Posts Tagged ‘Patterson Hood’

Amazing acoustic performances by three of music’s most gifted songwriters of any generation. ‘Live at the Shoals Theatre’ will be released on LP + CD on June 4th 2021. On June 15th 2014, Jason Isbell reunited onstage with former Drive By Truckers bandmates Patterson Hood and Mike Cooley for a special round-style night in Muscle Shoals Music. The setlist includes acoustic versions of Isbell-era Truckers gems including “Heathens,” “Decoration Day” and “Zip City” as well as post-Isbell Truckers tracks like “Space City” and solo Isbell faves such as “Cover Me Up.” The set opens and closes with a pair of classic Hood-sung numbers, 2004′s “Tornadoes” and 2001′s “Let There Be Rock.”  

Mike Cooley – Vocals, Guitar
Patterson Hood – Vocals, Guitar
Jason Isbell – Vocals, Guitar

We’re thrilled to announce that this legendary in-the-round performance was recorded and has now been mixed and mastered for your listening pleasure. This 4 LP Box set is pressed on coke-bottle clear & transparent pink vinyl and includes liner notes from Patterson Hood. This colour variant is available exclusively through their web store.

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The CD version is a two disk, 6 panel digipak. 

Recorded live at the Shoals Theatre in Florence, AL on 6/15/14

4LP Box Set (2 Coke Bottle Clear / 2 Transparent Pink)

Drive by Truckers‘ penchant towards political observation and criticism is as evident as ever in “The New Ok”. The album’s title spins the ‘new normal’ cliché, often used to describe the apathy towards and acceptance of the dysfunction caterwauling from the politically powerful. Indeed, the album overtly opposes ICE and the caging of children at the border. More so, Drive by Truckers use their album to lend support to the Black Lives Matter movement while questioning white-identity politics and rejecting far-right discourses. Drive by Truckers are not content to examine contemporary political angst as a singular historical moment.

“Sarah’s Flame”, for example, contextualizes Sarah Palin’s role in paving the way for Trumpism, leading up to the white supremacist march through Charlottesville, North Carolina. The New Ok’s strength is derived from its overtness. Drive by Truckers do not hide their intent in symbolism or purple lyricism. By utilizing a conversation-style delivery, their purpose is apparent. Whereas The New Ok is decidedly a bleak portrait of the now, Drive By Truckers urge their audience to acknowledge the deceitful political artery that led society to 2020, then prevent the devastation from further continuing.

DBT released The Unraveling on January. 31st 2020 and set out for what was supposed to be a full year of touring. We completed the first leg of the tour at DC’s beloved 9:30 Club on Feb. 29th. We all went home for a brief break before resuming at Vogue in Indianapolis on March 12th. We were two songs into the soundcheck for that show when we were told that the entire tour was to be postponed indefinitely due to the Covid-19 pandemic. We packed up the trailer and headed home where we’ve pretty much been ever since.

To call these past few months trying would be a dramatic understatement. Our lives are intertwined with our work in ways that give us our best songs and performances. It is a life that has often rewarded us beyond our wildest dreams. Speaking for myself, I don’t have hobbies, I have this thing I do. To be sidelined with a brand new album and have to sit idly while so much that I love and hold dear falls apart before my very eyes has been intense, heartbreaking, anger provoking and very depressing. It has gone to the very heart of our livelihoods and threatened near everything that we have spent our lives trying to build.

The original idea for this album was to put out an EP utilizing some great tracks we had from the Memphis sessions that “The Unraveling” was culled from. We actually had a wealth of music recorded in those sessions. Not inferior outtakes, but songs we felt strongly about that didn’t further the narrative of the album we decided to release. We also wanted to include some new songs written during this endless summer of protests, riots, political shenanigans and pandemic horrors. We ended up with a full album that hopefully balances out the darkness of our current situation with a hope for better days and nights ahead.

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I wrote “Watching the Orange Clouds” the weekend after George Floyd’s murder as I watched the whole country rise up in a chaotic firestorm of anger and calls for a righteous change. I wrote The New OK a couple of months later during the heat of the federal occupation in my adopted hometown of Portland, Oregon. We had to record them by sending each other tracks until we had all that we needed for David Barbe to mix the finished songs.

The Distance is a song I wrote in 2011. We had an unfinished demo from early in the English Oceans sessions that we took and finished for this album. Again, it’s a song I’ve always loved but it didn’t fit in with the album we were working on at the time. I kinda consider it an epilogue for our early days of touring in our 1988 Ford Econoline. You could almost call it a sequel to “Let There Be Rock”. “Sea Island Lonely” was written in the back of a car taking me to a super early flight after a show in Southern Georgia. It was one of my favourite takes from the Memphis sessions, a total accident that we completed with horns.

“Tough To Let Go” came to me in a dream. I woke up and immediately wrote it down. We also put horns on that sucker. When I dreamt it, Jason Isbell was singing it. I literally checked with him to make sure that I hadn’t actually stolen it from him. He said I hadn’t, but it was his favourite of my songs from the Memphis sessions.

Cooley wrote “Sarah’s Flame” in early 2019. I’ll let you guess yourself who this Sarah is whose metaphoric spark lit the tiki torches of Charlottesville. This national nightmare didn’t just happen overnight, that’s for sure. “The Unraveling” was a song I wrote several years ago and had always wanted to record but just couldn’t make it work with my singing voice. At some point during the Memphis sessions, I asked Bobby Matt if he would give it a try and he knocked it out of the park. At some point, when we decided to call the last album by that title, we thought it would be cool if we saved the actual title cut for a future record (shades of Led Zeppelin’s “Houses of the Holy”).

As we were finishing in Memphis, Barbe told us to go back in and track our cover of The Ramones’ classic “The KKK Took My Baby Away”. He said we’d be glad we did. That’s yet another reason why he’s been our producer for two decades now.

Finally, in putting it all together, in keeping with the timing of its creation and release, we decided to include The Perilous Night which I began writing on the day the Electoral College voted Trump into office and completed the week after the Charlottesville murder of Heather Heyer on the day that the sitting President said that there was blame on both sides. This is a radically different mix from the mix of the single we released in 2017.

Here’s to the hope that we can make 2021 a better year than this one has been. In the meantime, here’s to The New OK!. Patterson Hood The DBT’s – September, 2020 Released October 2nd, 2020

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The first single from Jerry Joseph’s forthcoming album “The Beautiful Madness” released back in August 21st, 2020 on Cosmo Sex School/Soundly Music for North America and the rest of the world and décor records for Europe, UK, Australia and New Zealand Single .”One of the greatest live performers I have ever seen and long one of my favourite songwriters, one of the absolute best of our generation.” The Patterson Hood Video features footage of Jerry Joseph and The Stiff Boys (aka Drive-By Truckers) live at the 40 Watt Club in Athens, GA February 15th, 2020.

Jerry takes on the world and does not hold back on it’s state and those running it.

Produced by Patterson Hood and recorded with Drive-By Truckers

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One of the reasons the Drive-By Truckers have matured into one of America’s finest rock & roll bands is ambition; they’re solid players and write great songs, but just as important, they take storytelling seriously, and when they make an album, they strive to do more than just serve up a bunch of new songs. Most DBT releases aren’t specifically concept albums, but nearly all of them have a thematic consistency in which the individual songs cohere into a larger framework. With this in mind, it makes sense that the band would want to do something more elaborate than the run-of-the-mill live disc, and 2015’s “It’s Great to Be Alive!”, recorded during a three-night stand at the the Fillmore Auditorium in San Francisco, California in the fall of 2014, is an oversized (over three hours on three CDs or five LPs) look at the band’s body of work so far, with a set list that reaches back before the beginning (“Runaway Train” was a tune Patterson Hood and Mike Cooley cut for their pre-DBT band Adam’s House Cat) all the way up to “English Oceans”, the album the group released just a few months before these shows.

The Drive-By Truckers have always prided themselves on a butt-kicking live show, so it’s a bit of a surprise that It’s Great to Be Alive! relies so strongly on dynamics, dialing back the tempo and impact of some of the tunes rather than making this set the full-on blowout some fans would expect. It’s Great to Be Alive! focuses less on the sweat and fire of a live gig than on the songs, as Hood and Cooley draw their portraits of folks trying to make the best of life’s situations, which is often a harder and more desperate task than one would imagine. The relatively subdued attack does make more room for Cooley and Hood’s vocals, and both are in strong voice here, and if these performances are often a bit less finely nuanced than the studio originals, nearly everything here sounds more passionate, and the musicianship is excellent, especially Cooley and Hood’s duelling guitar work, Jay Gonzalez’s keyboards, and Brad Morgan’s drumming, which is endlessly implacable and full of lean, thoughtful groove (if this band has a secret weapon, it’s Morgan).

If It’s Great to Be Alive! doesn’t rock with the usual fury of a Drive-By Truckers live set, the band knows when and where to kick out the jams (especially on the three uptempo Southern Rock Opera numbers on disc three), and this 198-minute marathon leaves no doubt that this constantly evolving band is still growing and shifting and putting new perspectives on its music. It’s Great to Be Alive! is a bit less than the definitive document of the live DBT experience, but if you want to know why this is a great band and how good it can be on-stage, this set will tell you just about everything you need to know.

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Originally released October 30th, 2015

“Go-Go Boots” is the ninth studio album by American rock band Drive-By Truckers, first released February 14, 2011, on Play It Again Sam Records. It was produced by record producer David Barbe and recorded during 2009 to 2010, concurrently with sessions for the band’s previous album The Big To-Do (2010). The Drive-By Truckers are a band that likes to do things the old-fashioned way. They proudly proclaim that they record their music “on glorious two-inch analogue tape,” they still think in terms of albums with two (or four) sides, and their sound is firmly rooted in the traditions of Southern rock and the blues. They also hark back to a time when rock bands made an album every year followed by a tour, and if the DBTs haven’t quite held firm to that schedule, since they broke through with Southern Rock Opera in 2001, they’ve managed to release six studio albums, a live CD/DVD, another DVD-only live set, and a collection of rarities and unreleased tracks, all while keeping up a demanding touring schedule.

Any band that busy is likely to believe it deserves a rest every once in a while, and in a sense, 2011’s “Go-Go Boots” feels a little bit like a working vacation. The album is notably short on full-blown rockers and sounds scaled back from the three-guitar attack that’s been their hallmark, often dominated by acoustic guitars and the muffled but determined report of Brad Morgan’s drums. The songs also find the band going back to the well on themes it has visited before — the man of the Lord with a broad but carefully hidden streak of corruption in The Big To-Do’s “The Wig He Made Her Wear” foreshadowed not one but two songs here, “The Fireplace Poker” and the title track, and the damaged ex-cop of “Used to Be a Cop” feels like a cousin to the haunted war veteran of Brighter Than Creation’s Dark’s “That Man I Shot.” But none of this adds up to an album that’s at all lazy. The craft of Patterson Hood and Mike Cooley’s song writing is as strong as ever, drawing believable characters and giving them lives that make dramatic sense, and Shonna Tucker just keeps getting better with the graceful and hard-edged “Dancin’ Ricky.” And if the music on Go-Go Boots is less physical than what the Drive-By Truckers typically deliver, it’s emphatic and passionate, with an impressive sense of dynamics and as much soul as these folks have ever summoned in the studio — they’ve rocked a lot harder, but they’ve never cut a more natural and telling groove.

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There are moments where Go-Go Boots recalls Exile on Main St., another album that makes much out of feel and the way musicians play off one another, and if this isn’t as likely to be regarded as a masterpiece, it’s also less self-obsessive, and reveals some sides of the Drive-By Truckers the band hasn’t captured in the studio before. After ten years of hard work, the DBTs are still learning, still growing, and still feeling out new ideas, and on Go-Go Boots they show that even when they’re relaxed, they’re still one of America’s best bands.

originally released February 11th, 2011

jason isbell, jason isbell patterson hood, patterson hood, mike cooley, drive by truckers, jason isbell drive by truckrers, dbt, the dirty south dbt, cover me up, jason isbell cover me up, jason isbell 6/15/14

Jason Isbell dug into the vaults to pull out a special 2014 concert alongside his former Drive-By Truckers bandmates Patterson Hood and Mike Cooley . The concert, which took place at the Shoals Theatre in Florence, AL on June 15th, 2014, is available now on Bandcamp.

The show came together as a benefit concert for Terry Pace, a fixture in the local Shoals artistic scene. Pace—an actor, director, producer, lecturer and music historian—suffered a pair of “debilitating” strokes in March of that year, and faced a long and expensive road to recovery. Together these former bandmates, who hadn’t shared the stage in years, came together to perform in-the-round on this special evening.

The setlist for the evening saw a vibrant mix of the Drive-By Truckers songbook alongside some choice covers including a selection from Isbell’s then-budding solo career. Starting off the show with “Tornadoes” from Drive-By-Truckers’ 2004 record The Dirty South, the trio explored the band’s output during Isbell’s tenure of 2001—2007. Given Isbell’s seemingly-sudden departure from the group seven years prior, which in no small part led to the lasting sobriety he enjoys to this day, this concert served as an important statement to fans that there were no hard feelings.

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Over the course of the 25-song performance, the trio mined much of The Dirty South as well as 2003’s Decoration Day. It was toward the end of the evening, however, that Isbell showed everyone what he had been up to with a take on his solo single “Cover Me Up”. In the end, the show came to a raucous close with a 12-minute cover of AC/DC‘s “Let There Be Rock”.

Live at Shoals Theatre from Jason Isbell, Patterson Hood, and Mike Cooley is available to purchase on Bandcamp.

Recorded live at the Shoals Theatre in Florence, AL on 6/15/14
Released November 6th, 2020
The Band:
Mike Cooley – Vocals, Guitar
Patterson Hood – Vocals, Guitar
Jason Isbell – Vocals, Guitar
Drive-By Truckers, Drive-By Truckers new ok, the new ok, drive-by truckers new album, drive-by truckers surprise album

After announcing it just two days ago, Drive-By Truckers have released a surprise new album, The New OK, out today via ATO RecordsThe New OK arrives just months after the release of the band’s acclaimed new LP, The Unraveling, and marks Drive-By Truckers’ 13th studio album.

Originally conceived as a quarantine EP comprised of material recorded in Memphis during sessions for The Unravelingthe project quickly grew to include provocative new songs written and recorded over what Drive-By Truckers co-founder Patterson Hood calls “this endless summer of protests, riots, political shenanigans and pandemic horrors”—including a cover of The Ramones classic “The KKK Took My Baby Away”. The themes of the album are readily apparent from the get-got, with cover art depicting a headstone that’s been tagged with rainbow colors and a prominent “BLM.”

Tracks like Hood’s “The New Ok” and “Watching The Orange Clouds”—inspired by the protests which followed George Floyd’s murder by Minneapolis police—were exchanged between Hood, co-founding singer/songwriter/guitarist Mike Cooley, bassist Mike Patton, keyboardist/multi-instrumentalist Jay Gonzalez, and drummer Brad Morgan and subsequently mixed by longtime DBT producer David Barbe. The result, says Hood, is “a full album that hopefully balances out the darkness of our current situation with a hope for better days and nights ahead.”

“To call these past few months trying would be a dramatic understatement,” Hood continues. “Our lives are intertwined with our work in ways that give us our best songs and performances. It is a life that has often rewarded us beyond our wildest dreams. Speaking for myself, I don’t have hobbies, I have this thing I do. To be side lined with a brand new album and have to sit idly while so much that I love and hold dear falls apart before my very eyes has been intense, heart-breaking, anger provoking and very depressing. It has gone to the very heart of our livelihoods and threatened near everything that we have spent our lives trying to build. Here’s to the hope that we can make 2021 a better year than this one has been. In the meantime, here’s to The New OK!”

“The New OK” by Drive-By Truckers

No photo description available.

Though less well-known on our side of the Atlantic, Jerry Joseph is a hugely respected songwriter, championed by the likes of Jason Isbell and Patterson Hood of Drive By Truckers. Indeed the Truckers are such fans of his work that Hood has produced Joseph’s upcoming album and the band have backed him on the new record.  Today, we’re announcing that the new album ‘The Beautiful Madness’ will drop on 21st August on Decor Records and we’re celebrating with this fabulous video premiere of ‘Days of Heaven’

The Beautiful Madness’ is not only produced by Patterson Hood but he also wrote the liner notes for Jerry’s first proper European release. It is Jerry’s unapologetic manifesto on “what in the hell is going on with the world written with concern only for shining a light on the truth. Sometimes he can hit you with a sledgehammer but usually it’s a slowburn, building with each line of vivid and raw lyrics as the truth of his stories are revealed.” The album was recorded at Matt Patton’s studio, Dial Back Sound, in Water Valley, Mississippi with the Stiff Boys aka all the Drive-By Truckers backing him up on the music for every song. It was also the first time the Truckers recorded with Jason Isbell since he left the band in 2007, Isbell playing slide guitar on the searing ballad ‘Dead Confederate’, which Hood says is “one of the best songs about prejudice and racial hatred that I have ever heard.

The album runs the whole gamut of Jerry’s songwriting from heavy ballads to rolling upbeat alt-country tunes to his darker than dark epic and brooding ‘Sugar Smacks’ which sees no stone left unturned on his take of the modern #metoo world.  He also pays tribute to David Bowie on ‘Black Star Line’ written around the first time he saw him in 1974 on the Diamond Dogs tour.  ‘The Beautiful Madness’ was written in Mexico, Marin Country, CA and South Africa, a small example of where Jerry’s wanderlust has led him. Jerry has spent years travelling the world’s more far-flung, under-explored locales and has experienced first hand the power of music to unify. This understanding inspired him to found NOMAD Music Foundation, a non-profit to provide music and instruments to children in war zones. He has travelled to Kurdistan and Afghanistan, where he has donated guitars to teenagers in refugee camps, giving them lessons and hope along the way.

The song which we’re premiering today, album opener ‘Days of Heaven’ builds into a driving exploration of yearning nostalgia.  This feeling is reinforced by the ‘found’ video footage interspersed with a recording of a live performance.  “‘Days of Heaven’ is taken from the title from a film I hadn’t seen in 30 years.” explains Jerry. “I wrote it in El Sauzal, Mexico. It’s about dealing with marriage or long term relationships, the extreme high and lows and, more interestingly, the middle of marriages. Patterson Hood came up with the  bridge, a whole cinematic prairie goodness that actually makes the song and lines, and makes me cry when I sing it. We cut it with the Truckers in three takes.” It’s some performance.  Joseph’s characterful vocal is buoyed by Drive By Truckers on top form.  Lyrically beautiful and personal, this showcases Joseph’s ability to craft a fine song.  And in these strange times,  it’s nice to absorb something joyful, uplifting and to hear someone sing out loud that, “These are the days of heaven.”

The brand new single taken from Jerry Joseph’s forthcoming album ‘The Beautiful Madness’‘ released August 21st, 2020 on décor records for Europe, UK, Australia and New Zealand Cosmo Sex School for North America

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The kings of country-rock and outspoken wisdom, Drive-By Truckers, returned this year with their 12th studio album, following 2016’s American Band and the 2018 release of the long-lost Adam’s House Cat album Town Burned Down, which featured Patterson Hood and Mike Cooley recorded before their Truckers days. “The Unraveling” arrives after a prolonged period of writer’s block for Hood and Cooley, easily one of the most impressive song-writing pairs in music’s recent history . On The Unraveling, they pick up right where American Band left off, with searing political commentary and a sharp look at the harsh realities of modern American life. “The past three-and-a-half years were among the most tumultuous our country has ever seen,” Hood said in a press statement, “and the duality between the generally positive state of affairs within our band while watching so many things we care about being decimated and destroyed all around us informed the writing of this album to the core.” And there you have it. It’s a new decade, but the Truckers remain dedicated to the same cause: relaying the truth—no matter how difficult it is to speak—by way of deep-rooted, multifaceted and, perhaps most importantly, southern rock ‘n’ roll.

The longest gap between new Drive by Truckers albums – The Unraveling was recorded at the legendary Sam Phillips Recording Service in Memphis, TN by Grammy Award-winning engineer Matt Ross-Spang (Jason Isbell, Margo Price) and longtime DBT producer David Barbe. Co-founding singer / songwriter / guitarists Mike Cooley and Patterson Hood both spent much of the time prior doing battle with deep pools of writer’s block.

The songs that eventually emerged are among Drive-By Truckers’ most direct and pointedly provocative, tackling the myriad horrors of our new normal through sincere emotion and unbridled heart. Indeed, Armageddon’s Back in Town takes a whirlwind joyride through the whiplash of events we collectively deal with each day while the concluding Awaiting Resurrection dives headfirst into the despair and pain roiled up by these troubled times.

The remarkable songcraft found on The Unraveling receives much of its musical muscle from the sheer strength of the current Drive-By Truckers line-up, with Hood and Cooley joined by bassist Matt Patton, keyboardist / multi-instrumentalist Jay Gonzalez, and drummer Brad Morgan – together, the longest-lasting iteration in the band’s almost 25-year history. The LP also features a number of special guests, including The Shins’ Patti King, violinist/string arranger Kyleen King (Brandi Carlile), and North Mississippi All-Stars’ Cody Dickinson, who contributes electric washboard to the strikingly direct Babies In Cages.

Like 2016’s ‘American Band,’ ‘The Unraveling’ features a scaled-back Drive-By Truckers surveying the America around them. And for the most part they don’t like what they see. There’s anger (“Thoughts and Prayers”) and reflection (“Armageddon’s Back in Town”) here, but mostly there’s a renewed sense of focus and purpose after a few years of excess and bloat. Singers and songwriters Patterson Hood and Mike Cooley once again share the songs, lining up for a portrait of a country in serious need of healing – and this was before the coronavirus and George Floyd.

The Unraveling Drive By Truckers released thru ATO Records.

Drive-By Truckers’ 12th studio album and first new LP in more than three years – the longest gap between new Drive by Truckers albums – “The Unraveling” was recorded at the legendary Sam Phillips Recording Service in Memphis, TN by Grammy® Award-winning engineer Matt Ross-Spang (Jason Isbell, Margo Price) and longtime DBT producer David Barbe. Co-founding singer / songwriter / guitarists Mike Cooley and Patterson Hood both spent much of the time prior doing battle with deep pools of writer’s block.

The songs that eventually emerged are among Drive-By Truckers’ most direct and pointedly provocative, tackling the myriad horrors of our new normal through sincere emotion and unbridled heart. Indeed, Armageddon’s Back in Town takes a whirlwind joyride through the whiplash of events we collectively deal with each day while the concluding Awaiting Resurrection dives headfirst into the despair and pain roiled up by these troubled times.

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The remarkable songcraft found on The Unraveling receives much of its musical muscle from the sheer strength of the current Drive-By Truckers line-up, with Hood and Cooley joined by bassist Matt Patton, keyboardist / multi-instrumentalist Jay Gonzalez, and drummer Brad Morgan – together, the longest-lasting iteration in the band’s almost 25-year history. The LP also features a number of special guests, including The Shins’ Patti King, violinist/string arranger Kyleen King (Brandi Carlile), and North Mississippi All-Stars’ Cody Dickinson, who contributes electric washboard to the strikingly direct Babies In Cages.

Released January 31st, 2020