode 025 from room 454 at the Hilton Garden Inn in downtown New Orleans, Louisiana. Pretty good breakfast there by the way.
The hour was filled with songs that I really enjoy and save for one cut by Juliet McConkey, there was no new/recently released set of songs included.
We kicked it off with ‘These Arms’ by Dwight Yoakam from his 1998 album, A Long Way Home. One of favourite Dwight songs. The album reached No. 11 on the Billboard Country Album, with ‘These Arms’ peaking at # 57 Hot Country Singles chart. I mentioned it on the broadcast and it still kinda boggles my mind that a song like this charted as highly as it did as late as 1998. But I guess the real sharp turn toward the gutter that country radio took came shortly after ’98…
These Arms has deeper meaning for me conjuring up memories of my very first real, proper gig 24 years ago on Halloween 2020 in Ottawa, Ontario backing up a country singer named DW James. My Dad was DW’s guitar picker for a few years in the late 90’s-early 2000’s playing the circuit of country clubs, fairs and rodeos around Southern Ontario. DW James was a highly entertaining frontman and talented country music singer who sang hits-of-the-day, original tunes and classy country & western like George Strait and Ian Tyson. After a break from performing he was set to return in late 2000 but was in need of a bass player. I was in Grade 11 when I arrived home from school to find my Dad suspiciously eager for my return. At first I thought I was in trouble but before I could get in the door the old man asked me if I thought I could play the signature lick to DW’s song, ‘Jack of All Trades’, (a Guy Clark cover - but with a much different arrangement and feel). Without much hesitation, I proclaimed I could. Fake it til ya make it, right? We went downstairs to make sure of it. He showed me the part before we played through the song a few times. After playing a few more songs my Dad mentioned the Halloween job and that DW needed a bass player. He put my name forward and DW agreed to give me a shot. My Father was notoriously over-prepared for every gig. I mean, there’s really no such thing as being over prepared but he always laboured over the homework and nailed it note-for-note. It wasn’t until years later I came to find out that unfortunately, not every musician operates that way. I’m glad I had that good example to follow. I had about a month or so, maybe a little more to prepare for the gig and under my Dad’s watchful eye & ear, I was ready to go.
For ‘These Arms’, my Dad tested me and my ears to see if I could learn the walk pattern that the Bass and Guitar double. He went out and told me to work on it and have it ready by the time he got back. As he suspected, I didn’t nail it. I thought I had it and was pretty proud of myself, but I came to find out I didn’t. It’s a cool little part that sounds simpler than it is unless you’re really paying attention to it. He showed me the right moves and we jammed it together until it was as locked in as I was able to play it at that stage of the game. As the gig approached I was beaming with excitement. I had played some local punk rock bars with my high school band(s) but this was different. It was my first real gig! A packed house in a pretty big club where DW was the most popular act. I was more than a little bit nervous! Standing up there next to my Dad wasn't as intimidating as it could or should have been and I’m thankful at how understanding he was of where I must have been at mentally. A rare show of understanding and sympathy from him on the bandstand.
The gig went great. I was a month away from turning 17 and didn’t knew nothin’ anout nothin’ but I can tell you that I knew with certainty that I was on top of the world after that. When we’d finished up a pretty gal in her 20’s asked me to dance to a nice belly rubbin’ ballad. I couldn’t believe it. Of course, years later I realized DW and the guys set that whole thing up going out of their way to make sure my first proper job was an especially memorable event. I didn’t last long in that band (a year and half, maybe two) and my Dad left before my time wrapped up when DW hired members who lived closer to him out in Ottawa. I still see Dave when I’m out in the Ottawa area and am always sure to get him some tix to our shows out that way. I learned a lot from that guy. Things I still use every night on stage and while writing set lists.
Anyway, there’s a long winded way of saying we played These Arms on that gig and I love that song and cherish the memories of Halloween 2020 at the Lonestar Cafe with DW James…. and my Dad.
Southern Culture On The Skids are the first American band I’d ever seen live. My friend Tyler & I got in to their show with his Dad who was the drummer in a great garage-rock band called The Chickens who were opening up for SCOTS at the Horseshoe Tavern in Toronto one night in 2000. This was about 6 months prior to the Halloween gig so I was definitely still 16 at this point. I think Tyler’s Dad had told the club we were selling merch for The Chickens that night but far as I can recall, we didn’t sling any T-Shirts of CD’s, just watched the show in a sea of music fans and Toronto hipsters. It was my first time seeing a real, original band at a proper club and my introduction to the legendary music venue that has hosted so many of my heroes over the years. It was quite a trip.
We arrived late afternoon and caught almost all of SCOTS soundcheck. I was floored by the way it sounded and by the way they looked. It sounded so professional to my young ears and I mean, they’re a great band so I’m sure 24+ years later I’d say the same thing. The bass was pumping and Mary’s impeccable tone and feel quickly made her one of my favourite bass players. To this day she’s still in my top handful of favourites. And then she sang. I was in love! They were operating as a 4pc for that tour and had a keyboard player who looked like a pig farmer. They’ve always leaned into the visual aspect of their show and this dude fit in perfectly. But it wasn’t only about the look. They could sing and play and had cool songs and arrangements. I was an instant fan and remain a big one to this today. I remember out around the venue for a few block stretch there were people passing out SCOTS cassettes that had 2 songs on it, one of them being Just How Lonely. Seemed like whoever was making business decisions for the group wanted to put a heavy push on that song and it makes sense as it’s the most “accessible” of the lot on the Liquored Up & Lacquered Down record. I think the song should have been a hit, but what do I know… I just know I loved that song the first time I heard it and my appreciation for it hasn’t wavered. We heard it on Episode 024 but here’s a live version of SCOTS doing Just How Lonely:
Earlier in October we opened a week of shows for Colter Wall (pictured below here at Vibrant Music Hall in Waukee, Iowa.
It was great to hang with him and his band and see them up there in action every night. I spent the most time with the Pedal Steel picker, Muskrat Jones. We nerded out over steel players and Texas cats like Jake Hooker, Amber Digby, Justin Trevino, and of course, Johnny Bush. We traded albums and videos back and forth including a great 1970 record from Leona Williams called, That Williams Girl. On the broadcast we heard, A Woman’s Man, but here’s a link to the entire album. Check it out:
EPISODE 026
026 was recorded from room 307 at the Hampton Inn in Charlottesville, Virginia. At this point in the tour after spending the last 4 weeks in hotels every night, I can’t say I remember anything about that room. Even after looking at the photo and video promoting the episode, no recollection. Ooooh, now that I think of it, I do remember. I took a long walk both days we were in Charlottesville through a real nice neighbourhood and found a taco truck on the way back to the room. The gig wasn’t bad either; opening for 49 Winchester in a packed out room of about 750 there to support their local boys.
This week’s show was filled with new/recent releases. 8 of the 13 songs (to be exact) are 2024 releases. To kick the program off, I went to Linda Martell. As I noted, I’ve spoken of her on the air and here in previous newsletter columns but she made significant contributions to country music while still never getting her deserved due.
The first of the new releases I spun came from Hannah Juanita. We’ve now heard a handful from Hannah’s August 2024 release, Tennessee Songbird. Honky Tonkin’ For Life isn’t my favourite of the lot but it’s a pretty good one nonetheless. This Summer, Hannah made her first trip up to Canada for some shows and while in Alberta she connected with The Littlest Honky-Tonk to film a live video. Littlest Honky-Tonk TV is a series of live performance videos filmed inside TLHT and captured by Saskatchewan’s little jack films. Hannah (with Mose Wilson) did a stripped down version of Honky Tonkin’ For Life:
When I began writing this piece a couple weeks back as we approached Raleigh, NC I got all the way down to the Southern Culture on the Skids paragraph before I shut the computer down to go load in to the venue. It was a funny and curious set of circumstances that an hour after I’d written of my experience seeing SCOTS in Toronto all those years ago that I’d see their Drummer, Dave Hartman walk in to the Rialto Theatre with his Drums. I of course immediately recognized him and introduced myself to him after our soundcheck. Dave was there as a member of John Howie Jr’s great band, The Rosewood Bluff. Admittedly, I hadn’t done a very deep dive in to John but I knew the name and some of his music from playing him and his former band, Two Dollar Pistols on the pre-hiatus Boots & Saddle some years ago. At the very least, I knew this wasn’t going to be just a regular local support act opening the show; it was a legit group. A regional star, even.
As I mentioned on the broadcast, we’ve been lucky to tour and/or perform one-off shows with a variety of bands in my 3 years with Corb. I don’t always get to see the other acts play their full set but I knew I wanted to catch these guys. And I’m so glad I did. It wasn’t a great sounding room but it didn’t matter, it was still a killer set. Jonh Howie Jr. leads the band with great confidence and control. Sure, part of that is from years of experience but another side of that is natural skill and talent. Great singer, great songs and a frontman really driving the bus musically and running the stage. Strong, clear count-ins from John and no one up there with him was wavering. It was dialed in. Corb’s fans enjoyed our set a lot that night but objectively speaking, if you were to ask me, John Howie Jr. and the Rosewood Bluff were the stronger outfit that night. As soon as we finished the show, I was off stage and over to the merch table to grab a T-Shirt and CD. The next week or so in the van, I immersed myself in John’s catalogue. Solo, with the Rosewood Bluff, and back to his days in the Two Dollar Pistols. Serious catalogue there of country and country-ish music. Highly recommend.
Not the greatest quality, but here’s a live video of the Two Dollar Pistols doing ‘You Ruined Everything’ from years ago at the Pour House in Raleigh, NC. I love that venue. Wish we would have done the show there.
And another from some years back, this time with a version of his band, The Rosewood Bluff doing ‘Watch Me Fall’. This really demonstrates John’s super sturdy rhythm guitar playing which is what drives the band:
We closed the program off with a couple tunes from my old pal Skinny Dyck. His new record Easygoing came out on October 25 on Victory Pool records. Veering away from the kind of country music that he & I bonded over, Easygoing is still a very nice collection of well written songs that I’ve been enjoying.
Get a copy from skinnydyck.bandcamp.com
Thanks for reading, folks and for tuning in every week whether it’s on the dial or on the podcast feeds. This month beginning on November 6, we’re debuting on CKXU 88.3 FM in Lethbridge, Alberta and will be there in the Windy City every Wednesday from 11am-Noon PM. Check them out and stream online at www.ckxu.com
It’s nice to have a presence out there in Southern Alberta. Lots of friends out that way.
I have 72 hours at home after the U.S tour concludes before heading out for 10 shows in 11 days in Alberta & Saskatchewan for the Canadian Acoustic Trio Tour with Corb and as a result, I planned ahead accordingly. So with that, the first 3 episodes of November (027-029) have all been pre-recorded well in advance and it feels a bit strange but I’m happy with each of them. The next time I’ll record a fresh episode will be in the basement back at Boots & Saddle Headquarters in Winnipeg for broadcast during the last week of November. I’ll be just getting home from the Canadian run with a very busy week as soon as I land but I’m sure I’ll have some things to report on by then. In the meantime, I’ll invite you to follow along with Boots & Saddle on the socials. Find us on Instagram & Facebook @bootsandsaddleshow
I appreciate your time and support, friends. Have a great week.
We’ll chat later.
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