DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford Stick

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DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford Stick

Post by Clams »

Lots of meat to chew on here. These three tracks are the centerpiece of The Dirty South record. To me, these songs (and their cousin Never Gonna Change) pretty much define the Truckers' badass mystique. Not sure why they aren't played in concert these days, I'd love to hear any of them. On a related note, if you like these songs but haven't seen the original Walking Tall movie starring Joe Don Baker, then open another tab and get on your Netflix account pronto!

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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Clams »

No love for the Redneck Mafia Trilogy???

Y'all should have your DBT cards revoked.
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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Smitty »

Love the trilogy - it's like a "mini album" inside the album. Awesome that they even thought to do it.
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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by dime in the gutter »

thought about posting earlier, but decided not to bust zip's balls yet again. it worked....no zip ball busting in this post.

so much to love about this 3-fer.
songwriting....incredible characters doing whacked out shit for justifiable reasons.
musically.....trippy organ and chain gang banging opening in boys to the rattle and shake from cooley's guit strings after every stroke in cottonseed to patterson's story tellin and three axe attack in buford stick.

what's not to love?

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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Smitty »

they're not availabe on netflix...
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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Smitty »

Zip City wrote:Alright, here goes.....

The reason I made my original post was because these songs illustrate the difference between Hood and Cooley's approach towards songwriting (and why I prefer Cooley's lyrics to Hood's).

Give the same subject matter, Hood gravitates towards a "journalistic" approach to the lyrics; Who, what, where, when, why? The songs are usually very straight forward and full of facts. He spins a good story, but the lyrics leave very little to interpretation.

On the other hand, Cooley tends to approach these subjects in a roundabout way, usually painting a character study rather than a direct story.

With these songs, Hood's contributions speak specifically of Buford Pusser, the movie that was based on his life, etc., etc. Cooley, in contrast, never names any of the specific people by name, instead opting to taking the "other side of the story" and fleshing out a character. There's no real story here, just a set of opinions and feelings that the character shares.

While this certainly isn't the case with ALL of their songs (you can cite several examples on both sides), it DOES tend to happen when they're writing about the same thing. This Fucking Job vs. Get Downtown, Greenville to Baton Rouge vs. Shut Up and Get on the Plane, Marry Me vs. My Sweet Annette, etc.

I kind of wish Cooley had written a "war" song for BTCD just to contrast with the straight-forwardness of That Man I Shot or The Home Front...


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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Clams »

Zip City wrote:Alright, here goes.....

The reason I made my original post was because these songs illustrate the difference between Hood and Cooley's approach towards songwriting (and why I prefer Cooley's lyrics to Hood's).

Give the same subject matter, Hood gravitates towards a "journalistic" approach to the lyrics; Who, what, where, when, why? The songs are usually very straight forward and full of facts. He spins a good story, but the lyrics leave very little to interpretation.

On the other hand, Cooley tends to approach these subjects in a roundabout way, usually painting a character study rather than a direct story.

With these songs, Hood's contributions speak specifically of Buford Pusser, the movie that was based on his life, etc., etc. Cooley, in contrast, never names any of the specific people by name, instead opting to taking the "other side of the story" and fleshing out a character. There's no real story here, just a set of opinions and feelings that the character shares.

While this certainly isn't the case with ALL of their songs (you can cite several examples on both sides), it DOES tend to happen when they're writing about the same thing. This Fucking Job vs. Get Downtown, Greenville to Baton Rouge vs. Shut Up and Get on the Plane, Marry Me vs. My Sweet Annette, etc.

I kind of wish Cooley had written a "war" song for BTCD just to contrast with the straight-forwardness of That Man I Shot or The Home Front...


Most excellent post, Zip.
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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by bovine knievel »

Zip City wrote:Alright, here goes.....

The reason I made my original post was because these songs illustrate the difference between Hood and Cooley's approach towards songwriting (and why I prefer Cooley's lyrics to Hood's).

Give the same subject matter, Hood gravitates towards a "journalistic" approach to the lyrics; Who, what, where, when, why? The songs are usually very straight forward and full of facts. He spins a good story, but the lyrics leave very little to interpretation.

On the other hand, Cooley tends to approach these subjects in a roundabout way, usually painting a character study rather than a direct story.

With these songs, Hood's contributions speak specifically of Buford Pusser, the movie that was based on his life, etc., etc. Cooley, in contrast, never names any of the specific people by name, instead opting to taking the "other side of the story" and fleshing out a character. There's no real story here, just a set of opinions and feelings that the character shares.

While this certainly isn't the case with ALL of their songs (you can cite several examples on both sides), it DOES tend to happen when they're writing about the same thing. This Fucking Job vs. Get Downtown, Greenville to Baton Rouge vs. Shut Up and Get on the Plane, Marry Me vs. My Sweet Annette, etc.

I kind of wish Cooley had written a "war" song for BTCD just to contrast with the straight-forwardness of That Man I Shot or The Home Front...


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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by RevMatt »

Both Patterson and Cooley write character driven narratives. Patterson, however, will often use a different narrator or point of view. "Boys From Alabama" is the story of a young adult who is busted for weed and sentenced to some hard time. It is that kid's story. However, the narrative point of view is first person from the guy recruiting him into the stateline gang. The strength of this song is that the recruiter (a bailif maybe?) lays out exactly what's at stake for the kid without any of the dialogue sounding forced. (Not an easy thing for a writer in any medium to do.) Can the kid survive or even thrive in prison? Yes, that is possible. But the cost is being beholden to the stateline gang for the rest of his life. He can never do anything that will piss off the boys from Alabama.

"Cottonseed" is different. An ex-con, stateline gang veteran, is speaking to a group of church kids. Why is he there? This is never really explained in the song. One possibility is that speaking in front of young people is part of his parole agreement. Another is that the guy was a member of that church before going to prison and now that his bid is up he wants to be back in his church community. He has to explain himself to his community of faith. Either way, he isn't going to grovel which is the real strength of the song. He lays out what he's done in a straight forward manner; no excuses, no passing the buck, no hypocrisy. He's already done his time and his criminal days are done. He just wants to live the rest of his life in peace and in the presence of his family.

I see the narrator of "The Buford Stick" as some small time bootlegger who, after drinking a few too many, is shooting his mouth off. He is trying to make the others think he is more powerful than he really is, hinting that he had something to do with Buford Pusser's car going off the road. However, he does give the bootleggers' side of the story. They make a little bit of extra cash for their family by selling liquor, something that was tolerated in that community prior to Buford Pusser coming along.

The subtext of the song cycle is this: is making gambling, the sale of alcohol and prostitution illegal worth the organized crime that it brings about? On one hand, such prohibitions reinforce the community's image of itself as godly and upright. On the other, a pretty significant portion of the "upright" in the community are willing to look the other way in exchange for a bribe or two. And Buford Pusser's campaign against the state line gang wasn't because of any moral revulsion against gambling and booze. He ran for sheriff because one night he went to gamble and found the dealer using loaded dice. He caused a disturbance and was beaten up for it. His campaign to clean up the county was a personal vendetta. Another example of "the duality of the southern thing."
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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Clams »

RevMatt wrote:
"Cottonseed" is different. An ex-con, stateline gang veteran, is speaking to a group of church kids. Why is he there? This is never really explained in the song. One possibility is that speaking in front of young people is part of his parole agreement. Another is that the guy was a member of that church before going to prison and now that his bid is up he wants to be back in his church community. He has to explain himself to his community of faith. Either way, he isn't going to grovel which is the real strength of the song. He lays out what he's done in a straight forward manner; no excuses, no passing the buck, no hypocrisy. He's already done his time and his criminal days are done. He just wants to live the rest of his life in peace and in the presence of his family.



I see Cottonseed more as the guy is reflecting about his own life. He imagines himself talking to a group of young people but in reality he's in jail talking to his own conscience.
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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by OtisTheBulldog »

I love the trilogy. I love the fact that there's three songs (four with Never Gonna Change) based on the same subject but from different perspectives, all with their own feel & attitudes. This to me, is brilliant writing and something they'll never get enough credit for and something that is probably missed by the average listener (only us nerds really dissect all this stuff - most people just listen, not get what's going on and 4 minutes later it's on to the next one).

While these are not my absolute favorite songs on TDS, it's arguable it's this trio that makes TDS the TDS. It creates the mystique, lore & mood of the album (though Cooley's Where The Devil Don't Stay take on bootlegging certainly sets the stage).

Of them all, Buford Stick is probably the most fun. I just love the opening line, "Sheriff Buford Pusser's gotten too big for his britches with his book reviews and movie deals". It just rolls off so well. And the fact that Patterson got a little hate mail from a Pusser relative makes it even that much funnier.

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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Clams »

OtisTheBulldog wrote:I love the trilogy. I love the fact that there's three songs (four with Never Gonna Change) based on the same subject but from different perspectives, all with their own feel & attitudes. This to me, is brilliant writing and something they'll never get enough credit for and something that is probably missed by the average listener (only us nerds really dissect all this stuff - most people just listen, not get what's going on and 4 minutes later it's on to the next one).

While these are not my absolute favorite songs on TDS, it's arguable it's this trio that makes TDS the TDS. It creates the mystique, lore & mood of the album (though Cooley's Where The Devil Don't Stay take on bootlegging certainly sets the stage).



I agree with Otis. I love how DBT tackles these esoteric subjects with multiple songs from all different viewpoints. You actually learn stuff by listening. I think it's extraordinary that they attempt it, that they can pull it off without ever slowing down the rock and roll is just amazing. Other examples are the TVA songs (Uncle Frank and TVA) and the whole duality of the southern thing on SRO. This sort of thing is what really pulled me in when I was first discovering the band.
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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by ariedl »

Good comments everybody. I always like to include "Goode's Field Road" and "Great Car Dealer War" as part of this song cycle, as I'm pretty sure that's how they were intended. I think at one point the band was considering a double album for "The Dirty South", but eventually decided another one wasn't a good idea so soon after SRO. I personally really enjoy all of these tracks, but I can understand that some might view the collection as going to the well a few too many times. Finally, I agree with Otis when he said that these tracks (along with "Where The Devil Don't Stay") are what makes the album "The Dirty South".

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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Clams »

Zip City wrote:I also never tied Never Gonna Change in with that trio, as the themes seemed too broad to be about the specific subject matter in the trio.


I agree that it's not in the trio, but it's got the same "this is who we are, this is what we do" theme, that's why I called it the cousin of the three.
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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by littlemamma »

You can take your fall or lose it al
the choice is up to you

Greed and fixed elections guns and drugs and whores and booze

if they was to tie a noose they'd have to lay their bibles down


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I'll never have to hear them say
Watch out for Buford


To me the constant struggle that DBT captures so well is that of good and evil and where the lines blur and how we live with that is why I love this fucking band so much. Love this trifecta. Plus whatever Dime says and Clams is right about "learning stuff"
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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Smitty »

I believe Cooley said he wrote Cottonseed after listening to an actual ex-con telling his story (in a church?) and his daughter (in the audience) actually said "Daddy you stay cool tonight"

Don't remember where that came from though
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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Flood18 »

Smitty wrote:I believe Cooley said he wrote Cottonseed after listening to an actual ex-con telling his story (in a church?) and his daughter (in the audience) actually said "Daddy you stay cool tonight"

Don't remember where that came from though


I seem to remember that too Smitty, though no source here either.

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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by never going back »

Cottonseed's got the better lyrics but Buford's the grooviest.

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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Clams »

Image
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Lots of good stuff here...
http://www.sheriffbufordpusser.com

Order a Sheriff Buford Pusser Festival tee shirt from the gift shop...
Image

Or better yet, buy yourself a Buford Stick... just $13 plus $7 shipping!! (as modeled by Buford's daughter Dwana - she is also available for personal appearances)
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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Fool No Where »

Clams wrote:... Buford's daughter Dwana - she is also available for personal appearances


:shock: Talk about exploiting your 15 minutes of fame.
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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by RevMatt »

Smitty wrote:I believe Cooley said he wrote Cottonseed after listening to an actual ex-con telling his story (in a church?) and his daughter (in the audience) actually said "Daddy you stay cool tonight"

Don't remember where that came from though

I've read a couple of accounts. From what I gather, Cottonseed is a composite of two people. One is the ex-con who spoke to his church youth group (the story Smitty is referring to.) The other is a Sunday School teacher Cooley had who was in the State Line gang. The ex-con was the one who spoke at his church but the Sunday School teacher was the guy who used to have a wad of hundred dollar bills in the back pocket of his suit, drove a big ole Cadillac and bought a new one any time he pleased.
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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by OtisTheBulldog »

RevMatt wrote:
Smitty wrote:I believe Cooley said he wrote Cottonseed after listening to an actual ex-con telling his story (in a church?) and his daughter (in the audience) actually said "Daddy you stay cool tonight"

Don't remember where that came from though

I've read a couple of accounts. From what I gather, Cottonseed is a composite of two people. One is the ex-con who spoke to his church youth group (the story Smitty is referring to.) The other is a Sunday School teacher Cooley had who was in the State Line gang. The ex-con was the one who spoke at his church but the Sunday School teacher was the guy who used to have a wad of hundred dollar bills in the back pocket of his suit, drove a big ole Cadillac and bought a new one any time he pleased.


I was not aware of this and if it's true - just makes it that much cooler. Not only does DBT tackle these subjects, they constantly interject some of their own life into they lyrics which just gives it that much more of a genuine feeling.

I also remember reading an interview with Jason talking about TDS and he was saying how much research Cooley & Patterson would put into it before writing these songs. Research? Rock n' Roll? Who'da thunk?

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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Steve French »

RevMatt wrote:The subtext of the song cycle is this: is making gambling, the sale of alcohol and prostitution illegal worth the organized crime that it brings about? On one hand, such prohibitions reinforce the community's image of itself as godly and upright. On the other, a pretty significant portion of the "upright" in the community are willing to look the other way in exchange for a bribe or two. And Buford Pusser's campaign against the state line gang wasn't because of any moral revulsion against gambling and booze. He ran for sheriff because one night he went to gamble and found the dealer using loaded dice. He caused a disturbance and was beaten up for it. His campaign to clean up the county was a personal vendetta. Another example of "the duality of the southern thing."


Huh, never saw that in EITHER of the Walking Tall films I bet. It certainly wasnt in the one The Rock was in.
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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Clams »

Steve French wrote:
RevMatt wrote:The subtext of the song cycle is this: is making gambling, the sale of alcohol and prostitution illegal worth the organized crime that it brings about? On one hand, such prohibitions reinforce the community's image of itself as godly and upright. On the other, a pretty significant portion of the "upright" in the community are willing to look the other way in exchange for a bribe or two. And Buford Pusser's campaign against the state line gang wasn't because of any moral revulsion against gambling and booze. He ran for sheriff because one night he went to gamble and found the dealer using loaded dice. He caused a disturbance and was beaten up for it. His campaign to clean up the county was a personal vendetta. Another example of "the duality of the southern thing."


Huh, never saw that in EITHER of the Walking Tall films I bet. It certainly wasnt in the one The Rock was in.



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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Zip City »

I love how my comments only appear in other people's quotes in this thread
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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Sterling Big Mouth »

Sorry in advance for this short post that does not do this suite justice. I definitely agree how these songs are an album within an album. Just some real quick opinions on them:

Boys From Alabama - The A theme for this song is as dirty as DBT gets. Just filthy. When I hear it I usually think of getting ready to play football, or what it'd be like to walk into a mean smoke-filled bar. Patterson's voice over about "the other side of that story" is one of the coolest things I've ever heard.

Cottonseed - When we were talking about how DBT should do the theme song for Justified, these were the lyrics I had in mind (though of course you'd have to switch the point of view around). So many cool lines, from his .45's, to the man's take on the so-called tough guys now a days: I've scraped meaner off my shoe.

Buford Stick - On my short list for favorite DBT song.
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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Gang Green »

Fool No Where wrote:I've read a couple of accounts. From what I gather, Cottonseed is a composite of two people. One is the ex-con who spoke to his church youth group (the story Smitty is referring to.)


I've probably missed the boat on this discussion. But, Cooley goes in to some detail about Cottonseed in the panel discussion following the viewing of "Secret to a Happy Ending" at the American Film Institute in Washington, DC, which is on YouTube in four parts. I can't remember which part, but its worth checking out the whole thing. Cooley calls the guy the "Southern Tony Soprano" and said he spoke at his church camp and tons of people showed up. As usual, Cooley doesn't say much, but when he does speak its priceless.

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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Beaverdam »

I thought there was a thread somewhere regarding DBT's songs on TV shows, but I couldn't find it.

I was listening to Pandora today while on the elliptical (I feel like a lot of my 3DD posts start this way!), and "Cottonseed" began playing. I started thinking how good "Cottonseed" would sound at the end of a "Soprano's" episode.

Then again I think "The Man I Shot" would work well too. I believe DBT has been used on some CSI episodes, but I"m surprised it hasn't been used in other TV shows.

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Re: DBT Tracks-Week 4- Boys From Alabama/Cottonseed/Buford S

Post by Tequila Cowboy »

Beaverdam wrote:I thought there was a thread somewhere regarding DBT's songs on TV shows, but I couldn't find it.

I was listening to Pandora today while on the elliptical (I feel like a lot of my 3DD posts start this way!), and "Cottonseed" began playing. I started thinking how good "Cottonseed" would sound at the end of a "Soprano's" episode.

Then again I think "The Man I Shot" would work well too. I believe DBT has been used on some CSI episodes, but I"m surprised it hasn't been used in other TV shows.


Off the top of my head Decoration Day was on an episode of Criminal Minds (just looked it up recently) and I do Believe was on an episode of Justified.
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