If onetime Nashvillian Jonny Corndawg were alive and working in the mid-’60s, people might talk about him the way they’d talk about Roger Miller: He can take a country song to utterly goofy places without it being dumb, he marches to the beat of a drum nobody else hears, his eccentric mode of transportation, etc. (Miller got around on a Cushman scooter for a time; Corndawg’s toured on motorcycle and reportedly now has a custom van — no doubt airbrushed.) The comparison breaks down when you consider that Miller was also a master of the serious ballad, and that part of Corndawg’s eccentricity comes from his being willfully out of time and place. A lot of the aesthetics and acts Corndawg invokes are from country eras a little too recent to have been anointed as cool yet — like when he extended a show invite to sentimental ’80s singer John Conlee during a WSM interview. Nowadays, you wouldn’t think Corndawg’s thing would work as well as it does, but his contagious cleverness has him en route to countrified indie stardom. He’s channeled it into a new album — Dad Country — but there’s no word yet on when it’ll be out. His serious endeavor of the moment is soundtracking the documentary Oxyana.