Red Mosquito

I getcha. No worries. I'm not offended.

If we get to hook up in October, you can play all the Garth you want while I watch you drink coffee.

wease wrote:If we get to hook up in October, you can play all the Garth you want while I watch you drink coffee.

You know, that's the first time in my life I've heard that version of that song.

Original.

Higgs wrote:Original.

Yes.

durdencommatyler wrote:You know, that's the first time in my life I've heard that version of that song.

Me too

wease wrote:

durdencommatyler wrote:You know, that's the first time in my life I've heard that version of that song.

Me too

Weird right? As big of a fan of that song as I am, why the fuck have I not sought out the original?

You’re obviously not that big of a fan of that song, POSER.

durdencommatyler wrote:

wease wrote:

durdencommatyler wrote:You know, that's the first time in my life I've heard that version of that song.

Me too

Weird right? As big of a fan of that song as I am, why the fuck have I not sought out the original?

Because it doesn’t have the cool harmonies that Iain Matthews recorded and the Eagles made popular.

Not sure if this qualifies but I saw this album in my library - yes, I actually forgot I owned it - so I decided to listen to it this morning.



pretty meh. I can see why I forgot I had it.

i heard this from someones car on the street about 30 minutes ago and have been listening to it since

i moved onto this

Does anyone know if Luke Combs is legit? Like does he write his own songs, or is he the Taylor Swift of country music?

It's hard for me to tell because he is definitely not a pretty face. He's not your typical no-talent shitstain thrown out there purely due to sex appeal. I like his voice.

For comparison I get the impression that Chris Stapleton is much more "legit" as an artist. I just can't tell if Luke Combs is respectable like that.

I find myself enjoying many of his songs (not all), but I don't know if I should feel embarrassed about this or not.

Are people outside of Texas as particular about classifying "Texas Country/Outlaw Country" as it's own sub genre within country proper? I'm talking Willie, Waylon, Merle, Townes and all of their contemporaries within that particular place and time in the history of country music. So much of this music shares so much more in common with LA and Greenwich Village than Nashville at the time. More Gram Parsons and Bob Dylan than Dolly Parton and Glen Campbell.

Five favorites of mine:

Spoiler: show

TVZ - Loretta


Jerry Jeff Walker - Up Against the Wall Redneck Mother


Guy Clark - LA Freeway


Waylon & Willie - I Can Get Off on You


Michael Murphey - Alleys of Austin

I think those artists associated with the "Outlaw" country movement in the late 60's/ 70's weren't classified that way based, necessarily, on the music itself. (Some lyrical content, maybe.) It was mostly attributed to them based on HOW they made their music. It was outside the cookie cutter formula the Nashville establishment felt was the only way to make records. Lyrical themes weren't too far off from what mainstream country was producing at the time. And the music itself was as country as it gets. And part of the attitude the Outlaws had came from admiring artists outside country. Johnny Cash loved Dylan. Even had him on his show. Waylon covered songs from artists as diverse as the Marshall Tucker Band and Steely Dan. They just didn't give a fuck. If it's a good song, it's a good song and they carried that over into making their own music.

wease wrote:I think those artists associated with the "Outlaw" country movement in the late 60's/ 70's weren't classified that way based, necessarily, on the music itself. (Some lyrical content, maybe.) It was mostly attributed to them based on HOW they made their music. It was outside the cookie cutter formula the Nashville establishment felt was the only way to make records. Lyrical themes weren't too far off from what mainstream country was producing at the time. And the music itself was as country as it gets. And part of the attitude the Outlaws had came from admiring artists outside country. Johnny Cash loved Dylan. Even had him on his show. Waylon covered songs from artists as diverse as the Marshall Tucker Band and Steely Dan. They just didn't give a fuck. If it's a good song, it's a good song and they carried that over into making their own music.

That's the definition of Outlaw Country, for sure. There's a distinct sound that comes from the Texas branch of artists within that genre, though. So much so that the second and third wave of "Texas Country" pays plenty of homage lyrically and sonically to Guy Clark, Jerry Jeff, and the Holy Trinity of Willie, Waylon and Merle.