Don't be deterred by the rather misleading title. Not a rock opera in the sense of Tommy or Jesus Christ Superstar, this sprawling double disc is more akin to a song cycle about Southern rock, in particular Lynyrd Skynyrd. Almost six years in the making, the Drive-By Truckers have created a startlingly intelligent work that proudly stands with the best music of their obvious inspiration. Largely written and conceived by lead trucker Patterson Hood (son of famed Muscle Shoals bassist David Hood), who sings the majority of the songs in a torn, ragged, but emotionally charged twangy voice somewhere between Tom Petty and Rod Stewart, these 20 literate tracks encapsulate a remarkably objective look at what Hood calls "the duality of the South." Rocking with a lean hardness, the story unfolds over 90 minutes, but the savvy lyrical observations never overburden the songs' clenched grip. While bands like the similarly styled Bottle Rockets have worked this territory before, never has a group created an opus that's thematically tied to this genre while objectively exploring its conceptual limitations. The two discs are divided into Acts I and II; the first sets the stage by exploring aspects of an unnamed Southern teen's background growing up as a music fan in an environment where sports stars, not rock stars, were idolized. The second follows him as he joins his Skynyrd-styled dream band, tours the world, and eventually crashes to his death in the same sort of airplane accident that claimed his heroes. The Drive-By Truckers proudly charge through these songs with their three guitars, grinding and soloing with a swampy intensity recalling a grittier, less commercially viable early version of Skynyrd. A potentially dodgy concept that's redeemed by magnificent songwriting, passionate singing, and ruggedly confident but far from over-the-top playing, Southern Rock Opera should be required listening not only for fans of the genre, but anyone interested in the history of '70s rock, or even the history of the South in that decade. More the story of Hood than Skynyrd, this is thought-provoking music that also slashes, burns, and kicks out the jams. Its narrative comes to life through these songs of alienation, excess, and, ultimately, salvation, as seen through the eyes of someone who lived and understands it better than most.© Hal Horowitz /TiVo

In theory, a B.B. King album featuring 13 duets with a variety of different artists could be spectacular, but Deuces Wild feels like it was conceived with the bottom line in mind. Instead of choosing artists who would complement B.B., the producers assembled a lineup that would appeal to a broad audience, from old blues fans and rockers to contemporary country, urban R&B, and hip-hop fans. Not surprisingly, the end result is quite uneven, ranging from the sublime to the terribly awkward. It also comes as no surprise that the veterans acquit themselves the best -- Van Morrison, Bonnie Raitt, Dr. John, Joe Cocker, and Willie Nelson all sound terrific, while the Rolling Stones' support on "Paying the Cost to Be the Boss" positively smokes -- while Tracy Chapman sounds surprisingly soulful on "The Thrill Is Gone." However, the teamings with Simply Red's Mick Hucknall, D'Angelo, Marty Stuart, and rapper Heavy D are simply clumsy, with neither party sounding particularly comfortable. There are enough good moments on Deuces Wild to make it worthwhile for hardcore B.B. fans, but when they're placed in context with the bad cuts, the overwhelming impression is that the album is a bit of a wasted opportunity. © Stephen Thomas Erlewine /TiVo

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