Too much \concept"" can be the kiss of death for any rock album. Any project that is excessively mired in its own self importance seriously runs the risk of being dismissed as indulgent and not worth anyone's time.
That said, it is nearly miraculous that in this day and age, Alabama's Drive-By Truckers have created a two-disc, two-act, 20-song rock opera, dedicated to and performed in the style of Lynyrd Skynyrd that is listenable, poignant and intelligent. Touching upon every conceivable aspect of 1970s Southern living, it is an affirming testament to a country-fried ethos that has become as much of a joke in the last 20 years as, say, the rock opera itself.
Ostensibly, tells the story of Lynyrd Skynyrd, with multiple plotlines weaving themselves throughout the narrative. By the end, lead singer Patterson Hood has touched upon mean highways, the rise and fall of a high school band called Betamax Guillotine, the friendship between Ronnie Van Zant and Neil Young and at least two incidents of fatal reckless driving.
Hood's drawl and general ""aw, shucks"" demeanor sometimes seems out of step with tragic subject matter (""Plastic Flowers on the Highway""), but it is perfectly suited for gleeful rockers like ""Dead, Drunk and Naked,"" an autobiography of sniffing glue, contemplating a haircut and drinking whiskey (""Me and old Jack Daniels become the best of friends/We got all them Baptists to die for our sins""). It is on ""Naked"" that the Truckers' three-guitar arrangements hit their mark and most effectively channel Skynyrd's energy and wit.
At times, Hood's narrative ambition overtakes his songwriting ability, and there is a hearty helping of songs that are more spoken-word performances that move the story along than jams to put on your own indie ""Drivin' South"" mix tape.
The confessional ""Three Great Alabama Icons,"" which examines the interplay of Van Zant, Crimson Tide coach Bear Bryant and Gov. George Wallace in the mind of an adolescent Hood, goes from being an extended rant about the consequences of not liking football to a scathing commentary of Wallace's political decisions: ""George Wallace died back in '98, and he's in hell now,"" Hood spits, ""not because he's a racist ... but because of his blind ambition and hunger for votes, he turned a blind eye to the suffering of black America."" ""Fortunately,"" Hood adds as an afterthought, ""the Devil is also a Southerner."" This leads into ""Wallace,"" sung by the Devil welcoming Wallace to eternity, with so many bon mots that these lyrics alone justify the 24-page booklet.
The final three songs detail Skynyrd's fatal plane trip from Greenville, S.C., to Baton Rouge, La. ""Angels and Fuselage"" is a harrowing, reverb-driven projection into the last few moments of Van Zant's life, complemented by the stylings of Kelly Hogan portraying backup singer Cassie Gaines. It is anyone's guess what actually goes through a rockstar's mind at a time like that, but ""I'm scared shitless of what's coming next"" is as good an estimate as any.
It does not look like the South shall rise again, but with apologists like the Drive-By Truckers leading the pack, Southern rock just might.
Southern Rock Opera
