Patterson Hood (Drive By Truckers) Discography [FLAC] Kitlope

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File Size: 560.76 MB
Label: New West


Albums, Years & Catalog # in this torrent:


Killers and Stars 2004 NW6051 *
Murdering Oscar 2009 unknown *


* Denotes my rip




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From CMT.com


Best known as leader of the Drive-By Truckers, songwriter Patterson Hood was born into a musical family, with his father (David Hood) serving as the longtime bassist for studio legends the Muscle Shoals Rhythm Section. Patterson began writing songs at the tender age of eight, and by the time he was 14 he was playing guitar in a local rock band. While attending college in 1985, he formed the band Adam's House Cat with his friend Mike Cooley, and the group won Musician Magazine's Best Unsigned Band competition three years later. However, the band's regional acclaim didn't translate into significant commercial success, and its sole full-length album was never released.

After Adam's House Cat split up, Hood and Cooley continued to work together. They eventually formed the Drive-By Truckers in 1996, following a mutual relocation to Athens, GA. Drawing equal influence from country and rock & roll, the Drive-By Truckers released their first album, Gangstabilly, in 1998. However, it was with their ambitious double-disc set, 2001's Southern Rock Opera, that garnered the Truckers their first dose of nationwide critical acclaim. Southern Rock Opera's success as an independent release helped earn the a band a contract with Lost Highway Records, which soon reissued the album on a wider scale. After the label had a falling out with the DBTs over their somber follow-up, Decoration Day, the group bought the album back from Lost Highway and, instead, partnered with the independent label New West Records. Decoration Day was then released to rave reviews in 2003.

Throughout the bulk of the Drive-By Truckers' career, Hood also wrote music that didn't suit the band's muscular stomp. In 2001, as the Truckers were completing Southern Rock Opera, Hood -- who by his own admission was going through a difficult period, having weathered a divorce and some personal difficulties with his bandmates -- recorded a set of acoustic demos that were considerably darker than most of his compositions for the group. Hood pressed up a CD of the acoustic sessions, titled the collection Killers and Stars, and sold copies at his periodic solo shows, with the album described as "a work in progress." In 2004, Hood enlisted the help of producer David Barbe, who mastered the records before New West gave Killers and Stars a proper release. Hood returned to the solo game several years later with Murdering Oscar (And Other Love Songs), which found him partnering with his father for the first time on record.


- Mark Deming, Rovi








Killers and Stars 2004


From Pitchfork

Patterson Hood laid out his music-making motivation in "Do It Yourself", the accusatory suicide anthem from the Drive-By Truckers' most recent album, Decoration Day: When "the dead-end life just drags you down/ [You] turn those demons into walls of goddamned noise and sound." For more than a decade, Hood has been transforming all that preys on him into songs that are loud, rowdy, and angry, but also humorous, intelligent, and compassionate. His demons are both personal and regional: He's been scarred by the racial, cultural and economic double standards that pervade the South and outsiders' perceptions of it, as well as by the tragedies of his own life, which include divorce, deaths, desertions, and Drive-By Truckers.

On Killers and Stars, his first solo album, these same demons inform songs that are quieter, but no less haunted or intense. Originally not intended for commercial release, the album was recorded Nebraska-style in Hood's living room and in various locations-- Auburn and Florence, Alabama; Athens, Georgia-- following his divorce, and then pressed in small runs and sold exclusively at shows. In the liner notes, Hood writes that the album was "therapy" and insists he left it purposefully unfinished. While these assertions may sound like expectations-lowering disclaimers-- that the sound and the songs will be rough, that the tone will be achingly confessional-- Hood is too extroverted a songwriter to be wholly defensive or self-absorbed. Alone or with the band, he comes to himself through other people, whether musical influences like Ronnie Van Zant, cultural figures like George Wallace, or just friends and family.

As the album and song titles suggest, there's a crowd of people on Killers and Stars-- including Walt Disney, Belinda Carlisle, Georgia native Chan Marshall (aka Cat Power), Frances Farmer, even people you don't know, like Phil and Alice-- and these songs are more about them and how Hood sees them than they are about him solely. He foresees Walt rising from his deep-freeze and wrecking havoc on the Eisner-ized company for "forty years of decisions made"; chastises Carlisle for shedding her punk roots for "cocaine and milkshakes, milkshakes cocaine"; and gently criticizes Cat Power for her precarious stage persona, although he could be directing that last line at himself: "If you're really so shy why are you standing in the light?"

The most interesting people on Killers and Stars, however, are the unnamed non-celebrities: the rising son, the assassin, the hobo, the old timer. Songs like "Rising Son" (a cover of which might have fit nicely into Johnny Cash's American Recordings repertoire), "The Assassin" and "Hobo" are not literally autobiographical or genealogical; they tell their truths figuratively, almost literarily. But as always, Hood's family supplies him with his richest subject matter. His then-recent divorce produced "Miss Me Gone", a break-up song every bit as conflicted and complex as Decoration Day's "(Something's Got to) Give Pretty Soon". "Old Timer's Disease" begins with Hood's grandfather being drafted at 42 and describes his hard life after World War II, then discloses his illness: "He spends his days just looking around/ But he's forgotten what he's looking for." Hood understands the importance of character and story, so the first two verses build to those quietly devastating last lines, which form the album's climax.

That "Cat Power" instead of "Old Timer's Disease" ends Killers and Stars belies its unfinished state, and reveals a paradox almost endemic to projects like this: The songs can stand by themselves, never requiring the Truckers' larger sound to liven them up, but as spare as they are and given the circumstances of their recording, they're somewhat limited in their scope and sound. While its ultimate fate will likely be as a footnote to his full-time band's long haul, Killers and Stars is strong enough to stand as a separate entity, a personal statement from Hood, sovereign from the interlocked identities of the Drive-By Truckers.


ΓΓé¼ΓÇ¥ Stephen M. Deusner, May 9, 2004




Tracks:


Uncle Disney
Rising Son
The Assassin
Pay No Attention to Alice
Belinda Carlisle Die
Fire
Hobo
Miss Me Gone
Phil's Transplant
Frances Farmer
Old Timers Disease
Cat Power









Murdering Oscar 2009



Patterson Hood's a prolific songwriter, cranking out tunes at a relatively rapid clip, premiering them at solo shows, and posting them to his site. But team player that he is, there's only so much space for Hood's material on each Drive-By Truckers disc, making room for partner in crime Mike Cooley and now contributions from bassist Shonna Tucker as well. It's a balance that pays off, too: last year's Brighter Than Creation's Dark was sprawling and diverse-- and possibly the group's best record.

Still, there's the matter of that backlog of songs, and churning out solo albums doesn't seem to be Hood's M.O. But even if it were, saying you're going to get it done apparently doesn't make doing it any easier. Hood's ostensible solo debut, 2004's Killers and Stars, was made three years before its belated release, as a form of what Hood branded "therapy." Yet that's nothing compared to the set of songs that comprise Murdering Oscar (and Other Love Songs), Hood's second album, whose origins stretch back even further than his previous solo disc. One case in point: "Heavy and Hanging", which was written in response to Kurt Cobain's 1994 suicide.

That year also marked Hood's relocation to Athens, Georgia, from his home in Alabama, setting in motion the events that would lead to the Drive-By Truckers. Plenty of things have happened to Hood since then, including a new marriage, fatherhood, and the gradual success of the DBTs, and all these things inform Murdering Oscar to some degree. Even the musicians backing Hood offer a sort of career overview, from fellow Truckers Brad Morgan, Cooley, and Tucker and longtime associate John Neff to producer and Athens staple David Barbe to frequent tourmates Will Johnson and Scott Danbom of Centro-matic, and finally to dad David Hood, legendary Muscle Shoals session bassist. Even the name of Hood's new label, Ruth St., refers to the address of the apartment he and a friend shared when he first moved to Georgia and began work on this record some 15 years ago.

That said, this is hardly the stuff of either nostalgia or what one imagines a Truckers disc full of Hood-only songs would sound like. To his credit Hood has collected 13 tracks that, for whatever reason, hang together well. If anything, the title track (inspired by Woody Allen's Crimes and Misdemeanors) and "Heavy and Hanging" (which is paired with the Crazy Horse-y "Walking Around Sense", which may be taking aim at Courtney Love's parenting skills) are among the album's darker moments. The rest largely feature Hood sometimes mirthful, sometimes rueful, but always surprisingly sanguine, even mature, in the way he addresses life's ups and downs.

"Pollyanna", for example, the oldest song on the album, was written as Hood realized his marriage and band Adam's House Cat (which he formed with Cooley before the two reconnected in the Truckers) were both falling apart, but the song's a genial classic rock nugget, while "Foolish Young Bastard", a put-down aimed at an old manager, comes off oddly forgiving and c'est la vie optimistic rather than mean-spirited. "Screwtopia" was written as a sardonic portrait of suburban domestic tranquility, and seems almost wistful (at least until Hood suggests his hypothetical wife take a few more pills to ease her worries, and gives his son a loaded gun to play with).

On the domestic front, Hood's life has turned out better than he predicted all those years ago, at least if his post-marriage and fatherhood tracks are any indication. The moving "Pride of the Yankees" is Hood throwing his protective arms around his newborn child in a post-9/11 world, while "Grandaddy" finds him fast forwarding several more years to a time when he can spoil his future descendants with candy hidden around the house. The poppy "I Understand Now" is Hood happy and content, "She's a Little Randy" is Hood in a silly (and, um, sexy) mood, and "Back of a Bible" is a love song to his wife the singer literally scribbled in the final blank pages of a motel's good book while out on tour.

Nothing here totally upends what we already know of Hood's talents via the Truckers, but it does serve as a supplementary capsule capturing how he ticks, right down to his cover of the Runt-era Todd Rundgren proto alt-country gem "The Range War", a response to anyone that, in Hood's words, thinks all he does is "sit around and listen to Molly Hatchet." What it and the originals on Murdering Oscar do is emphasize Hood's respect for and attraction to lyrical and emotional honestly above all else, the universals that have linked a lot of good music from the past to present. With every note, with every song, Hood sounds like he increasingly, if modestly, recognizes he's part of that great songwriting continuum, working hard to live up to his end of the obligation, as long as it takes.


ΓΓé¼ΓÇ¥ Joshua Klein, June 22, 2009





Tracks:


Murdering Oscar
Pollyanna
Pride of the Yankees
I Understand Now
Screwtopia
Granddaddy
Belvedere
The Range War
She's a Little Randy
Foolish Young Bastard
Heavy and Hanging
Walking Around Sense
Back of a Bible




Enjoy :)