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Concerts

Concert Review: The 4th Annual Medicine Stone

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Last weekend, I had the great opportunity to attend Medicine Stone, known by its web site as “the fastest-growing Red Dirt experience in Oklahoma.” Started in 2013 and organized by Turnpike Troubadours and Jason Boland, Medicine Stone is a three-day event held on the Illinois River in Tahlequah, Oklahoma, featuring Texas/Red Dirt music in all its forms–from the more traditional country sound of Jamie Lin Wilson to the rock sound of Cody Canada and the Departed, and everything in between. The sounds in Red dirt music and at Medicine stone are quite diverse, but there is a common thread running through it all, the quality of the music and the care that these artists put into their songs.

It was impossible to see everyone, due to artists playing in different locations at the same time, but I tried to experience as much as possible. I’ll only cover the artists I heard, but here is a link to the complete lineup of artists. It is quite an impressive and diverse list.

The event kicked off on Thursday with artists playing in a bar on site before the main stage area opened. I was impressed with my first exposure to Bleu Edmondson, who performed his Red Dirt hits such as “$50 and a Flask of Crown.” Shane Smith & the Saints, of Austin, Texas, opened on the main stage–with their harmonies, smart lyrics, and unique sound, they were definitely one of the highlights of the whole weekend. Shane Smith mentioned that they had come to Medicine Stone in 2015 and played in the bar, and that they had been invited to play on the main stage this year because of the tremendous amount of positive feedback and requests to hear more. I think they have a bright future in the Texas scene, and I highly recommend getting to know this band. William Clark Green and Stoney LaRue followed, both of whom have been established in the Red Dirt scene for years. Green performed many of his hits, as well as snippets of the Beatles and the Rolling stones. Stoney laRue made his mark on the event with what he described as the song that made his career, “Oklahoma Breakdown.” There is something special about hearing this live in Oklahoma, with thousands of fellow Oklahomans all singing along to it. The night closed with the excellent Randy Rogers Band, a more laidback, country sound after the rock leanings of both William Clark Green and Stoeny LaRue. The thing that impressed me the most about the Randy Rogers Band was how much their live music sounds like their recordings; it is a testament to the commitment to live music throughout this subgenre of music.

Friday offered the best lineup, and the attendance reflected this. Before the main stage opened, I had the opportunity to see two artists I’d never heard of, Kaitlin Butts and Midnight River Choir. Kaitlin Butts is a name you should check out if you like more traditional country–she sang many times with just her guitar, and when her band broke into Merle Haggard’s “I Think I’ll Just Stay Here and Drink,” she had the entire crowd dancing. Midnight River Choir is a name you should check out if you like the more country rock sound of Texas music; I regretted that their performance overlapped Kaitlin’s because most people missed one or the other, and both were unsung standouts of Medicine Stone.

The main stage opened that night with the increasingly popular Jamie Lin Wilson, whom I also had the pleasure of interviewing during the festival; you can read that interview on Country Exclusive in the coming days! Wilson’s set was the most country of the weekend on the main stage, and a highlight of her time onstage was the murder song “Roses by the Dozen,” before which she advised us, “If you need someone to come creep out your festival, just call me.” Micky & the Motorcars followed, bringing a mix of country and rock, with more upbeat material. Reckless Kelly, another household name in the Red Dirt scene, came out next and performed many songs from their new album, Sunset Motel, released Friday and available for the first time at Medicine Stone. This band was another standout, singing everything from Merle Haggard to Bruce Springsteen covers and doing justice to both. They easily offered the most diverse sound within their set, and because of this, everyone could have found something to like from them. The Americana band American Aquarium, from Raleigh, North Carolina, followed; they seemed slightly out of place among the many Texas and Oklahoma-based artists, and theirs was the only set that I didn’t enjoy throughout. However, the quality and care in their music was much the same, and they showed it on highlights like “Losing Side of Twenty-Five.” The lead singer, BJ Barham, stated that “if we can get 6,000 people to come to the middle of fucking nowhere just to listen to some music, it proves people still care about music.” The night closed with Turnpike Troubadours, and I could have devoted an entire article to their performance alone–all I can say about them is please, please go listen to them live. Nothing I can say will do them justice. From the moment they kicked off with “Doreen,” until they closed with “Long Hot Summer Day,” they had the attention of everyone in the crowd. I heard a lot of great music each day, but the Turnpike Troubadours are on another level.

There were several artists on Saturday that I didn’t experience. I got to hear Cody Canada and the Departed, the most rock-leaning group there, and probably in the whole Red Dirt scene. It impressed me how many different sounds the organizers of Medicine Stone incorporated into the event. The Departed played some new songs and some of the Cross Canadian Ragweed hits. Also, I just want to point out, as rock influenced as they are, fiddle and steel were featured prominently in several of their songs–take note, mainstream Nashville. The night closed with Jason Boland & the Stragglers, another band you should absolutely see live. They, like Randy Rogers Band, sound very similar live to their recordings.

Texas/Red dirt is very hard to define. It can be country or rock and is usually a unique mix of the two. Cody Canada said onstage that “it is a community of people who share each other’s songs and love for music.” However you define it, there is something common in all of it, raw honesty in songs, the quality of the material, and the unwavering commitment to live music. Turnpike Troubadours and Jason Boland have accomplished a great thing by creating an event to celebrate this unique subgenre, and anyone with a love for country, rock, or just real, quality music should consider attending Medicine stone.

Reviews

Album Review: Sean McConnell’s Self-Titled Album

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Rating: 9/10

One of the most enjoyable things about being a reviewer is the ability to introduce people to new and deserving artists. Sean McConnell’s name is not new–he has had an established name in the Texas scene for fifteen years, recording numerous albums as well as writing for better-known artists like Wade Bowen and the Randy Rogers Band. But for casual fans and many serious fans of country music, his new self-titled album will be the first encounter with Sean McConnell. I will immediately say it is not strictly country; some songs are more country than others, but the album leans more toward Americana, or perhaps the rock side of the Texas/red dirt sound. As I’ve said often, it is not the album to buy for fiddle and steel, but there is a lot to love about this album.

The album opens with “Holy Days,” an upbeat, pop rock song about the early days of the band and a girl from the past. McConnell has said much of this album is autobiographical, and this song seems to reflect that, pointing to the days when his band was starting to gain popularity. The driving production fits this song and sets the tone of the album. “Ghost Town” follows–this one is more country rock and sees McConnell visiting his old hometown, only to discover everything has changed, and the people here are all strangers. He sees everything as it once was, but it will never be the same. The lyric “I can’t tell if I wanna build a shrine or just burn it to the ground” captures the conflict in this song perfectly. “Bottom of the Sea,” a re-recording from an earlier EP, is more of the upbeat style found in the opener. the lyrics shouldn’t be overlooked, though–“the hardest part of living is knowing that you’re gonna die, trying to leave a legacy with only so much time. I don’t know about you but I’m getting sick and tired of living on the surface and in between the lines.” The lighthearted production can distract a little from the seriousness of the song at first, but after a couple listens, that starts to add to the song.

Beautiful Rose” is the first song I would call strictly country. The stripped-back production and country instrumentation work well here, as McConnell sings about how life is not always what you expect it to be–“but I’ll take the thorns for this beautiful rose.” It’s a simple, quiet moment on a mostly upbeat album. ‘Hey Mary” is a fun, lighthearted song about trying to make Mary fall in love. McConnell says she can crash at his house, and he will sleep on the floor and let her vent about the guy who made her cry. He says one day he will sing her this song and prove that he knew all along she would fall in love with him eventually. “Best We’ve Ever Been” sees a couple just spending a day together, celebrating their years together and that they are still just as much in love–“Baby, we had no idea, and I would do the same thing if we did.” It’s a simple little song that paints love as just wanting to spend time with each other.

One of the definite highlights of the album is the autobiographical “Queen of St. Mary’s Choir.” sean McConnell sings about his life as “the product of desire between the guitar kid from Hudson and the queen of St. Mary’s choir.” He embraces the characteristics he got from both his paretns, and that he became a musician. Another highlight is “Running underwater”–this one sees McConnell dealing with personal struggles and calling on Jesus to help, if indeed God is out there. The imagery in this song hit me the first time–“Oh, what a dream I had last night. I could not scream, I could not fight. And the more I pushed, and the more I pried, it got harder and harder, like running underwater.” The production and the lyrics blend perfectly here, and it is one you should just listen to. “One Acre of Land” is another very country song and another highlight. McConnell says that he doesn’t have a lot of money but “we could build a dream right where we stand on one acre of land.” It’s another one that speaks for itself with a listen. The album closes with “Babylon,” a song in which a broken relationship is compared to Babylon. This is another one like “Running Underwater,” where the songwriting paints wonderful pictures. “we’re a tattered flag where the mighty fell, we’re a rusty coin in a wishing well, we’re the only lie that you couldn’t sell, Babylon.” Sean McConnell sings this with incredible emotion, and the song builds throughout to match the intensity. It’s an excellent way to close a great album, although ten songs leaves me wishing it were a bit longer.

Overall, this is a great album. The songwriting is excellent in places, and although it isn’t the most country thing out there, it fits within Americana well. It blends styles nicely, and the production on each song works well with the lyrics. Sean McConnell said this album was somewhat personal and autobiographical, and it reflects that authenticity. This is definitely an album worth checking out!

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https://www.youtube.com/watch?v=0bP7q2M-fkg

Reviews

Album Review: Randy Rogers Band–Nothing Shines Like Neon

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Rating: 9/10

Following the excellent 2015 collaboration with Wade Bowen, Hold my Beer, Volume 1, Randy Rogers is back with his band for Nothing Shines Like Neon. This album marks the return of the Randy Rogers Band to Texas after some albums in Nashville, and it was preceeded with news that it would be an album of traditional country, complete with appearances by Alison Krauss and Jerry Jeff Walker. Well, the album is available today, and I can safely say it lived up to its expectations, and it is the first great album of 2016.

The album opens with “San Antone,” a nice ode to Texas that celebrates coming back after their years away. Songs about Texas are common in Texas country, but this one stands out after the band’s years in Nashville and works perfectly. It is a fitting opener for the album, and right away I can see that the promise of traditional country rings true. Fiddle, steel, and acoustic guitar are prominent here, and will continue to be throughout the album. “Rain and the Radio” is a catchy, upbeat song about a couple enjoying being with each other when the power is out. They don’t need anything but the rain and the radio; this doesn’t stand out as one of the best songs on the album, but it is a song that gets better with each listen and earns its place quietly. “Neon Blues,” the album’s first single, is a classic song about a woman in a bar drinking away the pain of a past relationship. Much like “Rain and the Radio,” this one is catchy and gets better with each listen. It is unclear here whether the narrator is the one who hurt her, the bartender, or just someone in the bar, but he has observed this woman and is advising someone else not to waste his time pursuing her. It was certainly a good single choice.

“Things I Need to Quit” sees a man listing all the habits he needs to rid himself of: alcohol, cigarettes, but most importantly, the woman who has him in this position. Randy Rogers sings of a girl who is getting dressed and waiting for a cab–“she looks a lot like you, ain’t that a shame. Girl, I’m all messed up, and you’re to blame.” It’s a very honest and relatable song that will connect with many. “Look Out Yonder” is one of the best songs on the album. Featuring Alison Krauss and Dan Tyminski, it tells the story from a brother’s point of view, as he looks out at the road and sees his wayward brother finally coming home, guitar strapped to his back. The instrumentation, lyrics, and harmonies blend beautifully in this song, and it is really one that you should hear. “Tequila Eyes” sees the narrator seeking out his friend, who is trying to find comfort in a bar. Apparently this is quite unlike her, and this narrator is broken, trying to tell her that tequila won’t hide the pain. Randy Rogers delivers the emotion in this song wonderfully, and the fiddle in this song is excellent. After the rawness of “Tequila Eyes” comes the expertly placed “Taking it as it Comes.” This is one of the most fun moments on the album, and the fiddles and rock guitars on this song remind me of a Turnpike Troubadours track. Jerry Jeff Walker is featured here, and basically this song is just about taking life as it comes and not letting life get to you; it’s just a fun song.

“Old Moon New” is probably the best song on Nothing Shines Like Neon. Here, a man sings about writing a woman clichéd love letters and giving her eleven roses “just to shake it up.” He says he knows that “there’s nothing new under that old moon” but “girl, you make that old moon new.” It’s a beautiful song and stands out in contrast to all the songs about back roads and moonlight we’ve been hearing from mainstream country music. “Meet Me Tonight” is another standout on this album; it reminds me of an earlier Randy Rogers Band song, “One More Goodbye.” Here, a man is asking an old love to meet up with him one last time; he knows it won’t last, but he still misses her. The Randy Rogers Band really seem to have a knack for capturing the emotion in these types of songs, and I think this is one that while having the unfortunate placement after “Old Moon New” will surpass it in quality with more listens.

“Actin’ Crazy” is an instant personal favorite. If “Old Moon New” is the best serious song, this song is the most witty. Featuring Jamey Johnson–has Jamey Johnson ever lent his voice to a bad song?–this song tells the story of a man writing a letter back home to Texas, presumably from L.A. or some other city. This man is living a life that is “one chaotic wreck” and knows he is getting nowhere. Some of my favorite lyrics are present here, among them “these folks make me proud to be from Texas” and “the rent’s as high as Willie.” This song also makes me ready for that Jamey Johnson album we’ve been hearing about forever. The album closes with “Pour one for the Poor One,” your classic country song about a man drinking away his troubles after his woman has left him. They promised traditional country, and this song is a perfect way to close an album of such music.

Overall, this is a truly enjoyable album. The Randy Rogers Band balance serious and fun songs well, and the light and dark material combine to make this an album that is not only critically great, but listenable and relatable as well. They promised an album of traditional country, and that is what this album delivers. Nothing Shines Like Neon is a great start to 2016 for country music.

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Reviews

Album Review: Jason Boland & the Stragglers–Squelch

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Rating: 9/10

For those unfamiliar with the Texas/Red Dirt scene, Jason Boland & The Stragglers is one of the first bands you should know. The Oklahoma-based band have been a presence in Red Dirt since 2001 and have gained a reputation within the scene for their traditional country brand of Red Dirt. They are back with Squelch, a great country-sounding album full of political and social commentary. Though this type of album might not be for everyone, with its highly political nature, Squelch is an album many will find themselves enjoying.

For those unfamiliar with the term “Squelch,” it refers to the knob on a CB radio used to mute the static. This static seems to be a metaphor for the information surplus we receive daily, and “Break 19,” the album’s opener, continues with CB lingo to protest the amount of information we are fed daily. “Once you read between the lines, you miss the days when you were blind”–what an excellent line. “The First to Know” is more ambiguous, seeming to call out social media for its controlling nature. “If my voice sounds scared and frozen, it’s because I’m afraid and cold, and when I am, you’ll always be the first to know” is a disturbing truth about the hold social media has on many. The fiddle in this song is excellent. Next is the straight rock “I Guess it’s All Right to be an Asshole.” The premise here is “Genius is always bound to be misunderstood, I guess it’s all right to be an asshole if you’re good.” It’s as simple and as true as this.

“Holy Relic Sale” is next. Currently at #24 on the
Texas Music Chart, this song is the first break from social commentary. Inspired by Jason Boland’s wife’s lucky blue socks, the song tells of a day they found themselves enjoying, despite the fact that she left her lucky socks at home. “The sun will also shine on the nonbeliever” reminds us that we will all have our good and bad days in life. “Heartland Bypass” is a musically excellent song featuring acoustic guitar, steel, and fiddle–here, Jason is asking his woman to get away with him. It’s my personal favorite of the album and one that you should just listen to, and then listen to again. “Lose Early” is a country rock critique of the wealthy–the great Red Dirt mix of fiddles and rock guitars fits this song perfectly. It’s a sound like no other, even if you don’t like political commentary. “Do You Love Me Any Less” is a traditional country song in which the narrator is asking a woman if she’ll love him less while he is on the road. “Do you love me any less when I’m gone?”–what a line. It should be noted that Cody Angel, the newest Straggler, has brought some remarkable steel guitar to this album, and it shines on this song in particular.

The fun, upbeat “Fat and Merry” is another attack on the wealthy, this one much more obvious and all the more entertaining. This song is rife with excellent, sarcastic lines, but this one sticks out: “Here in the land of plenty, there are plenty that could land a little more.” “Christmas in Huntsville” is the darkest point of the album. Here, the narrator is on Death row for a crime he did not commit. He reflects on God, his family, the “man I didn’t kill,” and his last meal, which is “turkey and dressing for this Christmas in Huntsville.” After this utterly depressing song, I am thankful for “Bienville,” a song about a traveling man who meets a woman with a like-minded spirit in the Bienville hotel, and the two fall in love. There are a lot of great lines on Squelch, but the best are found here: “All of my life I prayed I would find another lost soul with the travel in mind. The years I spent wishing left me ill-prepared for the Bienville hotel, and the time that we shared.” The instrumentation is also excellent, with more of that great balance of acoustic guitar, steel and prominent fiddle. The album closes with the blazing, upbeat “Fuck, Fight, and Rodeo,” an attack on American politics and leaders, whom Jason Boland simply labels “their kind.” It’s an ironically cheerful song, as the premise is basically that nothing will ever be fixed with “their kind” in charge. It’s definitely an appropriate way to close such an album.

Squelch is an album which I would describe as surprisingly enjoyable. It’s certainly charged with political and social commentary, and many won’t like these lyrics, but they are delivered to us in musically excellent songs that any country fan will enjoy. As a person who does enjoy the lyrics, I find Squelch to be a rather excellent album, but I recognize some won’t be able to appreciate it as much. Still, it’s a great introduction to the world of Texas country/Red Dirt and an album worth checking out.

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Texas Music From Oklahoma: A Look at the Texas Music Chart (October 19th)

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Texas Music Chart

1. Randy Rogers & Wade Bowen–“Lady Bug” (up 2)
2. Bart Crow–“Life Comes at You Fast”
3. Curtis Grimes–“Smile That Smile” (up 1)
4. Casey Donahew Band–“Loser” (up 1)
5. Mike Ryan–“Girls I Date” (up 2)
6. Kevin Fowler & Deryl Dodd–“Damn This Ol’ Honky Tonk Dream” (down 5)
7. The Statesboro Revue–“Undone” (down 1)
8. TJ Broscoff–“Phone Calls” (up 1)
9. Josh Grider–“You Dream I’ll Drive” (up 2)
10. Stoney LaRue–“Easy She Comes” (up 3)
11. Roger Creager & Cody Johnson–“If You Had to Choose” (up 4)
12. Jon Wolfe–“Don’t It Feel Good” (up 7)
13. Mario Flores–“Beer Time” (up 3)
14. Uncle Lucius–“Don’t Own the Right”
15. Saints Eleven–“I Don’t” (up 3)
16. Reckless Kelly–“Real Cool Hand” (down 8)
17. Turnpike Troubadours–“Down Here” (down 7)
18. Zane Williams–“She Is” (up 2)
19. JB and the Moonshine Band–“Shotgun, Rifle, and a .45” (down 2)
20. Chance Anderson Band–“245 Miles” (up 1)
21. Jason James–“I’ve Been Drinkin’ More” (up 1)
22. William Clark Green–“Ringling Road” (up 5)
23. Josh Ward–“Whiskey & Whitley” (up 16)
24. Jason Boland & The Stragglers–“Holy Relic Sale” (up 6)
25. Dalton Domino–“Jesus & Handbags”
26. Luke Robinson–“Roses on the Radio” (up 3)
27. Green River Ordinance–“Red Fire Night” (up 13)
28. Miles Williams–“Teasin’ Me” (down 16) [biggest loser]
29. Casey Berry–“Blood of the Lamb” (up 2)
30. Cameran Nelson–“Nothing’s Got Nothin'” (up 18) [biggest gainer]
31. Bri Bagwell–“My Boots” (up 2)
32. Ray Johnston Band–“Small Town Square”
33. American Aquarium–“Losing Side of Twenty-Five” (up 3)
34. The Damn Quails–“Just a Little While”
35. Cody Jinks–“Loud and Heavy” (up 2)
36. Micky & the Motorcars–“Tonight we Ride” (down 1)
37. Pat Green–“While I Was Away” (down 11)
38. Cody Joe Hodges–“One More Drink” (up 4)
39. Paul Thorn–“Everybody Needs Somebody” (down 1)
40. Josh Abbott Band–“Amnesia” (up 3)
41. Jason Cassidy–“Rest of Forever” (up 4)
42. Aaron Watson–“Getaway Truck” (entering top 50)
43. Blue Water Highway Band–“Medicine Man” (up 4)
44. Kaleb McIntire–“Ozark Mountain Stomp” (down 16)
45. Breelan Angel–“She Made Your Bed” (up 1)
46. Tori Martin–“Woman Up” (down 5)
47. Prophets and Outlaws–“Country Music Gold” (entering top 50)
48. Parker McCollum–“High Above the Water” (up 1)
49. Folk Family Revival–“I Drew a Line” (entering top 50)
50. Zach Coffey–“Love Will Lead me Back to You” (re-entering top 50)

  • New #1: “Lady Bug”
  • next week’s #1 prediction: “Life Comes at You Fast”
  • Aaron Watson is back on the charts with “Get Away Truck,” entering at #42

Source: Texas Music Chart