Snobbin: Beautiful Trash in the Pop Culture Gutter

The final three songs focus on the plane ride and subsequent crash of both bands: the fictional one and Lynyrd Skynyrd. Cooley's “Shut Up and Get on the Plane” is a premonition of what is to come, as well as an excoriation of those that fear life and do not want to live it to its fullest. He sings, “We've been this close to death before; we were just too drunk to know it / Guess the price of being sobers being scared out of your mind.” Cooley dares listeners to get on the plane because death is inevitable and there is no use in complaining. The adventure the band is on trumps all. Even though the narrator would like to go home and lay around, he is a working man and needs to keep on moving. This theme continues through Cooley's songs; they revolve around men of action who move through less specific worlds. They carry on because they have to, despite the odds, not concerned with the specifics of history, but moving through a more generalized world. He writes songs for...

                         Hood's next group of songs is firmly rooted in the historical and very personal south and centers on Hood’s concept of the “duality of the southern thing.” “Birmingham” describes the unemployment and stresses of living there and trying to maintain an authentic identity. “The Southern Thing” is told from the perspective of a proud man who realizes the complexities of the south from General Lee to Martin Luther King, juxtaposing different ideas that play into Hood’s concept of southern duality. Hood has continually written more personal songs about the south and his identification with it throughout his career.             “The Three Alabama Icons” is set in hell and presents the history of three famous Alabama figures, prefiguring his later look at other historical figures, especially The...

The first time I heard the Drive-By Truckers, I wrote them off as just another band in the long line of Uncle Tupelo wannabes. My girlfriend's cousin had given me a copy of Decoration Day saying it looked like something I would like. He was a big fan of mainstream country, and Columbia House had given him a free copy. On first listen I thought the band was copying the tried and true Americana formula, sounding very much like Uncle Tupelo with a greater southern flair. I thought they were just another in a long line of Tweedy and Farrar copycats, writing songs about their working-class roots and love of alcohol. The record just didn't speak to me. I filed it away with my other CDs, never expecting to return. I'm sure I went back to Uncle Tupelo, Son Volt, Whiskeytown, and other similar bands for my rootsy needs. I was late to the party on Steve Earle as well.             A few years later, A Blessing and A Curse came out a...