An assortment of outtakes and covers from the 2000's, "The Fine Print" manages to hold together as a cohesive DBT album thanks to the strength of the material. Apart from the inspired covers, the highlights of the collection have to be two Jason Isbell songs which are Must Haves simply because they add to the too few Isbel/DBT tracks in release, with "TVA" being an instant Isbell keeper, a somber track that would have fit in perfectly with the tales of despair and struggle on "The Dirty South". The bulk of the tracks are Hood's, from the "Carl Perkin's Cadillac"-esque "George Jones Talkin' Cell Phone Blues" (inspired by a near death accident Jones had as a result of talking on his cell phone), the typical Hood narrative "The Great Car Dealer War", and the alternate version of "Goode's Field Road" which lacks the slow burn of the original but nonetheless brings a new dimension to the song. Sadly, Cooley is represented on only two tracks, one of them being an updated "Uncle Frank", which brings new life to a live classic.
It is the covers, however, which push this album to another level. "Rebels" may be the perfect choice for a DBT cover, with every lyric sounding as if it could have been written by Hood's pen in the first place. "Mama Bake A Pie" is an effective war protest song, more subtle than Hood's anti-war efforts from "Brighter Than Creation's Dark". "Play It All Night Long", a live powerhouse, pays tribute to Zevon while lending a Southern edge. And amazingly enough, the cover of "Like A Rolling Stone" works, which in itself is a testament to the band.
This album fails to touch the Holy Three (Southern Rock, Decoration, Dirty) nor does it achieve the majesty of "Brighter", but it is a solid effort and finds that the band has deep pockets.