Biography
Scott Joss earned frequent acclaim as the "heir to the Bakersfield throne" through his early ties to Tiny Moore and Merle Haggard, followed by later connections to Buck Owens and Dwight Yoakam. A native Californian with deep roots, he entered the world in Long Beach before growing up in Redding. His introduction to the fiddle came from Jana Jae, the one-time wife and fiddle player for Buck Owens & His Buckaroos. Tiny Moore, one of Bob Wills' surviving Playboys, took an interest and urged Joss to pursue music professionally once he had captured multiple California State Fiddle Championships. In 1980, at age 18, Haggard extended an invitation. Joss's debut performance with the Strangers took place at Carnegie Hall. Still developing his stage presence, he headed back to Redding to refine his skills before rejoining Merle and the group for touring. During that period with the Strangers, Bakersfield guitarman Roy Nichols spent time with the young fiddler and recognized substantial potential.
Departing the road and Merle proved difficult, yet Joss sought to launch his own group. After relocating to Sacramento he connected with Dennis Barney, another California musician active in the early scene. Barney served as both mentor and friend to the emerging frontman, guiding him through the basics while joining the band. Following several California gigs, Pete Anderson—who produced, arranged, led the band, and played guitar for Dwight Yoakam—took notice. Anderson brought Joss aboard in 1988, allowing close observation of his professional development. Travel between Sacramento and Los Angeles became routine for Yoakam's fiddle player and harmony vocalist. Onstage and in the studio Joss maintained a steady role with the Babylonian Cowboys. Whenever time permitted in Sacramento, however, he assembled Barney, brother-in-law Don Weeks, and additional musicians to advance his solo work. Eight years after joining Yoakam, Anderson and the respected L.A. producer/engineer/bassman Dusty Wakeman (Rosie Flores, Dwight Yoakam, the Lonesome Strangers, Reach Around) escorted Joss to the newly opened Mad Dog Studios for his debut solo recording.
Souvenirs appeared in 1996 and reached number seven on Gavin's Americana chart with considerable impact. Standout tracks featured two Jim Lauderdale compositions: the traditional shuffle "Stay Out of My Arms" and the anthemic "Doin' Time in Bakersfield." The project also contained Joss's own "I Never Got Anywhere With You," confirming that he stood as a credible successor to Buck, Merle, and the other architects of the Bakersfield sound.
Departing the road and Merle proved difficult, yet Joss sought to launch his own group. After relocating to Sacramento he connected with Dennis Barney, another California musician active in the early scene. Barney served as both mentor and friend to the emerging frontman, guiding him through the basics while joining the band. Following several California gigs, Pete Anderson—who produced, arranged, led the band, and played guitar for Dwight Yoakam—took notice. Anderson brought Joss aboard in 1988, allowing close observation of his professional development. Travel between Sacramento and Los Angeles became routine for Yoakam's fiddle player and harmony vocalist. Onstage and in the studio Joss maintained a steady role with the Babylonian Cowboys. Whenever time permitted in Sacramento, however, he assembled Barney, brother-in-law Don Weeks, and additional musicians to advance his solo work. Eight years after joining Yoakam, Anderson and the respected L.A. producer/engineer/bassman Dusty Wakeman (Rosie Flores, Dwight Yoakam, the Lonesome Strangers, Reach Around) escorted Joss to the newly opened Mad Dog Studios for his debut solo recording.
Souvenirs appeared in 1996 and reached number seven on Gavin's Americana chart with considerable impact. Standout tracks featured two Jim Lauderdale compositions: the traditional shuffle "Stay Out of My Arms" and the anthemic "Doin' Time in Bakersfield." The project also contained Joss's own "I Never Got Anywhere With You," confirming that he stood as a credible successor to Buck, Merle, and the other architects of the Bakersfield sound.
Albums