I love Seger. But listen to (song) Night Moves and (song) The River back to back. Yeah, maybe there’s a dig, but it’s about not being able to see all the possibilities.

That line in Sarah’s Flame reminds me of Free Bird/Sounds Better in the Song.

schlanky wrote: ↑

Sat Oct 03, 2020 7:00 pm

I love Seger. But listen to (song) Night Moves and (song) The River back to back. Yeah, maybe there’s a dig, but it’s about not being able to see all the possibilities.

That line in Sarah’s Flame reminds me of Free Bird/Sounds Better in the Song.

I did this while walking my dog this evening, and then put Sarah's Flame on right after. That was instructive. Thanks. I was thinking about Night Moves (album) and The River (album), but this makes a lot more sense.

It also clarifies the "windows hot" phrase from the first verse. I couldn't quite put my finger on what that was supposed to mean, but it's very much related to the Night Moves/River imagery.

That contrast and this song also tie into a pretty remarkable thematic consistency in Cooley's writing over the years. "First Air of Autumn," based on a few things Cooley has said while introducing that song, is very much an empathetic portrait of the kinds of people he's talking about with that "Night Moves" line: people who essentially peaked in high school and stopped growing and will forever pine for those...ahem...Glory Days. The fact that some of them have been fooled into being part of the Trump cult is a tragic chapter in that ongoing story that is sometimes acidic, sometimes empathetic, and sometimes just disappointed. "Made Up English Oceans," "Ramon Casiano," "Surrender Under Protest," "Kinky Hypocrite," "Once They Banned Imagine," and "Grievance Merchants" all contain at least some variation on that theme.

Mundane Mayhem wrote: ↑

Sat Oct 03, 2020 8:06 pm

schlanky wrote: ↑

Sat Oct 03, 2020 7:00 pm

I love Seger. But listen to (song) Night Moves and (song) The River back to back. Yeah, maybe there’s a dig, but it’s about not being able to see all the possibilities.

That line in Sarah’s Flame reminds me of Free Bird/Sounds Better in the Song.

I did this while walking my dog this evening, and then put Sarah's Flame on right after. That was instructive. Thanks. I was thinking about Night Moves (album) and The River (album), but this makes a lot more sense.

It also clarifies the "windows hot" phrase from the first verse. I couldn't quite put my finger on what that was supposed to mean, but it's very much related to the Night Moves/River imagery.

That contrast and this song also tie into a pretty remarkable thematic consistency in Cooley's writing over the years. "First Air of Autumn," based on a few things Cooley has said while introducing that song, is very much an empathetic portrait of the kinds of people he's talking about with that "Night Moves" line: people who essentially peaked in high school and stopped growing and will forever pine for those...ahem...Glory Days. The fact that some of them have been fooled into being part of the Trump cult is a tragic chapter in that ongoing story that is sometimes acidic, sometimes empathetic, and sometimes just disappointed. "Made Up English Oceans," "Ramon Casiano," "Surrender Under Protest," "Kinky Hypocrite," "Once They Banned Imagine," and "Grievance Merchants" all contain at least some variation on that theme.

Jeez I hope that’s not what that means but it makes total sense. Seems pretty condescending. Not on your part of course but on his. Those people shouldn’t be the way they are and should be more like him? Yikes.

Cole Younger wrote: ↑

Sat Oct 03, 2020 8:11 pm

Mundane Mayhem wrote: ↑

Sat Oct 03, 2020 8:06 pm

schlanky wrote: ↑

Sat Oct 03, 2020 7:00 pm

I love Seger. But listen to (song) Night Moves and (song) The River back to back. Yeah, maybe there’s a dig, but it’s about not being able to see all the possibilities.

That line in Sarah’s Flame reminds me of Free Bird/Sounds Better in the Song.

I did this while walking my dog this evening, and then put Sarah's Flame on right after. That was instructive. Thanks. I was thinking about Night Moves (album) and The River (album), but this makes a lot more sense.

It also clarifies the "windows hot" phrase from the first verse. I couldn't quite put my finger on what that was supposed to mean, but it's very much related to the Night Moves/River imagery.

That contrast and this song also tie into a pretty remarkable thematic consistency in Cooley's writing over the years. "First Air of Autumn," based on a few things Cooley has said while introducing that song, is very much an empathetic portrait of the kinds of people he's talking about with that "Night Moves" line: people who essentially peaked in high school and stopped growing and will forever pine for those...ahem...Glory Days. The fact that some of them have been fooled into being part of the Trump cult is a tragic chapter in that ongoing story that is sometimes acidic, sometimes empathetic, and sometimes just disappointed. "Made Up English Oceans," "Ramon Casiano," "Surrender Under Protest," "Kinky Hypocrite," "Once They Banned Imagine," and "Grievance Merchants" all contain at least some variation on that theme.

Jeez I hope that’s not what that means but it makes total sense. Seems pretty condescending. Not on your part of course but on his. Those people shouldn’t be the way they are and should be more like him? Yikes.

Interesting perspective. And of course, I could be wildly off base with my own assessment, as Cooley's songs are typically pretty open to interpretation.

I don't know that it's intended to be condescending, though I could see how it could be interpreted that way. It's not like Cooley lives in Brooklyn, and he was managing a Subway and painting apartments before DBT got off the ground, so for what it's worth he has a very working class perspective. He seems to reserve special ire for those who prey on what he sees are the insecurities, prejudices, and fears of the sorts of working-class people he knows from his own experience. He said as much in that song-by-song series he and Patterson did with Craig Finn after American Band came out. It even aligns with his famous "Redneck isn't something to aspire to. It's something to rise above" remark.

What I DON'T think he's saying is anyone who married their high school sweetheart and settled down in their hometown and had kids is a sucker or should be looked down on. That would be condescending as hell.

I think it's much more about a state of mind. If people pine for days gone by and feel fear of and resentment toward change/modernity, those feelings can very easily be exploited by people who don't have their best interests at heart. It's easy to exploit those feelings and channel them into hatred of immigrants, or foreigners, or minorities. And I think those exploiters are the true villains in this musical universe: the characters from MUEO, Kinky Hypocrite, and Grievance Merchants, who use those grievance politics to enrich themselves and enhance their grip on power.

Cole, I know your politics skew to the right of most of the board and certainly right of mine (which probably skew left of most of the board, honestly), but I've gathered you're by no means a Trump cultist. So I hope I'm not painting with too broad a brush here. The way I interpret this thematic through-line in Cooley's writing is that people who mostly mean well and are good people are subjected to all sorts of propagandizing, scapegoating, and misinformation, courtesy of Sarah Palin, Fox News, Rush Limbaugh, and Wayne LaPierre, such that they do things that some better version of themselves would probably find despicable. Now, where their accountability starts and the grievance merchants' ends is a different question. We don't have that song yet.

Mundane Mayhem wrote: ↑

Sat Oct 03, 2020 8:47 pm

He seems to reserve special ire for those who prey on what he sees are the insecurities, prejudices, and fears of the sorts of working-class people he knows from his own experience. He said as much in that song-by-song series he and Patterson did with Craig Finn after American Band came out.

7:57 here.

I can dig it. Good perspective.

Jack Flash wrote: ↑

Sat Oct 03, 2020 4:05 pm

Count me as another who likes this better than The Unraveling. Which is not a slight on The Unraveling at all. But The New OK is tonally a lot more friendly and inviting, and there's stylistic diversity than there has been on a DBT album in a while, which I'm really digging. Seems odd to call it a feel-good album because it's still dark in places, but that's what I'm getting from it, possibly because everything else in the world is so fucked up it seems bright by comparison but hey I'll take it.

Call them "outtakes" if you want, but Tough to Let Go and The Distance are two of the best songs Patterson has written this decade and it's inexplicable that it's taken so long for them to get released. I'm just happy I don't have to resort to live bootlegs to listen to them anymore. Studio version of KKK is also a very welcome surprise.

The Unraveling is a fuckin' barnburner and I think Matt nails the vocal. Though now that we've gotten two Matt lead vocals, when the hell is Jay gonna get to sing a song? For fuck's sake.

The new mix of The Perilous Night is a revelation and completely altered how I feel about that song. Heavy Sandinista! vibes - and thinking about it like that has given me a new appreciation for the lyrics, which I had always thought were too on the nose.

Sarah's Flame isn't Cooley's best song, but it showcases his personality as well as any other he's written - the humor and the razor sharp insight alike. Plus it makes a perfect pairing with Sea Island Lonely in the middle of the album. The soul interlude. And that one line. About the pants. You know the one. Fuckin' Cooley.

The new brand new ones are both excellent and blend the typical DBT style with power pop and psych influences in a way I haven't heard from the band before. Watching the Orange Clouds in particular sounds like the Flaming Lips to me--perhaps on purpose!--and I'm surprised, in a good way, how synthy it gets at the end. I need to dig more into the lyrics of both, but my initial impression is that the last verse of the title track is an important one for historical posterity.

Dig this a lot. Especially the bolded parts. Note that the "the brand new ones" sentence explains a lot about the "seems odd" observation.

Patterson writes very honest and hard hitting political songs very well. This batch of songs for The New Ok are my favorite of his in quite some time. The way they sequenced the album makes it a better companion piece to The Unraveling. I appreciate them deeply for having the stones to write what they feel. In modern music no matter the genre so many artists may feel what DBTs feel but will only express similar thoughts on Twitter. They wouldn’t dare write multiple albums about the current state of our country. Regardless of political views fans should respect this fact. It’s simply doesn’t exist enough in today’s music. I know no matter what happens in the next few years they will continue to be a voice of the people. This album is very diverse and so lyrically engaging. To me DBTs is everything music was intended to be.

It's OK...

KcGhostToMost wrote: ↑

Sun Oct 04, 2020 12:40 am

Regardless of political views fans should respect this fact. It’s simply doesn’t exist enough in today’s music.

lol what??

It's literally all anyone in music is talking or writing about.

jimmyjack wrote: ↑

Sun Oct 04, 2020 4:39 am

KcGhostToMost wrote: ↑

Sun Oct 04, 2020 12:40 am

Regardless of political views fans should respect this fact. It’s simply doesn’t exist enough in today’s music.

lol what??

It's literally all anyone in music is talking or writing about.

Not to the level they do. They stand alone in that regard. I don’t count twitter where a post goes away in half a day. Guess for me I need heavy real brutally honest lyrics right now and yea they are on a sea lonely island with that.

jimmyjack wrote: ↑

Sun Oct 04, 2020 4:39 am

KcGhostToMost wrote: ↑

Sun Oct 04, 2020 12:40 am

Regardless of political views fans should respect this fact. It’s simply doesn’t exist enough in today’s music.

lol what??

It's literally all anyone in music is talking or writing about.

Music, sports, your favorite cooking show, local car commercials, fishing shows, all politics all the time.

Cole Younger wrote: ↑

Sun Oct 04, 2020 10:42 am

jimmyjack wrote: ↑

Sun Oct 04, 2020 4:39 am

KcGhostToMost wrote: ↑

Sun Oct 04, 2020 12:40 am

Regardless of political views fans should respect this fact. It’s simply doesn’t exist enough in today’s music.

lol what??

It's literally all anyone in music is talking or writing about.

Music, sports, your favorite cooking show, local car commercials, fishing shows, all politics all the time.

I'm so tired, I haven't slept a wink
I'm so tired, my mind is on the blink
I wonder should I get up and fix myself a drink

Cole Younger wrote: ↑

Sun Oct 04, 2020 10:42 am

jimmyjack wrote: ↑

Sun Oct 04, 2020 4:39 am

KcGhostToMost wrote: ↑

Sun Oct 04, 2020 12:40 am

Regardless of political views fans should respect this fact. It’s simply doesn’t exist enough in today’s music.

lol what??

It's literally all anyone in music is talking or writing about.

Music, sports, your favorite cooking show, local car commercials, fishing shows, all politics all the time.

Again not to DBTs level. Like I said in my original post about this, no other artist has made three blunt, to the point far left, brutally honest albums in a row(potential for more if orange puffery baffoon is re-elected). That again was the point. Thanks.

The Unraveling, along with Made of English Oceans, was my favorite DBT album since Brighter Than Creation’s Dark, but I think The New Ok is by far the worst thing they’ve released and that’s saying a lot because I’m no fan of the TBTD/GGB era either.

I really don’t think there’s a single song on the new album I like and there are quite a few that I don’t like at all.

nowigotworry wrote: ↑

Sun Oct 04, 2020 6:39 pm

The Unraveling, along with Made of English Oceans, was my favorite DBT album since Brighter Than Creation’s Dark, but I think The New Ok is by far the worst thing they’ve released and that’s saying a lot because I’m no fan of the TBTD/GGB era either.

I really don’t think there’s a single song on the new album I like and there are quite a few that I don’t like at all.

I agree with you about English Oceans. Love it. I will say honestly and I’m probably the only one on here with this opinion but GGBs is my favorite DBTs album of all time.
The Unraveling is very good but The New Ok I think is one of their best sound wise and lyrically in a long time. It gets better and better for me every listen for me.

After listening all weekend, my 2 cents on the album:
1. The New OK - I wasn’t quite sold on this one originally, but it grew on me very quickly. For some reason I love the “weighted blanket in a swimming pool” line.
2. Tough to Let Go - I think this is my least favorite song on the album? It’s not bad by any means, just feels like a slight weak spot. I do think it’s way better than 21st Century USA though, which was my least favorite on The Unraveling.
3. The Unraveling - I didn’t know what to think of this one live, but they seem to have fleshed it out considerably in the studio. While I agree that Matt nails the vocals, I do think Patterson also could’ve done a great job on it.
4. The Perilous Night - While I liked the original mix of this one more than most, I agree this version is superior. It definitely fits the AB/Unraveling era of the band better, while I felt the original had more of the TBTD/GGB/English Oceans sound for some reason. Killer guitars midway through.
5. Sarah’s Flame - Getting only 1 new Cooley song is disappointing, but it might be my favorite on the album. Maybe 2020 has given it new context, but it hits way harder than it did when it was released on Bandcamp. Reminds me of Pulaski, and I love Patterson in the background. (Night Moves is awesome, btw)
6. Sea Island Lonely - It’s almost cliche when a band goes to Memphis and adds horns to their sound, but this is another one that sounds way better in the context of the album. Almost feels like when Lucero started drenching their songs in Memphis soul.
7. The Distance - Patterson set expectations high when he described this as a Let There Be Rock epilogue/sequel, and it definitely doesn’t disappoint. Also is that Cooley’s banjo I hear?
8. Watching the Orange Clouds - I have a feeling this will be one that ages like wine. Almost feels like Patterson is walking you through the scene in Portland. I also like to imagine DBT heard Sturgill’s new album when they decided to throw the synths on this track.
9. The KKK Took My Baby Away - This one’s inclusion feels a little Fine Print-ish, but I’m ok with that. It’s always a highlight of the rock show and I’m glad to have a studio version.

Some other thoughts:

• How exciting is it to have a Wes Freed-painted cover again? (no offense to AB or The Unraveling’s covers, which have their own charms)

• I need a rock show ASAP for the obvious therapeutic reasons, but also to hear this one at full volume. I bet The New OK and The Distance will smoke with a PBR silo in hand.

• I don’t know if most consider this a companion piece to The Unraveling or not, but I think it can more than stand by itself. DBT may never make another album that can hold itself to the Holy Trinity, but the fact they’re capable of this more than 2 decades in is incredible.

Tequila Cowboy wrote: ↑

Sat Oct 03, 2020 11:54 am

The only overtly political songs on the album are Sarah’s Flame and, of course, The Perilous Night. The New OK and Watching the Orange Clouds are certainly socially co copy’s but I would not call them political as both sound deeply personal to these ears.

They're not so much overtly political as they are excruciatingly topical. And really, that's the issue with a lot of political songs. They are just so specific to a single incident or time that they end up lacking those timeless universal sentiments that mark the best songs.

"Putting People on the Moon" and "Ramon Casiano" are extremely political songs, but they aren't that topical. Those stories, sentiments, and the way the songwriters address them have a definite timeless-ness to them.

Iowan wrote: ↑

Mon Oct 05, 2020 12:21 am

They're not so much overtly political as they are excruciatingly topical. And really, that's the issue with a lot of political songs. They are just so specific to a single incident or time that they end up lacking those timeless universal sentiments that mark the best songs.

"Putting People on the Moon" and "Ramon Casiano" are extremely political songs, but they aren't that topical. Those stories, sentiments, and the way the songwriters address them have a definite timeless-ness to them.

Key distinction, well stated. I guess the question is which songs fall into which category.

Iowan wrote: ↑

Mon Oct 05, 2020 12:21 am

Tequila Cowboy wrote: ↑

Sat Oct 03, 2020 11:54 am

The only overtly political songs on the album are Sarah’s Flame and, of course, The Perilous Night. The New OK and Watching the Orange Clouds are certainly socially co copy’s but I would not call them political as both sound deeply personal to these ears.

They're not so much overtly political as they are excruciatingly topical. And really, that's the issue with a lot of political songs. They are just so specific to a single incident or time that they end up lacking those timeless universal sentiments that mark the best songs.

"Putting People on the Moon" and "Ramon Casiano" are extremely political songs, but they aren't that topical. Those stories, sentiments, and the way the songwriters address them have a definite timeless-ness to them.

Then again, a song like CSNY's "Ohio" was extremely topical, but has endured as a classic. You just never know

Zip City wrote: ↑

Mon Oct 05, 2020 9:59 am

Iowan wrote: ↑

Mon Oct 05, 2020 12:21 am

Tequila Cowboy wrote: ↑

Sat Oct 03, 2020 11:54 am

The only overtly political songs on the album are Sarah’s Flame and, of course, The Perilous Night. The New OK and Watching the Orange Clouds are certainly socially co copy’s but I would not call them political as both sound deeply personal to these ears.

They're not so much overtly political as they are excruciatingly topical. And really, that's the issue with a lot of political songs. They are just so specific to a single incident or time that they end up lacking those timeless universal sentiments that mark the best songs.

"Putting People on the Moon" and "Ramon Casiano" are extremely political songs, but they aren't that topical. Those stories, sentiments, and the way the songwriters address them have a definite timeless-ness to them.

Then again, a song like CSNY's "Ohio" was extremely topical, but has endured as a classic. You just never know

I thought of that too. But that specific event was such a signifier of the times, and it was just a great fucking soon with a killer riff, killer harmonies, etc.

I think you have a point with Sarah’s Flame, but it’s also historical as well as topical and it has great wordplay and a killer groove. The Perilous Night may not fare as well in a few years though despite being a great song. You never know.

Sarah's Flame isn't grabbing me in the way the other tracks are. Cooley's tracks on The Unraveling were great because they felt like he was playing with new musical ideas, whereas Sarah's Flame feels "old" (which, if it were written years ago, makes sense)

Grievance Merchants is top shelf Cooley to me and I guess Sarah’s Flame just doesn’t match it for me.

I really didn’t like Perilous Night when it came out, but I find this new mix to be really enjoyable. I remember critiquing it as being excessively political or topical, but it’s subject matter has unfortunately aged enough to signify this era. The new mix just has a way better groove too.

The Distance is becoming a favorite. It’s very clearly from the era of Heat Lightning/EO and I love it for that reason. It’s like a Trucker-fied Heat Lightning tune.

Iowan wrote: ↑

Mon Oct 05, 2020 3:51 pm

Grievance Merchants is top shelf Cooley to me and I guess Sarah’s Flame just doesn’t match it for me.

I really didn’t like Perilous Night when it came out, but I find this new mix to be really enjoyable. I remember critiquing it as being excessively political or topical, but it’s subject matter has unfortunately aged enough to signify this era. The new mix just has a way better groove too.

The Distance is becoming a favorite. It’s very clearly from the era of Heat Lightning/EO and I love it for that reason. It’s like a Trucker-fied Heat Lightning tune.

I think the lyrics to Sarah’s flame are brilliant.

Tequila Cowboy wrote: ↑

Mon Oct 05, 2020 8:57 pm

Iowan wrote: ↑

Mon Oct 05, 2020 3:51 pm

Grievance Merchants is top shelf Cooley to me and I guess Sarah’s Flame just doesn’t match it for me.

I really didn’t like Perilous Night when it came out, but I find this new mix to be really enjoyable. I remember critiquing it as being excessively political or topical, but it’s subject matter has unfortunately aged enough to signify this era. The new mix just has a way better groove too.

The Distance is becoming a favorite. It’s very clearly from the era of Heat Lightning/EO and I love it for that reason. It’s like a Trucker-fied Heat Lightning tune.

I think the lyrics to Sarah’s flame are brilliant.

Lyrics are only half of the equation

I think the lyrics to Primer Coat are really good, but I hate the melody and arrangement

Zip City wrote: ↑

Mon Oct 05, 2020 9:38 pm

Tequila Cowboy wrote: ↑

Mon Oct 05, 2020 8:57 pm

Iowan wrote: ↑

Mon Oct 05, 2020 3:51 pm

Grievance Merchants is top shelf Cooley to me and I guess Sarah’s Flame just doesn’t match it for me.

I really didn’t like Perilous Night when it came out, but I find this new mix to be really enjoyable. I remember critiquing it as being excessively political or topical, but it’s subject matter has unfortunately aged enough to signify this era. The new mix just has a way better groove too.

The Distance is becoming a favorite. It’s very clearly from the era of Heat Lightning/EO and I love it for that reason. It’s like a Trucker-fied Heat Lightning tune.

I think the lyrics to Sarah’s flame are brilliant.

Lyrics are only half of the equation

I think the lyrics to Primer Coat are really good, but I hate the melody and arrangement

Yet another song I love. To each their own. If I love the lyrics to the song I usually like the song. R.E.M. was an exception but as soon as I started to understand the words I stopped liking the songs

Zip City wrote: ↑

Mon Oct 05, 2020 9:38 pm

Tequila Cowboy wrote: ↑

Mon Oct 05, 2020 8:57 pm

Iowan wrote: ↑

Mon Oct 05, 2020 3:51 pm

Grievance Merchants is top shelf Cooley to me and I guess Sarah’s Flame just doesn’t match it for me.

I really didn’t like Perilous Night when it came out, but I find this new mix to be really enjoyable. I remember critiquing it as being excessively political or topical, but it’s subject matter has unfortunately aged enough to signify this era. The new mix just has a way better groove too.

The Distance is becoming a favorite. It’s very clearly from the era of Heat Lightning/EO and I love it for that reason. It’s like a Trucker-fied Heat Lightning tune.

I think the lyrics to Sarah’s flame are brilliant.

Lyrics are only half of the equation

I think the lyrics to Primer Coat are really good, but I hate the melody and arrangement

Primer Coat is the total package for me

I get it, I'm in the minority, but the music (minus lyrics) is bottom 3 Cooley for me

Zip City wrote: ↑

Mon Oct 05, 2020 11:35 pm

I get it, I'm in the minority, but the music (minus lyrics) is bottom 3 Cooley for me

The song is called Primer Coat. I think the music fits it well.