Personnel: Jason Isbell (vocals, electric 12-string guitar, piano, Fender Rhodes piano, Wurlitzer organ, background vocals); Shonna Tucker (vocals); Mike Cooley (banjo, harmonica); David Barbe (piano, Fender Rhodes piano, background vocals); Patterson Hood (piano); Clay Leverett (background vocals).

Additional personnel: David Barbe, Clay Leverett, The Minor Hill Singers, The State Line Chain Gang.

Audio Mixers: David Barbe; John Agnello.

Liner Note Author: Patterson Hood.

Recording information: Chase Park Transduction, Athens, GA; The Legendary Fame Recording Studio, Muscle Shoals, AL.

Director: David Barbe.

Photographers: Adam Smith; Patrick Hood.

When you've named your band the Drive-By Truckers and your first three albums are called Pizza Deliverance, Gangstabilly, and Alabama Ass Whuppin', you might have a hard time at first convincing folks that you aren't joking. But the Drive-By Truckers proved that they were most definitely not kidding with 2001's brilliant double-disc Southern Rock Opera, and 2003's Decoration Day actually upped the ante on what might have been a fluke masterpiece with its dark and thoroughly absorbing chronicle of hard times in the American South. With The Dirty South, the DBTs have crafted an equally effective companion piece to Decoration Day that plays on the gangsta rap reference of its title with a set of vividly rendered portraits of life along the margins of respectability below the Mason-Dixon line, from laid-off factory rats dealing drugs to feed their kids to Alabama gangsters determined to shut down the cops who made their daughters cry. From the first low, metallic stomps from Brad Morgan's kick drum on "Where the Devil Don't Stay," it's clear that The Dirty South isn't going to be a good-time party most of the way, and while there are some brilliant anthemic rockers on this album (most notably "The Day John Henry Died," "Carl Perkins' Cadillac," and "Never Gonna Change"), and Patterson Hood, Mike Cooley, and Jason Isbell have grown into a force to be reckoned with as both guitarists and songwriters, there's more than a little blood, fear, doubt, shame, and simple human tragedy at the heart of these stories. While much of America might be laughing at "You might be a redneck..." jokes, the Drive-By Truckers aren't about to let anyone forget the harsh truth behind growing up on the wrong side of the tracks in this country, and the tough, muscular force of their music only sharpens the bite of their stories. They can also turn down the amps and still hit you in the heart, especially on "Danko/Manuel" and "Daddy's Cup," and David Barbe's production gives this band the full-bodied clarity they've always deserved. Believe it -- the Drive-By Truckers are the best, smartest, and most soulful hard rock band to emerge in a very long time, and while The Dirty South isn't always good for laughs, it has too many great stories and too much fierce, passionate rock & roll for anyone who cares about such things to dare pass it up. ~ Mark Deming

After recording SOUTHERN ROCK OPERA--a two-act, two-disc epic about growing up in the American South--and then following it up with 2003's equally lauded DECORATION DAY, one might think Drive-By Truckers would be out of energy. But nothing seems tired about 2004's THE DIRTY SOUTH. In an age when some artists are building a glamorous "redneck" image, Drive-By Truckers convey realistic, hard-hitting truths about life in the margins of the South.

Here the Truckers unveil a dark, lean roots-rock set redolent of whiskey, low-income housing, and kudzu vines, as they spin narratives about war veterans ("The Sands of Iwo Jima"), steel workers ("The Day John Henry Died"), and convicts ("The Boys from Alabama"). With the exception of a couple of hook-filled, sing-along rockers, the band favors portraits of struggle. "Puttin' People on the Moon" depicts a character working at department store and selling drugs to support his family, while "Cottonseed" is a confession from a murderous outlaw. There are traces of Merle Haggard's mythos, Neil Young's vulnerability, and the Southern rock of Lynyrd Skynyrd here, but THE DIRTY SOUTH also boasts an integrity and individuality that demands to be heard.