What’s past is prologue. – Shakespeare, The Tempest
America often cycles through reactionary periods, and we are undeniably in a deep one now. Pinpointing the exact start is difficult—was it the Tea Party in 2009? Or a certain escalator descent in 2015? Recent events further underscore this, highlighting how progress in this country often seems to be followed by a regression into prejudice. This cyclical nature of American society has been particularly resonant while listening to Drive-By Truckers’ landmark album, Southern Rock Opera, especially with its newly released Deluxe Edition. Originally launched on September 11, 2001, a day of national tragedy that also sparked a wave of anti-Muslim and anti-immigrant sentiment, the album’s initial release date was a grim coincidence. Now, in 2024, Patterson Hood and Mike Cooley deliberately re-release this expanded box set, Southern Rock Opera – Deluxe Edition, reminding us that the dark narratives of the Dirty South are not relics of the past, but persistent echoes that demand our attention.
To truly grasp the story behind Southern Rock Opera, diving into Hood’s insightful new liner notes is essential. Stephen Deusner’s 2021 book, Where the Devil Don’t Stay, offers a comprehensive, geographically-organized history of Drive-By Truckers, one of this century’s most vital bands. In brief, Southern Rock Opera began as a screenplay concept about a fictional band named Betamax Guillotine—a moniker inspired by a mythical cause of Ronnie Van Zant’s death—uncannily similar to the Truckers themselves. Fortunately, the band shifted gears, realizing their strength lay in songwriting, making an album the more effective and economical path. Recorded in the sweltering summer heat in an airless space above a store, and crowd-funded before crowdfunding was commonplace, the double album coalesced around “The Three Great Alabama Icons”: football icon Bear Bryant, controversial governor George Wallace, and Lynyrd Skynyrd, the band with Florida roots but a Southern soul. Southern Rock Opera became a powerful reflection of the post-Jim Crow South, encompassing its deepest flaws and, occasionally, its moments of brilliance.
The album opens with “Days of Graduation,” another Hood screenplay adaptation, morphing into a spoken-word piece about reckless youth, car crashes, and the seemingly endless nature of “Freebird.” This track segues into “Ronnie and Neil,” dismantling any supposed feud between Lynyrd Skynyrd and Neil Young. More importantly, it establishes what Hood describes as the “duality of the Southern thing” within Alabama. The song juxtaposes racial violence in Birmingham with the rich, often Black, musical heritage emerging from the Shoals region during the same era. This internal conflict, with its tangible external repercussions, intensifies in “The Southern Thing.” Often misconstrued as a Southern pride anthem—to the point where Confederate flags appeared at early shows, prompting the band to temporarily retire the song—it’s actually a defiant declaration of love for the Southern people, unflinching in its acknowledgment of the region’s brutal history. “Proud of the glory, stare down the shame/Duality of the Southern Thing,” Hood sings, encapsulating the complex identity of the South. This track is arguably the defining Southern rock song of the 21st century, a true Rock Opera centerpiece in its thematic weight and musical ambition.
During weeks immersed in Southern Rock Opera, the depth of Mike Cooley’s songwriting becomes increasingly apparent. Initially, many gravitated towards Hood’s emotionally charged tracks, but Cooley’s contributions, both on Southern Rock Opera and throughout Drive-By Truckers’ discography, resonate more deeply over time. Perhaps it’s his quieter presence alongside Hood, his Dimmer Twin counterpart. Or maybe it’s simply that Cooley embodies an undeniable coolness. Tracks like “Women Without Whiskey,” with its stark truths about alcohol (“It don’t make you do a thing, it just lets you”), and “72 (This Highway’s Mean,” resonating with anyone from a small, forgotten town, North or South, are standout moments. Notably, the band has incorporated “Ramon Casiano” from 2016’s American Band into their current Southern Rock Opera Revisited Tour shows. Though not originally on Opera, it fits thematically—a racist act of violence against a young person of color—and chronologically, originating from an album released just before Donald Trump’s election, eerily mirroring Opera’s fateful release date. “Ramon Casiano,” a Cooley song, might be a pinnacle in the Truckers’ catalog.
Southern Rock Opera culminates its epic scope with three tracks charting the tragic end of Lynyrd Skynyrd. “Shut Up and Get on the Plane” and “Greenville to Baton Rouge” are punk-fueled, high-energy songs foreshadowing the impending disaster. Then comes “Angels and Fuselage,” a track unlike anything else. The band’s 2015 live album, It’s Great to Be Alive, presents a dreamy, almost serene version of Van Zant’s final moments. However, the original studio version on Opera is starkly unnerving. With sparse, discordant electric guitar and Hood’s distant vocals, it’s a slow-motion depiction of the plane crash. Van Zant is acutely aware of his fate— “The engines have stopped now/We all know we are going down”—pondering his next destination—“And I’m scared shitless of what’s coming next”—hoping it’s not the fiery hell awaiting George Wallace, as mentioned earlier in the album. “These angels I see in the trees/Are waiting for me,” he sings. The song, and the album, concludes with solitary piano notes. In live performances, both in 2001-02 and on the current Revisited Tour, the band members gradually lay down their instruments, leaving only feedback and Brad Morgan’s drums until the final, fading heartbeat rhythm ceases. This theatrical presentation reinforces the album’s concept as a true rock opera experience.
A worthwhile box set offers substantial extras, and the Southern Rock Opera Deluxe Edition delivers. Beyond a remix and remaster that enhances the original raw energy and makes the backing vocals truly stand out, there’s a re-sequencing, a newly unearthed song, and four compelling live tracks. Hood explains that vinyl constraints forced the removal of “Birmingham” and “Moved” from the original double album. These tracks now appear on a third disc, bracketing a newly discovered song, “Mystery Song.” Found during the original recording archives, this track—without notes or prior band recollection—features a Crazy Horse-esque riff, offering a tantalizing glimpse into those intense Southern summer recording sessions. The bonus record’s second side features four live tracks from the initial Opera tour. Highlights include “Don’t Cockblock the Rock,” conceived to emulate the fictional Betamax Guillotine, and a scorching live rendition of “72 (This Highway’s Mean)” featuring a guitar solo by Jason Isbell, who had joined the band just weeks prior. Isbell, of course, would later depart and forge a notable solo career.
Seeing Drive-By Truckers in Denver this July reaffirmed their enduring power. They performed Southern Rock Opera in its entirety and, fittingly, in a night that began with “Ronnie and Neil,” they closed the encore with Neil Young’s “Rockin’ in the Free World.” Even as they approach Social Security age, they remain arguably the loudest, most vital rock band in America in 2024. Hopefully, it won’t require another socio-political crisis to inspire another rock opera-level classic. Then again, crafting such powerful, relevant music is what Drive-By Truckers do best.
Order Southern Rock Opera – Deluxe Edition (out July 26): https://drivebytruckers.shop.musictoday.com/product/D2LP28/southern-rock-opera-deluxe-edition-3lp?cp=407_72977
Catch the Southern Rock Opera Revisited Tour through November: https://www.drivebytruckers.com/shows.html
