Following Saddle Tramp by a matter of months, High Lonesome finds the Charlie Daniels Band retaining their focus on jamming -- meaning not just long solos and improvisations, but a loose feel that brings in elements of a number of different Southern styles, blurring the line between country, rock, blues, and bluegrass. Compared to Saddle Tramp, which felt as wide-open and sunny as the plains or desert, High Lonesome is a little darker and denser, a byproduct of the Charlie Daniels Band playing harder as they up the rock quotient while simultaneously playing up cowboy myths. There are strong elements of the Allmans throughout the record, particularly when Charlie Daniels and Tom Crain trade off electric guitar leads and double-up on harmonies, and there's a harder backbeat. Even better, there's more of an emphasis on songwriting and tighter arrangements, which means that the Band's improvistory fire is distilled into tight, concise four-minute bursts, which makes the record as a whole a more infectious, invigorating listen. Also, with Crain singing on "Tennessee" and a pianist taking lead on "Roll Mississippi," this not only feels more like a band album, it has a welcome, loose, anything-goes feel, actually sounding like the work of a bunch of Southern renegades. If there are no true CDB classics outside of the title track and arguably "Carolina," there are no bum songs, either, and the whole thing holds together well, perhaps because, unlike its predecessor, it plays as if it has a theme, thanks to the songs about cowboys and the Southern mythology, not to mention its focused arrangements and the muscular blues-rock guitar that ties it all together. All this makes High Lonesome a highlight in Charlie Daniels' discography.
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AllMusic Review by Stephen Thomas Erlewine