DRIVE BY TRUCKERS fans, UNITE!!!

who are the dudes on the left?

Jay Gonzales on the far left has been their keyboard player/second guitarist/backing vocalist since ... 2008 (lol Veggie). The guy with the beard/awesome hair is their roadie, who got to come out and play for "Buttholeville/State Trooper" and "People Who Died."

Gonzalez (sorry Jay Gonzalez)

oh cool! i didn’t recognize Jay with bigger hair i guesz

Wow, this changes everything for me:

Separate phrases. At that point I didn’t have the skill to make it obvious I was 21 https://t.co/OGPaNa0zWP

— Jason Isbell (@JasonIsbell) January 27, 2023

I *always* thought this was one phrase, not two, as in, the dad knows he's bigger than Jesus but is telling him to let people figure that out on their own.

The Drive-By Truckers will release The Complete Dirty South on June 16, 2023, via New West Records. Originally released in 2004 to wide acclaim, The Dirty South explores the mean highways and dark hollers of what the band called the “Mythological South,” a tornado-ravaged landscape populated by bootleggers and small-time criminals, everyday folks just scraping to get by and looming icons like Sam Phillips, John Henry, and Sheriff Buford Pusser. The album is a reckoning with the place they call home. Pitchfork sang its praises: “The Drive-By Truckers’ Southern rock always sounds homemade, and like liquor from a still, it’s extremely potent… (They) find the connections between these larger-than-life figures and the life-size experiences that shaped them. For them, the South is a stretch of highway where many have died, an ordinary place made extraordinary by human tragedies. The Dirty South is their homemade roadside memorial.”

The ground-breaking album has been re-sequenced and expanded to the band’s initially proposed 17-song track listing. It includes 3 bonus tracks that were left off the original album, 4 remixed songs, and 2 featuring newly updated vocals. Also included is a 32-page book featuring original and new liner notes written by the Drive-By Truckers’ Patterson Hood, track-by-track descriptions written by Hood, Mike Cooley and Jason Isbell, never-before-seen photos, and updated artwork by the late Wes Freed. The Complete Dirty South was remastered by the legendary Greg Calbi. This definitive version of the album will finally be available as the band intended.

Today, the Drive-By Truckers shared the remixed & remastered “Puttin’ People on the Moon,” which features new vocals. Patterson Hood says, “I wrote ‘Puttin’ People on the Moon’ in the passenger seat of our van driving through western Tennessee and northern Georgia in late 2003. At the time I was angry about the recently started war in Iraq and the polarization President Bush and his cronies were unleashing on our country, but also drawing a parallel to the policies of President Reagan, who at the time many still viewed as a grandfatherly presence despite his enacting so many policies that had major negative ramifications on our future, a future we’re still living through now. The song was probably the best political song I had ever written at that time and unfortunately is more timely today than it was in 2003.” Hood adds, “We recorded it in Muscle Shoals (in one take) in January 2004, but by the time the record came out, I had already begun to regret the vocal take, which attempted some things I hadn’t yet really learned how to do at that time. As the years have passed, it is one of two on that album that has always really bothered me when I hear it played, while live it has morphed into a truly powerful song for me to sing. When we were given the opportunity to do a ‘Directors Cut’ version of what many consider to be our masterpiece, I wanted to take another stab at that vocal and nailed what I believe to be a definitive version of it in one take. One that truly captures the inherent anger and despair of the song as written and played by the band. The scream at the end might be the most primal recording of my voice anywhere in our catalog and I’m very proud to have this version out there after all these years. The Complete Dirty South might indeed be DBT’s masterpiece.”

In the newly penned liner notes Patterson Hood writes, “The period from 2002, a few months after we self-released our breakthrough album Southern Rock Opera, through the end of 2005, when we wrapped up The Dirty South Tour, is widely considered to be our band’s glory days. It was certainly exciting… In January of 2004, the label realized that we had a new completed album and were hoping to release it that summer. Not only that, it was to be another double album. They weren’t too happy about any of this. We took their unhappiness as an insult and so it went. In the end, a sort of compromise was reached and New West agreed to release the album and we agreed to shorten it to fit on one CD. The Dirty South came out in August of 2004 to wide acclaim and went on to be the best selling of our albums at the time.”

Hood adds, “A lot has happened in the nearly twenty years since The Dirty South was released. All of these years later, it is still considered one of our best albums… Shortly after we left (New West), they restructured the label and the source of our turmoil moved on to other things. We are on excellent terms with the powers that be now and we were happy when they reached out to us about the idea of reissuing The Dirty South, enabling us to put out the album the way we had originally intended it to be. We have reconstructed the original sequence and concept as it was conceived. Where possible we preserved the original John Agnello mixes but remixed the bonus tracks and also fixed a couple of vocal issues that I have always regretted about the original version (for purists, those versions still exist out there, but this gave us a chance to present it the way I’ve always wished it could be)… This version finally allows it to be heard and seen the way we had always hoped and intended.”

https://www.youtube.com/watch?v=wiDs_Rr6YDk

This song gives me the chills.

This is a touchy subject for me because this band meant more than any other to me from roughly the very long years of 2002 to 2010 but the new vocal sounds horrible in comparison, sounds like they re-recorded it recently rather than using an alternate track from the era.

one of my favorite songs off the album & from their catalog

i dunno if i am ready to hear the reworked vocal. will have to work up to it maybe.
the imperfections is part of what i love about the original.

Yeah, I haven't been a place where I can listen to that, but I was really excited about the reworking - until I got to the part about redone vocals.

It sounds fine. Changes a couple of words here and there. Loses the falsetto bits, which I guess Hood didn't like but which I never minded. And minus a full re-recording it still (imo) fails to nail the way the song sounds live.

Horrible might have been too strong but the beginning is out of sync and there are plenty of places in the second half where he’s just overdoing it a bit. Sounds like someone swiped the vocal track from one of their live performances and pasted it on the original. Just have a hard time imagining this as the ‘definitive’ version and will sound a bit out of place in the middle of the other original studio tracks. Of course I’ve heard the original a thousand times and anything different probably wouldn’t have sounded right to me.

Yeah, that's fair. If you're going to re-do it, re-do it. Swapping in a new version of a song for the old, for mostly cosmetic reasons is, as the kids say, sus.

if Pat’s happier doing it this way i’m happy for him, and on its own merits he does a good job of recreating the anger

but i don’t need it to be at a 10 the whole way through. it needs the quieter bits to make the yelling parts pay off

imo

also lol @ jason

No not at all- Hood sent me mixes as soon as it was done and it’s fantastic. Which record did Ozzy cut me out of though that sucks https://t.co/PuODlIqSio

— Jason Isbell (@JasonIsbell) April 11, 2023

lol call him Pat at your own risk ...

Jason just consistently proves himself to be one of the best dudes - funny, great songwriter, standing up for the right things and completely unafraid to push back against trolls and actively piss off "fans" by telling him he doesn't want their hateful views around.

From blog notes soon after first release:

...14 songs, 8 damn good, 2 pretty good, 4 too tawky, and the tawk aint that stimulatin'...Patterson's the culprit, as always, but more so here. Ideas, or at least topics, or at least *words,* don't lead the music, or follow it either. And that tight dry little cigarette voice, which can/could be effective, kind of in there between mosquito zingers of Eddie Hinton and 5 0'clock-shadow-tonsils of Steve Earle, but here it's closer to not-so-Mighty Mouse (and a cracker-barrel-retiree-Steve E.). Still and yet and yet and still more than compensated for/effectively contrasted by the sinuous writ x performance of Jason and Cooley. Brad's big bass drum, Shonna's bass guitar (and her voice, back there in the mix, but adding good thin sharp edge thereby, *when* audible: I keep listening for it, never taking for granted), also mucho gracias.
...Supposedly (according to some sources), DECORATION DAY was a "follow-up" to PIZZA DELIVERANCE, this 'un a f.-u.to SOUTHERN ROCK OPERA. And, before I heard about those alleged relationships, was already thinking how several songs from DS would go good on a really deluxe personal burn of SRO. But *way too many* good'uns to fit that, strictly squinting.
...(later) I was (somewhat) too hard on Patterson. "Tornadoes" is as eerie as Jason's songs, and it's not like PH hasn't done eerie before.And part of that's his voice, which is *not* shot, as I seemed to imply, without meaning to. It will be shot, or shite, if he keeps squinching it as much as he does on some other tracks. Guess I'm mainly frustrated/spoiled cos of their usual standard, but they're always a bit uneven (as I should've said in the Voice re SRO), so should've been ready to listen around the lesser without shortchanging *some* of the gooder. Frustrated here by the expectation-whettin' way PH presents a triptych of songs re the late hickory-stick totin' Sheriff Buford Pusser, of WALKING TALL mythology. WT was based on BP's *account* of his great deeds, otherwise largely unverified by others, or so I remember reading in the 70s, not too long after film came out. Most impressive aspects: a)Manager of one of the theatres showing it in B'ham taped unique-for-him radio endorsement,"and let me reassure all parents that the 'R' rating is for Violence, not Sex." Also (b) the ending, when Buford has finally been brought low(est).(He started seeming kinda sadie-maso, like Evel Kneivel or latterday Mel G.)Courtesy his old main squeezers the State Line Gang, and congregation runs out of church, to destroy the Gang's main den of iniquity. Somehow seemed prophetic to see them in their Sunday best, ripping that place to shreds, and, though I forgot about it, remembered when Moral Majority first burst through my haze, to hold rally on steps of our nation's Capitol. Well! Patterson, who is younger than me, but writes that he saw the movie back then, and who says he likes to do research, and also make up good stuff, really doesn't follow through. Good spoken intro, good snarly vignette, then Cooley's effective "Cottonseed," then whole subset *ends* with the PH tawky-boring bit of the kind I complained about below.However: one of Cooley's is boring me too (although his have grown on me before, so won't name it yet.) And! PH's "Lookout Mountain" does hold its own with Cooley's and Jason's, in the kill-No-Dozin finale totalizm. But "Lookout" is a pre-DBT, and the latter have recorded it before, haven't they. Still!

what many consider to be our masterpiece,

I would have guessed Southern Rock Opera was the consensus masterpiece

I would go for either SRO or Brighter Than Creation's Dark

Yeah, I woulda thought SRO, though still wanting to add for inst "Danko and Manuel" for the roots rocker doom theme, and end it all with "Never Gonna Change," which always seemed Lynyrdly as hell, too bad Jason wasn't in the band yet.
Let's see what did I say about Brighter:

The Truckers' latest roadkill is uneven as ever, but the best songs are good and numerous enough to put it in my Nash Scene Top Ten…Brighter Than Creation's Dark is not full of sweetness and light, and it is a little too long, like most of their albums, but does seem reinvigorated, after getting past whatever tensions re resulted in the slammed doors and illin' irresolution of A Blessing And A Curse. Also, we got the unexpected emergence of bassist Shonna as songwriter and lead singer on some tracks, a welcome respite from the broody testosterone, and even a few songs, especially the one set in the Grand Canyon, where the drivers-by get out of their truck for a while, and actually seem to enjoy doing so.

"Three Dimes Down" is the most fun DBT song ever, "Bob" is the worst, in summary Cooley's songwriting is a land of contrasts

Clearly "Let There Be Rock" is probably the most fun (ingeniously downer subtext aside).

Not even the most fun song on SRO! (Or in the top half of that album IMO)

shut up and get on the plane!

Weird, I think of "Let There Be Rock" as a linchpin of that record, and long one of their surefire live songs. As is "Shut Up," though that one, as it is on the album, feels even more like a victory lap designed for the encore.

i do truly love let there be rock though

one of the first songs that hooked me when i first saw them -i had never heard of them & saw them open for black crowes in 06, no one in the amphitheater but their diehard fans in the first couple of rows
saw the devotion of the fans & was intrigued

let there be rock was def THE song that hooked me. reminded me of the way my husband and i & our friends talk about music, ie experiences tied to live gigs, tagging a good show story with a related story about a similar band/show

i was like “oh yeah, these are my people”

Listening to the Complete Dirty South and I was almost totally overwhelmed by the flood of memories of all the dozens of times I've seen this band and they were exactly what I needed. Or I guess more specifically the first time I ever heard songs like "The Day John Henry Died," "Where the Devil Don't Stay" or "Puttin' People on the Moon." Or the rest it, really. The most remarkable thing to consider is how different Isbell sounds here when he sings lead, like he's already older than his, what, 22 years? 23? What a band.

Oh, and I do like the new remastering/mixing/re-recording/tracklist of "Dirty South," too. It's still too long, but this band (especially this era of the band) does shaggy and shambling almost as well as Crazy Horse.

Yeah it’s pretty great

I’ve come around on the re-do of Sands of Iwo Jima … him dropping the falsetto does make the heartfelt lyrics go over a little better. Maybe he just felt it was weird to sing about his grandad in a high pitched voice lol

I saw Hood a couple of times last weekend (Cooley was actually playing the same night across town one of the nights, but I opted for double Hood). Good mix of old and new, a nice refresher that early tracks like "The Company I Keep" and (always) "The Living Bubba" show how good he was out of the gate. Best of all I brought three people with me, my pal who is a fan, his sister (who had never heard of Hood) and my friend's 70-year old dad, who came away converted. It's always great to go to shows with blank-slates, people not hindered by baggage or snobbery. They loved it.

A case of sterling bigmouth

i sneaked up them stairs

and puked in the toilet

lol

“Don’t call what you’re wearing a sterling bigmouth”

BUT I SURE SAW OZZY OSBOURNE
WITH RANDY RHOADS IN 82
RIGHT BEFORE THAT PLANE CRASH

I like how he's occasionally changed the bands over the years. I've heard him talking about seeing the Clash, and seeing the Replacements, and seeing Springsteen, etc.

it’s one of the first songs i remember from the first time i ever saw them live back in 2006 i think

part of what grabbed me was how this song so perfectly reflected that universal language (well within my friendship circle) the way my friends & i talked to each other, and mr veg and i - the stories that go with those great concerts you saw, or the ones you never get to

I was drinking with my ex and the “scared shitless of what’s coming next” came on and she

*driving
And she cracked up

hood turned 60 today : /

They are touring Southern Rock Opera this fall.

yes! we put in ticket requests for one of the SF Fillmore shows :D

can’t wait

ticket prices seem ... weird.

$40 each for standing room at the Fillmore felt kinda normal or at least less upsetting than Pearl Jam

Bought my tix. They were $45 plus $20 of extra BS for House of (fuckin) Blues. Early all ages show, which is odd. Seeing the second night, because Adrian Belew et al. are the night before, and I am the weirdo that is seeing King Crimson and DBT on back to back nights.