| “ | 1969 is an EXCELLENT set of covers by Los Lonely Boys. The group sounds as good as they ever did; and the arrangements and the mixing couldn't be any better on this EP. Every one of these five tunes is a classic and Los Lonely Boys put their own stamp on all five of them using a few key and tempo changes here and there plus some mighty special vocals; and it all works very well. I love it! | ” |
| “ | Black Oak Arkansas was in sharp decline both musically and commercially by the time Balls of Fire reached record stores in 1976. They were only a few years removed from the High On the Hog glory days, but four hitless albums had taken a toll on the band's confidence and direction. Half-baked ballads like "Just to Fall in Love" that feature an updated, operatic vocal delivery from legendary raunch 'n' roller James "Jim Dandy" Mangrum are the disappointing proof of the Southern rocker's conceptual confusion. Mangrum's habit of trailing off each melody with a descending croak appears to have been shaken, but the singer's updated style is no less irritating on Balls of Fire. It sounds as if he has been coached out of his element. Black Oak Arkansas revives some of their best Southern rock boogie grooves on standout numbers like "Rock 'n' Roll" and "All My Troubles." These tracks, along with a cover of Bob Seger's "Ramblin' Man," are some of the best the group committed to vinyl. The woeful ballads and "Fistful of Love" — a not-so-subtle innuendo piece that could make Spinal Tap appear poetic and delicate — will sour most listeners to this release despite the occasionally striking Southern rock moments. | ” |
| “ | The initial release of The Road Goes on Forever was solid, containing the simple basics of the Allmans' Capricorn recordings. The expanded version that Mercury released in 2001 improves it considerably by almost doubling its running length with 13 bonus tracks and sprawling over two full CDs. This gives plenty of space to showcase the Allmans at their unrestrained best, capturing some of their finest concert jams while sketching a full portrait of their time at Capricorn. As a historic document, the box Dreams still can't be beat, but for listeners who want a thorough anthology that's not exhaustive, this is an excellent choice. | ” |
| “ | Drive-By Truckers on their tenth album, The Big To-Do, which is also their ATO Records debut. Intrinsically a rock album, Hood says it is the most rock-oriented album DBT have done since disc two of 2001’s Southern Rock Opera. | ” |
| “ | 7dayBinge includes Todd Harrell of 3 Doors Down on bass, Jon Nicholson of the Muzik Mafia on guitar and vocals, Kenny Olson of Kid Rock's band on lead guitar, and Shannon Boone on drums. A side project by artists who just wanted to make some music came together when Nicholson opened for 3 Doors Down in Europe. Stops in Amsterdam (during which a 7-day binge may have occurred) found Harrell and Nicholson working on some music together. Recorded at the Sound Kitchen in Nashville and produced by the band, this album features straight-up rock with a slight dusting of Southern rock. | ” |
| “ | Doug Sahm is one of the great figures in 20th century American music, which isn't quite the same thing as saying he's one of the best-known musicians. As the frontman of the Sir Douglas Quintet, he had a Top 20 hit with the garage rock classic "She's About a Mover" in 1966 and a Top 30 single with "Mendocino" three years later, but after that he settled into a small but intensely devoted cult following. Not that there weren't attempts to break him on a wider scale -- after the Quintet broke up, Atlantic launched a publicity blitz for a pair of solo albums in 1973 -- but they never quite clicked, probably because Sahm's music, no matter how brilliant it was, never was popular music. It was a wild, wooly blend of rock & roll, soul, country, blues, and Tex-Mex, as informed by the sunny vibes of hippiedom as it was by the rowdy spirit of garage rock. <AMG> | ” |
| “ | With their twin-lead slide guitar approach, it would be easy, even natural, for Atlanta quintet Delta Moon to sling out an approximation of the screaming, dueling Lynyrd Skynyrd Southern rock boogie sound. But with their roots and influences in classic R&B, the band thankfully steers clear of anything so obvious, preferring to wallow in a far more greasy, subtle, and creative blend of rock, blues, folk and swamp. This album shows them gradually moving further from blues to incorporate elements of pop and rock, yet Delta Moon never goes commercial and retains their individuality by crafting their finest release yet. As it's title infers, Goin' Down South is a perfect example of contemporary Southern roots music at its most affecting. <AMG> | ” |
| “ | .38 Special is a prime example of an AOR band with deep roots in Southern rock. The band hails from Florida, and vocalist Donnie Van Zant is the brother of none other than Lynyrd Skynyrd's Ronnie and Johnny Van Zant. The group's 1982 album, Special Forces, included the flawless Top Ten rocker "Caught Up in You," which injected the mainstream with a shot of much-needed grit. That album's follow-up, 1983's Tour De Force, upped the ante, showing the band's skills at their peak. Propelled by the effortless blend of melody and power stirred up by Van Zant, vocalist/guitarist Don Barnes, guitarist Jeff Carlisi, bassist Larry Junstrom, and drummers Steve Brookins and Jack Grondin, Tour De Force is loaded with irresistible hooks. The hit single, "If I'd Been the One," is a stunner steeped in passionate vocals and simple but highly effective rhythm and lead guitar parts. "Back Where You Belong," which was also a hit, is more of a straightforward pop/rock song. "I Oughta Let Go" is best described as country-rock - or, better still, country-funk - and the fun "Undercover Lover" is a sly, laid-back rocker. But the undiscovered gem here is "Twentieth Century Fox" (no, not the Doors song), a fantastic rocker with great guitar grooves, aggressive vocals, and clever lyrics. [allmusic] | ” |
| “ | Building on the bandmembers' own personal accomplishments that came from the Rockin' Into the Night album, .38 Special released an even stronger bunch of songs a year later with Wild-Eyed Southern Boys. Focusing on the same Southern-based rock & roll formula, the efforts from Southern Boys contain a little more guitar zing while complementing the band's ability to produce marketable radio music. "Hold on Loosely," with its smooth vocal stride, managed to peak at number 27 in April of 1981, giving .38 Special its first Top 40 single, and the title track, "Honky Tonk Dancer," and "Back Alley Sally" keep a homespun flavor alive and well, indicating that the band's Southern roots haven't been dismissed completely. Even though the bulk of the tracks lean toward .38 Special's rootin'-tootin' good-time persona, tracks such as "Fantasy Girl" and "First Time Around" reveal a stronger regard for producing catchy and approachable rock & roll tunes. It's on Wild-Eyed Southern Boys that .38 Special seemed more confident, harnessing a distinct guitar rock sound that enabled the group to distinguish itself from other FM rock bands. Cracking the Top 20 on the album charts and eventually reaching platinum status, Wild-Eyed Southern Boys marked the onset of the band's success throughout the course of the decade. [allmusic] | ” |
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