Patterson Hood - Discography 2004 - 2009 [FLAC] [h33t] - Kitlope

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PC Software: Windows 7 Ultimate Build 7600
File Type: FLAC Compression 6
Cd Hardware: Plextor PX-716SA
Plextor Firmware: 1.11 (Final)
Cd Software: Exact Audio Copy V1.0 Beta 1
EAC Log: Yes
EAC Cue Sheet: Yes
M3U Playlist: Yes
Tracker(s):http://tracker.openbittorrent.com/announce;
Torrent Hash: B00233839A5F0894DEF51AF058B4BDED06003622
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 Adams House Cat with his friend Mike Cooley, and the group won Musician Magazines Best Unsigned Band competition three years later. However, the bands regional acclaim didnt translate into significant commercial success, and its sole full-length album was never released.

After Adams 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, 2001s Southern Rock Opera, that garnered the Truckers their first dose of nationwide critical acclaim. Southern Rock Operas 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 didnt suit the bands 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: Hes 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 Hoods 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, theres 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 dont 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 youre 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 Cashs American Recordings repertoire), The Assassin and Hobo are not literally autobiographical or genealogical; they tell their truths figuratively, almost literarily. But as always, Hoods 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 Days (Somethings Got to) Give Pretty Soon. Old Timers Disease begins with Hoods 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 hes forgotten what hes 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 albums climax.

That Cat Power instead of Old Timers 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, theyre somewhat limited in their scope and sound. While its ultimate fate will likely be as a footnote to his full-time bands 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.


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
Phils Transplant
Frances Farmer
Old Timers Disease
Cat Power









Murdering Oscar 2009



Patterson Hoods 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, theres only so much space for Hoods material on each Drive-By Truckers disc, making room for partner in crime Mike Cooley and now contributions from bassist Shonna Tucker as well. Its a balance that pays off, too: last years Brighter Than Creations Dark was sprawling and diverse-- and possibly the groups best record.

Still, theres the matter of that backlog of songs, and churning out solo albums doesnt seem to be Hoods M.O. But even if it were, saying youre going to get it done apparently doesnt make doing it any easier. Hoods ostensible solo debut, 2004s Killers and Stars, was made three years before its belated release, as a form of what Hood branded therapy. Yet thats nothing compared to the set of songs that comprise Murdering Oscar (and Other Love Songs), Hoods 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 Cobains 1994 suicide.

That year also marked Hoods 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 Hoods 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 Allens 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 Loves parenting skills) are among the albums darker moments. The rest largely feature Hood sometimes mirthful, sometimes rueful, but always surprisingly sanguine, even mature, in the way he addresses lifes ups and downs.

Pollyanna, for example, the oldest song on the album, was written as Hood realized his marriage and band Adams House Cat (which he formed with Cooley before the two reconnected in the Truckers) were both falling apart, but the songs a genial classic rock nugget, while Foolish Young Bastard, a put-down aimed at an old manager, comes off oddly forgiving and cest 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, Hoods 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, Shes 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 motels good book while out on tour.

Nothing here totally upends what we already know of Hoods 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 Hoods words, thinks all he does is sit around and listen to Molly Hatchet. What it and the originals on Murdering Oscar do is emphasize Hoods 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 hes part of that great songwriting continuum, working hard to live up to his end of the obligation, as long as it takes.


Joshua Klein, June 22, 2009





Tracks:


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




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