Re: Wilco's new horizon
On Sat, 10 Apr 1999 00:06:42 +0100, Stevie Simkin wrote: (Max is doing a fine job in the Gourds With Freakwater as well. I hereby nominate Max Johnston as Sideperson of the Decade. ~Greg ___ Get your free, private email at http://mail.excite.com/
Re: Stevie, say what ..was Wilco's new horizon
Damn man, just say what you really feelg - Original Message - From: Stevie Simkin [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Sent: Saturday, April 10, 1999 6:30 PM Subject: Re: Wilco's new horizon Well, Sam summed it up pretty well for me. I can't stand any pink floyd, or sgt. peppers, and elo is good for a laugh now and then (sweet talkin woman, yaaay), but mostly I find them unbearable (and dont get me started on what Jeff Lynne did to Tom Petty, but it involves a metaphorical knife and metaphorical balls). This is pretty much why I can't stand Summerteeth. Oh, and the fact that it doesn't have two memorable melodies to rub together on it... Just my HO you understand... Stevie
Re: Wilco's new horizon
At 01:01 PM 4/10/1999 Terry Smith wrote: So how's that new Wilco record? Couldn't resist. Anyhow, I haven't heard it, but there's a formula that I understand applies to this record, and establishes, in my mind, whether it's any damn good. It goes like this: "Summerteeth" = ELO. and I replied with, among other smart-assed things: It doesn't sound anything much like ELO to me Terry, a good thing. David Cantwell also replied to Terry: the ELO period that Summerteeth is inarguably borowing from, and borrowing heavily--I say inarguably, because you only have to listen to A New World Record to hear the obvious similarities (see my ND review to get specifics) but also because Tweedy, as I've said before, has confirmed that ELO was one of the bubblegum sources Wilco itself heard in the record... So Terry, I apologize. And from my perspective it's definitely inarguable, since you'd have to put a gun to my head to get me to listen to A NEW WORLD RECORD. If I never hear "Telephone Line" (cringe) or "Livin' Thing" (wince) again, it'll be too soon. Matters of taste and all, and I sure don't want to tangle with the imposing Cantwell-Curry tag team. And thoughts of further discussion of the pop merits of ELO/Jeff Lynne give me a headache. g Amy, Stevie, et.al., all of a sudden I'm having second thoughts about SUMMERTEETH. Can I maybe come crawling over to your team? g b.s. n.p. Marty Brown WILD KENTUCKY SKIES "Time begins on Opening Day" -Thomas Boswell
Re: Wilco's new horizon
Bill just loves to disagree with me: Hmm, for a small hypothetical, if you removed the vocal track from all three Wilco records, and just listened to the instrumentals, you wouldn't find each record different from the other? (What's the degree of difference significant to your mini-analysis here? "Drastically different" is a self-justifying measure of judgement. And what constitutes a "breakthrough?") To me, BEING THERE sounds notably different from AM, the transition from twang-rock into twang-pop into the notably different pop stylings of SUMMERTEETH. Being There sounds mildly different from A.M. (which was poppier and less twangy than Bill is suggesting, to my ears) if you subtract the vocals, I guess, but it's a point on a continuum, not the sort of reinventing of a sound that so many critics made it out to be. What I've heard of Summerteeth sounds like the next point along the continuum; the production is the biggest difference, obviously. To put it differently, I'd say that: --for A.M., Jeff spent about five minutes writing each song, and the band spent about ten minutes on each song in the studio; --for Being There, Jeff spent about five minutes writing each song, and the band spent about a day on each song in the studio; and --for Summerteeth, Jeff spent about five minutes on the melody of each song and ten minutes on the lyrics, and the band spent about two weeks on each song in the studio. You'll note a certain similarity in the creative process for all three records. g I'm withholding full judgement until I've heard the whole record more than once, but for now, I give it an "it sucks." g I'll be holding my breath until the big light bulb comes on and the sheer brilliance (or even the barely-marginal OK-ness) of SUMMERTEETH reveals itself to you. g Geez, if you were the judge of most any Tweedy endeavor, I'd get a change of venue, begging your honor's pardon. I'm not sure it's accurate or justified to characterize me as a relentless Tweedy-basher. It's true that I didn't like them live, enough so that I don't plan to see them perform again. But I liked A.M. reasonably well and still listen to it from time to time. I liked parts of Being There very much and parts of it not at all, and I rarely find myself with the urge to listen to it. I love Mermaid Avenue, and though I'm more of a Billy Bragg fan than a Wilco fan, I like Jeff's songs on the record a lot too. Summerteeth, so far, just sounds like a big ol' muddle to me. Still, I remain convinced of Jeff's and Wilco's ability to make a great record; I just don't think they've done it yet. And I'll continue to pay attention to what he does, if not nearly as avidly as I do with his former bandmate. off to mow two yards, b.s. n.p. A Replacements overview show on KCUR. How about some "objective" analysis on that new Westerberg record? I just heard 3 tracks and they didn't suck, though I wasn't sure if it was my cup of tea. g I don't even pretend to be objective about Westerberg, but I've listened to the new record as open-mindedly as I can, and I think about half of it is almost embarrassingly bad. The other half, though, is probably Westerberg's best solo work, and it contains more (apparently) real emotion than I've heard in his previous solo work. It's not the masterpiece I hope he still has in him, but it's an encouraging step. --Amy
Re: Wilco's new horizon
PS: For the record, I don't hate ELO nearly as much as many others around these parts seem to; I love early (i.e. Syd Barrett-era) Pink Floyd, and though Sgt. Pepper is my least favorite Beatles record, I can't say I hate it either. Nonetheless, I still don't like Summerteeth. --Amy
Re: Wilco's new horizon
I can't stand any pink floyd or sgt. peppers Stevie Stevie my man, the Floyd I ain't even gonna touch, but The Pepper? As overrated as I think the album truly is, "A Day in the Life" is why rock means a damn thing (and may redeem the mediocrity which preceded it). If nothing else, McCartney's bass playing on the album is nothing short of breathtaking. Listen to even a silly song like "With a Little Help" and you can hear how Mac's bass runs were probably the equal of guys named Entwhistle. "Getting Better" is another beautifully arranged song featuring dynamite rhythmic accents and a testament to the album's unrealized potential. Lance . . .
Re: Wilco's new horizon
At 08:13 AM 4/11/1999 Mike Hays wrote: b.s. n.p. Marty Brown WILD KENTUCKY SKIES Weird, I had a listener call and request Marty Friday morning. In particular, anything from that CD. It's funny, because I've looked for that record for ages and couldn't find it, used even. Wasting time before I spent my afternoon mowing yards yesterday (don't you love Spring?g) I was at a local drug/discount store and found a "new" shrinkwrapped copy for $4.99. One of those happy record-geek moments. Marty's great. I know from sad experience that his last one, HERE'S TO THE HONKY-TONKS, was not up to his high standard, but I haven't heard a thing about him since. Anybody know if he's still working/recording? If trad's making a comeback as you hope Mike, there sure oughta be a place for Marty Brown in there. b.s. n.p. Dave Edmunds TWANGIN' same $4.99 deal as that record above. Haven't heard this since my cassette died sometime in the late 80's...g A lesser work by his standards, but some solid songs, and a great cover of "Baby Let's Play House". "Time begins on Opening Day" -Thomas Boswell
RE: Wilco's new horizon
At 08:13 AM 4/11/1999 Mike Hays wrote: b.s. n.p. Marty Brown WILD KENTUCKY SKIES Weird, I had a listener call and request Marty Friday morning. In particular, anything from that CD. It's funny, because I've looked for that record for ages and couldn't find it, used even. Wasting time before I spent my afternoon mowing yards yesterday (don't you love Spring?g) I was at a local drug/discount store and found a "new" shrinkwrapped copy for $4.99. One of those happy record-geek moments. Marty's great. I know from sad experience that his last one, HERE'S TO THE HONKY-TONKS, was not up to his high standard... One of those counter-conventional wisdom sorts of things, as that was made for a roots-oriented indie, while his earlier, generally better albums were made for MCA, several with Tony "Schizo" Brown producing/co-producing. Don't I recall having seen that he had some fairly recent law type troubles? Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Wilco's new horizon
So how's that new Wilco record? Couldn't resist. Anyhow, I haven't heard it, but there's a formula that I understand applies to this record, and establishes, in my mind, whether it's any damn good. It goes like this: "Summerteeth" = ELO. And since ELO = Crappy, pretentious, classical rock, therego "Summerteeth" = Crappy, pretentious classical rock. Or maybe it's called art rock. I forget. And Jerry, I will be checking my mailbox for letter bombs, so don't try anything! -- Terry Smith ps just saw "American History X" last night. Great film -- does anyone else think Edward Norton's the best young actor today? You can answer this question in a p.s. attached to a twang-oriented post, just so we don't get busted. I've been doing this for years, and never got caught once.
Re: Wilco's new horizon
At 01:38 PM 4/10/1999 Amy Haugesag wrote: So how's that new Wilco record? I rilly, rilly don't like what I've heard, and as others have said, I don't see how the record can be called a breakthrough, since it's not drastically different from Being There (which wasn't as drastically different from A.M. as writers and fans claimed at the time). Hmm, for a small hypothetical, if you removed the vocal track from all three Wilco records, and just listened to the instrumentals, you wouldn't find each record different from the other? (What's the degree of difference significant to your mini-analysis here? "Drastically different" is a self-justifying measure of judgement. And what constitutes a "breakthrough?") To me, BEING THERE sounds notably different from AM, the transition from twang-rock into twang-pop into the notably different pop stylings of SUMMERTEETH. I'm withholding full judgement until I've heard the whole record more than once, but for now, I give it an "it sucks." g I'll be holding my breath until the big light bulb comes on and the sheer brilliance (or even the barely-marginal OK-ness) of SUMMERTEETH reveals itself to you. g Geez, if you were the judge of most any Tweedy endeavor, I'd get a change of venue, begging your honor's pardon. off to mow two yards, b.s. n.p. A Replacements overview show on KCUR. How about some "objective" analysis on that new Westerberg record? I just heard 3 tracks and they didn't suck, though I wasn't sure if it was my cup of tea. g "Time begins on Opening Day" -Thomas Boswell
Re: Wilco's new horizon
Terry, your ELO premise is wrong. While the band's original records were equal, more or less, to crappy, pretentious, classical rock, the ELO period that Summerteeth is inarguably borowing from, and borrowing heavily--I say inarguably, because you only have to listen to A New World Record to hear the obvious similarities (see my ND review to get specifics) but also because Tweedy, as I've said before, has confirmed that ELO was one of the bubblegum sources Wilco itself heard in the record--is the late 70s period when the crappy and pretentious aspect gave way completely to a pure-pop approach. Perhaps that sound would be similarly dissed as slight and bubblegummy here but for sure, records like Face The Music, A New World Record and Out of The Blue were the antithesis of pretentious, classical rock. And, to my ears, the opposite of crappy too. But while ELO is clearly a major source here, the disc is not an ELO clone record--there's a lot of ELO contemporaneous stuff in there too (ABBA, Raspberries, Babys, etc etc etc) as well as more certain to be approved sources like solo Paul and John and Beach Boys and Big Star ya da ya da. Anyway, ELO sounds, arrangements and production approaches are always applied piecemeal and as needed, not duplicated outright. In other words, more than anything in regards to sound, Summerteeth understands one thing that solo John and Paul and Alex Chilton and Brian Wilson and Eric Carmen and so many other pop masters (Specter, Holland/Dozier/Holland, Leiber/Stoller, B. Sherrill, O. Bradley, Gamble Huff T. Bell, G. Martin and so on) have understood: great records are RECORDS--that is, studio creations--not just live performances. Hell though, influences are just one way of approaching the record; they certainly don't account for its artistic success. For example, for my money, ST destroys every album by ELO--which in its middle phase made a great deal of just fabulous pop music (and no, I'm not being ironic)--on a lyrical basis and is far more consistent musically too. But, then, that's not going to be too shocking to all those who would dismiss 70s pop out of hand anyway. --david cantwell
Re: Wilco's new horizon
ObWilco: I'm quite taken with Via Chicago. Yet to pass judgement on the rest of the record -- some nice sounds, though no songs have grabbed me. ObNorton, Amy sez: Primal Fear is the first and most striking example of that: a mediocre thriller with a more-than-usually smug and simpering performance by (ugh) Richard Gere, but I nonetheless taped it and have watched it repeatedly because Norton's performance is so breathtaking. I just wish he'd do some more good movies. I agree with this assessment for the most part, though I'd substitute the words "atrocious thriller" for "mediocre thriller". Rarerly have I seen so much acting talent (Norton, Francis McDormand, Alfrie Woodard and John Mahoney ) work with such a poor script. I'm astounded that it was based on a book -- it's one of the worst courthouse movies I've ever seen. Norton somehow pulled off an astonishing performance with a character that should have been laughable. Carl Z.
Re: Wilco's new horizon
i wonder how many people who like this album actually liked anything done by elo, or the sgt. peppers, or late period pink floyd. i mean, that's my problem in a nutshell. i can't stand "summerteeth" cause it sounds so much like an attempt to duplicate those things, which i loathe. big electronic overblown "pop". Well, Sam summed it up pretty well for me. I can't stand any pink floyd, or sgt. peppers, and elo is good for a laugh now and then (sweet talkin woman, yaaay), but mostly I find them unbearable (and dont get me started on what Jeff Lynne did to Tom Petty, but it involves a metaphorical knife and metaphorical balls). This is pretty much why I can't stand Summerteeth. Oh, and the fact that it doesn't have two memorable melodies to rub together on it... Just my HO you understand... Stevie
Wilco's new horizon
I have lurked around this lovely P2 land of make believe for long enough-now I must speak! I just picked up SummerTeeth and I am amazed the closed mindedness of many of the "critical reviewers" that make this place their cyber home. If musical maturation is worthy of disdain, well then I say lets all focus an evil eye on Wilco! So the man in front is tired of being pegged as an Alt. Country demi-god, can anyone with any soul really blame him? SummerTeeth shows what years of playing and writing can do for a band with the raw talent that brought us A.M-they get better and they grow musically. However, there will always be those who think that the universe should remain static, change bothers you folks. Well I say move over and make room for a new generation of music coming our way and it is seasoned with the sound of some bands that make Alt. Country fans feel like they are betraying their solid white trash roots. A sprinkle of Pink Floyd , just enough to mellow out the strong flavor of Beatles, and finish it off with big dollop of eighties pop and you have a sound that brings it all home for those of us too young to know that the music we loved in our youth apparently sucked! SummerTeeth is an omen of sorts, a sign that all is not lost-there are new and uncharted territories yet to be discovered and Jeff Tweedy and Wilco are just the guys to prove it. _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
Re: Wilco's new horizon
On Fri, 9 Apr 1999, Jezzy Larue wrote: I have lurked around this lovely P2 land of make believe for long enough-now I must speak! I just picked up SummerTeeth and I am amazed the closed mindedness of many of the "critical reviewers" that make this place their cyber home. Sometimes I wonder if these occasional out-of-nowhere outbursts from Wilco fans aren't part of some record-label PR ploy.g What in god's name are you referring to, Jezzy? I don't recall any recent dissing of the album. Are you sure you aren't referring to the Postcard list? Regardless, it's always a good idea to include specific examples of what you're talkin' about, instead of lumping folks together as part of some nebulous close-minded alt-country conspiracy.--don, a harder-than-hard country fan who actually likes (gasp!) the new Wilco
Re: Wilco's new horizon
What Don said. But what has really got my simple little mind all a-twist is how a band rehashing many old sounds (Beach Boys, Pink Floyd, Beatles, etc.) can be used to accuse people of being too static to accept a new horizon?? remember i am a Wilco sympathizer and applaud the new production. (although Summerteeth IS starting to bore me). But it is funny to talk of this being ground breaking when the High Llamas and a few other bands have already been copying Brian Wilson for years and when the concept itself is very retro. oh well, -jim On Fri, 9 Apr 1999, Don Yates wrote: On Fri, 9 Apr 1999, Jezzy Larue wrote: I have lurked around this lovely P2 land of make believe for long enough-now I must speak! I just picked up SummerTeeth and I am amazed the closed mindedness of many of the "critical reviewers" that make this place their cyber home. Sometimes I wonder if these occasional out-of-nowhere outbursts from Wilco fans aren't part of some record-label PR ploy.g What in god's name are you referring to, Jezzy? I don't recall any recent dissing of the album. Are you sure you aren't referring to the Postcard list? Regardless, it's always a good idea to include specific examples of what you're talkin' about, instead of lumping folks together as part of some nebulous close-minded alt-country conspiracy.--don, a harder-than-hard country fan who actually likes (gasp!) the new Wilco
Re: Wilco's new horizon
I'll repeat: sonically, I've found the new Wilco album to be one of the most interesting recordings of the year. It is amzingly intricate and just damned, interesting. Now you all know by now how much I like pop music and overproduction. So, it would be a natural that I would take to this record. Added to that, I usually pay the most attention to sound over lyrics. Thus, I like the record. Having said that however, lyrically I still find Tweedy to be his own worst enemy. I find the lyrics trite, uninteresting and in some cases, the violence denoted is downright repulsive. I find _Summerteeth_ to be a mixed bag. I appreciate the growth of the band and think their departure from alt-country is perfectly appropriate. It's a sonically stimulating record for me and it joins a collection ofother discs that I enjopy for the very same reason. Enjoyable, but I can't say it's going to make my "best of" list. Jerry Jerry Curry - Spectre Booking Independence, Oregon [EMAIL PROTECTED] In the Top 40, half the songs are secret messages to the teen world to drop out, turn on, and groove with the chemicals and light shows at discotheques. -- Art Linkletter
Re: Wilco's new horizon
In a message dated 4/9/99 3:51:21 PM Central Daylight Time, [EMAIL PROTECTED] writes: I just picked up SummerTeeth and I am amazed the closed mindedness of many of the "critical reviewers" that make this place their cyber home. Maybe we just don't like Wilco. Slim
RE: Wilco's new horizon
How do you get from this: A sprinkle of Pink Floyd , just enough to mellow out the strong flavor of Beatles, and finish it off with big dollop of eighties pop to this: there are new and uncharted territories yet to be discovered and Jeff Tweedy and Wilco are just the guys to prove it. in the space of a single paragraph? Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: Wilco's new horizon
Maybe we just don't like Wilco. speak for yourself, bub. NW
Re: Wilco's new horizon
In a message dated 4/9/99 5:36:05 PM Central Daylight Time, [EMAIL PROTECTED] writes: Maybe we just don't like Wilco. speak for yourself, bub. I am, bub #2. Multiple personality disorder. G Slim
Re: Wilco's new horizon
Tom Baker wrote: For me, Summerteeth just sort of lays there. When I have it on in the office, I oftentimes go for a long period of time after it has finished before I notice that there is nothing playing. It is, perhaps, the perfect background music - it stays in the background. Interesting. Though saying so on postcard gets me flamed, I find the cd pretty much unlistenable. And I used to be quite a fan of the band. Again, I have no problem that they've stowed away the pedal steels, fiddles and banjos (Max is doing a fine job in the Gourds), but the album bores and irritates me. I listened to it a few times, and hauled it out again after I read all these glowing reviews. I had to switch it off halfway cos it was bugging me so much. Not sure what went wrong. My guess it is poor quality control on the songwriting. The only tune I could sort of sing off the top of my head is a line or two of "Via Chicago" and that really bloody irritating "maybe all I need is a shot in the arm" line. The rest is a blur. Never have I had such a strong impression of critics' band-wagon-jumping as I have done with this cd. It seems that someone, somewhere, decided it was a classic, and everyone else has been repeating the mantra. It was like every critic and his dog calling "Being There" another "Exile on Main St." Excuse me? Sure, both are double albums, but that's about as far as that comparison will take you... Stevie
Re: Wilco's new horizon
On Sat, 10 Apr 1999, Stevie Simkin wrote: Never have I had such a strong impression of critics' band-wagon-jumping as I have done with this cd. Instead of maligning those who have a different opinion about the CD, you might just wanna chalk it up to different tastes. I very much doubt the likes of David Cantwell (who did an excellent job in the latest ND of articulating why he found the album so enchanting) are mindlessly jumping on any kind of critical bandwagon.--don
Re: Wilco's new horizon
On Sat, 10 Apr 1999, Stevie Simkin wrote: Never have I had such a strong impression of critics' band-wagon-jumping as I have done with this cd. Instead of maligning those who have a different opinion about the CD, you might just wanna chalk it up to different tastes. I very much doubt the likes of David Cantwell (who did an excellent job in the latest ND of articulating why he found the album so enchanting) are mindlessly jumping on any kind of critical bandwagon.--don Don, my love, you must admit there's a creepy unanimity among the critics regarding this release. There a definitely lemmings afoot.
Re: Wilco's new horizon
On Fri, 9 Apr 1999, JP Riedie wrote: Don, my love, you must admit there's a creepy unanimity among the critics regarding this release. There a definitely lemmings afoot. Hmmm. Well, I always find it interesting when folks perceive a "lemmings" affect when the music in question is something they don't personally like. I hope I'm not off-base here, John, but I assume you don't care for the new Wilco?g And to put the shoe on the other foot -- I've no doubt that Stevie saw absolutely no lemmings when Trace was being praised to the skies, and most likely the same went for John when Sign O' The Times was being universally toasted. I assume both of 'em just chalked it up to the good taste of the reviewers (who were, after all, affirming their own good taste.g).--don
Re: Wilco's new horizon
Don Yates wrote: And to put the shoe on the other foot -- I've no doubt that Stevie saw absolutely no lemmings when Trace was being praised to the skies, Hmm. I posted on this topic on The Other List just a day or two ago. I think Trace would have slipped under the radar if the label hadnt decided to give it the big push (Drown video in heavy mtv rotation, leaning on the press, free Jay Farrar sad clown masks with each cd, that sorta thing). The fact that it made a lot of national press top 10 lists at the end of the year had a lot to do with the hype, which was fairly substantial for a band of Son Volt's marketability. My feeling is that the same has gone for Summerteeth, and that the label are giving the band the big push on this one. Of course, the difference is that Trace actually *deserved* the plaudits, whereas... oh never mind... g g Stevie
Re: Wilco's new horizon
On Fri, 9 Apr 1999, JP Riedie wrote: Don, my love, you must admit there's a creepy unanimity among the critics regarding this release. There a definitely lemmings afoot. Hmmm. Well, I always find it interesting when folks perceive a "lemmings" affect when the music in question is something they don't personally like. I hope I'm not off-base here, John, but I assume you don't care for the new Wilco?g And to put the shoe on the other foot -- I've no doubt that Stevie saw absolutely no lemmings when Trace was being praised to the skies, and most likely the same went for John when Sign O' The Times was being universally toasted. I assume both of 'em just chalked it up to the good taste of the reviewers (who were, after all, affirming their own good taste.g).--don I was too wasted to notice the critics when Sign O' the Time was released. I just listened to it for 6 months straight. Actually, and I realized I should have mentioned this first, Summerteeth is my favorite Wilco album. To me its a logical extension or companion to Mermaid Ave (which I think is wonderful) Being There sucked and A.M. was underwhelming. What bothers me is the lack of any real criticism (e.g. critical thinking) regarding this record. Instead we get universal raving "reviews" which sound like the writings of a cadre of wild eyed publicists. Or maybe Jenni Sperendeo. She's gonna kill me for that.
Re: Wilco's new horizon
Don, my love, you must admit there's a creepy unanimity among the critics regarding this release. There a definitely lemmings afoot. Like this is anything new? Critics tend to think like critics. Most of us have that same chip in our heads that makes us like music that most sensible human beings think is crap. Like Joe Henry, like Sparklehorse, like Sleater-Kinney, to name a few currently on my short list, and likely several others'. Oh yeah, and Wilco, which I think is just wonderful. Does that make me a lemming? Perceive as you may. I don't give a hoot. Off to buy a car, begrudgingly. Neal Weiss
Re: Wilco's new horizon
At 01:27 PM 4/9/99 -0700, you wrote: I have lurked around this lovely P2 land of make believe for long enough-now I must speak! I just picked up SummerTeeth and I am amazed the closed mindedness of many of the "critical reviewers" that make this place their cyber home. While I am a regular participant, usually more on Friday afternoon than the rest of the week, I find this group to be remarkably open minded. All of you openminded people, take a bow... If musical maturation is worthy of disdain, well then I say lets all focus an evil eye on Wilco! So the man in front is tired of being pegged as an Alt. Country demi-god, can anyone with any soul really blame him? Is your last name really Tweedy? Jeff, is this you using someone's e-mail account? Those of you who are still openminded, does anyone know if the very public distancing from twang was something that happened organically or was it a brilliant plan cooked up by the publicity folks at the label? SummerTeeth shows what years of playing and writing can do for a band with the raw talent that brought us A.M-they get better and they grow musically. However, there will always be those who think that the universe should remain static, change bothers you folks. You've been lurking how long? Weisberger liked the Earle album. How much more can you ask for in a single year. My goodness Mr. man, you are asking for the impossible! Where was I Oh yeah.. change.. static... were you talking about my clothes dryer? Oh, yeah... Well I say move over and make room for a new generation of music coming our way and it is seasoned with the sound of some bands that make Alt. Country fans feel like they are betraying their solid white trash roots. Uhhh, suburbs of Los Angeles here pal. Never lived in a trailer. Why don't you take your potty mouth elsewhere. Maybe you can find a folder on AOL titled Wilco RULZ! A sprinkle of Pink Floyd , just enough to mellow out the strong flavor of Beatles, and finish it off with big dollop of eighties pop and you have a sound that brings it all home for those of us too young to know that the music we loved in our youth apparently sucked! ::Yawn:: Oh, were you still ranting.. sorry, please continue... SummerTeeth is an omen of sorts, a sign that all is not lost-there are new and uncharted territories yet to be discovered and Jeff Tweedy and Wilco are just the guys to prove it. Someone cue the Star Spangled Banner. That was damn near patriotic! I'm tearing up I can't continue typing, I'm so moved. Let's give Jezzy a hand because he changed my mind! Feel free to participate, but DO NOT come in here and insult folks who have been part of this community for years. You are out of line. ::whispering:: hey everyone, this is where Jezzy either apologizes for being a putz or tells us all to fuck off. If it is the later, I can't wait for the ill-sent unsub ::whispering off:: Jeff (Not tweedy) weiss
Re: Wilco's new horizon
LOL, Jeff. Very nice response with a true P2 flair --junior
