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Among the many characteristics that can be considered to distinguish American rock bands from British ones in just a few words is the tendency across the Atlantic towards greater "democracy" within the band. That is, when it comes to bands without a true frontman, or even with more than two people composing and singing, you'll find that they are usually made in the USA.
The southern rock genre, like perhaps only country rock, boasts a plethora of bands where many members take turns at the forefront, and in this field, the quintet Outlaws was no exception: three guitarists at work, all singing equally. With very different peculiarities among them, it's relatively easy to distinguish the dominant country vein in the compositions of guitarist Henry Paul, interpreted with a warm and baritone voice, from the more aggressive and fast inspiration of Hughie Thomasson, the brightest soloist with the roughest and tensest voice, and again from the round and dreamy style of the other soloist Billy Jones, who possesses an unusual high and thin voice, in the style of Neil Young.
The frequent use of choruses in the refrains, the overall moderate vein of both Paul and Jones in their approach to rock, as well as the phenomenal agility on the Stratocaster of Thomasson, capable of tackling compositions almost in bluegrass style, have allowed the group to be compared to ultra-melodic realities like Eagles, but the Outlaws remain an authentically rock group: the rhythm section makes the difference, along with the ability to improvise on stage.
The album in question, their second career release (1976), is consistent and pleasant from the start, with an a cappella chorus introducing the compact pop rock "Breaker Breaker" by Thomasson and then immediately veering off into country rock with a typical ode to one of its cradle states in "South Carolina," obviously written and performed by Paul, before becoming a little banal with the first, modest contribution from Jones, "Ain't So Bad."
At this point erupts the only cover in the setlist, the uptempo "Freeborn Man" by bluesman Mose Allison, a great pianist and author also covered by Yardbirds, Who, Van Morrison, Clash among others; it's one of the album's peaks, thanks to the long central interlude introduced by a drastic tempo change, where the inspired solos of Jones and Thomasson take turns expressing themselves. The barely five-minute studio version was systematically doubled live, where total freedom was given to the moods of the evening.
The subsequent "Girl From Ohio" is the most country thing on the work and perhaps in their entire career... the rock disappears entirely here and Henry Paul's overly Yankee voice dominates shamelessly. The song is very beautiful, of course, if one doesn't have an aversion to the swinging and drawling melodic style typical of this genre, so deeply rooted in much of the United States but hardly exportable to the rest of the world.
The album regains vigor with a couple of Thomasson's resolute and energetic episodes, titled "Lover Boy" and "Just for You," then becomes elegantly rarefied and vaguely psychedelic with a new contribution from Billy Jones, "Prisoner," a commendable episode all played on open chords, arpeggios drenched in chorus, atmospheric solos, and the serene, flute-like singing of its author.
The grand finale, in typical Southern style, is for the guitar tour de force "Stick Around For Rock’n’Roll," which swiftly takes care of the vocal part before launching into a long instrumental coda where the two lead guitars bark convincingly and cohesively, alternating solo or more often harmonizing together in compelling and insistent licks. The Outlaws used to open their concerts with this number, making for a loud and spectacular entrance.
The remnants of this glorious formation (a dozen albums in their career) still tour the USA for typical nostalgia concerts that keep the flame alive in front of old fans and a few new, belated enthusiasts, with only Henry Paul and drummer Monte Yoho in their places, as both Jones and Thomasson as well as bassist Frank O'Keefe have long passed away: the first tragically by suicide, the second from a heart attack, and the last from an overdose.
Tracklist and Lyrics
02 South Carolina (03:05)
Drove in from Texas, tired of being alone,
it's so far to find a love on your own,
now we'll be sharing all these days together, you and me,
it's good to find out just exactly what we want to be.
South Carolina, stars in her eyes,
Blue Ridge Mountain, home in the sky.
Laundry's glowing on the afternoon line,
sun'll dry them as long as it shines,
you've been shining through my eyes with everything I see,
darkness and daylight lets me know what you really mean to me.
South Carolina, stars in her eyes,
Blue Ridge Mountain, home in the sky.
It's time to pack up and get ready to go,
things I think lately are things I used to know,
and I've been thinking, Carolina, we can find a way
to be together every night and I'll have you every day.
South Carolina, stars in her eyes,
Blue Ridge Mountain, home in the sky.
South Carolina, stars in her eyes,
Blue Ridge Mountain, home in the sky.
04 Freeborn Man (04:46)
I was born in the South Land
twenty-some odd years ago,
and I left home for the first time, Honey,
when I was four years old,
I'm a freeborn man,
home is on my back,
I know every inch of highway,
every foot of backroad,
every mile of railroad track.
I gotta a lady in Cincinnati,
a woman in San Anton',
I've always loved the girl next door,
Honey, every place was home
I'm a freeborn man,
home is on my back,
I know every inch of highway,
every foot of backroad,
every mile of railroad track.
You may not like the way I look,
you may not like this song,
you may not like the way I live;
you'll love the way I'm gone.
I'm a freeborn man,
home is on my back,
I know every inch of highway,
every foot of backroad,
every mile of railroad,
every mile of railroad,
every mile of railroad track.
05 Girl From Ohio (05:00)
It's winter in my consciousness
Dew has turned to frost
Some will win, some will lose
Some have won and lost
You can feel the time between us now
Pullin' us apart
If I could get in touch somehow
We can make another start
And in Ohio, there's one place I would go
Back to the arms of a girl I used to know
We'll be ridin' back in style
Gonna be there in awhile
Back in the heart of a girl in Ohio
Walking the sunshine of the day
Slowly turns to night
Whisperin' winds come what may
Birds in homeward flight
Just one way, that you can go
And the sunset is set free
Softly through the shadows to
The place I wanna be
And in Ohio, there's one place I would go
Back to the heart of a girl I used to know
We'll be ridin' back in style
Gonna be there in awhile
Back in the arms of a girl in Ohio
I know you know me better than
To say I lost my pride
When the things that you can see in me
Things that I can't hide
One day ride through the night
It's all it usually takes
See me clear of yesterday
Most of my mistakes
And in Ohio, there's one place I would go
Back to the heart of a girl I used to know
We'll be ridin' back in style
Gonna be there in awhile
Back in the heart of a girl in Ohio
In Ohio, there's one place I would go
Back to the heart of the girl I used to know
We'll be ridin' back in style
Gonna be there in awhile
Back in the heart of a girl in Ohio
08 Prisoner (03:56)
I got no key to my happiness,
I'm satisfied in love, I guess.
Maybe someday, maybe tomorrow,
well, you'll be mine and for sure,
well, I'll be your prisoner.
Kiss my smile, look in my direction,
and catch a glance of loose affection.
Birds are hummin', Tuesday's comin',
and you'll be mine and for sure,
well I'll be your prisoner.
And all the times you've lied,
and all the times I've cried
over you.
February, month of love,
and you're the one I've been dreaming of.
Maybe someday, well, maybe tomorrow,
well, you'll be mine and for sure,
well, I'll be your prisoner
Now, you'll be mine and for sure,
well, I'll be your prisoner.
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