After years of battling his label, Curb Records, Hank Williams III finally saw the release of STRAIGHT TO HELL in 2006. The album is a set of unapologetic outlaw-country tunes that evokes the spirit of Williams's legendary grandfather (whom he resembles in both voice and appearance), while also nodding to other rebellious greats such as David Allan Coe, Merle Haggard, and Waylon Jennings, most blatantly on the woozy, booze-soaked "Country Heroes." Lyrically, Hank III is still concerned with drinking, smoking, and other sinful pastimes, as best revealed on "Crazed Country Rebel," which serves nicely as the rambunctious artist's motto. However, the self-professed "hellbilly" resists the heavy-metal influence that informs much of his persona (and comes to the forefront with the side-project Assjack) and, instead, plays it affectionately and knowingly straight, as if making sure not to sully the good family name.

Anyone hoping that Hank Williams III's "Hellbilly" metal band Assjack would finally make it onto one of his albums is still out of luck, but Hank III's third solo effort Straight to Hell comes close to getting their no-quarter spirit onto plastic, if not their sound. Taking the no-frills hard-country sound of 2002's Lovesick, Broke & Driftin' as a starting point, Straight to Hell pumps a good bit more darkness into the mix; mostly recorded at home on a digital portastudio, Straight to Hell begins with a sample of the Louvin Brothers' "Satan Is Real" interrupted by a burst of demonic laughter, which then segues into the title tune, a testimony to a life of cheap thrills and dangerous living that sounds like a classic string band rounding the corners at 90-miles-an-hour with empty bottles of bourbon propping open the windows. A similar mix of old-school country and chemically-fueled rebellion run through songs like "Pills I Took" and "Smoke and Wine," and even the less menacing tunes like "My Drinking Problem" and "Angel of Sin" boast too much swagger and grit to fit comfortably on the radio next to Toby Keith or Gretchen Wilson. While Hank III's self-mythologizing outlaw stance is not entirely unlike that of his father, there's a crazier and more sinister energy to Straight to Hell than Bocephus has ever conjured up on record, and numbers like "Country Heroes" and "D. Ray White" eloquently testify to his notion that bad craziness is a long and rich tradition along the margins of Nashville. (He also has a few things to say about Hank Jr. hanging out with Kid Rock on "Not Everybody Likes Us" to confirm he's most certainly not turning into his dad.) The album's most extreme departure point, however, is the bonus audio collage "Louisiana Stripes," which combines a handful of high-lonesome tunes with layers of ambient noise, bits of found dialogue, dub-wise echo and reverb effects, stray telephone messages, and sound effects ranging from thunderstorms to gurgling bong water. There's a pure and soulful musical vision at the heart of Straight to Hell no matter how much Hank III lashes out against the confines of current country music and messes with the form, and that's what makes him most valuable as an outlaw -- there's lots of long-haired dope-smoking rednecks out there, but not many that can tap into the sweet and dirty heart of American music the way Hank III does, and Straight to Hell proves he's got a whole lot to say on that particular subject. ~ Mark Deming

Rolling Stone (p.94) - 3 stars out of 5 -- "'Low Down' reminds non-fans he can write a sad song worthy of his granddad..."

Uncut (p.113) - 3 stars out of 5 -- "[T]he grandson of Hank Williams rides a dual track from sublime to perverse."

No Depression (p.131) - "[R]iven, driven and demon'd with sin....He's deeper and darker and bigger and better than he's every likely to be allowed."

Mojo (Publisher) (p.100) - 4 stars out of 5 -- "Most of this superb record is laugh-out-loud funny, but the intent is deadly serious....He is a country-punk Eminem, ready to take the trash talk global."