A few #longreads for your perusal as you relax this weekend…
Now that you have read our extensive look at the discography of Wilco, be sure to read Jeff Tweedy’s interview with Rolling Stone talking about the creation of Star Wars and how the band is already working on the next record.
The New York Times has an in-depth piece that takes a thorough look at the evolution of the “Creative Economy”, and in particular scrutinizes the way the music industry has developed in the wake of technological advances. While I would take some of the conclusions they reach with a grain of salt, the article is worth reading to see the process of how they came to develop these arguments.
Another weekend, another anniversary–this time, Stereogum is taking a look back to the year 2005 and the release of Kanye West’s second album, Late Registration. Considering his continued impact on popular music, it is somewhat amazing to realize Kanye has only been around for a little more than a decade, and this well-written piece makes the argument that Late Registration stands out from the rest of Kanye’s formidable catalog.
Finally, Pitchfork has a piece that uses the twentieth anniversary of Rancid’s hit “Time Bomb” as a jumping-off point for a look at the history of 2 Tone Ska, analyzing the differences between its development in the UK and the US as well as how the social issues that were a central part of the music decades ago still are relevant today.
In Part 1 of our examination of Wilco’s discography, we began with a look at the origins of the band and finished with an analysis of their biggest commercial success. Today, we take a look at the second half of Wilco’s career, as they emerge from their tumultuous early years and solidify into one of the most consistently riveting live acts in the country.
A Ghost Is Born Though Yankee Hotel Foxtrot would ultimately prove to be a high point for the band, the process took a toll on the group. As the band dealt with the external difficulties that arose from their record label troubles, the group was also once again experiencing internal struggles, culminating with the departure of multi-instrumentalist Jay Bennett. In addition, Jeff Tweedy was coping with an addiction to painkillers stemming from his chronic migraines, which would affect the promotion of YHF‘s follow-up.
My entry point into Wilco was A Ghost Is Born, so I have always held it in higher esteem than most, but I still insist the album represents the band’s creative peak. The band’s sonic explorations had a more clear focus, and instead of being merely ornamental flourishes, helped support the songs themselves, like the Krautrock-inspired “Spiders (Kidsmoke)”. The album is loaded with some of the group’s best pure rock songs, from “Handshake Drugs” to “Theologians” to “At Least That’s What You Said”, the last of which features the most scintillating and inventive guitar playing of Jeff Tweedy’s career. The tour in support of A Ghost Is Born also spurred the creation of one of the greatest live records of all time, Kicking Television, a two-disc compilation that served as an effective showcase of the genius underlying that album.
Sky Blue Sky With their record label situation fully resolved and a lineup finally settled, Wilco decided the time was right to relax a bit, and the result was the release of the laid-back Sky Blue Sky. It is the ultimate lazy summer album, perfect for unwinding with a beer after toiling under the hot sun mowing the lawn, though chilling after engaging in hard labor is hardly necessary for enjoyment. This is around the time when the band began to be tagged with the derisive label of “dad rock”, and though it is somewhat accurate in reflecting the nature of the music, it need not be taken as an insult. Sometimes, the mood is just right for easygoing jams like “Either Way” or “Side with the Seeds”, though Sky Blue Sky does feature the most epic guitar jam of the group’s career, with the three-headed attack of “Impossible Germany”, led by Nels Cline’s impeccable lead playing.
Wilco (the Album) The band continued to mine the same vein of Sky Blue Sky with the release of Wilco (the Album), a record that at the time seemed like a fine addition to the Wilco catalog but has come to be regarded as one of their least essential recordings. Cuts from the album have for the most part disappeared from the band’s setlist, and while there are several pleasant moments scattered throughout (ranging from the soaring “One Wing” to the beautiful “Everlasting Everything” to the restless “Bull Black Nova”), it rarely leaves a lasting impression on the listener.
The Whole Love Wilco switched gears with the wide-ranging and adventurous The Whole Love, which saw the band scratching that itch for the experimental for the first time in years. For the first time since A Ghost Is Born, it seemed the band decided to challenge themselves, an intention that is clear from the outset with the multi-part opener “Art of Almost”. In addition, Wilco prove that they still have a playful side, as seen with the bouncy “Dawned on Me” and the goofy “I Might”, and that they are not afraid to cut loose, as they do with the boisterous “Standing O”. In many ways, The Whole Love served as a perfect encapsulation of all facets of the Wilco sound.
There you have it. Oh, because everyone likes lists, here is the definitive ranking of Wilco albums, which also doubles as a handy step-by-step guide to working through their back catalog.
Last Friday, Wilco released their ninth studio album Star Wars in a more tangible form than “downloadable files”. We already published our review of their excellent new record, but there are probably several readers who may have been intrigued by what they heard in Star Wars but have yet to take the plunge into Wilco’s extensive back catalog. Sure, the band helped simplify the process a bit by releasing the greatest hits collection What’s Your 20?, but a compilation only gives you a partial glimpse of the evolution of the band. So we are here to provide this handy guide to the Wilco discography, broken up into two easily-digestible halves.
A.M. In order to understand the poor reputation of Wilco’s debut album, one needs to know the circumstances of its creation. Wilco was formed after the breakup of the beloved and influential underground alt-country act Uncle Tupelo. Tensions had been simmering for a while and came to a head just as Uncle Tupelo was breaking into the mainstream, and irreconcilable differences between the two primary songwriters resulted in the group being split into two bands. Jay Farrar formed Son Volt, while the rest of Uncle Tupelo lined up under Jeff Tweedy to form Wilco. The initial critical consensus was that Jay Farrar, who wrote the bulk of the material for Uncle Tupelo, had the stronger debut with Son Volt, and Tweedy’s group suffered in comparison.
However, when you separate the album from the drama that surrounded its release, A.M. holds up much better. Without those expectations of living up to Uncle Tupelo’s past work, one can enjoy the record for what it is: a light and fun country-tinged rock album. The band keeps the song structures simple and the tone is very playful, and the inclusion of some of these early songs in recent setlists has been a pleasant surprise. Those connoisseurs of fine taste, Beavis and Butt-head, knew what was up.
Being There Critics were quick to dismiss Wilco after A.M., but they were quick to reverse themselves when the group released Being There, one of the few double albums that actually works as a double album. Being There hints at the direction the group would take in subsequent albums, with its shift to a more serious and melancholic tone. The album also marked Wilco’s beginning into more experimental production touches, most notably their initial forays into incorporating noise and other similar elements into their songs, as can be heard with the opener and audience favorite “Misunderstood”, a relatively straightforward three-chord ballad that is marked by little details like an alarm beeping in the background as well as the big noisy crashes that interrupt the flow of the song periodically.
The division into two discs makes sense from a sonic perspective, with the first disc primarily composed of upbeatrockers with the second one focused on more acousticnumbers. Though the entire album could fit onto a single disc, the split helps prevent the listener from becoming overwhelmed in attempting to listen to eighty straight minutes in one sitting, and allows the listener to choose a side that more appropriately reflects the mood. It is a testament to the balance of Wilco’s sound that each disc is qual in quality.
Summerteeth After earning plaudits for Being There, Wilco decided to cut loose a bit and go in a poppier direction, a decision that caused a split with the group’s fans at the time. Summerteeth is a bright, lush album filled with huge arrangements and a sparkling production that allows all the musical layers to shine. The album moves at a brisk pace, but the peaks represent some of the best work that Wilco has done in their career, including the groovy “Can’t Stand It”, the driving “A Shot In The Arm”, and the ebullient “Nothing’severgonnastandinmyway(again)”. Still, amid all the happiness, the record is probably best known for the stark, bleak “Via Chicago”, with its memorable opening line “I dreamed about killing you again last night, and it felt alright to me” and its several band freakouts. In the middle of all that turbulence, however, there is still that incredible descending melodic hook that persists throughout and drives the song, summing up the theme of the record.
Yankee Hotel Foxtrot Considered by many to be Wilco’s masterpiece, the album was close to never being released at all, as documented in the film I Am Trying To Break Your Heart. The initial rejection by the band’s label seems quaint now, with its reputation as an anti-commercial record seeming overblown as the years have passed; the fact that Reprise did not think it could sell the record based on pure pop songs and ready-made singles like “Heavy Metal Drummer” and “I’m the Man Who Loves You” says more about their own skills than anything.
However, there is the faintest hint of merit to the label’s concern, as a lot of the songs are gussied up with unnecessarily bracing production flourishes. These random elements obscure some of the most gorgeous and eloquent songwriting of the band’s career, though it was their clear intent. It is an album that is meant to be off-putting on the first few listens, but the hints of what lay underneath the surface are enough to entice closer inspection. Live editions of Yankee Hotel Foxtrot tracks help strip away some of the artifice to reveal the heart of the songs themselves, and may be a better entry point into the record, but when one gets comfortable with the material, it is easier to appreciate all those extraneous touches.
Edgefield is easily one of the best venues in Oregon, and it is too bad that we were unable to see more shows there this summer. However, if it ends up that we only make it out to Troutdale one time this year, Wilco certainly did their best to make it worthwhile. The band entertained the sold-out crowd with a career-spanning, thirty song set that captured every aspect of the group’s sound.
If you look closely, the cat from the Star Wars cover is hanging out by Glenn.
Wilco kicked off the show with a mini-set of their entire new album, Star Wars, entering the stage to the noisy opener “EKG” before playing straight through the entire record. The crowd ate it up, with a fair portion having already memorized many of the lyrics from last month’s surprise release. The new material translated well live, with the band staying faithful to the record, besides Nels Cline adding some embellishments and Glenn Kotche indulging in an extended drum solo between songs.
To Jeff’s delight, it finally got dark enough.
Once “Magnetized” closed out the “opening set”, Jeff Tweedy greeted the crowd and the band launched into a roaring version of “Handshake Drugs”. For the most part, the band kept the energy up during the main set, flying through uptempo numbers like “Dawned on Me”, “Heavy Metal Drummer”, and “I’m the Man That Loves You”. Wilco did not just stick with the fun, bouncy songs though, as they played a varied set that covered all the assorted genres the band has flitted with over the years. The group delighted the crowd with their moody, noisy freakouts in “Via Chicago” and “Art of Almost” as well as the introspective favorite “Jesus, Etc.”, but the audience truly came alive with the epic, extended guitar workouts of “Spiders (Kidsmoke)” and “Impossible Germany”.
For the encore, Wilco went retro.
For the encore, the band eschewed amps and went old-school with a full acoustic lineup, with even keyboardist Mikael Jorgensen picking up an axe at one point. The band began with a solemn rendition of “Misunderstood”, featuring an ending that stood in stark contrast with the way the long-time live favorite has been performed–instead of an ever-escalating repetition of the “nothing” part in “I’d like to thank you all for nothing at all”, the band gradually played softer, with members dropping out, finishing with Tweedy whispering the final notes in a powerful moment. Bassist John Stirratt then got a turn at the mic as the band played “It’s Just That Simple” from their debut A.M., followed by an even earlier selection as they played “We’ve Been Had” by pre-Wilco group Uncle Tupelo. Special guests (and Portland residents) Peter Buck of R.E.M., Janet Weiss of Sleater-Kinney, and Scott McCaughey joined in for the second of two Mermaid Avenue selections, livening up “California Stars” with an extra dose of familial feeling, before the band closed out with a relaxed take on “A Shot in the Arm”.
Wilco proved once again why they have been consistently one of the great live acts of the past two decades, and we wish we could have seen more of Speedy Ortiz’s opening set. Unfortunately, Portland’s terrible Sunday traffic only allowed us to see a handful of songs from one of our favorite new bands, but we liked what we heard, even if most of the crowd seemed relatively indifferent.
Wilco stunned the music world with the surprise release of their ninth studio album, Star Wars, a few weeks ago. While we have seen some of the biggest pop stars on the planet undertake this kind of gambit (such as Beyonce and U2), it did not seem to be the kind of maneuver that the normally staid indie rock darlings would attempt. However, the casual nature of the album’s release serves Star Wars well, as it fits the easy-going mood of the material; freed from the anxiety that comes with the build-up and anticipation of months of promotion, Wilco sounds as loose as it has ever been, and the result is the perfect album for a lazy summer afternoon.
Wilco reached their greatest commercial success with Yankee Hotel Foxtrot and A Ghost Is Born, albums that were intricately composed and fussily produced, but there has always been a part of the band’s identity that pushed back against that instinct and ease up a bit. Jeff Tweedy most recently indulged in that tendency with his Tweedy side project he put out last year with his son, but unlike Sukirae or Wilco’s Sky Blue Sky, the looseness of Star Wars is based more on having fun than simple relaxation. Even on moments like the sweet “Where Do I Begin”, the band is not afraid of blowing up a lovely ballad to explode in a noisy and triumphant finish.
In a stark contrast with the multi-part layered epics on The Whole Love, the music on Star Wars is stripped down to its basic elements, with songs rarely stretched beyond three minutes. Guitars with a touch of fuzz distortion dominate the sound, with multi-instrumentalist Patrick Sansone making it a three-guitar attack for most of the record. The shift in approach creates a sharper and more rocking feel to the album, which is apparent on such songs as “More…” and “Random Name Generator”. The downside is that Mikael Jorgensen’s keyboards are often lost in the shuffle and minimized for the most part, save for a key role in shaping the closer “Magnetized”.
As a gift to fans, Star Wars is a perfect treat. Those that longed for the carefree days of the early years circa Being There should be more than satisfied with the album, and those that appreciate the knottier and denser material can appreciate cuts like “You Satellite” that stand out after repeated listens. Though there were many that took advantage of the generous free download opportunity, most will certainly feel compelled enough to give their thanks by purchasing the album when it goes on sale in the near future.
We are entirely against the idea of playing the song “Friday I’m in Love” on any day except Friday, though we may have to make an exception for Yo La Tengo’s pleasant take The Cure’s classic for their new covers album Stuff Like That There, especially for its hilarious music video that is perfect for any Monday.
Pitchfork has a handy guide to a list of the best books of the 33 1/3 series, which allows writers to examine classic albums through a variety of perspectives. We can vouch for the excellence of the entry on In the Aeroplane Over the Sea, and one of these days we will pick up a few more selections.