Clip: Chesnutt Wilco from the Boston Globe
Dunno if any of my old homies have already posted this, since I'm a little behind. Sorry if you've already seen it... ROCK NOTES Chesnutt and Wilco: works in progress By Jim Sullivan, Globe Staff, 04/23/99 About 10 years ago, Vic Chesnutt - singer-songwriter-guitarist - spent an evening he can't recall that well, but one that turned out to be fortuitous. He was playing before a smattering of people at a Nashville bar and had propped up a cardboard sign that read ''I suck: Tapes $5.'' ''That sounds like something I would do,'' muses Chesnutt, on the phone, earlier this week. ''I remember that. That's the show where I met Kurt [Wagner] from Lambchop. He says I talked to him; I don't really remember it. I was really drunk.'' Nevertheless - or perhaps because of this lapse - a friendship developed. Last year, Chesnutt collaborated with Lambchop, a 14-piece band, to make the haunting and gorgeous song cycle album ''The Salesman and Bernadette,'' the recollections of a lovelorn salesman, someone both similar to and different from Chesnutt, he says. ''For me it's very important to have the pull between the goofy and the pathetic, the sad and funny. That's what makes my music, I think. That's my whole thing. I know the South plays a very important role in my imagination. I love it and I hate it, and that's a lot to do with my personality, my schizophrenic nature in general, and the nature of my music.'' The shape of the album ''started after I knew I was recording with Lambchop,'' says Chesnutt. ''I started picking some old songs, writing some new songs, it turned into a song cycle, an exercise in collage portraiture. Like I was going around finding `found objects' and placing them on a big sheet of plywood, and arranging them in a portrait.'' ''I'm a big fan of Lambchop,'' he says. ''They're a big band that can play quiet. Their older records were meandering dirges and they progressed into a soul band and I like both sides. This album was a complete collaboration, and sounds like a Lambchop record in a way. They're friends, and I love 'em as people.'' Chesnutt says he had the time of his life playing 25 European shows with Lambchop. They're not on his current tour, where he's opening for Wilco (tonight at the Paradise), because they work day jobs and can't take the time off. This makes Chesnutt's solo show ''not as lush and beautiful,'' he says. ''When I play solo everything slows down a lot. I think you can see the song a lot more, it's more personality driven. Opening for Wilco is different, too. It's been great. At least half the crowd knows who I am and they're really quiet while I'm playing. I'm a short guy [a paraplegic, Chesnutt is confined to a wheelchair], and sometimes they can't see me in these packed rooms. It's heartwarming.'' In another lifetime, when he could walk, Chesnutt played keyboards in a Georgia band called the La De Das. When he was 18, while drunk, he smashed his truck into a ditch and irreparably damaged his spinal cord. In order to play guitar, Chesnutt superglues guitar picks to a glove on his right hand. Has his technique improved over time? ''No,'' he says. ''I have good days and bad days. Sometimes, I think I make breakthroughs but it's all physicality: Sometimes my fingers don't work. It used to horrify me and the show would fall apart, but I learned to play through it, learned to just not let it affect me. The crowd loves it. They come up and say, `You're so real.' They don't see people [mess] up like that that often.'' Chesnutt, says Wilco singer-guitarist Jeff Tweedy, is '' a sweet guy. I love his music. I think he's one of the best lyric writers around. It's inspiring.'' Over the past few years, the Chicago-based Wilco has been regarded as one of the alternative country-rock standard bearers. But, perhaps, that tag needs revising, at least if the music on their latest effort, ''Summer Teeth, '' is any indication. Tweedy says the expansive, wide-ranging disc is the result ''of a band that's been traveling so much the past three years, really becoming a band. We wanted to go into the studio and hear something that sounded like us, and a bit like the Beach Boys and Beatles. We really used the studio and took our time. I think we succeeded on most songs, and came up with something kinda unique.'' That was the result. Did they discuss a plan to cover so much musical territory? ''Just a little bit,'' says Tweedy. ''In general, we just wanted to put stuff on tape that would excite us at the end of the day. I wish I had some good snappy answers, but it's just something that evolved.'' They actually completed most of ''Summer Teeth'' before they went in to record the Grammy-nominated ''Mermaid Avenue'' with Billy Bragg, the collection of unearthed Woody Guthrie songs. What Tweedy took away from working with Bragg was this: ''I took away some confidence as a writer - write things down, don't worry about editing.''
Re: Clip: Chesnutt Wilco from the Boston Globe
Bob, thanks for posting that. Deb
Summer Teething (was Wilco @ Pearl Street)
In all fairness I should give Summer Teeth a good listening before passing judgement BUT many of the songs Monday night in concert seem to be mere exercises in pop song writing. New material is hard enough to get across to an audience but IMO when pop doesn't rock it can easily flat. And this audience wanted badly to rock. Beyond the unfamiliarity factor, the audience simply wanted the old Wilco back. Even the Mermaid Avenue constitutes as old Wilco these days. Not to say that the crowd didn't respond positively to some of ST but when the band dished out the old, the audience responded. And ONLY THEN did the band seem loose. Maybe they're still trying to feel their way around the new material. Unfortunately the Canadians hecklers was just the excuse Tweedy need to unleash his "tude" for the evening. After letting these guys get away with this shit a whole night it seemed inappropriate for security to come down on them so late in the evening. I didn't see any recording equipment as was suggested. The sad part is that these hecklers will remember this concert quite differently.
RE: Summer Teething (was Wilco @ Pearl Street)
-Original Message- From: Jeff Sohn [SMTP:[EMAIL PROTECTED]] Beyond the unfamiliarity factor, the audience simply wanted the old Wilco back. Even the Mermaid Avenue constitutes as old Wilco these days. Not to say that the crowd didn't respond positively to some of ST but when the band dished out the old, the audience responded. And ONLY THEN did the band seem loose. Maybe they're still trying to feel their way around the new material. [Matt Benz] Ok, but how is this different from how audiences typically respond to an act that has several albums to its credit? Isn't the history of rock music littered with stories of bands trying to do something they find artistically different and pleasing, only to have the audience scream for "Satisfaction!" "You Really Got Me!" "Radio Free Europe!" "Chickamauga!" "What's with this opera shit? Play fuckin' My Generation!" etc..
Wilco in Chicago
Hi, sorry to bother everyone, but I was wondering again if anyone has an extra ticket, or two, for this show...??? Please e-mail me if so. I can pay whatever. love, A/D [EMAIL PROTECTED]
Re: Wilco @ Pearl Street
Tweedy actually stopped the song completely: "You know, I don't care how
fucking far you drove to see us. You don't give the band directions."
And really, for me, that sort of sums it up. Abstaining Tom caught these
details about these guys, and I wonder how much patience on-the-wagon Tweedy
needed to have with these obnoxious idiots. If the club can't take steps to
quiet, or remove drunken-stupid patrons who are disrupting the performance, I
can't blame the performer for getting pissed-off enough about it to "break
character", so to speak.
b.s.
Yeah, I should have mentioned that hecklers can really screw up your
groove and take the steam out of the act of performing. I've always been
in bands that would either have come down off the stage and whipped the
guy's ass and then gone back and resumed playing, or acoustic songwriter
stuff like Kimmie does where the people who are there are generally
there to listen to her, and if they are not they are quickly escorted
elsewhere.
Kimmie handles them well when she does get them, however, because she is
so much more verbally facile than most people; she always manages to
shut them up by turning it around on them and embarrassing them in about
two seconds.
I do think that if you are an act that tends to attract noxious drunks
then it would be good to develop a strategy other than letting it ruin
the show for everybody. That's what bouncers are for, if you can't
handle it from the stage pretty fast. The problem is that if the act
comes across as the heavy ("get this asshole out of here") then the
crowd can turn on you. The solution is to talk to the bouncers before
the show and ask them to remove people once they get to the point that
they have caused you to stop what you are doing more than one time.
--
Joe Gracey
President-For-Life, Jackalope Records
http://www.kimmierhodes.com
Hecklers, was: Wilco @ Pearl Street
My favorite "shut up" line was from Henry Rollins of Black Flag: "Lose the 'tude, dude."
Re: Hecklers, was: Wilco @ Pearl Street
At 09:22 AM 4/21/99 -0700, you wrote: My favorite "shut up" line was from Henry Rollins of Black Flag: "Lose the 'tude, dude." A good shut up line, no doubt, but if reversed and shouted at Rollins instead, it would make a more than appropriate heckle. --david cantwell
RE: Hecklers, was: Wilco @ Pearl Street
-Original Message- From: David Cantwell [SMTP:[EMAIL PROTECTED]] "Lose the 'tude, dude." A good shut up line, no doubt, but if reversed and shouted at Rollins instead, it would make a more than appropriate heckle. --david cantwell [Matt Benz] A heh heh heh.
Wilco @ Pearl Street
Last night, fellow P2-er/Albany denizen Jeff Sohn and I saw Wilco with Vic Chesnutt at Pearl Street in Northampton, Mass. A couple of random drive-by observations: Some of Wilco's new pop songs are OK, but overall I wasn't impressed by the new stuff. I can't see myself humming any of them in the shower, which is my simplest criterion for a good, catchy pop tune. On the other hand, the new material did seem to attract a younger crowd as compared to the last time I saw them. Lots of college kids. Of course, Northampton is a college town, but there's usually a wider range of ages at Pearl Street shows. I was surprised by how many of the younger folks recognized the Uncle Tupelo material. I wonder how well their records sell now as compared to when they were together? Maybe Tweedy's getting road burnout, but for most of the evening, he looked like he'd rather be almost anywhere but onstage. I know life on tour can be a drag, but am I expecting too much when I think a performer should at least try to look like they're having a good time? He finally broke out of his funk when he got pissed off at a couple of drunks in the front row. They wanted him to speed up "New Madrid", so he deliberately slowed it down to spite them. The rest of the audience got a kick out of it, and it was the most engaged I'd seen Tweedy all evening. So there's my off-the-cuff review. On Thursday, it's back to Northampton to hear Kelly Willis with Bruce Robison at the Iron Horse. We'll be sending a full Albany P2 delegation (Jeff, myself, Evan Cooper and assorted wives and friends). Stay tuned...
Re: Wilco @ Pearl Street
On Tue, 20 Apr 1999 [EMAIL PROTECTED] wrote: Some of Wilco's new pop songs are OK, but overall I wasn't impressed by the new stuff. I can't see myself humming any of them in the shower, which is my simplest criterion for a good, catchy pop tune. Agreed. With the exceptions of "ELT" and "nothingsevergonnastandinmyway(again)", most of the new material had some trouble getting off the ground. I like the new album a lot, but my impression was that the band had to try *way* too hard to get the songs working on stage. Most of the renditions of the new songs were pretty close to the album versions, double keyboard parts and all (courtesy of Leroy, whose last name I didn't catch). My gut feeling is that trying to replicate the extremely studio-massaged nature of the newer songs on stage might not be the greatest idea. Those people who have seen or heard Tweedy's acoustic performances of "Via Chicago" and "She's A Jar" know how affecting those songs can be when they're stripped down and allowed to breathe a bit. I think the new material could benefit a lot from the same approach, perhaps even going so far as to eliminate the extra instrumentalist. To be fair, I'm sure the band is still learning their way around staging the new songs; even more to the point, I'm sure they're experimenting a bit with these shows, trying to shake out their material for the summer tours. There were also some sound problems at Pearl St., at least near the front; for the first four or five songs (all _Summer Teeth_ tracks), the keyboards and Jeff's voice were *far* too loud in the mix, to the point that a blast of organ from Bennett would drown out just about everything else. Most of the mixing problems were gone by the end of the evening, but as most of the _ST_ songs were near the front of the set, we might not have heard them at their best. Maybe Tweedy's getting road burnout, but for most of the evening, he looked like he'd rather be almost anywhere but onstage. I know life on tour can be a drag, but am I expecting too much when I think a performer should at least try to look like they're having a good time? He did look pretty tired. I'm willing to write that off as a by-product of the strange zigzags the East Coast swing is taking, which necessitate a lot more road time than might otherwise be necessary. He finally broke out of his funk when he got pissed off at a couple of drunks in the front row. They wanted him to speed up "New Madrid", so he deliberately slowed it down to spite them. The rest of the audience got a kick out of it, and it was the most engaged I'd seen Tweedy all evening. I'm glad he said something to them; they'd been pretty obnoxious throughout the show. (From what I could tell, they'd driven down from Ottowa and presumably are following the band for a few shows at least.) Jumped up on stage to dance during "Hesitating Beauty", tried to put a hat on Jeff's head while he was playing (which he did *not* appreciate), pestered Jay to smoke more, threw t-shirts up on the stage...I'm glad they enjoy the band, but there's a fine line between being a fan and being a nuisance. Did anyone see why the security guy dove at one of them from across the stage during the encore? I think he was confiscating recording gear, but there were a couple of people in the way and I couldn't clearly see what was going on. Tweedy actually stopped the song completely: "You know, I don't care how fucking far you drove to see us. You don't give the band directions." Amen. Overall, it was a rough-edged but satisfying show; I'm looking forward to their Friday show at Boston's Avalon to see whether the new songs are improved by Avalon's generally excellent sound and lighting. Tom Stoodley
Re: Wilco @ Pearl Street
[EMAIL PROTECTED] wrote: I know life on tour can be a drag, but am I expecting too much when I think a performer should at least try to look like they're having a good time? I saw Jeff and Jay perform a few songs last week at some club across the street from Wrigley Field as part of WXRT's annual Cubs Opening Day party that features the Waco Brothers. Granted, it was about 8:30 AM when they went on, but they even made comments about how it might have been a mistake for them to have agreed to perform. They were very gracious and personable on the street after the show, but I was a bit put off by their comments onstage. Jeff even called the radio DJ/morning guy an "aristocrat" because he mentioned he had recently read an article in the New York Times which quoted Tweedy as saying that his favorite radio show was some show on WXRT, which Tweedy then admitted that he had never even listened to but had heard it was good. Seeing that and thinking about all of the Wilco and UT shows I have seen, I began to wonder how much of this is posturing. He seemed to really be enjoying himself onstage with UT and on the AM tour, but beginning with Being There, he seems to have become the disenchanted rock star. Chad ** Chad Cosper Dept. of English Univ. of North Carolina at Greensboro 336-275-8576 http://www.uncg.edu/~cscosper
Re: Wilco @ Pearl Street
Tom Stoodley noted in response to Kevin Fredette's observation: Maybe Tweedy's getting road burnout, but for most of the evening, he looked like he'd rather be almost anywhere but onstage. I know life on tour can be a drag, but am I expecting too much when I think a performer should at least try to look like they're having a good time? He did look pretty tired. I'm willing to write that off as a by-product of the strange zigzags the East Coast swing is taking, which necessitate a lot more road time than might otherwise be necessary. Joe Gracey replied: I can't recall one time in my life when the road hassles spilled over onto our stage performance. After all, that's where it all becomes worthwhile. I'd say it sounds more like Tweedy just doesn't like to perform much, or he'd snap out of it and enjoy himself. and Chad Cosper noted: thinking about all of the Wilco and UT shows I have seen, I began to wonder how much of this is posturing. He seemed to really be enjoying himself onstage with UT and on the AM tour, but beginning with Being There, he seems to have become the disenchanted rock star. The issue of what kind of performance and stage demeanor a performer "owes" an audience and their best presentation of their work is an important one to me. I've heard some bad stories about Tweedy's petulant stage demeanor, though I've never seen it myself. But how the audience's bad behavior affects the performance needs to be taken into account. At the recent Steve Earle/Del McCoury Band show, Steve got into it with the apparently drunken guy who kept shouting for "Copperhead Road". Earle worked it into his performance (sort of annoyingly to me-I couldn't hear him in front but apparently Earle could), staring at the guy during songs, walking to that side of the stage away from the action, refusing to just let it go. Finally he had to let the guy have it "did you really think I wasn't gonna play this you stupid %^$#@!?" but Tom had previously said to Kevin's observation: He finally broke out of his funk when he got pissed off at a couple of drunks in the front row. They wanted him to speed up "New Madrid", so he deliberately slowed it down to spite them. The rest of the audience got a kick out of it, and it was the most engaged I'd seen Tweedy all evening. I'm glad he said something to them; they'd been pretty obnoxious throughout the show. (From what I could tell, they'd driven down from Ottowa and presumably are following the band for a few shows at least.) Jumped up on stage to dance during "Hesitating Beauty", tried to put a hat on Jeff's head while he was playing (which he did *not* appreciate), pestered Jay to smoke more, threw t-shirts up on the stage...I'm glad they enjoy the band, but there's a fine line between being a fan and being a nuisance. Did anyone see why the security guy dove at one of them from across the stage during the encore? I think he was confiscating recording gear, but there were a couple of people in the way and I couldn't clearly see what was going on. Tweedy actually stopped the song completely: "You know, I don't care how fucking far you drove to see us. You don't give the band directions." And really, for me, that sort of sums it up. Abstaining Tom caught these details about these guys, and I wonder how much patience on-the-wagon Tweedy needed to have with these obnoxious idiots. If the club can't take steps to quiet, or remove drunken-stupid patrons who are disrupting the performance, I can't blame the performer for getting pissed-off enough about it to "break character", so to speak. b.s.
RE: Wilco @ Pearl Street
Bill Silvers said: But how the audience's bad behavior affects the performance needs to be taken into account. I totally agree. An indifferent or drunkenly annoying crowd can't expect the band to be having a good time. But other than the two drunk guys I mentioned earlier, the crowd as a whole was clearly supportive: dancing (or at least head-bopping), singing along, applauding loudly, etc. If Jeff couldn't have a good time with us, he should check his pulse ;-) If the club can't take steps to quiet, or remove drunken-stupid patrons who are disrupting the performance, I can't blame the performer for getting pissed-off enough about it to "break character", so to speak. Just for the record: what I was saying in my original post was that I was actually glad to see Tweedy lose patience with the drunken Canadian guys. It was the first time all night that he'd shown any interest in the whole concert. It was after he told them off that he seemed to loosen up and have some fun. Normally I would say that people like that should be a bouncer's first target, but last night they actually served a purpose. It's just too bad that Jeff couldn't have been having more fun all along. It goes back to what Joe Gracey said earlier: it really looks like the guy doesn't enjoy performing.
Re: Wilco @ Pearl Street
Bill comments: And really, for me, that sort of sums it up. Abstaining Tom caught these details about these guys, and I wonder how much patience on-the-wagon Tweedy needed to have with these obnoxious idiots. If the club can't take steps to quiet, or remove drunken-stupid patrons who are disrupting the performance, I can't blame the performer for getting pissed-off enough about it to "break character", so to speak. Missed alot of the thread, but stood, oh about 5 feet to the right of the Ottawa crew... Tweedy was actually quite tolerant for the whole show...as they were buggin' the shit out of him from the end of the set opener to the end of the second encore... I felt bad for him. Heck, he was even trying to be kind to them (he mentioned earlier in the show that they had travelled quite a bit to get to the show, etc...) He looked a little vulnerable up there to boot (as he really didn't seem to know what to do about them). So, as Tom had mentioned, Jeff finally snapped and just stopped the number as the threesome demanded quite loudly that they should speed up "New Madrid", scolded them proper and launched into a blues tinged slow burn rendition...Funny. So, to address your last statement Bill...I agree. He was more than justified... Morgan "However, I do wish Mr. Tweedy looked like he wanted to play for us folks that paid $17.50 a pop"
Re: Wilco @ Pearl Street
In a message dated 4/20/99 2:38:17 PM EST, [EMAIL PROTECTED] writes: It has struck me that Tweedy has gotten to be much more of an attitude performer as the years have rolled on. In UT, he was quite the ray of sunshine and the entertaining one compared to Farrar, and he continued to have an entertainer's approach and worked his intrinsic charm during the early Wilco tours. Last couple of years, however, as best I've been able to observe it, he has definitely caught the artiste bug, in terms of his performance style. I dunno tho, sure he might be more the artiste nowadays, but I still think he tends to be very charming onstage. At least I've never seem him be anything but. I even saw him do an acoustic performance once in LA before AM came out where he was sick from bad Mexican food. He had to excuse himself more than once to use the facilities, much to the amusement of Jay Bennet. And more recently, on the Golden Smog tour, he was bar far the most charismatic performer on that stage. Anyhoo. Neal Weiss
Re: Wilco @ Pearl Street
jr. "on the money" It has struck me that Tweedy has gotten to be much more of an attitude performer as the years have rolled on. In UT, he was quite the ray of sunshine and the entertaining one compared to Farrar, and he continued to have an entertainer's approach and worked his intrinsic charm during the early Wilco tours. Last couple of years, however, as best I've been able to observe it, he has definitely caught the artiste bug, in terms of his performance style. Which is too bad. I infinitely prefer performers who come out and do their best to "entertain" the audience. Looking like you want to play is part of the job, as I figure it I couldn't agree more...even if you're not a "showy" sort, a bit of passion would be nice. g But isn't performing live designed to entertain? Recorded material is one animal and playing it for folks is a way to highten the experience, a connection process if you will... When it's seemingly just a case of "going through the motions" for the performer, it automatically devalues that writer for me (or at least turns me a little cold for a spell)... I'm not pointing to Tweedy specifically either, if anyone in that position doesn't like what they do, or doesn't know anymore, or whatever, don't do it for a bit...Take some time off and kick back. Man, we've all had bad gigs, but shit, ain't this rock n' roll stuff supposed to be fun? morgan
Re: Wilco @ Pearl Street
Neal: I dunno tho, sure he might be more the artiste nowadays, but I still think he tends to be very charming onstage. At least I've never seem him be anything but. I even saw him do an acoustic performance once in LA before AM came out where he was sick from bad Mexican food. He had to excuse himself more than once to use the facilities, much to the amusement of Jay Bennet. And more recently, on the Golden Smog tour, he was bar far the most charismatic performer on that stage. Well, that's good to hear...he doesn't seem like a bad bloke at all, and I hope some of these recent observations are just arbitary instances... His music is reaching far wider audiences now more than ever, he's got some big tours this summer, etc. That shouldn't be the key to happiness or anything, but it'd be nice to see him enjoy a bit of his success... morgan
Re: Wilco @ Pearl Street
At 4:18 PM -0400 on 4/20/99, [EMAIL PROTECTED] wrote: I dunno tho, sure he might be more the artiste nowadays, but I still think he tends to be very charming onstage. At least I've never seem him be anything but. I even saw him do an acoustic performance once in LA before AM came out where he was sick from bad Mexican food. He had to excuse himself more than once to use the facilities, much to the amusement of Jay Bennet. And more recently, on the Golden Smog tour, he was bar far the most charismatic performer on that stage. I'm with Neal. It's no secret that I'm just not interested in anything Tweedy is doing, but while I was going to shows learning that bit of wisdom, I always thought he was having himself a grand old time. I can separate my reaction to the performance from the performance, and I'd never say he was phoning it in. Bob
wilco and vic
A review of last night's show - with a tip o' the Hee-Haw straw hat to David Cantwell for the illumination of the ELO emulations on Summer Teeth. Carl W. * * * WILCO WITH VIC CHESNUTT at The Guvernment on Saturday by CARL WILSON The Globe and Mail, Toronto I n a certain light, Jeff Tweedy's career - ever since his teenage group the Primitives in Belleville, Ill., metamorphosed into the legendary late-eighties band Uncle Tupelo - has been a struggle to address the question of what to do if it's not possible to play punk rock anymore. Uncle Tupelo's answer, famously, was to mine the distant past: With partner Jay Farrar (now of Son Volt), Tweedy combed old-time country music for sounds that could resonate in the postindustrial Rust Belt. But when Tweedy formed Wilco, he changed tactics. Wilco's alternative to "alternative" is pop music, the 1970s top-40 sound of Tweedy's childhood, from Cheap Trick to - prominently on Wilco's just-released third album, Summer Teeth - the power-pop period of the Electric Light Orchestra. It's a nervy strategy, and its potential and its failings were evident in equal measure at Wilco's early-evening, sold-out show on Saturday at The Guvernment. In a long set that included double-keyboard sugar shocks, a veritable army of guitars, more than enough rock-outs and a passel of "ooh-aah" vocal fillips, waves of pure elation were followed by bland washouts. Tweedy, the man with the most earnest eyebrows in rock 'n' roll, was consistently watchable, remarkably engaged with every line of every song considering the group's punishing tour schedule. The best tunes from Summer Teeth, including Can't Stand It, Via Chicago and A Shot in the Arm, seemed so fresh that you could imagine a new generation of 11-year-olds pumping up the radio volume and posturing to them in front of their bedroom mirrors. Yet in a few songs from 1998's Mermaid Avenue - a collaboration with Billy Bragg in setting lyrics from Woody Guthrie's notebooks - Tweedy discovered much wider thematic territory than he manages to cover in his own writing. The results are musical pearls such as Hesitating Beauty and California Stars, which was received like the time-burnished classic it deserves to be during the otherwise-excessive double encore. Much of the time, however, the samey songs seemed undeserving of the band's prodigious energies, and the hard-core fans' hunger for more thick-necked rock-show gestures left one wondering whether Tweedy would ever fully liberate himself from one or another form of nostalgia. None of those 11-year-olds will ever find out how cool he is if he keeps pandering to the pushing-40 punters. By contrast, Vic Chesnutt, in his opening set - sitting alone in his wheelchair, wrist braces limiting his electric-guitar work, his poignant voice nearly lost in an inadequate sound mix in the cavernous club - served no earthly master, not even himself. The Virginia songwriter specializes in acidic wordplay (he writes like a maudlin-drunk Dr. Seuss), and the barely-there accompaniment let the few people who had the courtesy to listen luxuriate in such lyrical loopdiloops as, "We blew past the army motorcade/ And its abnormal load haulage/ The gravity of the situation/ Came on us like a bit of new knowledge." The shocker here was the reputed misanthrope's easygoing generosity: After a few pieces from his new album The Salesman and Bernadette, Chesnutt bantered with the crowd to determine what songs he'd play next. And frequently, almost casually, with his Valley-of-Demerol death-croak on Supernatural or his teetering, lonesome croon on Where Were You?, Chesnutt hit emotional depths that Tweedy, so far, is just a touch too calculating ever to find.
Re: wilco and vic
That was gorgeous, Carl. man, what the hell am I doing in this business. . . Linda
SOTD (was re: Wilco)
Greg Harness wrote: I hereby nominate Max Johnston as Sideperson of the Decade. No contest: Greg Leisz. Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: SOTD (was re: Wilco)
No contest? What about Benmont Tench!? -Original Message- From: Dave Purcell [EMAIL PROTECTED] To: passenger side [EMAIL PROTECTED] Date: Monday, April 12, 1999 9:53 AM Subject: SOTD (was re: Wilco) Greg Harness wrote: I hereby nominate Max Johnston as Sideperson of the Decade. No contest: Greg Leisz. Dave *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: SOTD (was re: Wilco)
Excerpts from internet.listserv.postcard2: 12-Apr-99 SOTD (was re: Wilco) by Dave [EMAIL PROTECTED] I hereby nominate Max Johnston as Sideperson of the Decade. No contest: Greg Leisz. Lloyd Maines. Carl Z.
Chicago Radio -- Wilco On WXRT
Don't recall if this has been mentioned here: SOUND OPINIONS Tuesday Nights at 10PM With Jim DeRogatis, Greg Kot and Marty Lennartz APRIL 13 "WILCO Live in the Studio." On the heels of their critically acclaimed new album, "Summerteeth," Jeff Tweedy and the members of WILCO drop by to perform some songs and to answer listeners' questions. Plus GREG's selection for the Desert Island Jukebox. TWM === -- Tom Mohr usually here: [EMAIL PROTECTED] sometimes here: [EMAIL PROTECTED] _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
RE: SOTD (was re: Wilco)
On Mon, 12 Apr 1999 11:55:05 -0400, Jon Weisberger wrote: Uh, what are the criteria here? Criteria? We don't need no stinkin criteria!! g If we're going to make this official, how about this: The Sideperson of the Decade (SOTD) is the musician who has appeared in a supporting role for multiple P2-related artists or groups during the years 1990 through 1999. The SOTD should be a musician best known for supporting roles as opposed to a solo artist who primarily makes albums under his or her own name but occassionally sits in with others. By this criteria, musicians like the aforementioned Max Johnston, Lloyd Maines, Greg Leist, and Benmont Tench would be eligible. Steve Earle (who has done side work for Cheri Knight and Bap Kennedy but is best known for his own records) would not. How's that sound? Anybody want to actually keep score? g ~Greg ___ Get your free, private email at http://mail.excite.com/
Re: SOTD (was re: Wilco)
In a message dated 4/12/99 10:57:22 AM Central Daylight Time, [EMAIL PROTECTED] writes: Uh, what are the criteria here? none whatsoever. Just pure subjective interpretation. Try it sometime! Slim np: Restless Wind: The legendary Billy Joe Shaver
RE: SOTD (was re: Wilco)
Sorry to be dense about this g, but are you talking about studio musicians, or folks who have toured with various acts, or both? If the idea is to include the former, exclusively or otherwise, then it seems to me you'd have to start with Paul Franklin, Brent Mason, Stuart Duncan and maybe Rob Hajacos. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
Re: SOTD (was re: Wilco)
In a message dated 4/12/99 8:52:55 AM Central Daylight Time, [EMAIL PROTECTED] writes: I hereby nominate Max Johnston as Sideperson of the Decade. No contest: Greg Leisz. I vote for Buddy Miller. Slim
RE: SOTD (was re: Wilco)
Dunno... If I read the thread correctly, Slim just referred to it being pure subjective interpretation... Hopefully he was talking about this list. g If not, let's take his cue and run with anything goes... Morgan At 01:30 PM 4/12/99 -0400, you wrote: Sorry to be dense about this g, but are you talking about studio musicians, or folks who have toured with various acts, or both? If the idea is to include the former, exclusively or otherwise, then it seems to me you'd have to start with Paul Franklin, Brent Mason, Stuart Duncan and maybe Rob Hajacos. Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: SOTD (was re: Wilco)
Paul Franklin, Brent Mason, Stuart Duncan and maybe Rob Hajacos Aren't these the guys responsible for almost every record that comes out of Nashville? Jim, smilin'
Re: SOTD (was re: Wilco)
In a message dated 4/12/99 2:20:01 PM Central Daylight Time, [EMAIL PROTECTED] writes: Do I know how to bait Mr. Weisberger or what? g That was too easy. I think he is losing his edge these days, Jim. too easy to flame and never quick enough on the rebound. Maybe we should leave the old guy alone. Slim - smilin' too
RE:Aren't you a sweetie!(Was Wilco...)
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 No, I will stay on thank you. I quite enjoy the wealth of knowledge concerning music that can be found here. Unless, of course, I can get kicked out for pissing you off, kind Sir. And I think when I do unsub, I will be able to figure it out. My apology, that you so rightly anticipated, was for inadvertently insulting the folks in this community, and I guess if apologizing is lame well so be it. But you my friend are much ruder than even I, in my ignorance of the etiquette here, ever was. So there! -Jezzylarue _ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
Re: Aren't you a sweetie!(Was Wilco...)
In a message dated 4/9/99 8:43:08 PM Central Daylight Time, [EMAIL PROTECTED] writes: My apology, that you so rightly anticipated, was for inadvertently insulting the folks in this community, and I guess if apologizing is lame well so be it. That's mighty big of you. I have been fighting with the P2 intelligencia for almost 2 years, and love almost every minute of it. Can't say they do, but what the hell... Welcome to the jungle. Slim
Wilco in Chicago 5/7
Anyone who is going to this show, or thinking about going, please let me know off list... [EMAIL PROTECTED]
Wilco on Letterman
Hope this one is alright Don. g Wilco is on Letterman next Monday. It was good to see everyone again this year although my recollections are foggy at best. Something about having a song written about you drives you to drink even more than usual. Chad
insipid SPIN on Wilco
No wonder I cancelled my subscription to SPIN. Here's the first paragraph of their Wilco review, forwarded to me by a pal (and intended to piss me off, though it didn't because SPIN is such a joke). *** Jeff Tweedy is a big daddy in the alternative country movement, half the heart of original No Depressives Uncle Tupelo. While he's forged ahead with Wilco, his children have made mostly silly records, PBS country for people embarrassed by The Nashville Network. Wilco, meanwhile, managed to make the only masterpiece the genre's produced so far: Being There, which took Peter Laughner for a ride, picked up the Rolling Stones near Appalachia, and headed for a rendezvous with Neil Young in the Hotel Arizona. *** Dave np: hoop scores online *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
RE: insipid SPIN on Wilco
...PBS country for people embarrassed by The Nashville Network. Are we to take it, then, that SPIN isn't embarrassed by the Nashville Network? Or that it is, but it's embarrassed by PBS, too? Jon Weisberger Kenton County, KY [EMAIL PROTECTED] http://home.fuse.net/jonweisberger/
RE: insipid SPIN on Wilco
Jon Weisberger wrote: Are we to take it, then, that SPIN isn't embarrassed by the Nashville Network? Or that it is, but it's embarrassed by PBS, too? Doesn't matter. The people at SPIN are cooler than you and me either way, doncha know. Dave, whose also glad to see from that Buckner quote about NoDep that he's still an arse... *** Dave Purcell, [EMAIL PROTECTED] Northern Ky Roots Music: http://w3.one.net/~newport Twangfest: http://www.twangfest.com
Re: insipid SPIN on Wilco
Dave Purcell wrote: No wonder I cancelled my subscription to SPIN. Here's the first paragraph of their Wilco review, forwarded to me by a pal (and intended to piss me off, though it didn't because SPIN is such a joke). *** Jeff Tweedy is a big daddy in the alternative country movement, half the heart of original No Depressives Uncle Tupelo. While he's forged ahead with Wilco, his children have made mostly silly records, PBS country for people embarrassed by The Nashville Network. Wilco, meanwhile, managed to make the only masterpiece the genre's produced so far: Being There, which took Peter Laughner for a ride, picked up the Rolling Stones near Appalachia, and headed for a rendezvous with Neil Young in the Hotel Arizona. *** Oh Dave. See, they are so cool at Spin that they can write self-referential satire like this, knowing it will sail right over the heads of non-hipsters like yourself. It is satire, right? No one really writes this old disc jockey patter seriously, do they? Stuart NEW! IMPROVED!!
Wilco Review: Power Pop perspective
http://www.twomp.com/amplifier/summer_t.htm I haven't gotten it yet so I have no opinions. About anything. keep dancing, -ldk
Re: new Old 97's/new Wilco
Um, please tell me that this is the actual title of the song and not a cover of "Cash on the Barrellhead." Then again, if _that_ tune is the weakest on the disc it _must_ be pretty amazing. g No, it's not a cover but a Murry original, and IMHO, maybe the most interesting song on the album, sonically at least. This coming from a tireless O97s fan who's plenty disappointed in the album thus far. Neal Weiss
new Old 97's/new Wilco
I love the new Old 97's FIGHT SONGS! A great pop album but alt.country it is not. The weakest song, "Crash on the Barrellhead," is the most alt.country (and not a Rhett Miller song). I'm pretty well convinced that Rhett is the best pop lyricist of the past 5 years. Sometimes it's just great lines and sometimes, like "One Brown Shoe," its a great composition. The new Wilco is cool but not as immediately accessible as the Old 97's. Sure does sound like the Beach Boys. I admire Jeff Tweedy for being willing to risk failure and opening himself up to a lot of criticism. I work with someone who used to work in a record store with Jeff and I can already hear him making fun of a lot of aspects of SUMMERTEETH. Getting back to Old 97's, I've been trying to put together a best-of compilation but I'm having a dickens of a time sequencing it. I'd love to get some suggestions (and when I'm not falling asleep at the keyboard I'll post a couple of mine). Tony
Re: new Old 97's/new Wilco
I'm pretty well convinced that Rhett is the best pop lyricist of the past 5 years. Joe Pernice has more songwriting talent. So there.
Re: Wilco in Boulder
Does anyone happen to know the specific date of Wilco's show in Boulder, 1995? I just got a video copy of the show on loan for a few days, haven't watched it yet, and thought I'd ask before I did. Why? Who the hell knows? Thanks bunches. Lance . . .
Re: wilco (all over the place)
Hey, I was wondering if anyone knew exactly how long Wilco's All Over the Place EP is? Thanks, Lance . . .
Wilonsky on Wilco and the sleazy radio programmers
I started to post this article from the Dallas Observer but it is really long. If someone really wants to see it I will post it to the list. I haven't read it all but I have heard several folks are pretty steamed. http://www.dallasobserver.com/1999/current/music1.html Jerald NP: Mike Ness 4 song sampler-he covers "Don't Think Twice" and there is steel guitar on a couple of tracks.
Re: Wilonsky on Wilco and the sleazy radio programmers
On Fri, 26 Feb 1999, Jerald Corder wrote: I started to post this article from the Dallas Observer but it is really long. If someone really wants to see it I will post it to the list. I haven't read it all but I have heard several folks are pretty steamed. http://www.dallasobserver.com/1999/current/music1.html Wilonsky can be a jerk, but the music industry -- particularly the current sorry state of radio -- deserves every bit of scorn and ridicule that's heaped upon it. Sic 'em, Bob.--don
Re: Wilonsky on Wilco and the sleazy radio programmers
Jerald Corder wrote: I started to post this article from the Dallas Observer but it is really long. If someone really wants to see it I will post it to the list. I haven't read it all but I have heard several folks are pretty steamed. http://www.dallasobserver.com/1999/current/music1.html Interesting piece Jerald, thanks. But aside from Wilonsky's occasional editorializing, where's the controversy from it? b.s.
Re: Wilonsky on Wilco and the sleazy radio programmers
http://www.dallasobserver.com/1999/current/music1.html Interesting piece Jerald, thanks. But aside from Wilonsky's occasional editorializing, where's the controversy from it? b.s. There's a little steam rising over on Postcard. I would say that anyone who claims Jay Farrar has written not only the same album three times over, but the same song, what, 35 times over since forming Son Volt, doesn't really have a clue. In terms of the interview itself, I think some people wonder why Jeff Tweedy has to drag out the sour grapes every time Uncle Tupelo comes up in conversation. I do sometimes think it's about time he got over it, rather than inventing new ways of expressing the bitterness he feels towards Farrar every time. Oh well. Stevie np - Son Volt, Left a Slide. Which, if you think about it, sounds just like Route, Straightface and Way Down Watson...
Wilco Atlanta/Nashville dates
Howdy, hope this isn't old hat...I've fallen behind in my reading... Anyway, according to Pollstar, Wilco's signed up for two dates at the very beginning of March...they'll be playing Music Midtown in Atlanta 5/01 (Willie Nelson is scheduled for the night before, no less!), and the River Festival in Nashville 5/02. Start making plans for all your road trip needs (and let's hope Midtown doesn't schedule any really compelling artists for the 2nd!) For independent verification, or to see who else is playing these shows, here's the address: A HREF="http://www.pollstar.com/tour/an.cgi?Artist=Wilco"Pollstar -- The Concert Hotwire/A (if your e-mail will take the link) http://www.pollstar.com/tour/an.cgi?Artist=Wilco(if you have to do it the ol' fashioned way). The things I run across while trying to find the quickest way to Mardi Gras. =) -Marc Peterson
Re: Wilco (ST)
In a message dated 2/2/99 8:23:46 PM Central Standard Time, [EMAIL PROTECTED] writes: Or maybe Neutral Milk Hotel? good call! hadn't thought of that. lr
Re: Wilco (ST)
Lance wrote: Well, I've heard the Kinks, the Beach Boys, and the ubiquitous Beatles referred to, but does anyone else think of the Flaming Lips when they listen to this new album? Or maybe Neutral Milk Hotel? I'm not necessarily suggesting an influence here, but in their space-age orchestration and dense layering of sounds... Sure, but 'soon as you start talking about orchedelia bands like the Lips and especially NMH you're talking about the sixties-production, and especially Beach Boys, -influenced stream of 90s indie. I haven't heard the new Wilco (though the things I've read and the hopes that JT has learned something from the Mermaid Ave. experience make me more interested in it than I was in Being There), but I think there's something Brian in the water the past couple of years. Pre-millennial van dyke sparks. And Tweedy is nothing if not a well-tuned antenna for available pop options. (poptions?) carl w.
Wilco, Summerteeth
Hi all, Just got an advance of the new Wilco... Here's the track listing... 1. Can't Stand It (3:46) 2. She's A Jar (4:41) 3. A Shot In The Arm (4:18) 4. We're Just Friends (2:44) 5. I'm Always In Love (3:40) 6. Nothing'severgonnastandinmyway(again) (3:19) 7. Pieholden Suite (3:26) 8. How To Fight Loneliness (3:53) 9. Via Chicago (5:32) 10. ELT (3:44) 11. My Darling (3:37) 12. When You Wake Up Feeling Old (3:54) 13. Candyfloss (2:56) 14. Summer Teeth (3:19) 15. In A Future Age (2:57) Written, Produced and Performed by Wilco. ASCAP/BMI It also says sequence is subject to change... This is all on a sticker covering the original sequence, BTW... There's also a nice couple of paragraphs about the album on the sleeve... I like it... Some of the songs are sparse and dark, like "Blasting Fonda" and others are upbeat and catchier than they have any right to be... As said, piano and mellotron are featured not infrequently... Still on my first listen, but I like it... ..mike np: um, guess.
FWD: wilco
My only question: more mellow than the last album. I thought 'Being There' was pretty
darn mellow overall.
CD
--
Date: 2/2/99 7:26 PM
From: greg randall
Wilco Looks To Cut Its 'Teeth' On A Larger Audience
BY CARLA HAY
NEW YORK -- Wilco's folk- and country-influenced rock sound has
garnered cult status for the band. But with the March 9 release of the group's "Summer
Teeth" album, Reprise Records hopes to take Wilco to a level of even wider acceptance.
Wilco lead singer/songwriter Jeff Tweedy says, "I have no idea how people are going
to react to the new album. I certainly care, because making music is my livelihood.
But after I make a record,
that's the last thing I feel like thinking about: whether or not the new album will
sell more than the
last one."
The set's first single, "Can't Stand It," goes to triple-A on
Feb. 15.
The label will take the song to modern and album rock radio on
March 9.
Although "Can't Stand It" has an uptempo, rollicking feel,
"Summer Teeth," Wilco's third Reprise album, has a decidedly
more mellow sound than its predecessor, the critically acclaimed
1996 double album "Being There." The disc has sold 147,000
copies, according to SoundScan.
To increase awareness of the new album, Wilco will perform Feb.
17 at industry gathering Gavin Seminar in New Orleans. In March,
the band will be making promotional appearances in Canada and
New York, followed by Europe. In addition, Wilco is booked to
appear April 1 on "Late Show With David Letterman."
Wilco -- which includes bassist John Stirratt and drummer Ken
Coomer -- was formed in 1994 after the demise of Tweedy's previous group, Uncle
Tupelo. The band released its first album, "A.M.," in 1995 and is managed by Tom
Margaherita.
Plans for a new Wilco video will be "based on radio's response to the new single,"
says
Reprise/Warner Bros. VP of artist development/creative marketing (U.S.) Gary Briggs.
He adds that
word-of-mouth about Wilco has grown since "Being There" was released: "I think Wilco
going on
the Sheryl Crow tour really helped place this band in front of a pop audience that we
never had
before."
In the period between "Being There" and the release of "Summer Teeth," Tweedy has
toured as a
member of Golden Smog (a band that also features members of the Jayhawks and Soul
Asylum),
which has released two albums: "Down By The Old Mainstream" (1996) and "Weird Tales"
(1998).
Wilco also collaborated with Billy Bragg on last year's "Mermaid Avenue," which
put Woody
Guthrie lyrics to music.
Tweedy says of the collaboration with Bragg: "I think he affected me as a person. The
experience
made me open up a little bit and trust myself more. I've been growing as a
songwriter. Hopefully, I
can continue to grow." Wilco's songs are published by
Warner/Chappell (ASCAP).
As for another collaboration in the future with Golden Smog, Tweedy says, "I don't
see why not."
Wilco, booked by Frank Raleigh of Peninsula Artists, has developed a reputation as
a
crowd-pleasing live act. Tour plans for "Summer Teeth" are under way, and Tweedy
says, "We want to put together a more organized show than we did on the last [Wilco]
tour. On the last tour, we
went without a set list or had a vague set list. I don't ever want to lose the
ability to react and
respond to an audience."
He concludes, "I appreciate that we have an audience, but I've never really been
good about
doing hasn't been in vain."
Re: wilco
My only question: more mellow than the last album. I thought 'Being There' was pretty darn mellow overall. I'm not sure I'd call it more mellow. I think the real difference is that the guitars and twang are mostly removed in favor of pianos. If pianos = more mellow, than so be it. There's still plenty pop, that's for sure. NW
Re: wilco
At 01:12 PM 2/2/99 EST, Neil wrote: I'm not sure I'd call it more mellow. I think the real difference is that the guitars and twang are mostly removed in favor of pianos. If pianos = more mellow, than so be it. There's still plenty pop, that's for sure. I agree, mellow is hardly a word I'd use to describe the new album, not lyrically or in terms of the sound. You're probably right, though, about the reason why it'd get called that--pianos instead of guitars, so of course it MUST be mellow. Oh brother... --dc
Re: wilco
I'm not sure I'd call it more mellow. I think the real difference is that the guitars and twang are mostly removed in favor of pianos. If pianos = more mellow, than so be it. There's still plenty pop, that's for sure. I would have to agree, wilco has gone in a sort of pop direction with some of their songs and added more piano to "being there" although i do like this album i wish they would do more of the twang it fits tweedy voice sooo well,until then ill just have to listen to more tupelo
Re: FWD: wilco
Chaco clipped: Wilco, booked by Frank Raleigh of Peninsula Artists, has developed a reputation as a crowd-pleasing live act. Tour plans for "Summer Teeth" are under way, and Tweedy says, "We want to put together a more organized show than we did on the last [Wilco] tour. On the last tour, we went without a set list or had a vague set list. I don't ever want to lose the ability to react and respond to an audience." With various meats and cheeses? g Nah, gotta love that attitude. And the part about a more organized show, well, that's promising. He concludes, "I appreciate that we have an audience, but I've never really been good about doing hasn't been in vain." Uh, what? Did the original read that way Chaco? b.s.
Re: FWD: wilco
Reply to: Re: FWD: wilco No, the original said something else. (Blame my inferior clipping skills. I'm just a Caveman. Your system of modern checks and balances frightens me) I've already trashed it though. Don't worry though, it wasn't as controversial as, say, Jeff writing 40 songs on a digeradoo. g CD np: Case--Full Service William F. Silvers wrote: Chaco clipped: He concludes, "I appreciate that we have an audience, but I've never really been good about doing hasn't been in vain." Uh, what? Did the original read that way Chaco? b.s.
Re: wilco
On Tue, 2 Feb 1999 [EMAIL PROTECTED] wrote: My only question: more mellow than the last album. I thought 'Being There' was pretty darn mellow overall. I'm not sure I'd call it more mellow. I think the real difference is that the guitars and twang are mostly removed in favor of pianos. Following in Ryan Adams' footsteps, then. Bob
Re: wilco
In a message dated 2/2/99 12:45:46 PM Central Standard Time, [EMAIL PROTECTED] writes: You're probably right, though, about the reason why it'd get called that--pianos instead of guitars, so of course it MUST be mellow. Oh brother... --dc It's not just the pianos. There's a whole LOT of production stuff it seems to me after a cursory pass with my mind dagnabbitly on too many other things right now. On the whole, it's noisier I think, and that doesn't strike me as mellow. It's sort of deconstructed symphonic 70s pop overlaid on some songs which, as has often struck me about Tweedy songs, you could instrumentate (oh, you know what I mean) just about any way you want. Actually, that's one of the fun things about hearing him sing them solo. Linda
Re: Wilco (ST)
Well, I've heard the Kinks, the Beach Boys, and the ubiquitous Beatles referred to, but does anyone else think of the Flaming Lips when they listen to this new album? Or maybe Neutral Milk Hotel? I'm not necessarily suggesting an influence here, but in their space-age orchestration and dense layering of sounds, both of these bands seem to be doing similar things to Wilco. Differently, granted, but they do sound like they're all in the same time zone. And while listening to the new Lone Justice, it occurred to me that Maria has been going through some remarkably familiar changes toTweedy. In fact, aside from the obvious fact that Life is Sweet is guitar-driven and ST is piano-driven, they both seem to be experimenting with hyper-orchestrated pop songs. And that, to me, is a good thing. Not two cents. More like double nickels. Lance . . .
