Marley Brant's Southern Rockers: The Roots and Legacy of Southern Rock is the first comprehensive history of southern rock, a genre whose artists have, on occasion, been labeled "redneck bands" and, as a result, found their role in rock history minimized. With Southern Rockers, Brant attempts to correct these oversights. Proceeding chronologically, she examines the musicians, exploring the origins and evolution (and finances) of southern rock as well as the recording sessions, popular songs, and tours. Interwoven into this history are the biographies of the major bands and artists, beginning with the births of Duane and Gregg Allman and ending in the present, with a glance into the future. Brant also calls attention to the central role of Phil Walden and Capricorn Records. The study provides minimal criticism--a point Brant explains at the outset--only enough to create a context for the story.

The task Brant sets before herself is a formidable one. Brant covers a number of bands--major acts like the Allman Brothers Band, Lynyrd Skynyrd, Marshall Tucker, Wet Willie, Charlie Daniels, Blackfoot, and the Atlanta Rhythm Section--as well as solo acts (e.g., Gregg Allman, Dickey Betts, Toy Caldwell), off-shoots (e.g., Sea Level, Gov't Mule), and second-generation bands (e.g., Molly Hatchet, the Outlaws, .38 Special, and OKB). It's immediately apparent, though, that Brant is knowledgeable about this subject and has done her homework, as seen in the number of interviews she's conducted with artists and fans. (Always clear is Brant's knowledge of both southern rock and the music business: She has been employed in entertainment for the last 20 years as a producer, artist development executive, and writer--her previous books are, primarily, biographies of Old West outlaws). Particularly impressive is Brant's use of southern rock's shared love of the blues as well as southern notions of family/community and independence to give Southern Rockers a thematic unity that ties together artists with disparate musical styles. And she tells the whole story: artist successes (e.g., the rise of the Allman Brothers) and their struggles (e.g., Gregg's drug and legal problems as well as the squabbles of the band).

While Brant's study is a strong one, there are a few problems. An obvious (and unavoidable) question emerges from the bands Brand chooses to classify as "southern rock." For example, she omits Black Oak, Arkansas, the Dixie Dregs, Amazing Rhythm Aces, and Elvin Bishop, questioning that any of these bands represent "southern rock." In fairness, Brant acknowledges that she'll be criticized for her choices and that it's a necessary hazard.

Another problem stems from the design of the book. Brant is, after all, writing a history, and for the reader trying focus on, say, Marshall Tucker, there's no efficient way to find material on that band; instead, the chapters are blocks of text. Headings and subheadings would have easily remedied this--and eliminated some of the awkward transitions as Brant moves from her discussion from band to band.

The "Selected Album Discography" is useful and illustrates the breadth of southern rock, but a more comprehensive bibliography would be helpful. After all, Brant is writing a history here, and fewer than three pages of sources whets the reader's appetite. In addition, while there is a short list of websites (more would be appreciated), a listing of video materials/concerts would strengthen this portion of the book.

In the end, Southern Rockers hits the snags of most early histories of any subject: There's a lot of ground to cover and few trails to follow. But Brandt has done a good job here of charting southern rock and showing the relationships between bands emerging from a culture that has always valued community. These are not small accomplishments--and the book left me with every southern rock disc I own playing in the stereo.

Brant concludes her acknowledgments by writing, "Millennium be damned . . . Southern rock is timeless" (7). With Southern Rockers, Marley Brant helps keep that tradition alive.