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Wrong Steve Ripley?

Mr. Steve Ripley Ripley

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Email: r***@***.com

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The Tractors

P.O. Box 50304

Tulsa, Oklahoma 74150

United States

Company Description

The Tractors multi-platinum recording artists from Tulsa, Oklahoma ... more

Find other employees at this company (20,263)

Background Information


Committee Member
Oklahoma State Rock and Roll Song Committee

Boy Rocking Records

Web References (198 Total References)

Re-release it and put real big, ... [cached]

Re-release it and put real big, "PRODUCED BY STEVE RIPLEY OF THE TRACTORS! Just ruin his life.

Re-release it and put real big, ... [cached]

Re-release it and put real big, "PRODUCED BY STEVE RIPLEY OF THE TRACTORS! Just ruin his life.

Steve ... [cached]

Steve Ripley

Steve Ripley could arguably speak about the history of Red Dirt music and its nomenclature better than anyone. You know him best for his work with The Tractors, but it was Ripley's band Moses that first defined Red Dirt country in 1972. Their independent album, Moses Live was released under the made-up label Red Dirt Records. The liner notes described the music as "a hue of funk, a shade of sound, a basic spirit. Ripley himself has described his music as country-something.
Skinner, along with Ripley and Childers were the first inductees into the Red Dirt Hall of Fame.

Re-release it and put real big, ... [cached]

Re-release it and put real big, "PRODUCED BY STEVE RIPLEY OF THE TRACTORS! Just ruin his life.

Press -         THE TRACTORS [cached]

A few years back, the musical spirits of Hank Williams and Chuck Berry, Elvis and Buck Owens, Bob Wills and James Brown converged in Steve Ripley's fertile mind at a legendary studio called The Church Studio in Tulsa, Oklahoma.

"The musical stew out there is overcooked," says singer-songwriter-guitarist-producer Ripley.
A continuation of The Tractors not a repeat, notes Ripley, Fast Girl does not utilize the previous set lineup but rather a revolving roster of musicians who collectively comprise what from the beginning has been Ripley's unique vision: "The Tractors are a state of mind, a place I enter into to make the records. My goal is for the records to take the listener to that same place. It's a serious place and, at the same time, there's definitely a party going on."
Oklahoma native Ripley grew up on a family farm, where he drove his first tractor, before picking up a guitar and heading out on the local honky-tonk circuit.
Ensconced at The Church Studio, it took Ripley five years to create The Tractors' self-titled debut album. Released in 1994, there were few commercial expectations. "We were not expected to be a hit," says the down-to-earth Ripley.
"I had no intention of making some other kind of music as The Tractors," says Ripley.
Filled with the unexpected magic of first takes and the truth of false starts, Fast Girl employs modern technology and Ripley's dogged persistence to recreate the "one mike, one room, no time" atmosphere of the '40s, '50s and early '60s--just like on his favorite records.
Whatever Americana means, Ripley surely knows what it sounds like because he's experienced the life it reflects. "I'm not a cowboy. I'm a farmer. I just keep the wheel in the furrow and keep moving on. You get on the tractor and go round in circles and at some point the field gets plowed."
In Steve Ripley's case, that field bears some mighty powerful roots, which thankfully have yielded yet another new musical crop from The Tractors.
Billboard Review *The Tractors Fast Girl Producer: Steve Ripley
Fast Girl finds the Tulsa-based country boogiemeisters bouncing to their own metronome, led by head Tractor and chief songwriter Steve Ripley.
Ripley remains an adventurous, risk-taking knob-twister in his own Church Studio, deftly deploying horns, piano, guitars, and backup vocals.
There's nothing too complex about this fourth album from the loosely organized band of country neo-traditionalists assembled occasionally -- though not often enough -- by Oklahoma native Steve Ripley.
That's not the only time that Ripley wears his influences on his sleeve.
The jaunty arrangement, which adds a dose of saxophone to the requisite pedal steel guitar, proves that Ripley and his hired guns don't have that problem.
The band slows the tempo for "Ready to Cry," a lean but gorgeously arranged ballad about being on the edge of tears. It's a terrific showcase for Ripley's deep baritone, which manages to sound rugged and vulnerable at the same time on a song that wouldn't sound out of place on an Iguanas album.
Ripley embraces his mission on "It's a Beautiful Thing," which examines the enduring power of Hank Williams and Chuck Berry against the tide of lesser competition.

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