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I started listening predominately to country music and evangelists on the radio. A short time later I realized these outside influences were changing the nature of my words and themes. For nine months I lived in Polk County the rest of the time I lived with my father and brother after separating with my long time girl friend. I finished this book at King's Point in Delray Beach Florida. The selections picked for this book reflect real life after all they come from real people and true-life events. The songs\/poetry in this book were inspired by people I know, people I've spoke with (in person and in chat rooms on the web). The songs are about the Cast Of Characters that have been in and out of my life for the past year. I am not sure how some of the people I wrote about will react about the stories I tell, after all they are my interpretation of their words, their tears, their hopes and yes their fears, but also their optimism, faith in god and love of life. 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Sitting between the Old South and the West, this one-time frontier town provided an ideal setting for the cross-fertilization of musical styles. The scene was shaped by the region's easy mobility, the presence of a legal \"red-light\" district from 1903-17, and musical interchanges between blacks and whites, who lived in close proximity and in nearly equal numbers. The region nurtured such varied talents as Huddie Ledbetter, the \"king of the twelve-string guitar,\" and Jimmie Davis, the two term \"singing governor\" of Louisiana who penned \"You Are My Sunshine.\" \u003cbr\u003e\u003cbr\u003eAgainst the backdrop of the colorful history of Shreveport, the unique contribution of this radio barn dance is revealed. 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Rejected by Nashville; is finally coming to light after being in the works for eight years. In 261 pages, 265 vinyl and CD albums are reviewed. Also included is an extensive bibliography. Irwin brings the albums he describes to life. The reader feels as though he has been invited over for a record listening party, with The Whiskey Rebel spinning the disc. He shares his vast knowledge of country music history, without sounding like an encyclopedia. He educates the reader in a fun and casual manner, about the music he feels Nashville has swept under the rug, in favor of country-synth-pop. Phil started out buying country LPs at thrift stores about 30 years ago. He owns every album reviewed in these pages and rarely paid more than $1 for them. This is very much a fan book written for folks on a budget. He points out to the reader that they too can still find tons of real country albums at flea markets and record shows and yard sales for that same $1 or under. Real country music is the old fashioned stuff; that often features steel and twangy guitars, real drums, and sung frequently by ugly or average looking performers. They were the standard for several decades--before Nashville began hiring stables of handsome hunks who look good in cowboy hats, and belly button waggling gals who look like models. Real country music is alive, and well appreciated around the world (especially in England and Germany) and is still performed in all pockets of the USA. The performers rely heavily on the standards set by the pioneers and icons of the genre, ranging from the godfather of country Jimmie Rogers, to artist still performing: George Jones and Merle Haggard. 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