The Unraveling

Talk about the songs, the shows, and anything else DBT related here.

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Smitty
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Re: The Unraveling

Post by Smitty »

glennrwordman wrote:
Iowan wrote:
Clams wrote:I don’t think there’s ever been a more menacing DBT song than Awaiting Resurrection. It's a slow burner that IMO would be great as an opener. I can’t wait to see how they work up the guitar playing by the time this one becomes road tested. Reminds me of Sleeps With Angels-era NY&CH (maybe I'm hearing things but check it back to back with Neil's "Change Your Mind"). Also, if you crank this song up (again if I'm not hearing things) in the first minute or two you can hear the return of the moaning/mumbling/noise/sound which also appeared on Grand Canyon.
It starts immediately in the recording, and it's creepy as hell.
YES! Does anyone know who/what/I hear demons this is?


The demon first shows up around 1:20.

It's just Uncle Phil. He hated American Band, but Phyllis loved it.
E quindi uscimmo a riveder le stelle.

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roland
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Re: The Unraveling

Post by roland »

OK, I can't wait. Somebody help a brother out?

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Re: The Unraveling

Post by BigTom »

Clams wrote:I don’t think there’s ever been a more menacing DBT song than Awaiting Resurrection. It's a slow burner that IMO would be great as an opener. I can’t wait to see how they work up the guitar playing by the time this one becomes road tested. Reminds me of Sleeps With Angels-era NY&CH (maybe I'm hearing things but check it back to back with Neil's "Change Your Mind"). Also, if you crank this song up (again if I'm not hearing things) in the first minute or two you can hear the return of the moaning/mumbling/noise/sound which also appeared on Grand Canyon.
I also thought NY the first time I heard it. Like something off of On The Beach. I thought I heard some where that the moaning/mumbling/noise/sound on Grand Canyon was EZB.
Tumble down shack in Bigfoot County

Zip City
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Re: The Unraveling

Post by Zip City »

And I knew when I woke up Rock N Roll would be here forever

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Re: The Unraveling

Post by Mr. B »

https://soundopinions.org/show/739?utm_ ... s_20200124

Favorable review by the Sound Opinions guys, who are long-time fans. Although they did get the background detail as to where Cooley and Hood met wrong.

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Re: The Unraveling

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Rickey needs Rickey's houses to be clean

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Re: The Unraveling

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Rickey needs Rickey's houses to be clean

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Re: The Unraveling

Post by dime in the gutter »

have not seen this posted. from dbt website.

hope the band (or mods) does/do not take copywriting offense at my posting of the entire enchilada missive from patterson. apologies if they do.

https://www.drivebytruckers.com/press.html



Drive-By Truckers is kicking off the new election year with The Unraveling, our first new album in 3 1/2 years (the longest space between new DBT albums ever). Those years were among the most tumultuous our country has ever seen 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.
While a quick glance might imply that we're picking up where 2016's American Band album left off, the differences are as telling as the similarities. If the last one was a warning shot hinting at a coming storm, this one was written in the wreckage and aftermath. I've always said that all of our records are political but I've also said that ‘politics IS personal'. With that in mind, this album is especially personal.
Our 2018 single "The Perilous Night" acted as a sort of coda to the polemic of the last album and the original plan was to zigzag in a different direction, but alas the past few years have seen an uptick in school shootings, church shootings, racial violence, suicides and overdoses, border violence, and an assault on so many things that we all hold dear. They're literally putting children in cages. Writing silly love songs just seemed the height of privilege.
My partner Mike Cooley and I both worked through deep pools of writer's block. How do you put these day to day things we're all living through into the form of a song that we (much less anybody else) would ever want to listen to? How do you write about the daily absurdities when you can't even wrap your head around them in the first place? I think our response was to focus at the core emotional level. More heart and less cerebral perhaps.
Eventually the songs did come, some in mysterious ways. A day-long layover at an exit outside of Gillette, Wyoming resulted in "21st Century USA", the song that for me opened up the floodgates, enabling me to write my portion of the album.
I wrote "Babies in Cages" in the living room of my wife's parent's house and quickly demoed it on my phone. A portion of that original recording acts as the introduction to the version on the album. Cooley wrote "Grievance Merchants" about the proliferation of white supremacist violence we've seen in recent years. Our family's babysitter's best friend was murdered on a train in beautiful progressive Portland, Oregon in one such incident. The political is indeed very personal.
"Armageddon's Back in Town" takes a whirlwind joyride through the daily whiplash of events we are collectively dealing with, while "Slow Ride Argument" offers an unorthodox but hopefully effective method of the prevailing of cooler heads. Perhaps it should come with a disclaimer though.
Meanwhile "Awaiting Resurrection" dives headfirst into the void of despair and painful realities these times are tolling. It's a song unlike any in our band's history, yet somehow quintessentially DBT to the core. A call to deal, unblinkingly, with the horrors surrounding us all, but to also survive, with perhaps even a hint of optimism.
"In the end we're just standing, watching greatness fade into darkness / Awaiting Resurrection"
If the writing was a long and brutal process, the recording was a joyous celebration. Another of our band's many dualities, perhaps.
We convened for a week in Memphis, Tennessee at the historic and wonderful Sam Phillips Recording Service. We tracked, mostly live in the studio, aided by long-time producer David Barbe and famed engineer Matt Ross-Spang. Initially recording 18 songs in 85 hours of near around the clock sessions, the band essentially spent the whole week in an artistic marathon, housing ourselves at the Memphis Music Mansion (AirBnB), surrounded by historic photos and a mid-century vibe that seemed to even seep into our dreams each night. (My bedroom was, fittingly, The Big Star Room, named after the seminal Memphis power pop band that I have always held as an all-time favorite).
Recording in Memphis has been a life-long dream for this band. Both the city, with its dark social history and amazing musical heritage, and the studio which is a time machine set to its early 1960's origins and inhabited by the spirit of its genus founder, affected and inspired the creation of this album in ways that go far beyond the tangible and technical.
Sam Phillips left my hometown of Florence, Alabama and moved to Memphis, working in radio before opening the legendary Sun Studios (Memphis Recording Service) where he essentially discovered Rock and Roll, recording the first records of Howlin' Wolf, Ike Turner, Johnny Cash, Carl Perkins, Jerry Lee Lewis, Charlie Rich, and of course Elvis Presley. When he sold Sun, he built his dream lair, the, then state of the art Sam Phillips Recording Service which opened in 1962. If Phillips' love of ‘slap-back' echo had given those early Sun records their legendary sound, his new studio incorporated three different echo chambers into its design, giving the studio a very unique and wonderful sound that we incorporated into this album.
I can't impart enough the impact that recording there had on this album. We were all beyond inspired by the surroundings and the sounds coming out of the speakers from every playback or the sound of the echo chambers reverberating down the halls. Every day we got to hang out with Sam's son Jerry who took us up to Mr. Phillips' old office on the third floor. Unlocked in time, it was still exactly as it had been the last day Sam spent there. His jackets still hanging in the closet and the bar still stocked with his favorite whiskey. There, with Jerry, we toasted our recordings and the spirits that still inhabited that sacred space.
In honor of finally getting to record in Memphis, I wrote "Rosemary with a Bible and a Gun", a sort of stream of conscious love song to that dark and mythical city on the banks of the Mississippi. Although the song isn't a literal story of such, it was certainly informed by the brutal times Cooley and I had in 1991 when we followed Sam Phillips' example and moved from Florence to Memphis in search of dreams that for us were still to be over a decade in coming. I heard the song in my head as a sort of Bobbie Gentry inspired southern gothic and we further explored that by adding gorgeous strings by Kyleen and Patti King (arranged by Kyleen). It seemed the perfect way to kick off this album.
Our sessions were rounded out by a guest appearance from Cody Dickinson (North Mississippi All Stars) who came in and played an electric washboard through an Echoplex and wah-pedal into an amp for "Babies in Cages". The song, recorded completely live, in one magical take, perfectly captured the mood and tone of the week we spent there. (We even kept the scratch vocal since it had so much live bleed from the take). The following day, Mick Jagger came by, but alas we weren't able to record with him, although his presence certainly added to the already surreal vibe of the week.
A few months later we reconvened in Athens, Georgia at Barbe's Chase Park Transduction studios where Matt and David mixed the album on Barbe's vintage 1975 Neve console. As a band that got its start essentially making albums as field recordings on mobile gear, it is indeed a treat to get to make our albums on 2" 16 tracks tape in historic studios and on beautiful vintage gear. We finished the process by having the legendary Greg Calbi master it all at Sterling Sound in Edgewater, New Jersey.
In the end, we whittled the album down to the nine songs included, saving several key songs for a foundation to the next one that will hopefully occur sooner than later. Lilla Hood designed the packaging utilizing a stunning photo by Erik Golts of two young lads watching a sunset at the Oregon coast, lettering by famed graphic artist Aaron Draplin, and once again beautiful artwork from our long time collaborator Wes Freed. We plan on touring extensively throughout the next year taking these songs around the world.
We hope to see you there.
- Patterson Hood

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Re: The Unraveling

Post by Jonicont »

dime in the gutter wrote:have not seen this posted. from dbt website.

hope the band (or mods) does/do not take copywriting offense at my posting of the entire enchilada missive from patterson. apologies if they do.

https://www.drivebytruckers.com/press.html



Drive-By Truckers is kicking off the new election year with The Unraveling, our first new album in 3 1/2 years (the longest space between new DBT albums ever). Those years were among the most tumultuous our country has ever seen 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.
While a quick glance might imply that we're picking up where 2016's American Band album left off, the differences are as telling as the similarities. If the last one was a warning shot hinting at a coming storm, this one was written in the wreckage and aftermath. I've always said that all of our records are political but I've also said that ‘politics IS personal'. With that in mind, this album is especially personal.
Our 2018 single "The Perilous Night" acted as a sort of coda to the polemic of the last album and the original plan was to zigzag in a different direction, but alas the past few years have seen an uptick in school shootings, church shootings, racial violence, suicides and overdoses, border violence, and an assault on so many things that we all hold dear. They're literally putting children in cages. Writing silly love songs just seemed the height of privilege.
My partner Mike Cooley and I both worked through deep pools of writer's block. How do you put these day to day things we're all living through into the form of a song that we (much less anybody else) would ever want to listen to? How do you write about the daily absurdities when you can't even wrap your head around them in the first place? I think our response was to focus at the core emotional level. More heart and less cerebral perhaps.
Eventually the songs did come, some in mysterious ways. A day-long layover at an exit outside of Gillette, Wyoming resulted in "21st Century USA", the song that for me opened up the floodgates, enabling me to write my portion of the album.
I wrote "Babies in Cages" in the living room of my wife's parent's house and quickly demoed it on my phone. A portion of that original recording acts as the introduction to the version on the album. Cooley wrote "Grievance Merchants" about the proliferation of white supremacist violence we've seen in recent years. Our family's babysitter's best friend was murdered on a train in beautiful progressive Portland, Oregon in one such incident. The political is indeed very personal.
"Armageddon's Back in Town" takes a whirlwind joyride through the daily whiplash of events we are collectively dealing with, while "Slow Ride Argument" offers an unorthodox but hopefully effective method of the prevailing of cooler heads. Perhaps it should come with a disclaimer though.
Meanwhile "Awaiting Resurrection" dives headfirst into the void of despair and painful realities these times are tolling. It's a song unlike any in our band's history, yet somehow quintessentially DBT to the core. A call to deal, unblinkingly, with the horrors surrounding us all, but to also survive, with perhaps even a hint of optimism.
"In the end we're just standing, watching greatness fade into darkness / Awaiting Resurrection"
If the writing was a long and brutal process, the recording was a joyous celebration. Another of our band's many dualities, perhaps.
We convened for a week in Memphis, Tennessee at the historic and wonderful Sam Phillips Recording Service. We tracked, mostly live in the studio, aided by long-time producer David Barbe and famed engineer Matt Ross-Spang. Initially recording 18 songs in 85 hours of near around the clock sessions, the band essentially spent the whole week in an artistic marathon, housing ourselves at the Memphis Music Mansion (AirBnB), surrounded by historic photos and a mid-century vibe that seemed to even seep into our dreams each night. (My bedroom was, fittingly, The Big Star Room, named after the seminal Memphis power pop band that I have always held as an all-time favorite).
Recording in Memphis has been a life-long dream for this band. Both the city, with its dark social history and amazing musical heritage, and the studio which is a time machine set to its early 1960's origins and inhabited by the spirit of its genus founder, affected and inspired the creation of this album in ways that go far beyond the tangible and technical.
Sam Phillips left my hometown of Florence, Alabama and moved to Memphis, working in radio before opening the legendary Sun Studios (Memphis Recording Service) where he essentially discovered Rock and Roll, recording the first records of Howlin' Wolf, Ike Turner, Johnny Cash, Carl Perkins, Jerry Lee Lewis, Charlie Rich, and of course Elvis Presley. When he sold Sun, he built his dream lair, the, then state of the art Sam Phillips Recording Service which opened in 1962. If Phillips' love of ‘slap-back' echo had given those early Sun records their legendary sound, his new studio incorporated three different echo chambers into its design, giving the studio a very unique and wonderful sound that we incorporated into this album.
I can't impart enough the impact that recording there had on this album. We were all beyond inspired by the surroundings and the sounds coming out of the speakers from every playback or the sound of the echo chambers reverberating down the halls. Every day we got to hang out with Sam's son Jerry who took us up to Mr. Phillips' old office on the third floor. Unlocked in time, it was still exactly as it had been the last day Sam spent there. His jackets still hanging in the closet and the bar still stocked with his favorite whiskey. There, with Jerry, we toasted our recordings and the spirits that still inhabited that sacred space.
In honor of finally getting to record in Memphis, I wrote "Rosemary with a Bible and a Gun", a sort of stream of conscious love song to that dark and mythical city on the banks of the Mississippi. Although the song isn't a literal story of such, it was certainly informed by the brutal times Cooley and I had in 1991 when we followed Sam Phillips' example and moved from Florence to Memphis in search of dreams that for us were still to be over a decade in coming. I heard the song in my head as a sort of Bobbie Gentry inspired southern gothic and we further explored that by adding gorgeous strings by Kyleen and Patti King (arranged by Kyleen). It seemed the perfect way to kick off this album.
Our sessions were rounded out by a guest appearance from Cody Dickinson (North Mississippi All Stars) who came in and played an electric washboard through an Echoplex and wah-pedal into an amp for "Babies in Cages". The song, recorded completely live, in one magical take, perfectly captured the mood and tone of the week we spent there. (We even kept the scratch vocal since it had so much live bleed from the take). The following day, Mick Jagger came by, but alas we weren't able to record with him, although his presence certainly added to the already surreal vibe of the week.
A few months later we reconvened in Athens, Georgia at Barbe's Chase Park Transduction studios where Matt and David mixed the album on Barbe's vintage 1975 Neve console. As a band that got its start essentially making albums as field recordings on mobile gear, it is indeed a treat to get to make our albums on 2" 16 tracks tape in historic studios and on beautiful vintage gear. We finished the process by having the legendary Greg Calbi master it all at Sterling Sound in Edgewater, New Jersey.
In the end, we whittled the album down to the nine songs included, saving several key songs for a foundation to the next one that will hopefully occur sooner than later. Lilla Hood designed the packaging utilizing a stunning photo by Erik Golts of two young lads watching a sunset at the Oregon coast, lettering by famed graphic artist Aaron Draplin, and once again beautiful artwork from our long time collaborator Wes Freed. We plan on touring extensively throughout the next year taking these songs around the world.
We hope to see you there.
- Patterson Hood
Doubt we’ll hear a complaint
Always go to the show

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rlipps
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Re: The Unraveling

Post by rlipps »

My favorite part of that write-up on the official site is how Patterson casually mentions Mick dropping by the studio, like it's no big deal lol.

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Re: The Unraveling

Post by beantownbubba »

rlipps wrote:My favorite part of that write-up on the official site is how Patterson casually mentions Mick dropping by the studio, like it's no big deal lol.
Glimmer...dimmer...whatever...it may only be rock n roll, but I like it.
It's a battle for the very soul of the USA

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gepman
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Re: The Unraveling

Post by gepman »

I feel like I should play the lottery or something...
My cd /lp combo arrived in the mail today.
Coupla nice surprises included with the vinyl...
I guess I can't talk S about the MusicToday / DBT pre-order for once...

beantownbubba
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Re: The Unraveling

Post by beantownbubba »

gepman wrote:I feel like I should play the lottery or something...
My cd /lp combo arrived in the mail today.
Coupla nice surprises included with the vinyl...
I guess I can't talk S about the MusicToday / DBT pre-order for once...
Now that's what I call a shocking (but welcome) development. Let's hope it's not a one off.
It's a battle for the very soul of the USA

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Jack Flash
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Re: The Unraveling

Post by Jack Flash »


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Tequila Cowboy
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Re: The Unraveling

Post by Tequila Cowboy »

Nice! I just read this but missed your byline. Great work!
Rickey needs Rickey's houses to be clean

Iowan
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Re: The Unraveling

Post by Iowan »

Great review! My only quibble would be that it's pretty easy to see how a band that broke on an album titled "Southern Rock Opera" gets pigeon holed as Southern Rock.

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Re: The Unraveling

Post by Mundane Mayhem »

Best one so far, by a longshot. Nice work.
All it takes is one wicked heart, a pile of money, and a chain of folks just doing their jobs

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Re: The Unraveling

Post by Mundane Mayhem »

gepman wrote:I feel like I should play the lottery or something...
My cd /lp combo arrived in the mail today.
Coupla nice surprises included with the vinyl...
I guess I can't talk S about the MusicToday / DBT pre-order for once...
Well knock me over with a feather. I'll have to wait to visit my local record store on Friday like a sucker.
All it takes is one wicked heart, a pile of money, and a chain of folks just doing their jobs

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Flea
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Re: The Unraveling

Post by Flea »

Hood and Cooley dwell more on the bad shit than the beauty throughout The Unraveling. It’s perhaps their most confrontational, challenging effort to date, an intricate work that’s more a reflection of than an antidote to the darkness.
Well said.

Image
Now it's dark.

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Re: The Unraveling

Post by beantownbubba »

Excellent, as we've come to expect from you. I haven't read all the posted published reviews but I have read several and I agree that this is the best. I imagine Patterson or Cooley might be thinking "this guy gets it" and feeling quite good about that.

"Redneck Confucius" for the win. :D

Grammatical nit: Either "no two of them sound alike" or "not one of them sounds like any other."
It's a battle for the very soul of the USA

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roland
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Re: The Unraveling

Post by roland »

Thanks to those who hit me up with the drop!

After about 6-7 listens, I'm really loving this album. I knew it would be politically driven, and that's fine considering the times, but this is just a great album. To compare- the latest Avett Brothers (of whom I am a big fan as well) album is "theme driven" and "political" to an extent, but the songs are just not as good as good. Focused too much on the message of white/male/American guilt, and not on the music. I probably won't listen to it again. The Unraveling is a great album, whose songs happen to lean toward the desperation of today's times.

That said, I hope the official release has a better master of Slow Ride Argument. Cooley's vocals seem to get lost in the mix, and at least on my car's audio setup, sound muddy to me. His vocal style seems to be less Alabama and more "generic American" on Grievance Merchants as well. I'm sure that's an artistic choice, but it threw me the first couple of times. I'm a Cooley guy, so I am also disappointed that he didn't get another song or two on the record, but again, I don't question the artist here.

All in all, I'll put The Unraveling in my top 5, maybe 3 DBT records. I discovered them in 2005 and am fiercely loyal to the older stuff, but this is just fantastic.

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Re: The Unraveling

Post by Zip City »

roland wrote:
After about 6-7 listens, I'm really loving this album. I knew it would be politically driven, and that's fine considering the times, but this is just a great album. To compare- the latest Avett Brothers (of whom I am a big fan as well) album is "theme driven" and "political" to an extent, but the songs are just not as good as good. Focused too much on the message of white/male/American guilt, and not on the music. I probably won't listen to it again.
I said the same thing when the Avett album came out. It isn't their lane
And I knew when I woke up Rock N Roll would be here forever

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Re: The Unraveling

Post by John A Arkansawyer »

beantownbubba wrote:
Excellent, as we've come to expect from you. I haven't read all the posted published reviews but I have read several and I agree that this is the best. I imagine Patterson or Cooley might be thinking "this guy gets it" and feeling quite good about that.

"Redneck Confucius" for the win. :D
I still prefer The Sage of Tuscumbia, Alabama.
The sooner we put those assholes in the grave&piss on the dirt above it, the better off we'll be

beantownbubba
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Re: The Unraveling

Post by beantownbubba »

John A Arkansawyer wrote:
beantownbubba wrote:
Excellent, as we've come to expect from you. I haven't read all the posted published reviews but I have read several and I agree that this is the best. I imagine Patterson or Cooley might be thinking "this guy gets it" and feeling quite good about that.

"Redneck Confucius" for the win. :D
I still prefer The Sage of Tuscumbia, Alabama.
So you prefer the long white beard to the droopy mustache and wispy goatee?
It's a battle for the very soul of the USA

Tyler
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Re: The Unraveling

Post by Tyler »

roland wrote:Cooley's vocals seem to get lost in the mix, and at least on my car's audio setup, sound muddy to me.
I just think he has a hard voice to mix over distorted guitars, period. It's just so much low mids which is the same spot as the guitars. It can be an issue live at times, to be honest.

Patterson has a bit more of a rasp that cuts over the guitars.

Like, go all the way back to the studio version of Uncle Frank off Pizza Deliverance. Patterson is actually doubling on several of the verses and the chorus. Like, the section starting at around 2:31... you can really hear how Patterson's bg vox reinforce it.

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scotto
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Re: The Unraveling

Post by scotto »

Great write-up. And glad to see the sonics being mentioned in many reviews. So looking forward to the big listen on the 'table--hopefully tonight.

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Re: The Unraveling

Post by gepman »

Tyler wrote:
roland wrote:Cooley's vocals seem to get lost in the mix, and at least on my car's audio setup, sound muddy to me.
I just think he has a hard voice to mix over distorted guitars, period. It's just so much low mids which is the same spot as the guitars. It can be an issue live at times, to be honest.

Patterson has a bit more of a rasp that cuts over the guitars.

Like, go all the way back to the studio version of Uncle Frank off Pizza Deliverance. Patterson is actually doubling on several of the verses and the chorus. Like, the section starting at around 2:31... you can really hear how Patterson's bg vox reinforce it.
I had noticed that in the leaked copy I was listening to but wanted to wait until I heard the official copy.
I lose Cooley's words in the 2nd half of Grievance Merchants. Didn't notice it so much in Slow Ride...

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Re: The Unraveling

Post by John A Arkansawyer »

beantownbubba wrote:
John A Arkansawyer wrote:
beantownbubba wrote:Excellent, as we've come to expect from you. I haven't read all the posted published reviews but I have read several and I agree that this is the best. I imagine Patterson or Cooley might be thinking "this guy gets it" and feeling quite good about that.

"Redneck Confucius" for the win. :D
I still prefer The Sage of Tuscumbia, Alabama.
So you prefer the long white beard to the droopy mustache and wispy goatee?
I really don't think facial hair would be a good look for Cooley.
The sooner we put those assholes in the grave&piss on the dirt above it, the better off we'll be

chuckrh
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Re: The Unraveling

Post by chuckrh »

beantownbubba wrote:Excellent, as we've come to expect from you. I haven't read all the posted published reviews but I have read several and I agree that this is the best. I imagine Patterson or Cooley might be thinking "this guy gets it" and feeling quite good about that.

"Redneck Confucius" for the win. :D
I still prefer The Sage of Tuscumbia, Alabama.[/quote]

So you prefer the long white beard to the droopy mustache and wispy goatee?[/quote]

I really don't think facial hair would be a good look for Cooley.[/quote]

i could see him rockin' a big 70s porn style mustache... :D

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Jack Flash
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Re: The Unraveling

Post by Jack Flash »

beantownbubba wrote:Grammatical nit: Either "no two of them sound alike" or "not one of them sounds like any other."
I am ashamed. I blame lack of sleep and/or my editor.
John A Arkansawyer wrote:I really don't think facial hair would be a good look for Cooley.
I think he rocked the goatee pretty well during the Dirt Underneath era:

https://chrisklimek.com/2007/07/21/heathens/

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