like “Bottle and a Bible,” “Blessed Be the Bad Ones,” and a personal favorite, “Raisin’ Hell and Slingin’ Gravel.” I just have to say, I have followed Dallas’ career since the beginning, and watched as he moved up the ladder via an ironclad work ethic and a sheer love of music. Dallas is a true artist. He doesn’t dress or act like all of those young fellas that are parading around Nashville calling themselves “coun- try,” and that is a good thing. He is a rebel. A renegade. An outlaw. Dallas is one of a kind. This live album ranks right up there near
the top of my list of all time favorite Dallas Moore records. From the single, “Shoot Out the Lights,” to what might be my favorite track here, “Raisin’ Hell and Slingin’ Gravel,” it’s a country outlaw rockin’ good time, just like a Dallas Moore concert. There are so many great songs here, and the
acoustic live versions give the songs a whole new feel. “Blessed Be The Bad Ones” is awe- some, as is “Bottle and a Bible” and another personal favorite, “Beats All I’ve Ever Seen.” Dallas penned some mighty fine lyrics on that song. Live at Bullitt County Jail is a winner. It’s
Dallas Moore in the spotlight, right where he belongs, doing his thing as only Dallas can do it.
-Michael Buffalo Smith
Devon Allman Ride or Die (Ruf Records) Ride Or Die, the
third solo album from Devon Allman is quite strong and very bold. Recorded in Nashville,
this rocking, soulful and rootsy recording confidently hits on all cylinders. Allman re- turns to the studio with co-producer/drum- mer Tom Hambridge, along with
guitarist/bassist Tyler Stokes, bassist Steve Duerst, saxophonist Ron Holloway, violinist Bobby Yang, and keyboardist Kevin McK- endree. Best played loud, “Say Your Prayers” mas-
terfully ushers in the album, firing off catchy marching riffs and wavy psychedelic licks. Allman adds more heat to the swirling rock anthem “Galaxies”, asking “when galaxies col- lide, will you ride or die?” Allman performs this one with a beautiful intensity. Allman sings “Watch What You Say” with the attitude and suaveness of Tom Jones. His vocals, dripping with soul and conviction, are won- derfully accented with his stellar guitar play- ing. I love the bouncy folky rhythm Allman threads through “Live From the Heart”. It is contagious and a sheer delight. He then wraps the album up with “A Night Like This”, a big meaty track consisting of jet-streamed riffs, lush keys and bubbly blasts of sax. I can’t help but think of James Bond when I hear this fabulous piece. It truly would make for an astounding 007 theme song. Ride Or Die is a rockin’ album, and is All-
man’s best work yet. -Phillip Smith
Paul Thorn The Best of Paul Thorn (Perpetual Obscurity) Paul Thorn says he
named the album “The Best of” rather than “Greatest Hits” with
good reason – he hasn’t had any hits. Haha. Well, it depends on how you measure a “hit.” Those of us who have been “Thorn Heads” (ouch!) for many years, some of us since the beginning of his journey, consider a bunch of his songs to be “hits.” And many of those very songs are included here. Like the rockin’
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