Time: 48:20
File: MP3 @ 320K/s
Released: 2009
Styles: blues
Art: Front
1. Sintro (0:39)
2. Blues of Sin/Baby Love (5:13)
3. Reset Me Lord (5:11)
4. No One's Daddy (3:48)
5. 42 Blues (4:21)
6. Drinkin' or Drivin' (4:57)
7. The Little Things (3:16)
8. Count To Ten (3:35)
9. Meet Ze Monsta (2:42)
10. Rollin' and Tumblin' (4:24)
11. Wanna Be Your Dog (2:59)
12. Shut Up (4:25)
13. Purgatory Risin' (2:45)
Sooo, you think you know pat mAcdonald? I'm willing to bet not as well as you might presume. Well, click away, enter patworld and be prepared to be amazed, amused and to occasionally scratch your head and go WHAT ???
In the interstellar desert there is a milky way bone man navigating a highway that does not exist. He speaks with a searing harmonica, setting the guitar lines on fire like the yellow breaks separating the highway at dusk as they pass in a rhythm of 33 and a 3rd, boot heels on the floorboards of a haunted car.
My "official" recording career began in 1980 with the first Pat MacDonald & The Essentials album, Lowdown, released on 12" vinyl by Mountain Railroad Records, a regional indie headquartered in Madison, Wisconsin. The closing song featured a cameo vocal by my girlfriend at the time, Barbara Kooyman, who also co-wrote the music. It was the album’s only co-written song, ironically titled "Makin’ It On My Own."
A couple years later, with a growing musicality and greatly reduced surname, Barbara K joined The Essentials, playing fiddle and singing backup.
In the next two years, we married, had a child, and recorded the EP, Essentialist Propaganda before splitting off to form the duo Timbuk3 and moving to Austin, Texas. Our live rhythm section consisted of homemade drum and bass tracks played on a boom box. That’s when my "official" recording career took off.
Our debut, Greetings From Timbuk3, contained a crowd-pleasing carryover from The Essentials days called "The Future’s So Bright, I Gotta Wear Shades."
It went to Billboard’s top 20 and our little duo became an "overnight" success.
From 1987 through 1995, Timbuk3 made lots more albums but never followed up the hit. During that time, my main job (which I absolutely loved) was to keep
cranking out songs to make albums to fulfill recording contracts. We might have sustained the initial success longer if we’d toured more, but we enjoyed home life and home recording, investing the recording advances into equipment for our backyard studio. And that follow-up hit was always just a hook-laden chorus away.
But I wasn’t trying to write hits. And I wasn’t trying to write a hit when I wrote the hit. I was just trying to write songs. Well, I knew I could write songs, but now I was trying to write albums, and enjoying my work, my "official" recording career.
After Timbuk3’s breakup I moved to Spain and was provided the means to produce several more "official" projects for the German label, Ulftone. Many European critics said they were my best, most cohesive work yet. Troubadour of Stomp, my first U.S. label release in ten years (and perhaps my last label release ever) (I’m hating labels at the moment) has been getting similar reactions. No longer judged on "hit potential," I’ve been accepted as an "album oriented" artist. My job and my passion is making albums and this raises a need for certain songs at certain times.
Purgatory Hill MP3
