1. Track List (46)

Coming A Out A Year After His Self Titled Album, Kane Brown (Deluxe Edition) Adds Four More Tracks For Your Modern Country Enjoyment

taylor
Written by taylor
/ 8 mins read

While I’m not blown away by the sounds of Modern Country, I feel like giving my brotha Kane Brown another spin and revisiting his self titled album now that it adds several songs to the experience. The deep baritone is still intact, and while I have heard some commentators complain that the young man sounds pretty flat here and there, I would say that in the low register where he is most powerful and compelling – and that is his whole modus operandi anyways listening to his catalogue. Vocally speaking, of any of the new artists on the scene, I actually find Kane Brown’s to sound very traditional and masculine, and therefore don’t understand some of the hate, saying he is not Country, etc. Hell – are they even listening to this cat’s serious cowboy drawl? Sometimes it can sound borderline caricature, like actor Sam Elliot singing in a Coen Brothers’ western themed dark comedy. Of course, there are plenty of alternative examples of Kane Brown going the other direction depending on the demands of the track; on “Hometown”, the energy is explosive and club-worthy, with the singer aiming for higher notes on the celebratory hooks which better match the distinct mix of Electronica and Rock rhythm. And on an even poppier example “What Ifs”, Kane Brown can be heard employing both singing high and low styles on one individual track – which may not be my favorite arrangement on Kane Brown (Deluxe Edition), but is definitely a worthy example of his exciting brand of Country Pop. Mind you, this isn’t the type of music that I would personally bump, even if I had a Tacoma truck, but I can certainly see it’s mainstream appeal, as in this regard, most of the tracks get the job done.

A Young Country Singer With A Fresh Look And Fresh Raps As Well

With a song like “Learning”, I noticed several factors that make this song stand out. First, Kane Brown’s range is really on display here, which should shut up any haters out there, as his vocals are warm, twinged with a little rasp, and slide easily between high and low notes, and in addition, this is one of the first times I’ve actually noticed what one could dub ‘the Country-Rap’ aspect of Kane Brown’s vocal arsenal. His is distinct here, because he mixes a matter of fact delivery with a twinge of afro centric accenting that is not strong but definitely present. He raps about interesting personal takes on survival, identity and acceptance that I find pretty intriguing as well, where his story starts with domestic abuse meted out by his abusive father, and then transitions to the next chapter of trouble in his life; “got new problems now, like tryna fit in / getting looked down on just because of your skin / it's bad enough, I can't afford them clothes / got high water's on with holes in my sole.” In regard to rap deliveries, I am of the opinion that if you are going to rap, you must include a little bit of Soul or risk not being taken seriously by Hip Hop listeners, and too often, Country Pop acts don’t consider this, instead feeling that they can deliver their Rap verses any damn way they please. Sure, audiences who don’t listen to Rap won’t know any better, but just as British rockers like The Rolling Stones accented their vocals to compete with the elder Black Blues artists that they grew up on, Country artists must keep Soul in mind, which I feel Kane Brown does naturally on “Learning.” On another track, while his voice is a low drawl unlike anything Keith Urban could achieve, the moody and uptempo Pop arrangement on “Thunder in the Rain” here could totally be an Urban song, as it mixes old and modern instrumentation through digital and banjo rhythms. It has all of the sexy ingredients of an Urban song as well, and while the lyrics are a little cliché, they are very effective when delivered in Brown’s confident style; “you're fire, I'm lightning / we're burning at the core / falling and crashing / girl we're a perfect storm.” With songs like these, Kane Brown has definitely positioned himself as one of Country music’s newest sex symbols.

If I’ve Heard It Once, I’ve Heard It A Million Times

Not that I am a Country Pop connoisseur, but I feel l have heard the structure of several of Kane Brown’s tracks here far too many times elsewhere, as if the Nashville Machine (I’m assuming they had some hand in this) just creates thousands, if not millions of variations of the same track in three varieties – downtempo, midtempo, and uptempo, and just matches the beat with the hot face/voice, irregardless of any other metric but to make money off of the trend. It actually reminds me of the way Hip Hop has been for a long time now – just producing beats after beats and brokering said beats to whoever has the biggest following at the moment. Should Country music, with its history of live instrumentation, really go that route? Well, while there’s a market for such formulas that must be exploited, let’s hope the trend doesn’t last too long, as three tracks here in particular are amazingly dull, even backed by a bunch of volume; “Pull It Off”, “Rockstars”, and “Found You.” “Pull It Off” just sounds really fake to me, like it borrows from the most basic idea of Hard Rock but contains nothing really authentic for itself. The only part I like is where Kane Brown adds some soulful color on the “she puts it on and on and on and on and on, because she knows she can pull it off.” By far the dopest lyrical part and delivery, as it juxtaposes the on and off sexiness of clothes – and ultimately is very sexy and complimentary to special woman’s ability to ‘pull off’ anything outfit that she puts on. Still, the track here is too on-the-nose to take seriously. “Rockstars” chooses the same power chord attack and dull cyclical banjo digital rhythm as just about any other Pop song I’ve heard like it, and I honestly feel nothing for this nostalgic look back at young love. “Found You” has a big problem with its lyrical content, lazily juxtaposing the misery he would have continued to feel if he hadn’t gone to a party I where he found the dirk of his dreams – I think. There seem to be lots of double negatives present in the writing, plus much of it is an info dump, rather than smooth poetic storytelling. There are some really garbled up passages as well; “and now I'm thinking 'bout the way I said I wish I've never met her / sometimes the things that don't work out / couldn't work out any better.” What?! First of all, are you with her or not? And if you’re not, are you happy about that or not? Other batshit lines; “no I'd have never found you / at that random house party that I didn't even wanna go to.” If why bro? If you had just stayed in the bar and continued to be miserable, then you’d be happier. Huh?

What Value Do The Bonus Tracks Add?

So where the normal Kane Brown album ends on a pretty delightful song “Granddaddy’s Chair”, a super old fashioned song with a low rumbling voice set to surprisingly modern Trap rhythms – the here on the Kane Brown (Deluxe Edition) version album benefits somewhat from four additional tracks named “Setting the Night On Fire”, “What’s Mine Is Yours”, “Found You”, and finally “Heaven.” I do think that these tracks add to the canon that is Kane Brown, showing off some new aspects, especially on the high volume sound of ultra modern Country track “Setting the Night On Fire”, where Kane Brown shows off more vocal range than his low register – an indication I feel of his evolution as a singer. This is the first time where I decide that this gentleman can sing in almost any style he sets his mind to – which will help him as an artist moving forward. “What’s Mine Is Yours” unfortunately is a super boring ballad that pretends to be epic but is absolutely devoid of true emotion. “Found You” as previously mentioned is such a cheap and formulaic track, amounting to lots of redundant barking at the perpetual Rock beat yet nowhere is there any true sense of though out or thought provoking songwriting. It’s just this pseudo dark droning County Rock piece that I would never ever want to listen to twice. At least the tone and melody starts off a little bit more adventurous on the final track “Heaven”, but unfortunately, in the same way the song disintegrates into grabbing at emotional straws, ultimately lacking a core melody that is strong enough to carry the song. So, yes, now we can see why these songs may have not made the cut originally, but I must offer the fact that – if you are already a Kane Brown devotee, then a few extra tracks won’t bother you none.

Discover All The Hoopla Of Country Pop Sensation Kane Brown By Visiting His Musical Roots On ‘Chapter 1 – EP’

taylor
Written by taylor
/ 6 mins read

Full disclosure – being mixed myself (Black and White), I have rooted on a purely ‘relatable’ level for the similarly bi-racial Country artist Kane Brown. Why on Earth would any of my interest be based off of race? Because Kane Brown’s ascension is tied to a genre of music that is not without its bigoted moments. Yes, we have the classic success of Charley Pride on the one hand, and the more modern success of Darius Rucker holding Country down while being black, and I actually wouldn’t want to know if any of these two artists hit road blocks because of their ethnicity along the way. All of our mottos should be ‘If it sounds good, enjoy it.’ But being an American, and knowing what Americans are capable of, man, you never know how someone really feels based off of skin color and vernacular. So hell yeah, whether I’m wrong or right, I naturally wanted Kane Brown to succeed, for what could be coined as the progressive movement. I’m all for people of different backgrounds exploring more musical genres than those which are associated with their groups, feel me? When some white dudes truly shine at Funk, or even inadvertently fool the world into thinking that they are a different ethnicity through their sheer respect for the source material (look on the internet for black folks who assumed caucasian Bobby Caldwell was a black singer), by the same theory, black folks with a love for Country can tackle it in with the same respect to its source material. Here, even on this debut album Chapter 1 – EP, Kane Brown resists incorporating your standard R&B Soul vocalization or vernacular, instead choosing to sing low, deep, and twangy just like your favorite old fashioned Country singers. You would never know this young man’s specific background without the accompanying images. He is committed to Country tradition, at least vocally, yet, I am pretty sure that anyone who doesn’t dig him is not responding to anything trivial such as his race, and more so for the very Pop-ified nature of his core songwriting. I actually can stomach these 6 songs when I compare them to most of the trite music I hear within the successful sub genre known as Country Pop, yet, I would be lying if I did not admit that there is something a little shallow about the formulas here on display. Still, for a first effort, this is a noble effort, finding its audience, and paving the way for an already successful career. Old fashioned voice aside, this is the music of now.

The Music Of ‘Now’ Is Accessible, And In This Regard, Kane Brown Delivers

“Wide Open” hits with that big hook quality – which makes your whole body sway thanks to dreamy chords, banjo percussion, and soaring warm vocals. It is an adventurous sound, not only speaking on the open road of love, but sounding like it, with the big power chords and sense of endless possibilities. In my opinion, there is no better way to start an album – especially your first. Escapism is the theme here – whether the escapists are a couple, or a group of high school friends – the energy is intact and universal, as I can sing along with the lyrics and capture some of the spirit which I felt when I was 17; “We put the gas to the floor / yeah, we hit it wide open / two-lane highway rolling / with no one around, slowing us down / radio loud, had the speakers all blowing / dials wide open.” Why does Country music make for the best road trip music? Just something about it I guess. On “Used to Love You Sober”, the trope of drinking shows up yet again (so basically, America drinks a lot), showcasing both Kane Brown’s super low register, but also his high register as well – which is probably the first actual indication of Brown’s true range. He can go anywhere – which is interesting for the fact that many initial negative comments about the artist claimed he couldn’t sing? Ridiculous. The brotha has range. This is a break up song, and the narrator, in anguish over a sudden turn in the relationship, falls into his cups. Pretty decent track, but pretty predictable as well, which is mostly unavoidable in the genre of Country Pop.

Country Pop That Shows The Possibilities Of Country Pop

I get it. Trust me I do. This is not Traditional Country. It has the twang, and the instrumentation, but no doubt about it, the arrangements lean absolutely to Pop structure. Every hook slams into this big event that can sometimes have you scratching your head, saying ‘was that really warranted?” Exploding into a hook just cus’, and bypassing years of more advanced songwriting from a plethora of genres. I admit, I’m sort of ‘meh’ when it comes to the track “There Goes My Everything.” Way too predictable. The measures couldn’t be any duller, and Kane Brown’s voice in the measures, set as low as it can go, sounds moronic to me, while the very canned and swirling electronic beat sounds like anybody else’s. Not a bad song per se, but a pretty generic one. Thankfully, there are saving graces with respect to “Last Minute Late Night” and its unstoppable, perpetual sound, which fines the right synergy between Country Rock and Pop cruise music. I could actually envision hearing this on the same playlist with a NAV song (of hazy Toronto Hip Hop fame), as it captures that youthful exuberance and club worthy vibration. Speaking of low voices that work though, for some reason, Kane Brown’s low register kills the completion on “Excuses”, a sleeper hit that starts very subtle and simple but transforms into a beefy loud ‘are you cheating on me b****” ballad which caries some ample emotional weight because of the sheer volume and emotion at hand. Again, Kane Brown displays his ability to hit both the lowest and highest ranges within one song, and it is here where all elements work out swimmingly. The verdict on the album? One hell of a way to begin one’s career. Anybody following Country will note that this young man has won over the audience, and my only recommendation to him would be to further separate his sound from commercial Country Pop now that he already has cut albums under his belt. Surprise me Kane Brown.

Kane Brown’s Second Outing Experiment Elevates His Appeal, But How Much?

Since the late-noughties & early-teens, Country Pop artists have experienced an impressive amount of mainstream appeal thanks to a push towards more generic Pop ideals, masculine sensitivity & an increased focus on faux-feministic romanticism, but as time progressed this quickly transitioned to a heavy period of repetition, insincerity & streamlined production for the purpose of achieving higher record sales without concern for artistic integrity – When Kane Brown hit the scene, he followed many of these formulas, but he also injected a surprising amount of morose, Emo-like narrative aspects into his songs; This allowed him to rocket to the forefront of mainstream appeal by seeming like the alternative for modern listeners, a more caring individual whose words felt refreshing, but the question still remained as to whether he could keep it up – With Experiment, he refined his sound to a considerable degree, although the pull of studio-mandated mediocrity unfortunately plagues much of the album.

Written by camjameson  / Feb 01, 2019
  • #Country
  • #CountryPop
  • #Experiment
  • #KaneBrown
  • #CountryRock

3. Official (13)

4. Audio (45)

5. Live (19)

6. Featuring Remixes (4)

7. Albums (13)

8. News (18)

9. Covers (100)

11. Similar Artists (14)

12. Artist Info

About

Kane Allen Brown (born October 21, 1993) is an American country music singer and songwriter who first came to the attention of the public through social media. He released his first EP, titled Closer, in June 2015. A new single, "Used to Love You Sober", was released in October 2015. After Brown signed with RCA Nashville in early 2016, this song was included on his EP Chapter 1, which was released in March 2016. He released his first full-length album, the self-titled Kane Brown, on December 2, 2016. The single "What Ifs" was released from this album and, in October 2017, Brown became the first artist to have simultaneous number ones on all five main Billboard's country charts. Brown released his second album, Experiment, in November 2018.
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Born

    1993-10-21

Active

    2014–present

Label

  • RCA Nashville