Texas, the vast expanse of rolling countryside and bucolic barnyards, lays claim to a heaping helping of hotheaded beer-drinking, hell-raising country music phenomenons: Robert Earl Keen, Pat Green and Reckless Kelly. Originating from the unruly essence of artists like George Strait, Willie Nelson and Stevie Ray Vaughan, the outlaw tradition and fertile, prize-winning pedigree afforded to the land of oil and longhorns is staggering.

So when Kevin Fowler, the Texas-born and bred country star and undisputed king of the drinking song, claims to come from a “long line of losers,” this Amarillo maverick’s outlandish statement wasn’t the only thing loaded during production.

Fowler’s fourth studio release (fifth album overall), “Bring It On,” falls in place comfortably with a long line of winners and eminent dance hall anthems like “100% Texan,” “Ain’t Drinkin’ Anymore” and “Loose, Loud and Crazy.”

“Bring It On” is pure Texas country, riddled with sardonic humor and laden with song titles that mirror an old Waylon Jennings (also a Texan) record, such as the final track, “Honky Tonk Junkie,” (originally “Honky Tonk Heroes”) and the tough title track that demands bootlickers and ill-wishers to “Bring It On.”

“Long Line of Losers,” the now infamous, well-circulated radio single, bolsters the outlaw reputation bred throughout the Lone Star State. The traditional bluegrass stomp, outfitted with violins and deep snare crashes, flows slowly into a pejorative romp that, in the end, sings praises to the scum-bottom roots Fowler calls his past.

Also, Kevin Fowler displays the wiliness of great country song writing, cleverly contorting his song’s intent and churning our imaginations with silly anecdotes. Not to mention he actually writes the darn things.

Writing or co-producing all but three songs on a full-length record in a time of guileless ghostwriting to get rich is a feat within itself. Hank Williams, the archetype of outlaw country, proclaimed, “You can’t make it if you fake it; you’ve got to live it.” On songs like “Cheaper to Keep Her,” Fowler does so shamelessly with quick wit and a repertoire of life lessons turned hit singles as grand as Texas.

Also, his ability to stray away from the grave “lost dog…lost girl” histrionics of most male country artists is a refreshing evolution from his 2000 debut, “Beer, Bait and Ammo.” Fowler’s wry levity persists in “Bring It On,” as each cunningly wrought record recalls some perilous situation that was caused by and can be resolved by a case of longnecks.

Ironically, it’s hard to find a single thing wrong with “Bring It On,” Fowler’s attempt to sneer at himself and humorously reconnect to his roots.

The back cover of the album depicts a smirking Fowler, propped up on a wall with a cowboy hat, crucifix belt buckle and a haunting black T-shirt with the word “Affliction” printed across the front. If Fowler’s unfortunate upbringings and ensuing national success as a “half-outlaw, half-boozer” are signs of affliction, please sign me up.

Moreover, the clamor regarding the new Kevin Fowler album is true, even if he embellishes his past just a teensy bit. So pop this slovenly wreck into your deck and live vicariously through one of Texas’ most modest, ever-rising country outlaws as he runs through his bloodline and tells you who he really is.