Album of the Week: Heat Lightning Rumbles in the Distance

[Tyler]

I have an interesting relationship with this album. More than any album in the extended DBT canon, I sort of saw this one come together. From the first solo performances where Patterson was doing a solo acoustic tour before the album ever came out, and then post-release I got several more solo shows with various configurations. So, with that said, let's dig into the meat...

Musically, the album represents a bit of a midpoint between the other two solo albums, much more lush than the naked arrangements on Killers and Stars, but also stepping back from most of the more overt hard rock moves of Murdering Oscar (Heavy and Hanging, Screwtopia, et al). One of the real interesting things about the album is given the often DBT-in-all-but-name lineup on some of these tracks, it really doesn't sound like a DBT record... the groove is more relaxed, and it never boils over - perfect for a rainy Sunday evening.

The core personnel is mainly the same as Murdering Oscar - The EZB on drums, David Barbe on Bass, and this time around Jay Gonzalez on keys. There are numerous guest spots on the album, which I'll detail on the track-by-track rundown.

Side 1:

1. 12:01 (Scott Danborn, Fiddle)

2. Leaving Time (Mike Cooley, Banjo; Scott Danborn, Fiddle & Keys)

3. Disappear (Jacob Morris, Cello; Scott Danborn, Fiddle)

4. Better Off Without

5. (Untold Pretties) (John Neff, Pedal Steel; Will Johnson, Guitar & Backing Vocals)

6. After The Damage (Will Johnson, Guitar & Backing Vocals; Scot Danborn, Fiddle; Kelly Hogan, Lead Vocal; David Hood, Bass)

Side 2:

7. Better Than The Truth (Mike Cooley, Banjo)

8. Betty Ford

9. Depression Era (Will Johnson, Guitar & Backing Vocals; John Neff, Pedal Steel)

10. Heat lightning Rumbles In The Distance (David Hood, Bass; Jacob Morris, Cello; Scott Danborn, Fiddle)

11. Come Back Little Star (David Hood, Bass; Jacob Morris, Cello; Scott Danborn, Fiddle; John Neff, Pedal Steel; Kelly Hogan, Lead Vocal)

12. Fifteen Days (Leaving Time Again)

Song by song thought to come tomorrow, maybe. Overall, this is an album that speaks for itself, so I really don't have that much to add. It's clear that much of it comes from some pretty dark and personal places in Patterson's head, and that darkness tends to prevade the album, but at the same time it clearly coming from the perspective of someone looking back from the other side.

[Iowan]

I had some moments with this when it was released, but it didn't stick all that much. Came back to it lately, and its just been blowing me away.

The sound of this album just encapsulates Fall. I think its our unusually cold summer, and this feeling that fall is right around the corner, on top of being recently married and finding myself reflecting on my wilder days that is making this connect so hard.

The run of 12:01 > Leaving Time > Disappear > Better Off Without > Untold Pretties sets such a powerful punch.

[Tyler]

I had some moments with this when it was released, but it didn't stick all that much. Came back to it lately, and its just been blowing me away.

The run of 12:01 > Leaving Time > Disappear > Better Off Without > Untold Pretties sets such a powerful punch.

I actually had a very similar experience as I was prepping for my writeup, although I actually think I might prefer side 2.

[RevMatt]

Love this record.

[211poundsofpork]

Love this record.

I second that emotion. I also have to agree with the notion that this album reminds me that fall is around the corner.

[brett27295]

I like this record better than one or two DBT records and I like it better than any solo record from the DBT family, whether they're still in the band or not. Simply said, it's fantastic. I made a last minute decision in February to drive 20 minutes to see Patterson live on a Tuesday night and I'm sure glad I did. This album really shines when played live.

[Kudzu Guillotine]

I like this record better than one or two DBT records and I like it better than any solo record from the DBT family, whether they're still in the band or not. Simply said, it's fantastic. I made a last minute decision in February to drive 20 minutes to see Patterson live on a Tuesday night and I'm sure glad I did. This album really shines when played live.

I already loved Heat Lightning prior to that show at the Artscenter in Carrboro in February but it did everything to deepen my appreciation of it. That still stands as one of my favorite concerts of this past year even with stiff competition from Robert Plant at the Koka Booth in Cary a week ago.

[RevMatt]

Last fall I took a road trip to Hudson NY to catch the Heat Lightning "vus" tour. That line-up with the cello covering the bass lines and Hope For a Golden Summer playing acoustic guitars and back up vocals was unique. I am so glad I caught that tour when I had the chance.

Heat Lightning Rumbles in the Distance is sequenced so well. I've said before that when it comes to sequencing an album Patterson Hood is as good as anyone and I'll stand on Paul McCartney's coffee table in my high tops and say that. Heat Lightning is one of his best. In the context of the record "Come Back Little Star" is more than a simple tribute to Vic Chesnutt. It takes on a deeper meaning, showing that just because a musician has "made it" does not mean that his personal problems are necessarily behind him.

"After The Damage" is my favorite song from that record. It reminds me of John Lennon at his most naked and vulnerable. Jay's piano on that song recalls The Plastic Ono Band album.

[Tequila Cowboy]

Last fall I took a road trip to Hudson NY to catch the Heat Lightning "vus" tour. That line-up with the cello covering the bass lines and Hope For a Golden Summer playing acoustic guitars and back up vocals was unique. I am so glad I caught that tour when I had the chance.

Yes, that line up was special and I was lucky enough to catch both Chicago shows last year. It's one of those records where it's tough to say whether the songs are better on record or live, or hell even the demo versions. They're just amazing songs no matter how they're presented. It's one of those magical records where you have a new favorite song every week until all of them have been that at least once and then the cycle starts again. Without hesitation or doubt Heat Lightning Rumbles In The Distance is my favorite record of the last five years.

[Daddy_played_poker]

My brother in law has had this cd stuck in the player in his truck for 2 and a half months. We don't listen to the radio and are still loving it every time we ride together to do a side job. Enough said!!

[LBRod]

Last fall I took a road trip to Hudson NY to catch the Heat Lightning "vus" tour. That line-up with the cello covering the bass lines and Hope For a Golden Summer playing acoustic guitars and back up vocals was unique. I am so glad I caught that tour when I had the chance.

Yes, that line up was special and I was lucky enough to catch both Chicago shows last year. It's one of those records where it's tough to say whether the songs are better on record or live, or hell even the demo versions. They're just amazing songs no matter how they're presented. It's one of those magical records where you have a new favorite song every week until all of them have been that at least once and then the cycle starts again. Without hesitation or doubt Heat Lightning Rumbles In The Distance is my favorite record of the last five years.

I only got a short HSB set of that band. It was not nearly enough.

[Zip City]

I think Tyler's point that this album a) doesn't sound like DBT, but b) sounds 100% like Patterson is something that can't be overstated

[RolanK]

Truly a great album. One to listen to in solitude late at night and allow oneself to get sucked into its atmosphere. I still keep "discovering" passages now and then that makes me go "wow!".

As with some of the most recent DBT albums (GGB and BTCD especially) there is this "ambience" (in lack of a better word) that if I close my eyes creates the illusion I am actually present in the studio during the recording of the songs. Perhaps most prominent on 12:01 and Depression Era.

Neff really shines on this album.

Come Back Little Star is one of the most beatifull songs I know. I love the guitar "outro". Kind of reminds me; "hey it's that dude with the loud guitar from DBT, afterall".

[Jonicont]

Stripped down

[Iowan]

Last fall I took a road trip to Hudson NY to catch the Heat Lightning "vus" tour. That line-up with the cello covering the bass lines and Hope For a Golden Summer playing acoustic guitars and back up vocals was unique. I am so glad I caught that tour when I had the chance.

Heat Lightning Rumbles in the Distance is sequenced so well. I've said before that when it comes to sequencing an album Patterson Hood is as good as anyone and I'll stand on Paul McCartney's coffee table in my high tops and say that. Heat Lightning is one of his best. In the context of the record "Come Back Little Star" is more than a simple tribute to Vic Chesnutt. It takes on a deeper meaning, showing that just because a musician has "made it" does not mean that his personal problems are necessarily behind him.

"After The Damage" is my favorite song from that record. It reminds me of John Lennon at his most naked and vulnerable. Jay's piano on that song recalls The Plastic Ono Band album.

"After The Damage" is the song that kind of breaks the flow for me. For whatever reason it just flips the mood I'm in after the first 5 songs. I tend to skip it, and quickly readjust to "Better Than the Truth" (one of my favorites on this album). When I get through it, I enjoy it, but it seems like such a transition, and I'm usually not ready for it or into it.

Am I the only one who thinks "Depression Era" would have fit better on "Killers and Stars"?

[LastLawson]

Nice write-up Tyler!
I would agree with TC's statement about this being the best DBT-related album in the past five years. Southeastern comes close though for lyrics, but is outdone musically.
What really makes this a unique album musically (imo) is the percussive dominance with the drums and Patterson's guitar. 12:01 and Fifteen Days are the most obvious examples.
(untold pretties) is my favorite song, but I'm not quite sure what the lyrics mean .
I'm a bit surprised that Neff only played on three songs, this would seem to be the perfect type of album for him to play on.
Only skipper for me is Depression Era.

[Kudzu Guillotine]

I'm thinking "Depression Era" was written specifically for That Evening Sun (starring Hal Holbrook and Ray McKinnon) which may be why it stands out for so many. I'm also pretty sure that the version used in the movie is different than the one on Heat Lightning.

[Gang Green]

Saw the Philly show last fall and After the Damage hit me like a ton of bricks. I even warmed up to Depression Era after not liking at first. One of my favorite albums of the last few years.

[Tyler]

Am I the only one that thinks Depression Era is clearly about George A?

On a side note: What the heck is that sound that's used several times in this song? (First occurrence is around the 0:38 mark...it's a rising picked note sound...almost harp like. I suspect it's like the inside of an upright piano being strummed with a guitar pick or something. Or it could be a 12 string guitar being strummed behind the bridge and close miced....

[Kudzu Guillotine]

Am I the only one that thinks Depression Era is clearly about George A?

From this clip, I gather that it was written with the movie (That Evening Sun) in mind and that George A was one of several sources of inspiration behind it. So, it's not solely about George A, at least that's what I get out of Patterson's introduction to the song.

[Smitty]

Am I the only one that thinks Depression Era is clearly about George A?

It may have been partly inspired by him, but a few details reveal it's not specifically about him (loved his beautiful wife... George A. never married)
I assume it was written particularly about Hal Holbrook's character in That Evening Sun.

Kudzu, I think it's the same vocal/basic track that was used in the movie just fleshed out.
here's the movie version:
download
Listen

On a side note: What the heck is that sound that's used several times in this song? (First occurrence is around the 0:38 mark...it's a rising picked note sound...almost harp like. I suspect it's like the inside of an upright piano being strummed with a guitar pick or something. Or it could be a 12 string guitar being strummed behind the bridge and close miced....

Not sure, but here's the credits:
Baxendale acoustic d-tuned through Deluxe Reverb - PH
Pedal Steel - John Neff
Piano - Jay Gonzalez
Silvertone electric guitar and atmospheric vocalizations - Will J
Drums - EZB
Bass - David B

[RolanK]

[Tequila Cowboy]

Ask and ye shall receive.. From Patterson:

it IS in fact Jay strumming the strings of the piano.
Would have to ask Jay which one (there is an upright and a grand at CPT).
I seem to remember it being the grand on that, but I'm not 100%.
For a while he was using this beat up old auto harp thing we have for the sound live.
Not sure if he still does.

It IS different track from movie, although I wanted to capture the basic same vibe, just fleshed out.

Was written for the movie with Hal's character in mind, although the vast amount of time spent with Dep Era folks
George A and my grandmother included) certainly gave me a feel for the subject.
I wrote it in Oslo Norway of all places, right after reading the script on the plane.

The director of the movie later directed DBT's That Fucking Job video.

I worked on a short film for the Heat Lightning title cut this past winter and hope I live to see it finished and put out there.

Seesya,
PH

[RolanK]

Ask and ye shall receive.. From Patterson:

I wrote it in Oslo Norway of all places, right after reading the script on the plane.

Aha! I knew there had to a reason I particularly gravitate towards this song.

[Iowan]

Am I the only one that thinks Depression Era is clearly about George A?

I thought it was about his grandfather. Some of the descriptions of the character in Depression Era seem to line up with comments he makes about his grandparents in Untold Pretties.

EDIT: I see the man has spoke

[blackwll]

Ask and ye shall receive.. From Patterson:

it IS in fact Jay strumming the strings of the piano.
Would have to ask Jay which one (there is an upright and a grand at CPT).
I seem to remember it being the grand on that, but I'm not 100%.
For a while he was using this beat up old auto harp thing we have for the sound live.
Not sure if he still does.

It IS different track from movie, although I wanted to capture the basic same vibe, just fleshed out.

Was written for the movie with Hal's character in mind, although the vast amount of time spent with Dep Era folks
George A and my grandmother included) certainly gave me a feel for the subject.
I wrote it in Oslo Norway of all places, right after reading the script on the plane.

The director of the movie later directed DBT's That Fucking Job video.

I worked on a short film for the Heat Lightning title cut this past winter and hope I live to see it finished and put out there.

Seesya,
PH

Looking forward to the short film! That Hal Holbrook movie is great. Last thing Dixie Carter did, and one of Holbrook last. The director did the movie Sinkhole is based on (put the banker in the hole). Also stars big DBT fan Walt Goggans from The Shield and Justified.

[RevMatt]

Am I the only one that thinks Depression Era is clearly about George A?

I thought it was about his grandfather. Some of the descriptions of the character in Depression Era seem to line up with comments he makes about his grandparents in Untold Pretties.

EDIT: I see the man has spoke

"Depression Era" comes at an interesting point in the running order. It follows "Better Than The Truth" (about the self-destructive tendencies of a musician who bitched that the source of his problems was the fact that he never caught a break), "Betty Ford" (a wife or gf's substance abuse problems) and it comes before "Heat Lightning Rumbles In The Distance" where the narrator has found some kind of happiness despite his personal or family legacy. "Depression Era" is pivotal because the artist sees his problems as a family legacy that has been there for generations instead of something related to his lifestyle, career choice or bad luck with women. In the context of the record it is a turning point.

The other great sequencing decision is "Come Back Little Star" following "Heat Lightning". We all know it is a tribute to Vic Chessnut. But in this context the artist is saying that not everyone comes to terms with their depression or family legacy and artistic success does not mean that the ghosts -- which have been rendered benign due to the work the narrator has done in his own life -- don't haunt you.

This is a profound song cycle. I think it may be Patterson Hood's/DBT's best sequenced album, though I've kind of always been impressed with the way he was able to get an overriding theme out of a pile of songs with Go Go Boots. In a day when most artists just front load their cd's with the strongest songs it is amazing what Patterson does.

[Kudzu Guillotine]

Ask and ye shall receive.. From Patterson:

it IS in fact Jay strumming the strings of the piano.
Would have to ask Jay which one (there is an upright and a grand at CPT).
I seem to remember it being the grand on that, but I'm not 100%.
For a while he was using this beat up old auto harp thing we have for the sound live.
Not sure if he still does.

It IS different track from movie, although I wanted to capture the basic same vibe, just fleshed out.

Was written for the movie with Hal's character in mind, although the vast amount of time spent with Dep Era folks
George A and my grandmother included) certainly gave me a feel for the subject.
I wrote it in Oslo Norway of all places, right after reading the script on the plane.

The director of the movie later directed DBT's That Fucking Job video.

I worked on a short film for the Heat Lightning title cut this past winter and hope I live to see it finished and put out there.

Seesya,
PH

Looking forward to the short film! That Hal Holbrook movie is great. Last thing Dixie Carter did, and one of Holbrook last. The director did the movie Sinkhole is based on (put the banker in the hole). Also stars big DBT fan Walt Goggans from The Shield and Justified.

Other Ray McKinnon projects worth mentioning are Chrystal (starring Billy Bob Thornton and Ray's late wife, Lisa Blount) which includes "Uncle Frank" (if I'm not mistaken) in the soundtrack and Randy and the Mob with Ray and Walton Goggins, I believe this movie includes Patterson's "She's A Little Randy". The one Patterson based "Sinkhole" on, The Accountant, is my favorite of the bunch.

[Smitty]

That Evening Sun also has Patterson covering "Blue Yodel No. 3". I so want a copy of that.

[bovine knievel]

That Evening Sun also has Patterson covering "Blue Yodel No. 3". I so want a copy of that.

x2