― roger adultery (roger adultery), Friday, 17 September 2004 15:51 (nineteen years ago) link
― 57 7th (calstars), Friday, 17 September 2004 16:00 (nineteen years ago) link
― 57 7th (calstars), Friday, 17 September 2004 16:01 (nineteen years ago) link
you are PSYCHED my friend.
I wish I was seeing them tonight, but I hafta wait until the 9th
― roger adultery (roger adultery), Friday, 17 September 2004 16:06 (nineteen years ago) link
― danh (danh), Friday, 17 September 2004 16:26 (nineteen years ago) link
― stephen morris (stephen morris), Friday, 17 September 2004 17:28 (nineteen years ago) link
― Don Allred, Wednesday, 22 September 2004 01:18 (nineteen years ago) link
Southern Rock Opera rocks beautifully, which is hard to find sometimes. Some of Hood's stuff on that is incredible. The thing I like most about it, though, is that it really captures the Skynyrd soul AND mythology .. the whole "heroes that nobody gathered were heroes that die in a fiery crash ... only to be seen as heroes posthumously" narrative. The music even reflects that, and the whole thing turns weirdly meditative. Boom.
With Decoration Day, I was expecting more of said channeling, which made that record shocking when I first heard it. As Matos points out, the weariness drips all through it but so does this call for transcendence -- "Rock and well means well but it can't help telling young boys lies ... don;t call what your wearing an outfit." Isbell's songs sum up the whole record's theme, love your neighbor even if your neighbor is fucked up. It's one of the smartest rock records in ages. Hmmm, y'all.
The intelligence with DBT is scary. So point is, I bet I'll dig the new one when I catch up ...
― Chris O., Wednesday, 22 September 2004 01:46 (nineteen years ago) link
― roger adultery (roger adultery), Wednesday, 22 September 2004 03:02 (nineteen years ago) link
― Don A, Wednesday, 22 September 2004 05:10 (nineteen years ago) link
― roger adultery (roger adultery), Wednesday, 22 September 2004 05:36 (nineteen years ago) link
― Don A, Wednesday, 22 September 2004 06:13 (nineteen years ago) link
Caveat: Do not listen to the Buford Pusser trilogy ever again. They think the answer to Walking Tall is to try and glorify the other side of the coin, when really they should be talking about how BOTH sides are fucked up. Plus "Cottonseed" is indeed terminable and worthless. The whole thing fucks with the real point of this album, which is to express their politics the same way Decoration Day expressed their personal relationships and Southern Rock Opera expressed their sense of identity. And their politics are far too nice guy (liberals who believe in learning from your elders - it's kinda Field Of Dreams, kinda hey hey Neil Young and the Coog) for them to convincingly come off as southern mafiosos. Tracks 8-10 simply do not exist. Kogan does that shit all the time, right?
They're definitely becoming more comfortable with their verbosity, which is making their songwriting less anthemic than it was back in the day. I think they're making up for this with SOUND. Cut out the Pusser trilogy and I think this album actually has more swing than Decoration Day, but again, in a Crazy Horse kinda way. I was scared by Chuck's initial review, but Isbell's songs are much less staid here. I don't think he's the second coming and he is way too alt-country for the flashtastic, but they do shuffle now. Cooley's pretty cornpone too (while your at it never listen to "Daddy's Cup" again either, it's right after the trilogy) but when the band's behind him he's certainly got more sense than the Coog did back on "Justice & Independence '85."
Oh and it took me a while to figure out why I loved "Tornadoes" so much and the answer is that it sounds a hell of a lot like Big Star's "Kanga Roo."
If this album was just tracks 1-7 and 12-14 I think this would be my favorite DBT album. But hey, I have almost every Crazy Horse album and only a cheap Lynyrd comp.
― manthony m1cc1o (Anthony Miccio), Sunday, 26 September 2004 06:36 (nineteen years ago) link
― manthony m1cc1o (Anthony Miccio), Sunday, 26 September 2004 06:41 (nineteen years ago) link
― manthony m1cc1o (Anthony Miccio), Sunday, 26 September 2004 06:43 (nineteen years ago) link
― Don, Sunday, 26 September 2004 12:38 (nineteen years ago) link
They're supposedly sending a video for "Don't Ever Change" to CMT, and Isbell is now "the face" of the band they're gonna try to push on country markets. You wouldn't have guessed that back on Day.
Oh and just in case SOMEBODY wants to quibble, what isn't Kenny Aaronoff about Brad Morgan is Ralph Molina.
― manthony m1cc1o (Anthony Miccio), Sunday, 26 September 2004 14:40 (nineteen years ago) link
― roger adultery (roger adultery), Sunday, 10 October 2004 18:36 (nineteen years ago) link
― Johnny Fever (johnny fever), Sunday, 10 October 2004 18:47 (nineteen years ago) link
Jason's solo album will be out in the Spring - psyched!
Johnny, can you still get me some Adam's House Cat stuff?
― roger adultery (roger adultery), Sunday, 10 October 2004 19:21 (nineteen years ago) link
― Johnny Fever (johnny fever), Sunday, 10 October 2004 19:27 (nineteen years ago) link
― roger adultery (roger adultery), Sunday, 10 October 2004 19:58 (nineteen years ago) link
― dan. (dan.), Sunday, 12 February 2006 03:18 (eighteen years ago) link
New Drive By Truckers album, due April 25, sounds...dreary. Surprise, surprise. Only 11 songs, which I commend, but it still kinda drags on and on. I do find myself not reacting negatively to the sort of songs where the guitars and the high-voiced guy (which one is that? I can never keep them straight) goosh out a nice steady stream of Neil Young and Crazy Horse beauty; there are at least two and a half of those (I think, though don't quote me on this, "Goodbye," "Blessing and a Curse," and about half of "A World of Hurt," the other half of which is a sort of monolouge worthy of, I dunno, early Nada Surf or middle King Missile or some other mid '90s alt novelty rock artistes I've forgotten who used to recite deadpan prose over their singing.) The one track I actually actively LIKE is "Aftermath USA", a blatant Stones rip about (hi Shooter) waking up after a chemically fucked-up night to a trashed apartment with crystal meth in the tub and the kids haven't been to school for weeks. Which makes me not feel so bad about my own kid missing school Friday 'cause he said he had a cold.-- xhuxk (xedd...), January 17th, 2006.
>worthy of, I dunno, early Nada Surf or middle King Missile<Both of whom, at least when they recited prose about popular kids and detachable penises, were probably funnier. So no, really probably NOT worthy. (Not that funniness is all I care about. And it does occur to me that titles like "Aftermath USA" and "A World Of Hurt" might mean this CD's supposed to be about current events or something, somehow.)-- xhuxk (xedd...), January 17th, 2006.
So the high-voiced Drive By Trucker is Patterson Hood, right? At least that's what Xgau tells me. Only place on the new one where his Neil Young and Crazy Horse beauty really hits a dust-storm of paydirt, to my ears, is "A Blessing and A Curse." I've decided not to vouch for "Goodbye," which he might not even sing, or "A World Of Hurt." "Daylight" seems to be an awful attempt at Radiohead (via My Morning Jacket?) style nothingness; "Wednesday" is rote bland alt-country; "Space City" another bore. "Gravity's Gone" is a passable second Stones rip (also mentions coke I think -- actually, seems to be about some sort of high-fallutin schmooze party), but not nearly up to the level of "Aftermath USA," probably the only great cut on here (though I reserve the right to change my mind about any of this).-- xhuxk (xedd...), January 17th, 2006.
― xhuxk, Sunday, 12 February 2006 03:38 (eighteen years ago) link
― a. begrand (a begrand), Sunday, 12 February 2006 05:02 (eighteen years ago) link
― dan. (dan.), Monday, 13 February 2006 03:41 (eighteen years ago) link
This may very well still be true. Though upon review I seem to have left it off my POX, which perplexes me.
Cooley remains my go-to guy, though they all have their moments.
"Don't know why I put up with his shitWhen you don't put outAnd Zip City's so far away...
I got 350 heads on a 305 enginI get ten miles to the gallonI ain't got no good intentions."
Hood remains the heart and soul and all, but it's mostly Cooley and Isbell who get me right here...*
*("Angels and Fuselage" excepted)
― rogermexico (rogermexico), Monday, 13 February 2006 04:10 (eighteen years ago) link
― Vintage Latin (dog latin), Monday, 13 February 2006 04:31 (eighteen years ago) link
SO psyched for the new one!
― Roger Fidelity (Roger Fidelity), Monday, 13 February 2006 07:17 (eighteen years ago) link
― eedd, Monday, 13 February 2006 14:29 (eighteen years ago) link
Of the three I've heard, Cooley's is the best. Gravity's Gone, I think it's called. I'd put it in the alltime COoley hall of fame alongside Uncle Frank, Panties in Your Purse and Zip City.
― kornrulez6969 (TCBeing), Monday, 13 February 2006 14:44 (eighteen years ago) link
hey xhuxk, saw the Drive-By Truckers last night here in Athens, first show of a three-night homestand - you're the only person I know who's heard the new one (how DO you get 'em so fast? I remember bugging their publicist for two months after you first mentioned Dirty South on here before they finally sent me a copy) - anyway, can you help me fill in a couple of these song titles for the new cuts for a show review I'm writing up for the paper here?1 - "hold my breath until next Wednesday" - I assume this one's "Wednesday" agreed that it's rote alt-country but not entirely unpleasant2 - refrain is "don't be so easy on yourself" (Isbell sings this one, I liked it)3 - "Blessing and a Curse" - not very memorable4 - Gravity's Gone - Cooley sings it, lyrics about handjobs I think and waking sunny-side-up, this one's good5 - "left w/o saying goodbye" - assume this one's "Goodbye" lyrics sound pretty treacly but I liked the bass on this one, hope it sounds as good on record6 - "Daylight" (I think Isbell did this one, oh wait yeah this is the one where he's all full-throated screamy, I guess that's where you're getting the Radiohead/MMJ comparison from)7 - "Feb 14" - slight but decent8 - something like "wonder why it's taking me so long" also think I heard something about getting dirt off your good name, Cooley sang it and I'm fairly certain it wasn't an old song and hopefully not a cover b/c I really liked it, acoustic and very evocative9 - "World of Hurt"
― Josh Love (screamapillar), Monday, 13 February 2006 14:59 (eighteen years ago) link
― strongo hulkington (dubplatestyle), Tuesday, 7 March 2006 16:21 (eighteen years ago) link
― kornrulez6969 (TCBeing), Tuesday, 7 March 2006 16:26 (eighteen years ago) link
xpost, exactly.
― Josh Love (screamapillar), Tuesday, 7 March 2006 16:37 (eighteen years ago) link
that being said, live- they're almost w/o equal. saw this past summer and even the "short set" (meaning under 2.5-3+ hours) was a blast.i've turned more people onto this band than any other, i think.and it's worth it...
― eedd, Tuesday, 7 March 2006 16:51 (eighteen years ago) link
VDO my friend cobbled together. People with DBT are mildly interested in working a video for one of the new songs, so if we get enough views for this, he and I might be doing another for realsz.
― Jimmy Mod is a super idol of The MARS SPIRIT (The Famous Jimmy Mod), Saturday, 20 May 2006 02:14 (seventeen years ago) link
'The Living Bubba' - the live version off of Alabama thunderpussy ,or whatever it's called - one of the best grieving songs ever. It just lolls on and on. Fuck off death. You will never beat me. I've got another show to do
― Fer Ark, Wednesday, 16 April 2008 22:17 (sixteen years ago) link
Bob ain't light in the loafers He might kneel, but he never bends over
o_0
― milo z, Wednesday, 16 April 2008 22:21 (sixteen years ago) link
'A World of Hurt'
*Ducks rocks*
― Fer Ark, Tuesday, 29 July 2008 21:19 (fifteen years ago) link
Brighter Than Creation's Dark is uneven like their others, but higher highs than the last one (lots of discussion on Rolling Country)
― dow, Tuesday, 29 July 2008 21:46 (fifteen years ago) link
My soon to be former roommate just gave me 7 of their CDs to rip. Oh boy oh boy.
― RabiesAngentleman, Wednesday, 30 July 2008 06:24 (fifteen years ago) link
I saw them at First Ave in Mpls just a little while back and they were incredible. I must have been one of like three people dancing the entire time.
― RabiesAngentleman, Wednesday, 30 July 2008 06:25 (fifteen years ago) link
God I hate when people brag about dancing at shows.
― Reatards Unite, Wednesday, 30 July 2008 08:31 (fifteen years ago) link
one of the statues huh
― RabiesAngentleman, Wednesday, 30 July 2008 08:36 (fifteen years ago) link
God bless the man that dances at a DBT show.
― myndbloom, Wednesday, 30 July 2008 14:18 (fifteen years ago) link
You should have been at Nottingham last night.
DBT do attract White Trash. God bless em.
Do DBT attract Trailer Park in the USA?
― Fer Ark, Friday, 8 August 2008 18:59 (fifteen years ago) link
Brighter Than Creation's Dark is uneven like their others
They've been getting more-and-more uneven over the course of their last few albums. Before that, the three-disc run of Southern Rock Opera -- The Dirty South was pretty special.
― Daniel, Esq., Friday, 8 August 2008 19:07 (fifteen years ago) link
I wish more bands were this uneven.
― Josh in Chicago, Friday, 8 August 2008 19:11 (fifteen years ago) link
New one is great. The only dip in their stunning consistency was Blessing and a Curse.
― kornrulez6969, Friday, 8 August 2008 19:25 (fifteen years ago) link
Southern Rock Opera is the third studio album by Drive-By Truckers...New West Records is proud to present a remixed and remastered deluxe edition LP featuring a resequenced record as well as a third disc with multiple bonus tracks including a song “Mystery Song” that was recorded one night in Birmingham. Lead Singer Patterson Hood explains, “Birmingham” and “Moved” were originally part of Act I on original CD release. This is the first vinyl version to feature “Moved” and we felt that “Birmingham” would be the best other song to move without messing up the story element of Betamax Guillotine. We moved them here to keep the vinyl sides within time of maximum high fidelity. In the process of re-mixing the original tracks for the album. We stumbled upon a mysterious track that was recorded late one night in Birmingham. None of us have any memory whatsoever of recording it. The song itself was never even written down, just made up on the spot while the tape was rolling. We’re calling it “Mystery Song.” It’s actually a keeper.3-LP Deluxe Edition Includes:- Foil stamped slipcase- Original album packaged as 2xLP gatefold- Bonus 3rd LP in separate jacket- 28 page book included with newly released photos & an historic look back at Southern Rock Opera.
In the process of re-mixing the original tracks for the album. We stumbled upon a mysterious track that was recorded late one night in Birmingham. None of us have any memory whatsoever of recording it. The song itself was never even written down, just made up on the spot while the tape was rolling. We’re calling it “Mystery Song.” It’s actually a keeper.
3-LP Deluxe Edition Includes:- Foil stamped slipcase- Original album packaged as 2xLP gatefold- Bonus 3rd LP in separate jacket- 28 page book included with newly released photos & an historic look back at Southern Rock Opera.
― dow, Thursday, 9 May 2024 02:45 (four days ago) link
“If you’re living badly, tell you how to live: dead drunk and naked”
― calstars, Thursday, 9 May 2024 03:13 (four days ago) link
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.― Josh in Chicago, Tuesday, December 12, 2023
― Josh in Chicago, Tuesday, December 12, 2023
On Patterson Hood's Murdering Oscar (And Other Love Songs), the narrator of the first and title song celebrates his victory over Oscar and those who proffered/remonstrated re salvation, "I saved me, and life forgave me." He may be on Death Row or wherever, but he stillinsists, a little too insistently somehow. Ah yes, the well worn Unreliable Narrator device, but it works here. Notes stretch and trail and hold.He can't let it go, can't let cruel Oscar go, and vice versa. It's anOscar-winning performance. Clear enough, but more subtle/subject to interp than expected, and the dramatic stasis that Hood evidently tends (so often) to go for on Truckers albums works here, the sense of somebody rattling his chains and shivering his freezeframe, as we're kept watching the figure's deep focus/fixation.Which is overtly the point of the next track, "Pollyanna", and Hood (withanother surprise move, making seemingly unprecedented use of his voice's high end,by simply chirping) goes from rolling Neil Truckers doom of "Oscar" to Who Sell Out pop scenario over expansive, open-G-sounding Stonesiness, as Pollyanna rolls on(or has rolled on, since all of these songs are aftermath, ho get it Stones/Aftermath), having gathered his mossy heart. "It's a little sticky,she'sa little sticky, I'm a little sticky too, I was just something stuck to hershoe, now I'll have to find something else to stick to." His characters arealways doing or getting themselves ready or not to do the aftermath, and "Pride of The Yankees" in a third stylistic change, starts as a ballad raising a mug to Lou Gehrig, then without a blink to King Kong falling off the building, to passing mention of 9/11, and wishes he could go hide in the mall, and indeed he sounds like he's swaying along in an echoing mall with a hole (and a nice breeze) in it, talking to his little daughter about carrying, clutching "packages so shiny, and you're so tiny," and it's all the tenderness and fuckedness of and in the world, in him as he's somehow unsurprised(it fits with the fuckedness previously experienced, after all or a while) if in a bit of aftershock, afterglow, afterlife, half-life; the next sudden transition being the next song o course."I Understand Now" is shorts-deep in the midst of domestic battlegrounds, old and moldy and comfortable for the moment anyway, as the narrator gets some kind of 40 watt insight, and really the cumulative thing in just thesefirst four songs also has me thinking of foo like "9/11 changed everything"and "All is fair in love and war" and how they're part of the wadding ofchanges and transitions, not that all his situations x moments shown don't have their own internal detail and framing distinctions/lifespans, as characters try to get creative in doing the aftermath on the train or frame or sidewalk crack, or playing in bedhead traffic etc It's all about their and their creator's wise use of familiar and strange elements, reshuffling or ripping or lurching or padding or jangling along.(Those last two just listed: "She's a Little Randy" is the stealthy passage of a cougar and the male person studying her, getting her number sympathetically and then some, as Hood makes good use of the high voice again, not chirping this time but like a little tight, mostly dry smoker's voice, with some rheum around the corners, emph by guitar, as he squints over his cig, and maybe drops it to approach her after that last line (steps out of his frame, as can be tricky/lacking in Hood songs) "Foolish Young Bastard" ruefully/hopefully jangles along with a banjo almost hitting him in the nuts, empty canteen percussion def tapping his butt (a bit envied perhaps, by the somewhat exasperated but unsurprised, family-type person watching him go) then "Heavy and Hanging" and "Walking Around Sense" are expressive but stuck insidea way too familiar Neil Truckers doom (which the title song redeemed and"Range War"("with you") took to maybe non-doom,[as expressed in playing]more about rich shifting currrents of tenderness/fuckedness and war again) Like "Heavy and Hanging" and "Walking Around Sense" heavy up because he thought he needed something between "Foolish Young Bastard" and the young heart who sings about writing youa love song in the "Back of a Bible" (not to be eveel, but cos "there weresome blank pages") A shuffle mainly suggesting white boys of 50s til buildsseamlessly to a solo that obliterates the pro forma of the past two tracks, and incall and response with other instruments. This final passage is brief butdeep, like the best bits of most of the other songs ("Screwtopia" trails theafterglow through basically obvious faster/softer recurrences, and makes it work;makes me think of the traces of "Grandaddy" 's innocently plotted future and "Belvedere" 's twisted past, and the other character's traces, notions, smoke) Didn't think he'd carry a whole album without other writers, but he does, given that it's also got a couple of duds like Truckers albums, and most of the Truckers are here, and that certainly helps, and he's seamlessly joining a set of songs from 1994 to much more recent ones (each set or subset benefitting from proximity to the others, for the most part) with accumulated experience as writer, player etc as well as other aspects of life, and that comes across in the adjustments, inclu disruptive moves, within the plot lines and performances of songs (Oh yeah, this album also features really apt and startling use of piano which he says startled him too)
insists, a little too insistently somehow. Ah yes, the well worn Unreliable Narrator device, but it works here. Notes stretch and trail and hold.
He can't let it go, can't let cruel Oscar go, and vice versa. It's an
Oscar-winning performance. Clear enough, but more subtle/subject to interp than expected, and the dramatic stasis that Hood evidently tends (so often) to go for on Truckers albums works here, the sense of somebody rattling his chains and shivering his freezeframe, as we're kept watching the figure's deep focus/fixation.
Which is overtly the point of the next track, "Pollyanna", and Hood (with
another surprise move, making seemingly unprecedented use of his voice's high end,
by simply chirping) goes from rolling Neil Truckers doom of "Oscar" to Who Sell Out pop scenario over expansive, open-G-sounding Stonesiness, as Pollyanna rolls on(or has rolled on, since all of these songs are aftermath, ho get it Stones/Aftermath), having gathered his mossy heart. "It's a little sticky,she's
a little sticky, I'm a little sticky too, I was just something stuck to her
shoe, now I'll have to find something else to stick to." His characters are
always doing or getting themselves ready or not to do the aftermath, and "Pride of The Yankees" in a third stylistic change, starts as a ballad raising a mug to Lou Gehrig, then without a blink to King Kong falling off the building, to passing mention of 9/11, and wishes he could go hide in the mall, and indeed he sounds like he's swaying along in an echoing mall with a hole (and a nice breeze) in it, talking to his little daughter about carrying, clutching "packages so shiny, and you're so tiny," and it's all the tenderness and fuckedness of and in the world, in him as he's somehow unsurprised(it fits with the fuckedness previously experienced, after all or a while) if in a bit of aftershock, afterglow, afterlife, half-life; the next sudden transition being the next song o course."I Understand Now" is shorts-deep in the midst of domestic battlegrounds, old and moldy and comfortable for the moment anyway, as the narrator gets some kind of 40 watt insight, and really the cumulative thing in just these
first four songs also has me thinking of foo like "9/11 changed everything"
and "All is fair in love and war" and how they're part of the wadding of
changes and transitions, not that all his situations x moments shown don't have their own internal detail and framing distinctions/lifespans, as characters try to get creative in doing the aftermath on the train or frame or sidewalk crack, or playing in bedhead traffic etc It's all about their and their creator's wise use of familiar and strange elements, reshuffling or ripping or lurching or padding or jangling along.(Those last two just listed: "She's a Little Randy" is the stealthy passage of a cougar and the male person studying her, getting her number sympathetically and then some, as Hood makes good use of the high voice again, not chirping this time but like a little tight, mostly dry smoker's voice, with some rheum around the corners, emph by guitar, as he squints over his cig, and maybe drops it to approach her after that last line (steps out of his frame, as can be tricky/lacking in Hood songs) "Foolish Young Bastard" ruefully/hopefully jangles along with a banjo almost hitting him in the nuts, empty canteen percussion def tapping his butt (a bit envied perhaps, by the somewhat exasperated but unsurprised, family-type person watching him go) then "Heavy and Hanging" and "Walking Around Sense" are expressive but stuck inside
a way too familiar Neil Truckers doom (which the title song redeemed and
"Range War"("with you") took to maybe non-doom,[as expressed in playing]more about rich shifting currrents of tenderness/fuckedness and war again) Like "Heavy and Hanging" and "Walking Around Sense" heavy up because he thought he needed something between "Foolish Young Bastard" and the young heart who sings about writing you
a love song in the "Back of a Bible" (not to be eveel, but cos "there were
some blank pages") A shuffle mainly suggesting white boys of 50s til builds
seamlessly to a solo that obliterates the pro forma of the past two tracks, and in
call and response with other instruments. This final passage is brief but
deep, like the best bits of most of the other songs ("Screwtopia" trails the
afterglow through basically obvious faster/softer recurrences, and makes it work;
makes me think of the traces of "Grandaddy" 's innocently plotted future and "Belvedere" 's twisted past, and the other character's traces, notions, smoke) Didn't think he'd carry a whole album without other writers, but he does, given that it's also got a couple of duds like Truckers albums, and most of the Truckers are here, and that certainly helps, and he's seamlessly joining a set of songs from 1994 to much more recent ones (each set or subset benefitting from proximity to the others, for the most part) with accumulated experience as writer, player etc as well as other aspects of life, and that comes across in the adjustments, inclu disruptive moves, within the plot lines and performances of songs (Oh yeah, this album also features really apt and startling use of piano which he says startled him too)
― dow, Sunday, 12 May 2024 19:29 (yesterday) link