During his 30-plus-year career, Doug Sahm embodied that conundrum, melting the full range of Texan musical idioms-country, blues, Tejano, rock-into a singular (and singularly powerful) body of work. Is Texas really part of the South? It depends on who you ask, but the answer is no. Sir Doug and the Texas Tornados: Texas Rock for Country Rollers (1976) Here are the 50 Best Southern Rock Albums of All Time:ĥ0. And you can tell us what we missed on our Facebook page. We think this approach results in a more interesting list, celebrating all of the South’s contributions to rock ’n’ roll. As always for these lists, we limit each act to two albums. What follows are the Best Southern rock albums as voted by Paste’s music editors and writers, after long debates on what should qualify. But the inclusion of early rock albums and modern torchbearers like Drive-By Truckers also means we didn’t have room for some roots rock standards like Atlanta Rhythm Section, Boz Scaggs and Dixie Dregs, which you’ll find on most every other list. And bands like Creedence Clearwater Revival and Little Feat, who sound Southern but have no claim to these lands, are also absent. That meant bands like The B-52’s and Of Montreal, who could have come from Mars, aren’t included. As long as the music was undoubtedly Southern (from Texas to the Carolinas, Kentucky to north Florida) and undoubtedly rock, it was on the table. So when we compiled the 50 Best Southern Rock Albums of All Time back in 2018, we made sure the results were a little broader than the usual suspects. They were quickly followed by Southern icons at Memphis’s Sun Studio like Elvis Presley, Jerry Lee Lewis and Johnny Cash, whose early singles were as much rockabilly as country. Bo Diddley, Little Richard and Fats Domino were among the first musicians to put Southern cities on the rock ‘n’ roll map. Today, “Southern rock” means everything from the earthy synths of My Morning Jacket to the future soul of The Alabama Shakes.īut the origins origins of rock in the South also go back much further than Duane Allman playing guitar for the R&B hitmakers at FAME Studios in Muscle Shoals in the 1960s. The branches of Southern rock began to creep outward. In college towns like Athens, Ga., and Winston-Salem, N.C., a distinct Southern jangle was emerging, mixing the post-punk of New York, the pop of Big Star, and the roots music that bands like R.E.M., Let’s Active and The dB’s were weaned on. But it was also starting to mean something else. By the ’80s, Southern rock meant ZZ Top, Georgia Satellites and The Black Crowes, reviving the guitar licks of their forebears for a new generation. It was part country redneck, part psychedelic hippie, and it dominated the FM radio stations of my childhood (looking at you 96 Rock). Growing up in Atlanta in the 1970s and ’80s, “Southern rock” meant a very specific thing: long-haired bands like Molly Hatchet, the Allman Brothers and Lynyrd Skynrd playing extended guitar solos with enough bluster to pick a fight at any smoky roadhouse.
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