Outlaws
Bring It Back Alive

“WELCOME THE GUITAR ARMY OF FLORIDA: OUTLAWS!!!” is the bombastic introduction to the audience shouted by the concert organizer, immortalized at the start of this powerful live album from the southern rock band in question.

As almost always happens in the rock realm, adrenaline, energy, and the desire to engage make these live versions of the best of their repertoire far heavier, grittier, and more expansive than the studio originals. A good portion of the subtleties and intricacies are set aside to unleash, as is rightly expected for the devoted and paying audience, the maximum energy and enthusiasm into the performances. All this in a setting of professional discipline and (decent) precision, which are indispensable when dealing with no less than three solo guitars, hyper-amplified and boisterous, strenuously working to meticulously share tasks and not interfere with each other.

Yes, because the soloists present have become three from this album. Previously there were two because the third guitar, Henry Paul's, was only rhythmic. But Paul has now left, taking with him the country and bluegrass component from the band's amalgam of styles, as well as his voice more akin to a crooner than a rocker. In his place appears a fierce moustachioed man named Freddie Salem, even rougher and tougher than his two historic colleagues, namely the Fenderist Hughie Thomasson and the gibsonist Billy Jones. To counter the chaos of guitars in action, the group decides, from this album and for a certain time, to introduce a second drummer to reinforce the rhythm section.

The album is a rich and varied ride of pure and unadulterated Southern rock, decidedly generous melodically, especially compared to genre peers, but on this occasion in a version with zero ballads, not perfect but genuine vocal performances, choirs much weaker than they should be but at least not “touched-up,” the obligatory prolixities compared to the studio albums, consisting of a plethora of solos and guitar duets.

Of the eleven songs present, the two most extended ones undoubtedly stand out, which are the first and last: the opener “Stick Around for Rock’n’Roll” (9 minutes and change) and the closing encore “Green Grass and High Tides” (over 20 minutes!) are powerful and excellent examples of the decisive contribution Southern rock has made to the rock cause, as well as the pivotal role the Outlaws have played within the southern genre.

In my taste, Outlaws are among the top five Confederate rock bands of all time, after Atlanta Rhythm Section, 38 Special, Lynyrd Skynyrd, and Blackberry Smoke. This album celebrates them adequately and unmissably in their golden moment (1978).

See you at their next (studio one).