Patterson Hood “Murdering Oscar (And Other Love Songs) Review
Patterson Hood’s sophomore release, Murdering Oscar (And Other Love Songs), is a fascinating and in-depth look into his life; particularly in the wake of Drive-By Truckers’ success. While there are similarities in the sound, aesthetics and writing style between Murdering Oscar and DBT releases, this album thrives because of its deviation in lyrical content. And while DBT members assisted with Murdering Oscar and DBT producer David Barbe (who is touring with Hood and his backing band the Screwtopians) co-produced and appeared on the album, the vulnerability and intimacy of Hood’s personality is able to shine through.
There’s been talk about this record being “darker” than expected. And yes, there are some songs about death and murder, vengeance and redemption. But isn’t that part of the human condition? We all experience a range of emotions and Murdering Oscar represents such a dichotomy: Hood couples the good with the bad, heartbreak with new love, and loss with the birth of his daughter (who is now four).
Along with the intimacy and vulnerability the album emits, there is a maturity and realism which is also apparent. Hood has the ability to merge the past, the present, and the future into one cohesive and well-rounded collection of songs. He has claimed that he doesn’t really see himself as a singer/songwriter, but rather a “band man,” and perhaps that is why it was so natural for him to put together a rocking band for the record. Sentimental highlights for Hood don’t simply include appearances by friends and DBT members, but most notably his father David, whose credits include bass playing on the Staples Singers’ “I’ll Take You There” and trombone on James and Bobby Purify’s “I’m Your Puppet.” Hood has expressed that being able to finally record with his father means the world to him, and perhaps that had a went a long way in contributing to the mature nature of the record.
Murdering Oscar is an example of Hood’s remarkable ability to couple his creative style of storytelling with his disarming musical efficiency. It’s not indie. It’s not country. And you’d be mistaken in fully expecting a DBT sound. But Murdering Oscar is raw, it’s emotional, and it provides the listener access to Hood’s remarkable life. With the album we get to listen to bits and pieces from Hood’s last 15 years: a chronicle of his triumphs, struggles and musical compositions. It will take you to a front porch in Athens, GA with Patterson Hood, where you’re sipping gin and he’s telling you how the last decade has been. And chances are you’ll enjoy what he has to say.
[Review by guest contributor Veronica Munguia.]
