Caney Fork
Wednesday, January 21, 2026
Frank Bruce, newspaper man, teacher, baseball coach
Next Friday, June 17,1955, the Southwestern Publishing company, which publishes The Southwestern, will begin the publication of the Galena Record of Galena, Kansas. Each week the Record will enter all Galena homes and all the homes on the two rural routes out of Galena. It will be the only newspaper or periodical of any kind, daily or weekly, which completely covers Galena and Its immediate surrounding territory! The Record will be delivered early Friday mornings, and its offices will be located at 803 East Fifth in Galena, phone 28. Combination advertising in The Southwestern and the Record will have A potential readership of 35,000 persons. The combination advertising rate of these two newspapers will be the lowest "per reader cost" of any newspaper in Midwest! Joplin offices of the Galena Record will be located with The Southwestern.
...
In Frank's June 10, 1955, issue of the Southwestern newspaper (considered a Joplin publication covering a four-state area and selling for a nickel), he gave props to the Joplin Eagles baseball team:
Missouri House Resolution No. 166 Honoring Eagles WHEREAS, The Joplin High School Eagles won the Missouri State High School Baseball Championship for 1955, in Busch Stadium at St. Louis, on May 26, 1955; WHEREAS, the statewide competition surmounted by the Joplin High School Eagles was keen and excellent, thus making the accomplishment a meritorious victory; WHEREAS, team play and sportsmanship characterized this championship team, WHEREAS, this team, its managers, and its coaching staff have reflected credit upon the State of Missouri as well as upon themselves and the city of Joplin; and has added the baseball laurels for this year unto the State High School Class A Basketball crown for the same year; NOW, THEREFORE, BE IT RESOLVED, that the House of Representatives of 68th General Assembly of the State of Missouri, by these presents, congratulate this splendid team, Gordon Long, the coach thereof; Roy Greer, Principal of the Joplin High School, and Roi S. Wood, the Superintendent of Schools at Joplin, upon the occasion of this achievement; BE IT FURTHER RESOLVED, that the Clerk of this House cause an appropriate number of these resolutions to be prepared and forward the same to each player, manager, and coach, as well as the school officials; and to the news media there for dissemination of these congratulations to the people of Joplin.
Wednesday, January 14, 2026
Wednesday, January 07, 2026
Kansas Bryce Martin
- Thematic Overlap: His songs frequently focus on rural life, manual labor, and "honest, non-clichéd" stories—traits that are essential to the Red Dirt and Outlaw Country traditions.
- Regional Context: While the genre originated in Stillwater, Oklahoma, it has expanded to include artists from across the region who share its raw, storytelling-driven approach. Martin is often grouped in playlists and discussions alongside other modern Red Dirt and "Outlaw" figures like Bryan Martin, Jamey Johnson, and The Red Clay Strays.
While he is a distinct artist, his work is essentially "country music with attitude," making him a natural fit for the Red Dirt label.
Gritty, Unvarnished Vocal Style
Both artists utilize a "weathered" vocal delivery that avoids modern pop-country polish:
- Jamey Johnson: Known for a deep, "muddy" baritone that conveys world-weary sincerity.
- Kansas Bryce Martin: Possesses a "southern rock-soaked" lead vocal often described as "grit-filled" and "redneck," emphasizing character over technical perfection.
2. Blue-Collar and Manual Labor Themes
Both songwriters focus heavily on the struggles and pride of the American working class:
- Manual Labor: Kansas Bryce Martin’s work is famously tied to the "driller" lifestyle, highlighted in his EP Driller Man and songs like "Red Truck Redneck". Similarly, Jamey Johnson’s catalog is noted for resonating with "common back breakers" and hard-working Americans through tracks like "High Cost of Living".
- Authenticity: Both have been described as "the real deal" for writing songs that don't chase radio cycles but instead "tell the truth" about life’s harder edges.
3. Roots in Traditional and Outlaw Country
The sonic foundation for both artists is rooted in the 1970s Outlaw movement and the
Bakersfield Sound":
- Influences: Both cite legends like Waylon Jennings, Merle Haggard, and Johnny Cash as foundational influences.
- Instrumentation: Their music typically features stripped-down arrangements, relying on acoustic guitars, steel guitars, and minimal percussion rather than electronic elements or "glitter".
4. Rejection of the "Nashville Machine"
Both artists have maintained a level of independence or vocal criticism toward mainstream commercial country:
- Traditionalism: Jamey Johnson is frequently cited as proof that the "soul of country" still exists outside of pop-country trends.
- Indie Sensibility: Kansas Bryce Martin operates with a similar ethos, focusing on storytelling and specific regional Americana—such as his work in the Nashville area that avoids modern digital production methods (he famously does not use computers for his artistic endeavors).
These articles explain Jamey Johnson's authentic, weathered vocal delivery and themes of manual labor, aligning with Kansas Bryce Martin's gritty Americana:
The 2025 album Down on the Caney Fork by Kansas Bryce Martin focuses on themes of traditional storytelling, regional identity, and moral reflections typical of classic country music.
Specific themes explored through the tracklist include:
- Regional and Rural Life: Several songs emphasize a sense of place and local culture, such as the title track "Down on the Caney Fork" and "Bakersfield Winds".
- Moral and Religious Reflection: The track "Big Churches Don’t Preach Hell" suggests a critique or observation on modern religious institutions compared to older, more traditional spiritual values.
- Nostalgia and Life Lessons: Songs like "This Old Road" and "Never Get Your Whiskey at a Place Called Papa Joe’s" explore personal history and practical, often humorous, life advice.
- Mortality and Folklore: "Death Be Sworn to John Q. Barleycorn" draws on traditional personifications of death and grain (likely referencing whiskey or the cycle of life), a common trope in folk and country storytelling.
- Americana and Classic Imagery: "Pink Cadillac Drive-In" and "Up Jumped Johnny" utilize classic American symbols to evoke a sense of mid-century nostalgia.
While there is no published official "behind-the-song" interview for
"Big Churches Don't Preach Hell," the track's lyrics and title reflect a common critique in traditional country and bluegrass music regarding the "seeker-sensitive" movement in modern American Christianity. The song explores the following narrative and thematic elements:
- Critique of Modern Megachurches: The title directly addresses the observation that larger, modern "big churches" often avoid "hellfire and brimstone" preaching in favor of more positive, motivational messages to avoid offending congregants or "seekers".
- Traditional vs. Modern Values: Martin contrasts the "old-time religion"—which emphasized the reality of sin and judgment—with a contemporary "theologically soft" approach that focuses primarily on prosperity and comfort.
- The "Itching Ears" Concept: The song likely draws on the biblical theme from 2 Timothy 4:3, which suggests a time will come when people will only seek out teachers who tell them what they want to hear rather than "sound teaching".
- Preservation of Rural Faith: Within the context of the album Down on the Caney Fork (2025), the song reinforces a regional identity that values the grit and unfiltered truth of rural, small-town life over the polished, commercialized nature of modern urban institutions.
As of January 2026, Kansas Bryce Martin is an active independent recording artist known for his work in the Americana, folk, and country genres.
Recent activity and trending tracks associated with Kansas Bryce Martin include:
- 2025/2026 Discography: His catalog has seen increased visibility on global streaming platforms like Boomplay Music, featuring tracks such as "Up Jumped Johnny," "This Old Road," and "Pink Cadillac Drive-In".
- Key Tracks: Other notable songs appearing in current digital rotations include:
- "Down on the Caney Fork"
- "Driller Man"
- "Bakersfield Winds"
- "Mickey Mantle Farewell"
- Style and Presence: His music often incorporates storytelling and regional themes. He maintains a presence on major streaming services including Amazon Music and Last.fm.
- The lyrics typically address:
- The Shock of Mortality: The song reflects on the realization that even seemingly invincible figures are not permanent. One key sentiment in the track describes the neighborhood "rushing home to pray" upon hearing of Mantle's passing, marking the narrator's first childhood experience with the concept of death.
- Heroism vs. Human Frailty: It balances Mantle's legendary status as a "hero" with the physical and personal "pain" he endured toward the end of his life.
- Regional Connection: The song draws on Martin's Americana style, often referencing the cultural impact of such figures on rural or small-town life.
While the song is an original by Martin, it shares thematic DNA with the "woeful" song "Yesterday When I Was Young" (made famous by Roy Clark), which was Mantle's personal request for his own funeral because its lyrics about regretting a life of "wayward pleasures" mirrored his own life story
Kansas Bryce Martin’s work as an Americana artist features several core elements of the genre, blending traditional American roots music with contemporary storytelling.
His music incorporates the following Americana characteristics:
- Narrative and Symbolic Lyrics: Like many Americana songwriters, Martin uses his lyrics to tell detailed stories or explore symbolic themes. For example, his track "Mickey Mantle Farewell" uses the passing of a baseball legend to reflect on childhood mortality and the loss of innocence.
- Acoustic-Driven Instrumentation: His recordings often emphasize acoustic instruments, a hallmark of the Americana sound. Common instruments in his catalog include:
- Acoustic Guitar: Serves as the primary rhythmic and melodic driver.
- Fiddle and Banjo: Used to provide a "twangy" or bluegrass-influenced texture to tracks like "Up Jumped Johnny."
- Reverence for the Past: His songs frequently "recycle" historical or cultural themes from past generations, focusing on rural life, small-town experiences, and 20th-century Americana icons.
- Authentic Vocal Style: Martin’s delivery aligns with the "back porch" aesthetic common in the genre—favoring an honest, raw, and sometimes weathered vocal quality over highly polished pop production.
- Genre Blending: His work sits at the intersection of several roots styles, including folk, country, and bluegrass, creating a cohesive sound that is distinct from the "pure" versions of those individual genres.
- Kansas Bryce Martin’s musical style—rooted inAmericana, folk-country, and storyteller narratives—shares artistic DNA with both classic roots icons and modern independent troubadours.Based on his thematic focus and instrumental arrangements, he resembles the following types of artists:1. Legendary StorytellersMartin’s focus on historical figures and life cycles mirrors the narrative songwriting of:
- Guy Clark: For the meticulous, craftsman-like approach to detailing rural life and
- personal heroes.
- John Prine: For the ability to blend humor with profound reflections on mortality and the human condition.
- Townes Van Zandt: For the stark, poetic lyricism often found in his more somber, acoustic tracks.
- Jason Isbell: Especially in songs like "Mickey Mantle Farewell," which share Isbell's penchant for exploring heavy themes of legacy and loss.
- Colter Wall: For the deep, resonant connection to Western heritage and traditional "working man" stories like "Driller Man".
- The Avett Brothers: For the fusion of bluegrass instrumentation with modern folk sensibilities.
- Chris Bullinger: A fellow storyteller often highlighted alongside Martin in Americana rotations for his lyrical depth
- Derek Dames Ohl: Shares a similar raw, rootsy vocal delivery and emphasis on acoustic instrumentation.
- Bryant Switzky: Known for an "expressive emotionalism" that mirrors Martin's more contemplative works.
In addition toMickey Mantle, Kansas Bryce Martin’s songwriting frequently focuses on historical, cultural, and legendary figures that represent the spirit of Americana and rural folklore.Specific figures and archetypal legends featured in his work include:- John Q. Barleycorn: In the track "Death Be Sworn to John Q. Barleycorn," Martin utilizes the legendary personification of barley and the alcoholic beverages made from it. This figure is a staple in British and American folk traditions, representing the cycle of nature and the "spirit" of the harvest.
- Johnny (The Outlaw Archetype): The song "Up Jumped Johnny" draws on the
- "Johnny" archetype common in country and folk music (similar to figures like Johnny Ames or Johnny Yuma), portraying a sudden, legendary character entry into a narrative.
- The Driller Man: In his 2019 EP "Driller Man", Martin elevates the blue-collar oil worker to a legendary, almost mythical status, celebrating the grueling physical labor and grit associated with the American industry.
- Elvis Presley (Referential): While not the primary subject of a biography song, the cultural legend of Elvis is central to the imagery in "Pink Cadillac Drive-In." The song references the iconic pink Cadillac associated with Presley and the nostalgic era of 1950s Americana.
- The Pioneers: In his broader lyrical themes, such as in the "Kansas Cheyenne anthem," Martin pens tributes to the "cattlemen that tamed the west" and the unnamed women and men who settled the land, treating them as collective legendary figures of the American frontier.
- Kansas Bryce Martin’s song"Death Be Sworn to John Q. Barleycorn" is a modern Americana interpretation of the centuries-old English and Scottish folk legend.The song utilizes the traditional folk character John Barleycorn, who serves as a personification of the cereal crop barley and the alcoholic beverages (beer and whiskey) made from it.Thematic Elements
- The Murder Ballad Parody: Like traditional versions, Martin’s track follows the structure of a "murder ballad" where the "victim" is the grain itself. The lyrics typically detail a solemn oath taken by "three kings" or men to ensure John Barleycorn dies—a metaphor for the harvest.
- Cycle of Life and Resurrection: The song portrays the "tortures" inflicted on the character—being plowed under the earth, cut at the knee (harvesting), and ground between stones (milling)—as necessary steps for his eventual resurrection as spirits or ale.
- The "Revenge" of the Grain: A common theme in this legend that Martin explores is that while men "kill" the grain to make alcohol, the character of John Barleycorn ultimately "wins" by intoxicating and overpowering the men who consumed him.
Historical Significance - While Martin’s version is contemporary, the song's roots go back to at least the 16th century, with famous iterations by poet Robert Burns in 1782 and the rock band Traffic in 1970. Martin’s inclusion of the song in his catalog aligns with the Americana tradition of "recycling" deep-rooted folklore for modern audiences.Where to Listen
- The track is featured on several of his streaming profiles, including:
2. Contemporary Americana FiguresIn terms of production and "back porch" authenticity, his sound aligns with:3. Independent Roots Artists (2025/2026)Within the current independent scene, he is often grouped with artists who prioritize "under-the-radar" authenticity over mainstream polish:
