It appears like Kane Brown is as apt to get lost in the scary landscape of country music as he is his own 30 acres. Sure, navigating through some of country’s subgenres can be a little confounding for the musical civilian. But this is a guy that’s made millions off of being a supposed “country” star.
When they finally get around to opening a proper brick and mortar Red Dirt Music Hall of Fame in Stillwater, Oklahoma, you can be assured it will be seeded with a bust of Stoney LaRue. Though many modern day artists love to cite Red Dirt as a sound and influence to their music, it’s only a select few who can say they’re founding members.
The Tulsa, Oklahoma native is currently in the hospital after discovering he was suffering from a major heart issue. After running numerous tests, it has been determined he needs a new heart valve, and will be undergoing heart surgery. The serious health issue comes right as he is set to release his latest record “Tail Lights in a Boomtown.”
The problem with the whole Texas Music/Texas Country/Red Dirt “scene” is just that—what to call it. Texas Country is not really Red Dirt, even though the two regularly get lazily lumped together. Texas Country and Texas Music are separate things as well, but once again get summarily bundled. Yet all of these things are intertwined.
You may not be comfortable with how exactly to define the quasi country, quasi-rock music that comes out of the Texas / Oklahoma region known as Red Dirt, but what you can be confident in is that it would never have come to life like it did without a man named Tom Skinner. Bass player, songwriter, and father of Red Dirt music Tom Skinner passed away Sunday evening, July 12th.
Aviator isn’t one of those albums you cherry pick through to the best songs. That would be like choosing a favorite child, because all of these songs are great and work so well together and in succession. This is one of those albums you put on for a long road trip or a restful backyard barbecue and then press repeat when you get to the end. It is the embodiment of that laid back Texoma flavor.
If Red Dirt spans a wide sonic palette that ranges from hard country to straight rock n’ roll—with alt-country, country rock, Southern rock, and even some country pop thrown in between—then Jason Boland is the hard-edged bookened defining Red Dirt’s country border. In other words, it is pretty difficult to be more country than Jason Boland and the Stragglers.
Lonesome Wyatt is a pioneer of Gothic country with his band Those Poor Bastards, and one of the originators of underground country whose song “Pills I Took” was covered by Hank Williams III on his landmark album Straight to Hell, he is one of the few artists who will never be forgotten regardless of the long-term fortune of the underground country sub-genre.
Well this was not what I was expecting. When comparing Adventus to the first Departed album This Is Indian Land, this album symbolizes a dramatic, wholesale shift to the rock world. In fact if there’s any other genres mixed in here, they would be blues, and especially funk. Adventus is much more Red Hot Chili Peppers than it is Red Dirt. At least in sonic style.
Diamonds & Gasoline has a lot of the common earmarks of a Red Dirt album, and a lot of a good freshman album, even though officially it is their 2nd release. I really like this album, but moreover, I really like their potential, and am excited to see what the Turnpike Troubadours have to offer in the future.
Despite the safety, there is a good flow to this music, and a patience. In most music, you have a group of guys doing their best individually, hoping it fits in the context of the song. With Velvet, everyone is on board, listening to the music and what the song is calling for. It’s the difference of four horsemen riding side by side across the plain, or four horses yoked together.