137 Sentences With "honky tonks" | Random Sentence Generator

After the show, Hadid and Musgraves hit Nashville's honky-tonks together.

Swing by Tootsie's Orchid Lounge and the other honky-tonks on lower Broadway.

"We leave, we hit some Nashville honky-tonks, it's really fun," she said.

What I learned here at the honky-tonks: All he wants is a dance.

Spring breakers continue to party at Miami Beach's hookah shops and Nashville's honky-tonks.

She continued wowing crowds there ... playing Honky Tonks even before she was of legal drinking age.

She's a regular at honky-tonks and said two-stepping is more genial than dancing in nightclubs.

Even if you aren't a fan of country music, the vibrant energy of the honky tonks exudes merriment.

In February, spring peepers made my ears ring as I walked through wetlands east of Nashville's honky-tonks.

In the music-driven drama "Wild Rose," a young woman seeks to trade Scottish pubs for Nashville honky tonks.

She quickly progressed into writing her own songs, playing clubs shows in Dallas and hitting honky-tonks in Fort Worth.

Broadway's honky-tonks and the state capital are a walk away, but the acclaimed restaurants of historic Germantown are even closer.

Ditto Jeremy Scott's "Cowboys and Poodles," a sendup of honky-tonks via intarsia electric-guitar sweater dresses, Pink Lady denim and ponyskin.

It is five-block gauntlet of neon-lit, multi-story downtown honky-tonks, where tourists flock year-round to see country covers and Journey hits until last call at 21960 AM. But in a town known for chasing quick profits over preserving its own history, a handful of old-school honky-tonks, speakeasies and dive bars are keeping Music City's past alive.

"Because the honky-tonks and the cowboy songs would always call your name," she sings over a Ray Price shuffle, sounding accusatory but accepting.

He cut his teeth in honky-tonks, and to this day his music is performed by country singers in clubs throughout the United States.

Hawkers peddled Music City Total Eclipse t-shirts on every corner while a cacophony of country music blasted from Broadway's endless row of honky-tonks.

Bach Weekend customizes the weekend according to the party's desires, planning pedal pub tours, line dancing classes, and open bar nights at the honky-tonks.

Southern ComfortHead to one of Atlanta's last honky-tonks to chat up the locals—motorcycle gang members, married couples who first met there a decade ago.

Maybe it's the hair, their dress, or how often we've heard Cameron repeat that they got their 10,000 hours in practicing in honky-tonks across Texas.

Back in 2005, Chris Janson was scratching out a living playing four-hour shifts on Nashville's Lower Broadway Street, the city's famous locale for honky-tonks.

The Dream Nashville is two blocks north of Lower Broadway, a four-block zone of revelry featuring bona fide honky-tonks and throbbing bro-country bars.

Fans filled the plaza outside the arena and the park across the street during the game before pouring onto the street lined with honky-tonks to celebrate.

Walking down Second Avenue, past neon honky-tonks playing bro-country and Cash and herds of squealing pink bachelorette parties—someone yelled Nigger-lover at my husband. Again.

When the rage took off in the early 1950s, he had been playing that music in the honky-tonks and bars of the Big Easy for fully 19633 years.

On a normal day, music bursts from the doors of Lower Broadway's honky tonks, sending a cacophony of country tunes into streets packed with revelers hopping bar to bar.

White is the artist-in-residence at the storied print shop Hatch Show Print on Nashville's lower Broadway, a historic neighborhood that's littered with flashing neon and smoky honky-tonks.

And he has compassion for places like Hell's Half Mile, "a line of honky-tonks full of drunken patrons trying to wash down poverty, bad marriages and gone-to-hell children."

And over the years, she performed at honky-tonks and block parties and hit the county fair circuit, meeting fellow would-be country stars Miranda Lambert and Kacey Musgraves along the way.

Like most of the contestants, Lambert was something of a professional, having supplemented her high-school education with independent study in the roadhouses and honky-tonks of East Texas, where she grew up.

He could sit in at the honky-tonks in town or play for Lone Stars in Luckenbach, where the new breed of outlaw country players like Willie Nelson and Waylon Jennings roamed the earth.

A pole dancing class, a bicycle bar, a pedicure, a wine tasting tour — and, by the end of the night, a trip to the honky-tonks on Broadway, where bachelorettes have become conspicuous, ubiquitous, and unavoidable.

Mr. Simpson also wrote "You Don't Have Very Far to Go" for Mr. Haggard in 1965 and "Close Up the Honky Tonks," recorded by Mr. Owens in 1964 and later by Gram Parsons and Dwight Yoakam.

Ms. Morris, who was raised in Dallas, began performing and writing songs as a child, and was playing honky-tonks across Texas and Oklahoma in her preteen years, thanks to a preternatural drive and supportive parents.

Nineteen-nineteen was also the year that a young cornetist named Louis Armstrong, who had been electrifying patrons of New Orleans saloons and honky-tonks with his distinctive sound, began to set his sights beyond his hometown.

When you get into big arenas, you have to try to take that same energy you had playing in the honky-tonks and the rock bars, and transfer it to places like Madison Square Garden, where we'll be Sept. 8.

" As a teenager, Mr. Davis played street corners and juke joints around Helena, which at the time was a bustling Mississippi River port, "wide open" with gamblers, bootleggers and honky-tonks, Mr. Davis recalled in the 1984 documentary "Blues Back Home.

Meet the startups helping to reshape Nashville and the way the world listens to music Meet the startups helping to reshape Nashville and the way the world listens to music Nashville may be known for its barbecue and honky tonks.

At 22, he left Sao Paulo with nothing, learned English listening to Marty Robbins and "Sesame Street," moved to Nashville to join the "hillbilly heaven" scene in 1994 and five years later bought one of the city's most famous honky tonks.

"The Back Door," sung in French as "La Porte d'en Arriere," is a Cajun transformation of Williams's "Honky Tonk Blues," with Mr. Menard's lyrics about a man who sneaks back home through the back door after a long night drinking at honky-tonks.

During the Dusty Road's twilight years in the 1990s, Robert's Western World, which was originally opened as western-wear store in 1991 by Robert Moore—a former manager at Tootsie's and Lower Broadway fixture since the 1950s—would become the Madison Square Garden of Nashville honky-tonks.

She remembers the Nashville she left at 18, in 1995, as a city whose downtown went sleepy on weekends and whose buildings were vacant above the storefront honky-tonks, a place enamored with the chain retailers and restaurants that were homogenizing American towns in those years.

But even the snobbiest viewers will gain a new appreciation of country—along with jazz, among the most American of musical genres, a simple-seeming but complex blend of old world and new, rural and industrial, African-American blues and hillbilly reels, Sunday mornings at church and Saturday nights at honky-tonks.

But this is the blissful part of the night — when you're drunk enough to lean into spectacle, forget whatever article you've read on the side effects of gentrification, and neglect your best intentions to only go to the "authentic" honky-tonks, rather than the ones that have the best call-and-response drinking games.

So when the Don Kelley Band tore into the opening riff at the beginning of their set at Robert's Western World — one of many honky-tonks on a brightly lit neon strip of Broadway in downtown Nashville — I nodded my head and tapped my feet along with the other hundred or so people in the joint.

Instead of buying a Craftsman bungalow with a backyard in an up-and-coming residential neighborhood like East Nashville, Ms. Turner and Mr. Ezell paid $1.1 million for a mixed-use two-story, white-brick house in Rutledge Hill, a nowhere land of industrial buildings and crisscrossing freeways a short walk from downtown and the famous honky-tonks on Lower Broadway.

Far removed from the transplanted singer-songwriters who chat about their latest co-writes and personal branding between sips of overpriced coffee, eluding the industry brats who have their entire career plans mapped out before playing a single show, beneath the nose, even, of the hip young tastemakers flocking to East Nashville and boosting the city's "cool" credibility, and a world away from the boots and honky tonks of Lower Broadway, Nashville's DIY spaces and house venues have, over the past few years, experienced an influx of raw, young, and passionate local punk and indie artists, who all seem to harbor a special affinity for the type of emo that has sparked so much talk of a scene-wide "revival" in recent years.

Even popular Nags Head, with its nest of hotels and obligatory honky-tonks, is a sparse seaside town compared to resorts such as Virginia Beach and Myrtle Beach.

Percy Sledge covered the song on his 1979 album Sings Country. Alan Jackson covered the song on his 1999 album Under the Influence. Heather Myles covered the song on her 1998 album Highways & Honky Tonks.

Sameth) - 2:25 #"I Lost Her To A Dallas Cowboy" (L. Green/J. Green) - 2:24 #"What Chicago Took From Me" (J. Dickens/D. Whitaker) - 2:43 #"Leave The Honky Tonks Alone" (S. Milete/R.

In 1959 Ball was hired to play piano as part of the re-election campaign for Louisiana Governor Jimmie Davis. Ball enrolled in college in Hattiesburg for three months but spent most of his time playing in honky-tonks. His young marriage broke up, and Ball moved to Houston, where he spent the next three years playing in honky-tonks at night and selling sewing machines by day. His old band from Hattiesburg relocated to Houston and Earl had a regular gig with them at The Silver Dollar Lounge.

James L. Clayton was born March 2, 1934 in Finger, Tennessee. His father was a sharecropper. As a child, he aspired to become a country music singer. After high school, he went to Memphis to attend college and perform in honky tonks.

Shea was born in Annapolis, Maryland to a military family and lived in several eastern states before moving to San Bernardino, California at age eleven. As a teenager, he began playing in local coffeehouses and before long, many of the country bars and honky-tonks in the area.

He lived there for many years while drawing much inspiration from local honky tonks such as Tulsa City Limits, prominently-featured in the music video for Brooks & Dunn's hit "Boot Scootin' Boogie". While in college, he served as a music and youth minister at Avoca Baptist Church in Avoca, Texas.

He was born on June 18, 1902, in Haverhill, Massachusetts. Alter played in vaudeville houses as the accompanist for headliners Irène Bordoni and Nora Bayes. He appeared with Bayes from 1924 until her death in 1928, touring the United States and abroad.Laurie, Joe, Jr. Vaudeville: From the Honky-tonks to the Palace.

Myles was born in Riverside, California, United States, where her parents bred and trained horses for racing. Heather had a job in the family business until the lure of the honky-tonks called her away. While still in her teens, she joined a band, and within a year they had a contract with HighTone.

Nellie Breen (April 3, 1897Massachusetts, Birth Records, 1840-19151900 United States Federal Census – April 26, 1986)California, Death Index, 1940-1997 was an American comedian and dancer. In vaudeville, she appeared in a double act with Lester Allen.Laurie, Joe, Jr. Vaudeville: From the Honky-tonks to the Palace. New York: Henry Holt, 1953. p.

The idea for the Buck Owens Crystal Palace originated in the mid-1980s. Buck spent most of his early career performing in small, smoke-filled bars and “honky-tonks” around the country. He wanted a high-class place for country-western music to be performed. Buck also wanted a place where he could be himself.

1949 interview from Honky Tonks, Hymns and the Blues. By the mid-1930s, Fort Worth was a hub for Western swing. The Crystal Springs Dance Pavilion was at the center, and it prospered as a country music venue until the 1950s. An estimated 1,800 persons attended a New Year's Eve Dance there in 1955.

Harry Akst (August 15, 1894 – March 31, 1963)Thedeadrockstarsclub.com - accessed November 19, 2011 was an American songwriter, who started out his career as a pianist in vaudeville accompanying singers such as Nora Bayes, Frank Fay and Al Jolson.Laurie, Joe, Jr. Vaudeville: From the Honky-tonks to the Palace. New York: Henry Holt, 1953. p.

The family settled in Nashville, Tennessee in 2000. Her family began playing the local honky tonks (Laylas) with her siblings, Frank, Scarlett, Amber-Dawn and McKenna Grace, as Jypsi. Most of the siblings signed with Arista Records in 2007 and had two Top 40 singles on Hot Country Songs the next year "I Don't Love You Like That".

A year before his father's death in 1959, Webb left Kentucky and moved to Custer, Washington. He lived with his sister Loretta and her family. He sang in local honky-tonks with his guitar and played in a local performing circuit. Webb, like his sister, wrote his own songs, and he co-wrote some of her later hits.

Laurie's jokes were part of Cream of the Crop (Grosset and Dunlap, 1947) along with other members of the Can You Top This? team. He collaborated with Abel Green on the show business history, Show Biz: From Vaude to Video (1951) and then followed with his memoir, Vaudeville: From the Honky-Tonks to the Palace (1953).

Roadhouses have a slightly disreputable image, similar to honky tonks. This type of roadhouse has been portrayed in movies such as Road House (1948), The Wild One, Easy Rider, and Road House (1989). Historically, roadhouses sprang up when significant numbers of people began to move to the frontier. In Western Canada they were known as stopping houses.

Alice eventually agrees, and they head west without a set route or schedule. Charlotte introduces Alice to honky tonks and male strip clubs; Alice reciprocates by taking Charlotte to a communal baptism. One night, Charlotte becomes stressed out over her camera and reveals she has early-onset Alzheimer's disease. She has been told nothing can slow her mental decline.

Jimmie Rodgers, one of the earliest honky-tonk innovators, from the 1920s–1930s An article in the Los Angeles Times of July 28, 1929, with the headline Honky-Tonk' Origin Told", which was probably in response to the Sophie Tucker movie musical, Honky Tonk (1929), reads: Honky-tonks were rough establishments, providing country music in the Deep South and Southwest and serving alcoholic beverages to a working- class clientele. Some honky-tonks offered dancing to music played by pianists or small bands, and some were centers of prostitution. Katrina Hazzard-Gordon wrote that the honky-tonk was "the first urban manifestation of the jook", and that "the name itself became synonymous with a style of music. Related to the classic blues in tonal structure, honky-tonk has a tempo that is slightly stepped up.

Highways & Honky Tonks is the fourth album by Heather Myles, and the first with her new record company Rounder Records. There is a cover of the old Charley Pride song "Kiss an Angel Good Morning," and Merle Haggard drops in for a guest appearance on the duet "No One Is Gonna Love You Better." Myles wrote ten of the twelve songs herself.

The song is about a young singer hoping to realizing his dream to perform in a large venue in Las Vegas, Nevada, despite his mother's pleas not to go. Despite the struggles of playing smaller arenas, honky tonks and so forth, he continues to be driven by his dream of one day having his name in lights and performing before a large crowd.

This practice enhanced the popularity and appeal of the honky-tonk bars along Nashville's Lower Broadway. Alley between Ryman Auditorium and the rear of Broadway "Honky Tonks", including Tootsie's Orchid Lounge Prior to September 27, 1963, Ryman Auditorium had no singular owner, instead being an independent entity governed by a board of directors. That changed when WSM, Inc., purchased the building for .

These albums spawned several hit singles, including: "Flat Natural Born Good-Timin' Man", "In Some Room Above the Street", "Single Again", "Your Place or Mine", "Quits", and "Whiskey Trip".Country Music: The Rough Guide, pp. 376–377; "A Honky-Tonk Man"; "Little Junior, King of the Honky-Tonks: The Life and Death of Gary Stewart"; Gary Stewart: Biography; Country Music: The Encyclopedia, pp.

Peaks, Valleys, Honky Tonks & Alleys is the eighth album by American singer- songwriter Michael Martin Murphey and his first live album. The first five tracks were recorded at the legendary Palomino Club in North Hollywood, Los Angeles, an important West Coast country music venue. The remaining five tracks are studio recordings. The live tracks showcase Murphey's early work with some interesting twists.

Billboard said that Myles "hit a home run" with Highway and Honky Tonks. Alternatively, Richie Unterberger of AllMusic said that while the album's lyrics were not original, Unterberger believed Myles' honesty and performance was excellent. When reviewing the songs, No Depression believed the song that did not sound good was "No One Is Gonna Love You Better", calling it "the album's only real weak moment".

Rodney Crowell on Bookbits radio. Crowell was born on August 7, 1950, in Houston, Texas, to James Walter Crowell and Addie Cauzette WilloughbyChinaberry Sidewalks, New York: Knopf, 2011. He came from a musical family, with one grandfather being a church choir leader and the other a bluegrass banjo player. His grandmother played guitar and his father sang semi-professionally at bars and honky tonks.

The Knights of Ak-Sar-Ben was formed in 1895 in an attempt to keep the Nebraska State Fair in Omaha after receiving an ultimatum to provide entertainment "other than saloons, gambling houses and honky tonks." Their horse racing institution, called Ak- Sar-Ben, is credited with "legitimizing legalized gambling" in Omaha.(1995) "AkSarBen and the art of power" , Statewide Interactive, Nebraska State Public Television.

Kendell Marvel was born and raised in Southern Illinois. He quickly discovered his talent as a musician when his father would take him to play Honky Tonks starting at 10 years old. He grew up between Galatia and Thompsonville, Illinois, and spent much of his youth traveling around the area playing shows. Marvel decided to relocate to Nashville, Tennessee in 1998, to pursue his career as a songwriter.

Radio Stations throughout the United States offer local showcase's where artist move onto Regional then Semifinals events before being able to participate in the National Final Event. Each National Final offers artists mentoring sessions with music industry insiders, promoters, producers, artist development and stage development coaches. They also get an opportunity to tour and sing at iconic Nashville Honky Tonks and walk in the footsteps of past artists.

Gene Fowler's article entitled "'Physic Opera' on the Road: Texas Musicians in Medicine Shows". Journal of Texas Music History, 8(1) (2008); p. 11 As these shows declined, and listening to recorded music and dancing in juke joints and honky tonks became more popular, so the older songster style became less fashionable. Songsters had a notable influence on blues music, which developed from around the turn of the 20th century.

Yellen also worked with many other composers such as Sammy Fain and Harold Arlen. Yellen's collaboration with vaudeville star, Sophie Tucker, for whom he was retained to write special material, produced one of Tucker's most well known songs, "My Yiddishe Momme", a song in English with some Yiddish text. Yellen wrote the lyrics which were set to music by Lew Pollack.Laurie, Joe, Jr. Vaudeville: From the Honky-tonks to the Palace.

On this album, Bill Kirchen treads where country music finds its origins in blues and bluegrass, and in the Western Swing of Texas and California honky tonks. He is joined by Nick Lowe, Austin de Lone and The Impossible Birds (Geraint Watkins, Robert Trehern), and their influence is very much in evidence. The title track is a loving tribute to the Fender Telecaster guitar, Kirchen's guitar of choice.

Husky grew up on a farm near Flat River and attended school in Irondale. He learned guitar from an uncle. After dropping out of high school, Husky moved to St. Louis, where he worked as a truck driver and steel mill worker while performing in honky tonks at night. During World War II, Husky served in the United States Merchant Marine for five years, entertaining troops on transport ships.

As a teenager, Hand joined a small band and began performing in honky-tonks near his home of West, Texas. At some point he started to write and perform his own songs. After years of songwriting and performing locally in obscurity, he released his first album in 1997, when he was 45 years old. In 2014, Hand played a fictional version of himself in the independent film Thank You a Lot.

He set out on his own at an early age, joining the rodeo circuit as a bull rider in his teens. Bingham learned music on a guitar gifted to him by his mother at age 16, initially playing after rodeos for his friends. Eventually, he began playing in small bars and honky tonks across the West, landing him in Los Angeles, California. Bingham signed his first record deal with Lost Highway Records (UMG) in 2007.

Brown's first recording contract was with MCA Records in 1991. While on that label, he recorded three studio albums: 1991's High and Dry, 1993's Wild Kentucky Skies, and 1994's Cryin', Lovin', Leavin'. Although all three of these albums received critical acclaim for his neotraditionalist country style and solid songwriting, none of them produced any major hits. His fourth studio album, Here's to the Honky Tonks, was released in 1996 on HighTone Records.

She lost custody of her sons Randy, Michael, and Freddy for playing in honky-tonks and custody was given to her ex-husband's parents. When Fletcher died in a car accident in 1961, Nelson suffered a breakdown and was admitted to a hospital in Fort Worth. To retrieve custody of their children, she married again and started working in a television repair shop in town. The owner of the store rented a piano to comfort her as she recovered.

Gary Allan exits stage in Mescalaro, New Mexico Gary Allan Herzberg was born and raised in La Mirada, California, to Harley and Mary Herzberg. To ensure that the family would focus on music, Allan's mother insisted that the family's guitars would always remain visible in the home. At age 13, Allan began playing in honky tonks with his father. Two years later, he was offered his first recording contract, from A&M; Records, but rejected the deal.

In 2007, the band changed its line-up to Whitey Morgan on Vocals and Guitar, Benny James Vermeylen on Guitar and vocals - formerly of 3 Speed and South Normal, Jeremy "Leroy" Biltz on Guitar, Jeremy Mackinder on bass, and Mike Popovich - formerly of The Holy Cows, 3 Speed, and The OffRamps, on drums and officially becomes Whitey Morgan and the 78's. In 2008 the band released its debut album Honky Tonks and Cheap Motels on Small Stone Recordings.

In 2009, the band saw the addition of Tamineh Gueramy on Fiddle. The band then headed to Woodstock, New York in the fall of 2009 to begin recording the follow-up to Honky Tonks... at the Levon Helm Studios. With almost 200 shows a year and the new album nearing completion the band drew the attention of Chicago's Bloodshot Records and signed a new record contract. The self-titled album was released on October 12, 2010.

Tommy played on stage with many of the old timers who were part of creating the Bakersfield Sound. Tommy was in the band that gave Buck Owens his first gig, with Dusty Rhodes, at a bar called the Roundup.Book excerpt page 209 Workin' Man Blues: Country Music in California By Gerald W. Haslam Tommy has been playing in the honky-tonks in and around Bakersfield for over fifty years. Recognized as one of the original “Bakersfield Sound” pioneers,VisitBakersfield.

Now free to travel without Williams' schooling taking precedence, the band could tour as far away as western Georgia and the Florida Panhandle. The band started playing in theaters before the start of the movies and later in honky-tonks. Williams' alcohol use started to become a problem during the tours; on occasion he spent a large part of the show revenues on alcohol. Meanwhile, between tour schedules, Williams returned to Montgomery to host his radio show.

In recollections long after the frontiers closed, writers such as Wyatt Earp and E.C. Abbott referred to honky-tonks in the cowtowns of Kansas, Nebraska, and Montana in the 1870s and 1880s.Hunter, Trail Drivers of Texas, p. 832 : "I went to Dodge City, the honkatonk town, cleaned up an bought a suit of clothes, and left for San Antonio, reaching home July 1, 1885." Their recollections contain lurid accounts of the women and violence accompanying the shows.

Country Music: The Rough Guide, pp. 376–377; "A Honky-Tonk Man"; "Little Junior, King of the Honky-Tonks: The Life and Death of Gary Stewart"; Gary Stewart: Biography; Country Music: The Encyclopedia, pp. 464–465; All Music Guide to Country: The Definitive Guide to Country Music, pp. 721–722. The album Out of Hand, which climbed to #6 on the Billboard country album chart, has since become one of the most critically lauded country albums of the 1970s.

Weiner performed as a solo artist prior to starting Low Cut Connie. While living in New York City, he played piano in gay bars, karaoke bars, restaurants and ballet classes, often under the name Ladyfingers. He toured throughout North America and Europe playing to often unforgiving crowds in dive bars, honky tonks, anarchist squats, warehouses, drag bars, etc. Weiner started the project that would become Low Cut Connie with former members Dan Finnemore (from Birmingham, U.K.) and Neil Duncan (from Gainesville, Florida).

48-51 However, recording on their first album was delayed due to a contract dispute with Keith. While negotiations were continuing to get the Jacksons out of Steeltown, the group performed at strip clubs such as Guys + Dolls to make extra income, as well as honky tonks. Finally on March 11, 1969, a day before Marlon's 12th birthday, the Jackson Five signed an exclusive seven-year contract with the label. After initial recordings at Detroit's Hitsville U.S.A. failed to impress Gordy, he sent the Jacksons to Hollywood.

The song has received positive critical reception. Markos Papadatos of Digital Journal reviewed the song favorably, praising Johnston's lead vocals and the Southern rock influences. Billy Dukes of Taste of Country also described the song's Southern rock sound favorably. He also said that the song "has depth" and that "Johnston's voice is suited for grungy honky-tonks". Giving it 3.5 out of 5 stars, Matt Bjorke of Roughstock wrote that " there’s some nice lyrical choices…and an overall understanding of what can make an artist unique".

He began performing in Acadiana with Louisiana legend J.B. Pere. At the age of 12, Kershaw was playing in a variety of honky- tonks and beer joints, and when he was 14 he met George Jones, his lifelong idol. Subsequently, he opened shows for Ray Price, Merle Haggard, and George Jones while still barely into his teens. When the pressures of growing up fast took their toll in the form of a serious drug and alcohol problem, he quit his bad habits in 1988.

He fronted a blues band in Seville, Spain, a swing trio in Antwerp, Belgium, and a rock band in Colombo, Sri Lanka, and studied with Congolese guitarist Jean- Bosco Mwenda. Returning to the United States, he played in "low dives and honky-tonks", and recorded two albums: the LP Songster, Fingerpicker, Shirtmaker on his and Bill Morrissey's short-lived label Reckless RecordsElijah Wald – Music and Albums, on Wald's official web site. Accessed online 2009-10-01. and the CD Street Corner Cowboys (Black Rose Records, 2000).

The introduction is based on a piece by the Russian classical composer Alexander Scriabin. During the late 1970s, he recorded four albums: Swans Against the Sun (1976), Flowing Free Forever (1976), Lone Wolf (1978), and Peaks, Valleys, Honky Tonks & Alleys (1979). The album Swans Against the Sun produced his first country hits "A Mansion on the Hill" and "Cherokee Fiddle", which also became a top ten hit for Johnny Lee. Murphey's friends, John Denver, Willie Nelson, Charlie Daniels, and Steve Weisberg appeared on the album.

Elmer Albrecht originally composed the song in the early 1920s. At the time, he was a student at the Worsham College of Embalming in Chicago and worked at Louis Cohen’s funeral parlor on Clark Street. According to Albrecht, he originally worked out the tune on a piano in a back room of the funeral parlor which at the time held the corpses of twelve men killed in Chicago’s Tong Wars. Over the years, Albrecht, who continued to work as an embalmer, played the tune in honky tonks and small night clubs around Chicago.

Some Senator scorecards continued to list Altrock as a "coach emeritus" even after his formal retirement. Al Schacht and Nick Altrock, 1925 During that time, he was noted for his antics in the coaching box and teamed with Al Schacht, the "Clown Prince of Baseball", for a dozen years to perform comedy routines on baseball fields in the days before official mascots. Schacht and Altrock also took their antics to the vaudeville stage where they appeared in a comedy routine.Laurie, Joe, Jr. Vaudeville: From the Honky-tonks to the Palace.

Burns testified that he was primarily a friend of Blanton, but that Blanton was a good friend of Cherry, so Cherry would sometimes join them when they went out. Burns' assistance came in the form of going to numerous honky tonks with the two men with a very large reel-to-reel tape recorder in the car trunk recording the group's conversations. Burns took thorough notes after these meetings, and additionally when the three met and spoke outside of his car. The tapes were collected by the FBI during its immediate investigation.

All Time Greatest Hits is a 2002 greatest hits album by country music artist Loretta Lynn. In 2003, the album was ranked number 485 on Rolling Stone magazine's list of the 500 greatest albums of all time. In the updated 2012 list, the magazine raised its rank to 478, saying: > Anyone who thinks a woman singing country music is cute should listen to > "Fist City," where Lynn threatens to beat down a woman if she doesn't lay > off her man. Seventies greats like "Rated 'X'" and "The Pill" brought > feminism to the honky-tonks.

Her single "I'm Gonna Play the Honky Tonks" coupled with "My Search Is Over", with the writing of both songs credited to Robey, reached number 3 on the Billboard R&B; chart in mid-1952, becoming the most successful record on Peacock at that point. In all, she released seven singles on Peacock including a cover version of her label-mate Johnny Ace's "My Song". Biography, Allmusic.com. Retrieved 19 October 2016 Adams toured widely in the early 1950s on shows featuring Johnny Ace, Jimmy Forrest, B.B. King, Clarence "Gatemouth" Brown, and Lloyd Price.

In 1962, he began to pursue a career in country music. He assembled a band that he called Moe and the Mavericks and found work playing small beer joints, honky-tonks, and clubs over a wide area around San Antonio. When he was young he tried to sound like Hank Williams and George Jones – "I even had my hair cut short like his." During the day he worked for his father as a sheet metal worker, a job that lasted for 12 years, during which time he made a few recordings for various small labels.

The New York Times also gave a favorable review: > Mr. Curtiz and his players have got it snugly draped around Mr. Presley's > shoulders. And there it stays, until a limp melodramatic home stretch, even > with eight or so of those twitching, gyrating musical interludes. ... These > also perfectly typify the Bourbon Street honky-tonks that Mr. Curtiz and his > fine photographer, Russ Harlan, have beguilingly drenched with atmosphere. > Matching, or balancing, the tunes are at least seven characterizations that > supply the real backbone and tell the story of the picture.

Flying Again is the fourth studio album by the country rock group The Flying Burrito Brothers, released in 1975. After Gram Parsons' death in 1973, posthumous interest in the Burrito Brothers' music grew. This interest caused the band's original label, A&M; Records, to release the compilation album Close Up the Honky-Tonks in 1974. Since Rick Roberts had dissolved the Flying Burrito Brothers after a brief 1973 European tour with no original members, former manager Eddie Tickner started to think about the possibilities of reviving the band.

He started performing under the name "Memphis Slim" later that year but continued to publish songs under the name Peter Chatman. He spent most of the 1930s performing in honky-tonks, dance halls, and gambling joints in West Memphis, Arkansas, and southeast Missouri. He settled in Chicago in 1939 and began teaming with the guitarist and singer Big Bill Broonzy in clubs soon afterwards. In 1940 and 1941 he recorded two songs for Bluebird Records that became part of his repertoire for decades, "Beer Drinking Woman" and "Grinder Man Blues".

Steve Richard, (born 1972 in Providence, Rhode Island, living in St. Louis, Missouri) is an American Christian Country music singer. He is on the Force MP Entertainment record label. Richard has toured with musicians Lynyrd Skynyrd, ZZ Top, Dickey Betts, Dierks Bentley, Montgomery Gentry and Craig Morgan."Steve Richard Hits the Road with Country Star Craig Morgan and Will 'Stomp' along the Way at Country Dance Clubs and Honky-Tonks" His Goodwill Radio Tour raised funds for local and national charities, including Toys For Tots, the National Cancer Society and the Salvation Army.

The live recording was produced by Jennings and Ray Pennington. The song contains allusions to the Wills song "San Antonio Rose", Wills singer Tommy Duncan, Wills band The Texas Playboys, the existence of honky-tonks in Texas, the Grand Ole Opry in Nashville, and the Red River that denotes one of the boundaries of Texas. The music to the song is not obviously Western swing nor does it sound like Bob Wills. Nor for that matter is it straight country music; rather, it is a slow-tempo mixture of country, country rock, and rockabilly with some possible hints of Western swing.

Because of this high concentration of duplexes, renters make up over 70% of the community making this a hotbed for investors. This once-gritty row of used-car lots and repair shops has evolved into a dense collection of locally owned businesses, many of which have sprung up in the past 10 years. There are 100 retail shops, restaurants, bars and entertainment venues alone on the 3.5-mile stretch of Lamar Boulevard between Lady Bird Lake and Ben White Boulevard. The influx has created some interesting contrasts — with boutique shops, trendy salons and hip restaurants coexisting with taxidermy shops and honky-tonks.

Close Up the Honky-Tonks is a compilation double-LP by country rock band The Flying Burrito Brothers, which was released in 1974. By this time, the Flying Burrito Brothers no longer existed, having been dissolved by Rick Roberts in 1973. This compilation was released after Gram Parsons' death in 1973, presumably to capitalize on posthumous interest in Parsons' music, though the compilation does include cuts from the Chris Hillman-led post-Parsons era as well (on Side Four). This compilation still holds relevance into modern times as some of these songs have yet to be released anywhere else.

Bush was born John Bush Shinn III in the Kashmere Gardens neighborhood of Houston. He listened to the western swing music of Bob Wills and His Texas Playboys and the honky-tonk sounds of artists such as Ernest Tubb, Lefty Frizzell, and Hank Thompson. His uncle, the host of a local radio program on KTHT, urged Bush and his brother to play on air, giving Bush his first experience of performing in public. Bush subsequently moved to San Antonio in 1952, beginning a solo career in area honky-tonks such as the Texas Star Inn, before switching to drums.

The version that was released did not contain all the lyrics on his original demo; the next-to-last verse in which Maw and Paw are "really gonna lay down the law" was missing, emphasizing in a way that Hank himself never made it back from the honky-tonks to pappy's farm. Williams' version reached #2 on the Billboard magazine country best-sellers chart. The title served as the name for a documentary about Williams broadcast by PBS as part of its American Masters series. The documentary was also shown at the 48th London Film Festival in 2004.

He also had an afternoon radio show on KWPM-AM in West Plains, Missouri. The band gained popularity, moving on to Kennett, Missouri's KBOA-AM and KHWN-AM in Fort Smith, Arkansas, and gigs in East Texas honky tonks; eventually leading to Louisiana Hayride, backing The Wilburn Brothers and Red Sovine. Warden left the show in 1951 for a two-year stint with the US Army. Returning to the Hayride after the Army, the Rhythm Rangers continued to back Red Sovine until Sovine left to join the Grand Ole Opry in Nashville, leaving his band behind.

Keith was born in Hillsboro Bridge, New Hampshire. He joined the circus (as a "candy butcher"Laurie, Jr., Joe; Vaudeville: From the Honky-tonks to the Palace, New York: Henry Holt & Co., 1953) after attending Van Amburg's Circus and then worked at Bunnell's Museum in New York City in the early 1860s. He later joined P.T. Barnum and then joined the Forepaugh Circus, before he opened a curio museum in Boston, in 1883, with Colonel William Austin. In 1885 he joined Edward Franklin Albee II, who was selling circus tickets and operating the Boston Bijou Theatre.

In 1945, 13-year- old Loretta Webb is one of eight children of Ted Webb, a Van Lear coal miner raising a family with his wife in the midst of grinding poverty in Butcher Hollow, Kentucky (pronounced by locals as "Butcher Holler"). In 1948, at the age of 15, Loretta marries 22-year-old Oliver "Mooney" (aka Doo, short for Doolittle) Lynn, becoming a mother of four by the time she is 19. The family moves to northern Washington State, where Doo works in the forest industry and Loretta sings occasionally at local honky-tonks on weekends. After some time, Loretta makes an occasional appearance on local radio.

Corporate executive Donald Beeman, fed up with the rat race, impulsively quits his job and takes to the road as a traveling tap dancing magician under the tutelage of Mr. Delasandro. His former boss Mr. Turnbull, determined to convince him to return to his nine-to-five existence, chases after him as he performs his routine in seedy nightclubs and honky tonks, but instead the two create Tap Dancing Magicians, a course for pressured businessmen. When their little venture becomes one of the most successful corporations in the world, Donald ironically finds himself feeling the same way he did when he originally quit his job.

Originally intended to be a side project, Durante and the Waco Brothers have recorded eight albums for Chicago's Bloodshot Records label. Their last album, Waco Express: Live & Kickin' at Schuba's Tavern, is a concert recording which Ken Tucker, the pop music critic for NPR's Fresh Air and Editor-at-Large at Entertainment Weekly, described as "country as it should be written and played, with a long memory for roadhouse honky-tonks rather than TV-ready music videos." In 1997, Durante played guitar on Jon Langford's "Skull Orchard" album. In 2002, Durante released a solo CD entitled Welcome to Earth under the nom de rock of durantula.

Louis Smith (9 March 1928 – 21 October 2007) was a country and western singer who recorded for Top Talent Records at one time, and reportedly had gotten his start into music when the nephew of Tex Ritter, Ken Ritter, heard him perform at a local honky tonk. Lou played many of the local Southeast Texas clubs and honky tonks. At one point country legend George Jones sang backup for Lou during Jones' early teens when he was just beginning his career. His notable songs include "My Name is Lou", "I'll Be the One", "Born to Be Lonely", "Always a Winner", and "Close to My Heart".

Chesnutt's musical style draws mainly from honky-tonk and neotraditional country. Due to both singers hailing from Beaumont, Chesnutt was frequently compared stylistically to George Jones. Jack Hurst of the Chicago Tribune wrote that he was "a throwback to the inwardly-tough, just-do-it kind of country star they were making back when they minted George Jones, who preceded Chesnutt out of the rough-and-tumble East Texas honky- tonks 40 years ago." Nash described Chesnutt's vocal style by saying that he "has a comely, smooth baritone and a supple way of moving through his vocal range", and a "friendly foghorn" with "earnestness".

Laurie, Joe, Jr. Vaudeville: From the Honky-tonks to the Palace (New York: Henry Holt, 1953), p. 328. He collaborated with Chauncey Olcott on many songs including "When Irish Eyes are Smiling", for which Olcott wrote the lyrics. Ball wrote other Irish favorites like "Mother Machree", and "A Little Bit of Heaven", as well as "Dear Little Boy of Mine", and "Let the Rest of the World Go By." "Mother Machree" was made popular by the famous Irish tenor, John McCormick.. He also worked with J. Keirn Brennan on songs like "For Dixie and Uncle Sam" and "Good Bye, Good Luck, God Bless You". He became a charter member of ASCAP in 1907, and wrote many American standards.

The Everly Brothers recorded a version of the song for their 1968 album Roots along with another Haggard song, "Mama Tried". Joan Baez recorded the song, along with another Haggard song, "Mama Tried", in 1969, during sessions for her (I Live) One Day at a Time album, though neither song was included on the final album; they would eventually be released on her 1993 boxed set Rare, Live & Classic. The Flying Burrito Brothers recorded a version with Gram Parsons singing that never appeared on a studio album but was included in the 1974 compilation, Close up the Honky Tonks. A 1969 live recording by the Byrds, was released on the 2006 box set, There Is a Season.

When McKay was appointed New York City Police Commissioner by reform mayor John Purroy Mitchel on December 31, 1913, who chose McKay the basis of his reputation, he was the youngest man ever to have held the position. He immediately went into action by initiating a sweep of Manhattan to clear out the countless street gangs, many of whose origins could be traced to the 1860s and earlier, then active in the city. He also made reforms within the NYPD, particularly concerning police corruption, which included "breaking" or demoting several high-ranking police officers. On one occasion, he demoted a police inspector to captain and then suspended him for allowing honky-tonks to operate in the Tenderloin district.

The band recorded the first of its eight studio albums in 1995. Their album, Waco Express: Live & Kickin' at Schuba's Tavern is a concert recording which Ken Tucker, the pop music critic for NPR's Fresh Air and Editor-at-Large at Entertainment Weekly, described as "country as it should be written and played, with a long memory for roadhouse honky-tonks rather than TV-ready music videos." Author and music critic Sarah Vowell told the Chicagoist, "I’ve never been able to find a live band in New York as consistently thrilling and funny and fun as the Waco Brothers." In 2012, the Waco Brothers collaborated with Nashville mainstay Paul Burch to produce Great Chicago Fire.

During his college years, Strait joined the country band Stoney Ridge, answering a flyer the band posted around campus looking for a new vocalist. Strait renamed the group the Ace in the Hole Band and quickly became the lead; they began to perform at different honky-tonks and bars around south and central Texas, traveling as far east as Huntsville and Houston. They gained a regional following and opened for national acts such as The Texas Playboys. Soon, his band was given the opportunity to record several Strait- penned singles, including "That Don't Change The Way I Feel About You" and "I Can't Go On Dying Like This" for the Houston-based D label.

"The honk-a-tonk last night was well attended by ball heads, bachelors and leading citizens. Most of them are inclined to kick themselves this morning for being sold." Early uses of the term in print mostly appear along a corridor roughly coinciding with cattle drive trails extending from Dallas and Fort Worth, Texas, into south central Oklahoma, suggesting that the term may have been a localism spread by cowboys driving cattle to market. The sound of honky-tonk (or honk-a-tonk) and the types of places that were called honky- tonks suggests that the term may be an onomatopoeic reference to the loud, boisterous music and noise heard at these establishments.

Coinciding with her recording at Columbia, Moffatt opened for such performers as Charlie Daniels, Warren Zevon, Muddy Waters, and Steve Martin, and she toured with Leo Kottke. She also worked with Willie Nelson and Andrew Gold, appeared with Poco and John Prine, and toured with Jerry Jeff Walker, J.D. Souther and the Allman Brothers. She also has done songs with Michael Martin Murphey such as "Hard Country," "Take It As It Comes," and a live version of "Backsliders Wine" on His 1979 album "Peaks,Valleys,Honky- Tonks and Alleys." For a brief time in the early 1980s, while waiting out two management contracts, Moffatt was a sought-after and featured touring harmony and duet singer for four prominent acts.

At Kearny and Clay was the lower end of the first cable car line in America, launched by Andrew S. Hallidie on August 2, 1873, climbing five blocks up Clay Street hill toward Nob Hill. During the early 20th century, "running north from Market Street to the Barbary Coast, Kearny Street was an avenue of honky-tonks and saloons frequented by racetrack tipsters and other shady professionals. On election nights it was the scene of torch-light parades and brass bands", as summarized in the 1940 WPA guide to San Francisco. From the turn of the twentieth century until 1977, the area around the intersection of Kearny and Jackson Streets was home to a large Filipino population, and earned the nickname Manilatown.

The jukebox (a coin-operated record-player) was invented in 1889 by Louis Glass and his partner William S. Arnold, who were both managers of the Pacific Phonograph Co. The first jukebox was installed in the Palais Royale Saloon, San Francisco on 23 November 1889, becoming an overnight sensation. The advent of the jukebox fueled the Prohibition-era boom in underground illegal speakeasy bars, which needed music but could not afford a live band and needed precious space for paying customers. Webster Hall stayed open, with rumors circulating of Al Capone's involvement and police bribery. From about 1900 to 1920, working class Americans would gather at honky tonks or juke joints to dance to music played on a piano or a jukebox.

The ISB recorded "Lazy Days" for the film, but the song was eventually rejected; it was replaced with music by The Electric Flag, though the ISB still appeared on screen. Frustrated by his inability to find commercial success with the ISB, Parsons soon took to playing honky-tonks in the Los Angeles area with his friend, Bob Buchanan (co-author of "Hickory Wind"), and eventually decided to focus exclusively on country music. Almost immediately after Parsons informed them of his new country focus, Ian Dunlop and Mickey Gauvin left the ISB, forming a group called The Flying Burrito Brothers (not to be confused with the later country rock band of the same name, featuring Parsons and Chris Hillman among others). The split was amicable: Parsons played the group's first gig.

Born in East St. Louis, Illinois on May 17, 1925, Henson was a self-taught pianist and sometimes comedian who arrived in California via Union Pacific railcar sometime in the mid-1940s. After picking cotton in the fields of the San Joaquin Valley, he landed a job making door-to-door laundry pickups for a company operating out of the Fresno area. Bandleader Bill Woods convinced Henson to relocate to Bakersfield in 1946, where he worked at local radio station KERO and occasionally performed at area honky tonks such as the now- legendary Clover Club and the Blackboard. In mid-1953, KERO-TV offered him his own weekday broadcast, and The Cousin Herb Henson Trading Post TV Show premiered in September, appearing each afternoon from 5:00 p.m.

Naylor was born in Chalk Mountain, Texas to a great depression farming family. His mother played piano in their local church and encouraged his love of music. He listened to the greats of Country music such as Hank Williams, Sr., Lefty Frizzell, Bob Wills (with whom he shared his birthday) and Slim Whitman, and Whitman's steel guitar player, Hoot Raines, led the 9-year old Naylor to purchase and learn to play a steel guitar with money he earned picking cotton. By the age of 12 years, Naylor was playing that steel guitar at local honky tonks in and around Carlsbad and San Angelo, Texas, with his brother-in-law, Tommy Briggs' Hillbilly band which also featured Sherman Hamblin on fiddle and Earnest Smith lead guitar and vocals.

There are few live recordings of George Jones, particularly from his early days, which makes Live at Dancetown U.S.A. an interesting document. Recorded in June 1965 at a hall on Airline Drive in Houston during Jones's heydey in the Texas honky tonks, it shows the country star and his backing band the Jones Boys performing his biggest hits, including "White Lightning" and "She Thinks I Still Care," and offering between-song patter, such as when he tells the audience that he's taking a "liquor mission" halfway through the set. In addition to the Jones cuts, there are several instrumentals and nine songs performed by George's supporting vocalist Don Adams. Perhaps the biggest surprise in the set is the cover of the 1957 rock and roll song "Bony Moronie" by Larry Williams.

Many eminent country music artists, such as Jimmie Rodgers, Loretta Lynn, Patsy Cline, Ernest Tubb, Johnny Horton and Merle Haggard, began their careers as amateur musicians in honky-tonks. The modern-day honky-tonk atmosphere has continued with the likes of Dwight Yoakam, Turnpike Troubadours, and Mike and the Moonpies. The origin of the term honky-tonk is disputed, originally referring to bawdy variety shows in areas of the old West (Oklahoma, the Indian Territories and Texas) and to the actual theaters showing them. The first music genre to be commonly known as honky-tonk was a style of piano playing related to ragtime but emphasizing rhythm more than melody or harmony; the style evolved in response to an environment in which pianos were often poorly cared for, tending to be out of tune and having some nonfunctioning keys.

After the lead single "Labor of Love" failed to make the Top 40, Arista delayed the album's release so that it would not compete with the compilation album Mama's Hungry Eyes: A Tribute to Merle Haggard, to which Foster had contributed the track "The Running Kind". Steve Ripley, who recorded on Arista as lead singer of The Tractors at the time, remixed the following single "Willin' to Walk" and the album was released under the title Labor of Love in April 1995. Later that year, Foster contributed the song "Close Up the Honky Tonks" to the AIDS benefit album Red Hot + Country produced by the Red Hot Organization. Foster's third album was 1999's See What You Want to See, featuring a more pop-oriented sound and backing vocals from Darius Rucker of Hootie & the Blowfish.

" Kesha's cover of Dolly Parton's "Old Flames Can't Hold a Candle to You", featuring guest vocals from Parton herself (pictured), was hailed by one critic as Rainbow's most powerful moment. Brittany Spanos of Rolling Stone gave Rainbow 4 stars out of a possible 5 and wrote: "On her excellent comeback record, Rainbow, Kesha channels that drama into the best music of her career – finding common ground between the honky-tonks she loves (her mom is Nashville songwriter Pebe Sebert) and the dance clubs she ruled with hits like "Tik Tok" and "Die Young," between glossy beats, epic ballads and grimy guitar riffs. In the process, she also finds her own voice: a freshly empowered, fearlessly feminist Top 40 rebel." Spanos also noted the noticeable departure from the electropop sound of Kesha's first two albums, writing, "Kesha used to sing about partying with rich dudes and feeling like P. Diddy.

Chesnutt's musical persona placed a greater emphasis on song quality over physical attractiveness, compared to the move toward young and attractive males that prevailed in country music in the 1990s. Nash stated that he "distanced himself from the pack with an identifiable baritone and a focus on music over image", and Barry Gilbert of the St. Louis Post-Dispatch similarly stated that he "put the music and his warm, classic-country voice before the image." Chesnutt stated in a 1996 interview that "I would rather play honky-tonks the rest of my life for $500 a week than be something I'm not." He noted that during his latter years at Decca and MCA, he was constantly pressured by label heads to record more mainstream-friendly country pop instead of the traditional sounds of his earlier albums, due to the genre's shift away from neotraditional country having a negative impact on his album sales.

Roy whiles away his time by swilling beer with his best friend, Tracy Two Dogs (Eddie Spears), and falling into a romance with Skyla (Clea DuVall), a barmaid at a local tavern, but Roy's short time on the high school gridiron seems to have impressed Gideon Ferguson (Morse), a local character who coaches an unsanctioned high school six-man football team when he is not delivering newspapers or trying to score a gig singing country songs at nearby honky- tonks. Gideon thinks that Roy has potential and asks him to join his team; encouraged by Gideon's belief in him, Roy agrees, and he persuades Tracy to tag along. While playing hardscrabble six-man football helps restore Roy's self-confidence, he finds it does not answer his questions about his future or his relationship with Skyla. When Gideon's overwhelming interest in Roy begins to lend credence to the rumors that Gideon is gay, Roy starts to wonder just why he was asked to join the team.