Outlaws' 'Dixie Highway' - Album Review

There are not too many classic southern rock bands that are still putting out new material on even a semi-regular basis. Earlier this week Lynyrd Skynyrd released a new song called Last of the Street Survivors, but it has been eight years since their last studio album. A questionable new version of Blackfoot released the decent-but-unremarkable Southern Native (which I reviewed here) in 2016, and Gregg Allman's 2017 passing has ensured that 2003's Hittin' the Note is the final studio offering from The Allman Brothers Band. One southern rock act that perhaps do not get talked about enough these days however is the Outlaws, a Tampa-based act that were formed in 1967 but that did not truly get going until 1975 when they released their self-titled debut album. The band had a decent run throughout the 1970s and early 1980s, but then somewhat splintered apart. Southern rock bands often seem to go through a huge amount of line-up changes, but the Outlaws have possibly had more than most. There is no one defining, ever-present member of the band; with different eras of being led by one of the Outlaws' classic-era members while others come and go (and sometimes come again). The late Hughie Thomasson, who passed away in 2007, was probably the main driving force in the band throughout their most successful period; but since his death the band has been led by Henry Paul. Paul is another of the classic Outlaws members, and was a big songwriting and vocal force during the band's heyday. While Thomasson, along with the late Billy Jones, brought the rock to the band's sound, Paul's songs were characterised by more of a laid back country sound. The Outlaws have always had a much stronger country influence in their sound than many of their contemporaries, and that largely came from Paul. While Thomasson and Jones were busy writing riffy, boogie rockers with lengthy guitar solos, Paul was writing more acoustic-based pieces that acted as a great contrast to the rest of the band's material. I was therefore surprised to find that Dixie Highway, the band's latest and eleventh studio album, was, at times, quite a raucous affair. The band's first album since 2012's It's About Pride does have Paul's love of country on display, but there are also plenty of down and dirty southern rock anthems that are sure to please anyone who loves the genre. There is nothing original about the material on Dixie Highway, but the songs are packed full of memorable riffs and melodies - and there are a number of lengthy guitar solos for fans of old-school southern rock workouts. The band's current line-up features Paul, drummer Monte Yoho (who is another original member), and a cast of newer faces. Guitarist Steve Grisham, who was a member of the band during the 1980s, returns here for the first time since 1986's Soldiers of Fortune, while fellow guitarist Dale Oliver and co-drummer Jaran Sorenson make their debut in the studio with the band here. Former guitarist Billy Crain, who left the band after the release of It's About Pride, also contributes to the album in a session capacity by laying down some additional guitar parts and helping out with the songwriting.

The album kicks off with one of its rockier cuts. The emotionally-charged Southern Rock Will Never Die is a tribute to many of the genre's late legends, with Ronnie Van Zant, Steve Gaines, and Duane Allman among those name-checked during the song's chorus - along with the band's fallen Outlaws brothers. The album's booklet is a little sparse on information, but it seems that Paul handles most of the band's lead vocal duties on the album - with the lead guitar work handled by Grisham, Oliver, and Crain (Paul was always more of a rhythm player). The opening harmony guitar leads are full of pure southern rock goodness, before a slightly choppy verse introduces Paul's somewhat gruff voice - a voice that is perfect for this type of music. The song's lyrics tell the stories of some of those old southern rock acts - with the melodic chorus pulling it all together with lots of subtle vocal harmonies and some lead guitar lines which are just peeking out from behind the lyrics. Randy Threet's bass playing also really helps to enhance the melodic nature of the chorus, while a two-part screaming guitar solo recalls those Outlaws workouts of the past. Heavenly Blues is a re-recording of a song that was originally featured on the band's third album, 1977's Hurry Sundown. As I mentioned in my recent review of Rage's Wings of Rage, I am never really sure why bands re-record old songs and put them in the main tracklist of a new album. Whitesnake had success with this in the late 1980s but, apart from that example, it always seems a little bit pointless. It is a good song, so it is nice to hear a new version with modern production techniques etc., but if I wanted to hear it I could easily just dig out my old LP copy of Hurry Sundown. I would have rather heard another new song as the quality of the material here is very strong without the need to look to the past. The album's title track is one of my favourite cuts here. It is a moody, semi-ballad with a great Paul vocal that is enhanced by country-tinged harmonies from the rest of the band throughout. Despite the more downbeat nature of the track, there is still some heft here that stems from an opening bluesy guitar riff and a lengthy lead guitar-based intro. While the melodies here are excellent, with a smooth chorus that really evokes images of cruising down one of those long, American roads, this is a song that really showcases the guitar prowess in the modern incarnation of the band. Paul strums his acoustic guitar and sings the heartfelt lyrics with ease, but the lead guitarists really steal the thunder here. The opening guitar leads are nothing compared to the song's lengthy closing solo, which features all of the band's guitarists rocking out and trading flashy, blues-based licks. Southern rock as a genre is characterised by lengthy closing guitar solos, and this one is up there with the classic examples of the past. Anyone who loves lengthy guitar solos and great guitar-based rock should give this song a spin.

Overnight from Athens is a much more country-influenced song with prominent acoustic guitar chords throughout and an atmospheric backing from keyboardist Dave Robbins. The verses here are much more acoustic-based than much of the album, with occasional bursts of lead guitar adding further melody - all while a shuffling drum pattern keeps everything moving. Country music is often characterised by strong vocal harmonies, and the song's chorus here is packed full of them. Nearly the whole band is credited with providing the harmonies throughout the album, with the large band creating a really full vocal sound - which is only rivalled by some of the guitar melodies that shine throughout, particularly during the choruses. Endless Ride is similar, with a big acoustic presence throughout, but the pace is much slower - turning the track into another brooding ballad-esque piece. This song is less about big lead guitar passages however, and really pushes Paul into the spotlight vocally. While his voice is certainly showing its age a bit, he still sounds great throughout the album and he is the perfect singer for singing this type material. He has a knack for injecting a fair amount of emotion into the songs he sings, and that is no different here - with the song's big chorus being a vehicle for his talents, while the gentle harmonies add depth. There is still some strong guitar playing here, with some moody slide lines and a short solo taking the spotlight away from Paul, but on the whole this is a song that is more about country-tinged vocal melodies and atmosphere than guitar workouts - until the end that is when another lengthy guitar solo kicks in to bring the track to a scintillating close. Dark Horse Run continues the country-tinged vibe created by the previous two songs, but gives the lead guitars much more prominence again with slow-burning leads featuring early on. While the song is still based around big acoustic guitar patterns, there is bluesy riffing throughout and quite a few tasty little leads that add colour. It is also one of the few songs here that is not sung by Paul. It is not clear who sings the song, but looking at the songwriting credits it might be Grisham, but their somewhat smoother vocal style works well within the somewhat bluesier shuffle of the piece - while still retaining enough of a country twang to suit the overall album. Another lengthy closing instrumental section impresses from a musical standpoint, with multiple guitar solos shining - and it even includes an a growling organ solo from Robbins. Rattlesnake Road, one of the album's singles, is a hard-hitting piece of country rock with a strong organ backing and a rugged Paul vocal. Paul co-wrote the song with the late Van Stephenson, who was a member of Paul's country act Blackhawk, so it is unsurprising that the song has a strong country vibe - although it has been rocked up to fit in with the Outlaws' southern rock sound. There is lots of strong riffing to be found throughout the song, and plenty of time is also dedicated to lead guitar trade-offs with all of the band's guitarists once again showing off their skills. It is one of the album's most upbeat tracks, and therefore the perfect choice for a single.

Lonesome Boy from Dixie is a cover of an old Charlie Daniels Band song, which featured on their 1980 album Full Moon. The Charlie Daniels Band also feature a strong country/southern rock sound, so the song fits perfectly into the overall sound that this album is going for. The acoustic-based vibe returns, with Paul leading the charge vocally while the rest of the band lock into a shuffling groove and provide lush harmonies for the simple chorus. Despite this however, there is still something of a toughness to the song - with strong guitar rhythms underpinning everything, while Threet plays some extremely melodic basslines to really tie everything together. An instrumental track called Showdown follows on nicely from the previous song, and is unsurprisingly a guitar workout for all of the band's lead players. Robbins lays down a strong organ backing for the band to solo over the top of, and the whole song is just packed full of catchy, fluid lead playing from Grisham, Oliver, and Crain. It is typical of many of the songs' closing sections, and is another great workout on an album full of them. Windy City's Blue is a recording of an old song written by the band's original bassist Frank O'Keefe who is also sadly no longer with us. I do not think that the song has been recorded properly before, with this version being worked up from an old demo. Again, it does not sound like Paul sings the song (it could be Grisham again) - but the vocals fit nicely into the bluesy groove of the piece. This song rocks a little harder than most of the tracks here, with tough bluesy riffing and driving organ utilised throughout the keep the song moving. Some of the riffs have a real Lynyrd Skynyrd feel to them, which is appropriate considering that O'Keefe was a member of the Outlaws when they were contemporaries to Lynyrd Skynyrd, but the country tinges that the Outlaws are known for are also present here thanks to some full vocal harmonies. Unsurprisingly there is some more excellent lead guitar moments throughout the track, with it coming to a close on yet another extended guitar workout. Macon Memories brings the album to a close in a similar fashion to how it opened - with southern rock tales. The song is much more low-key than the opening cut however, with Paul and his acoustic guitar driving everything - while he sings the story of The Allman Brothers Band. The strong country vibes of many of the album's earlier songs return here in a big way, with Eagles-esque vocal harmonies appearing during the choruses - while the thin guitar leads pack an emotional punch. It is certainly not the album's most explosive moment, but it is a great moment of reflection that shows the gentler side of Paul's songwriting. He is certainly the main man in the Outlaws these days, and it is apt the album comes to a close on a song that really showcases his talents, as well as his love of country. Overall, Dixie Highway is a strong album from the Outlaws that shows that the band still have a lot in the tank. I am only familiar with the band's first three albums, so I feel I now need to invest in the rest of the band's back catalogue as I am sure that there is still a lot for me to discover about the Outlaws.

The album was released on 28th February 2020 via Steamhammer/SPV GmbH. Below is the band's promotional lyric video for Rattlesnake Road.