Personnel includes: Rhett Akins (vocals); Shawn Camp (acoustic & electric guitars); Michael Spriggs, Larry Byrom (acoustic guitar); Jeff King (electric guitar, banjo); Mike Johnson (slide guitar, banjo); Steve Hinson (steel guitar); Sid Walker (fiddle); Tony Harrell (piano, Hammond B-3 organ);
Brian Gary (Hammond B-3 organ); Michael Rojas (keyboards); John E. Jump,
Mike Brignardello (bass); Greg Morrow (drums, percussion); John Stacy (drums); Thom Flora, Russell Terrell (background vocals).
Producers include: Rhett Akins, Pat Hutchinson, Charlie Daniels, Kenny Lamb.
Engineers include: Pat Hutchinson, Christopher Rowe, T.W. Cargile.
Principally recorded at Warner Chappell, Emerald, Nashville, Tennessee and Twin Pines Studios, Mt. Juliet, Tennessee.
Personnel: Troy Lancaster (guitar); Darryl Preston, Shawn Camp (acoustic guitar, electric guitar); Larry Byrom, Michael Noble, Michael Spriggs (acoustic guitar); Dan Dugmore (electric guitar, slide guitar, steel guitar); Jeff King (electric guitar, banjo); Steve Hinson (steel guitar); Charlie Whitten (lap steel guitar, dobro); Wanda Vick (banjo, mandolin, fiddle); Glen Duncan (fiddle); Tony Harrell (piano); Michael Rojas (keyboards); David Smith (acoustic bass); Greg Morrow (drums, percussion); Chris McHugh (drums); John Gardner (percussion); Anthony Little (programming); Thomas Flora, Kim Parent, Russell Terrell (background vocals).
Audio Mixers: Pat Hutchinson; Chris Rowe.
Recording information: County Q; Emerald Studio, Nashville, TN; Twin Pines Studio, Mt. Juliet, TN; Warner Chappell Studio, Nashville, TN.
Photographer: Grant Lovett.
With its signings of folks like Ross Nickerson, John Anderson, and Rhett Akins, Audium Records is like the second chance home for those country neo-traditionalists squeezed out of Nashville by both the pop direction of Faith Hill or Shania Twain and the rootsier moves of the alt-country posses. Like Akins' three major-label albums of the '90s, 2002's Friday Night in Dixie blends George Strait and the Marshall Tucker Band for an entertaining if not particularly innovative mix of country twang and Southern rock choogle. The title track, co-written and produced by Charlie Daniels, raises the most hell, but Akins is at his best on more introspective material like the sweet "She Was" and the lonesome "Where the Blacktop Ends." Bookended by a pair of country-radio possibilities, the anonymous but catchy "Highway Sunrise" and a swell acoustic version of Akins' biggest '90s hit, "That Ain't My Truck," Friday Night in Dixie is a solid comeback for a journeyman singer/songwriter. ~ Stewart Mason