What exactly is a “Southern rock” band?
R.E.M. hails from the south, but only by the loosest of definitions would you call the group’s music “Southern.” Creedence Clearwater Revival, on the other hand, sprang from Northern California, but few bands have made music that drew more deeply from Southern regions. Alas, for the purposes of this list, we confine ourselves to bands that were both
from the south and
played Southern music. And what is “Southern music”? To paraphrase the words of a famous senator, we know it when we hear it.
Lynyrd Skynyrd ― Second Helping (1974)Harder rocking, more “boogie” oriented, and far less jazzy than the Allman Brothers Band,
Lynyrd Skynyrd was tagged early on as occupying the redneck niche of Southern rock. But as
Second Helping proved, beneath the grizzled image lay superb songwriting skills. “Sweet Home Alabama,” “Don’t Ask Me No Questions,” and “The Ballad of Curtis Loew” have become archetypes for those who aspire toward literate storytelling and tight ensemble playing.
Wet Willie ― Keep On Smilin' (1974)It’s remarkable that
Wet Willie scored just one Top Ten hit (the title track from this album) during the band’s seven-year career. Unlike their label mates the
Allman Brothers and the Marshall Tucker Band, the Alabama-based outfit eschewed extended jams in favor of tight, Stax-flavored songwriting. An emphasis on gospel-harmony vocals and stinging funk (especially on “Soul Jones”) made
Keep On Smilin’ their finest moment.
Allman Brothers Band ― (tie) Live At Fillmore East (1971), Brothers and Sisters (1973) If
At the Fillmore was the pinnacle of improvisational blues-rock (and Duane Allman's crowning achievement), then Brothers and Sisters was its more craftsman-like counterpart. If the wake of Allman’s tragic death, guitarist
Dickey Betts emerged as a songwriter and sometime-singer of startling power. In addition to boasting one of rock’s most memorable guitar riffs, the instrumental “Jessica” remains one of the most joyous “driving songs” ever capture on vinyl.
Black Crowes ― Shake Your Money Maker (1989)Nearly two decades after its release, the
Black Crowes’ debut sounds as fresh as ever. A smartly tailored mix of Southern gospel, Stax-tinged soul, and bluesy rock and roll, the album brandished its influences proudly even as it staked out ground all its own. On tracks such as “Twice As Hard” and “Jealous Again,” Chris Robinson’s white-boy blues rasp and Rich Robinson’s outsized “open G” riffs tangle in thrilling fashion.
Marshall Tucker Band ― Marshall Tucker Band (1973)There was always something astral and airy about the
Marshall Tucker Band’s brand of Southern rock. Fitted with a laid-back country vibe, the band’s self-titled debut was often centered on Toy Caldwell’s deceptively facile fretwork and Jerry Eubank’s beautifully languid flute lines. “Take the Highway” and “Can’t You See” remain staples of classic rock radio, while “My Jesus Told Me So” is one of Southern music’s most affecting gospel-rock tracks.
The Outlaws ― The Outlaws (1975)Formed in Tampa, Florida,
the Outlaws were the very first band signed by Clive Davis to Arista Records. The group’s debut strived (and often succeeded) to merge Eagles-like vocal harmonies with a twin-guitar sound that leaned toward roots-rock boogie. At the time of its release, many panned the album as derivative, but tracks such as “There Goes Another Love Song” and “Green Grass and High Tides” have aged well.
ZZ Top ― Tres Hombres (1973)ZZ Top’s third album nailed the sweet spot where the energy of the band’s live shows intersected with razor-sharp craftsmanship. With “Jesus Just Left Chicago,” “Beer Drinkers & Hell Raisers,” and “La Grange,” the trio created a newfangled synthesis of incendiary blues rock and driving Texas boogie. Bassist Dusty Hill said recently: “I love all our work, but
Tres Hombres is still one of my favorite albums.”
Gov’t Mule ― Life Before Insanity (2000)With its third studio album,
Gov’t Mule made a terrific case for its inclusion in the pantheon of all-time-great power trios. Though rooted in burly blues rock, the album employed jazz-like time signatures to create a sonic palette that transcended any single genre. “Wandering Child” and “Bad Little Doggie” sported punchy riffs, incendiary slide work and locomotive beats, while “I Think You Know What I Mean” boasted a ’70s-ballad vibe that recalled Bad Company at its most anthemic.
Black Oak Arkansas ― High on the Hog (1973)Fronted by garishly wild-eyed frontman
Jim Dandy, these tough-as-nails Southern rockers claimed to have been members of a juvenile-crime gang before strapping on their instruments. Songs such as “Happy Hooker” and “Red Hot Lovin’” are self-explanatory (and about as deep, lyrically, as this album got), but the band’s gritty authenticity and good-time spirit trumped their reputation as troglodytes. The group’s signature song, “Jim Dandy to the Rescue,” became a Top 10 hit.
Drive By Truckers ― Southern Rock Opera (2001)A sprawling two-disc set, this 2001 opus is the Southern rock equivalent of such conceptual works as
Quadrophenia and
The Lamb Lies Down On Broadway. Putting aside the brilliant story-line, the music dazzles throughout, as the
Truckers’ three-guitar format pays homage not just to the sound of Lynyrd Skynyrd, but to the Allmans, the Marshall Tucker Band, and all points in-between. Superb songwriting, passionate vocals, and raggedly thrilling execution make this set a modern classic.