Wilco

A.M.
Being There
Billy Bragg & Wilco: Mermaid Avenue
Summerteeth
Billy Bragg & Wilco: Mermaid Avenue II
Yankee Hotel Foxtrot
A Ghost Is Born
Kicking Television: Live In Chicago
Sky Blue Sky

A.M. (Reprise ’95) Rating: B+
When Uncle Tupelo broke up following the release of their excellent major label debut Anodyne, their small but devoted following was devastated. Uncle Tupelo appeared to be on the verge of greatness, but after their premature breakup people feared the worst. However, with the release of A.M., Jeff Tweedy proved that he could continue without Jay Farrar, which surprised the many people who felt that Farrar had been the primary talent in Uncle Tupelo. Actually, Farrar's first album with Son Volt was certainly the more impressive debut of the two Tupelo boys, but Tweedy was just getting started and would ultimately easily outshine his former sparring partner. Anyway, with former Uncle Tupelo bandmates (circa Anodyne) John Stirratt (bass), Ken Coomer (drums), and Max Johnston (fiddle, dobro, mandolin, and banjo) aboard, and with Brian Henneman of The Bottle Rockets supplying first-rate help on lead guitar, A.M. continued the Uncle Tupelo tradition of impeccably constructed, country-tinged rock songs. Although many of these songs share a similar mid-tempo pace, Tweedy knows how to incorporate fresh sounding instruments (fiddle, banjo, pedal steel guitar, dobro, mandolin) to keep things interesting, and A.M. is filled with easy going, melodic, and catchy songs. The album also rocks surprisingly hard at times, particularly on the Stones-y barroom stomper “Casino Queen.” Other notable highlights include the bittersweet album opener “I Must Be High,” the one about the “Box Full Of Letters” (a farewell to Farrar?), the other one about how he "Should've Been In Love," the drunk driving tale about riding on the “Passenger Side,” and the beautifully understated and evocative “Dash 7.” On the downside, a few of these songs are rather plain sounding, and few risks are taken on the whole as the album was rushed out to capitalize on the belated acclaim of Uncle Tupelo. Perhaps too much pop sweetening was added to the final mixes as well, but these songs are all good for the most part, anyway. True, I miss Farrar’s world-weary voice and Uncle Tupelo’s harmonies, but Tweedy’s gritty, heartfelt rasp of a voice is equally affecting in its own way. Fittingly, the album ends with another dig at former friend Farrar (“when I needed you, you were gone – so long”), as Tweedy confidently embraces his independence on this accomplished if unambitious first album. Note: In what would be his first and last composition with the band, Tweedy's trusted sidekick Stirratt (as of 2002 the lone remaining original member of the band left) wrote and sang "It's Just That Simple." Those who want to hear more of what Stirratt can do should seek out his side project, called The Autumn Defense.

Being There (Reprise ’96) Rating: A
With guitarist Henneman being replaced by Jay Bennett (this multi-instrumentalist's innumerable other contributions include keyboards, overdubs, arrangements, and overall studio wizardry), Wilco returned a mere year later with the album that forever left behind limiting labels such as "country rock." A far more adventurous and spontaneous affair than A.M., the astounding ambitiousness of Being There surprised many people, but what was even more surprising was how well Wilco pulled things off. This was due to several reasons, the first being the band's relentless touring schedule in support of A.M., which made Wilco come together as an actual, often-exceptional band. In addition, Tweedy moonlighted in a "supergroup" called Golden Smog (their charmingly off the cuff debut album, Down By The Old Mainstream, appeared in 1995), which increased his confidence. Couple that with an equally confident band of like-minded players who were ready, willing, and able to realize his creative vision, and the result was something special. Writing all 19 tracks, Jeff Tweedy stakes his claim as one of America’s finest tunesmiths by showcasing a remarkable facility with a wide range of styles. Taking its cue from classic rock influences such as The Rolling Stones, The Faces, Gram Parsons, The Replacements, Big Star, and The Band, the album has a loose, live in the studio feel, and the band’s bold risks usually pay off handsomely on this consistently stellar package. For example, “Misunderstood,” the largely improvised leadoff track, alone runs the gamut from feedback-drenched guitar to a stark piano and Tweedy’s quiet voice; it slowly builds to a crescendo that showcases Beatles-influenced melodies and strings, as well as vocals that are a dead ringer for a young Rod Stewart and lyrics pulled from Peter Laughner; the song then fades out with some acoustic strumming on guitar. The song is obviously all over the map, yet Wilco pulls these disparate elements together splendidly, in part because they're learning that sometimes it's the spaces between the notes that say the most musically. Elsewhere, although Tweedy’s ambitions overwhelm him occasionally, on most of these songs he manages to keep things simple. For example, Wilco convincingly rocks out on loose, catchy tunes such as “Monday,” “Outtasite (Outta Mind)” (which is unnecessarily redone on side two as the inferior “Outta Mind (Outta Site)"), and “I Got You (At The End Of The Century).” Here Wilco is simply a straight up rock n’ roll band, and a damn good one at that. Lest we forget, Wilco show that they haven’t lost their folksy country rock touch on songs such as “Far, Far Away,” “Forget The Flowers,” “What’s The World Got In Store,” “Someday Soon,” and “(Was I) In Your Dreams.” Indeed, Wilco’s best moments are on some beautifully stark musical paintings that resonate with longing. Lyrics like “when I came here today, all I wanted was to say how much I miss you” (“Red-Eyed And Blue”) and “do you miss me, just say you miss me” (“Say You Miss Me”) don’t need explanations because we’ve all felt such simple yet vital emotions. When he says “sounds like someone else’s song from a long time ago,” does Tweedy mean Farrar again, or is he simply acknowledging the longstanding musical legacy he has inherited and has himself enriched? On “Why Would You Wanna Live,” when Tweedy laments “kid, you’ve paid your dues, dues and dues,” he’s probably alluding to the many years he's been in exceptional bands out of the limelight while lesser talents got the glory and the cash. However, on the very next song, “The Lonely 1,” a heartwarming love letter from a fan, Tweedy resolutely makes it clear why he must make music for a living, commercial success be damned. In fact, when he sings “music is my savior” (on “Sunken Treasure,” another outstanding, highly experimental epic that along with "Misunderstood" pointed the way towards Yankee Hotel Foxtrot), rather than sounding like a corny cliché it feels like a heartfelt denouement. Yet far from being a cuddly love-fest, the increasingly personal lyrics also often reveal an angrier side (example: "I want to thank you all for nothin', nothin' at all"), as Tweedy, now a father with adult responsibilities and mortgage payments to make, grapples with growing up. Yet such is the overall playfulness of the album that stream-of-consciousness lyrics are also commonplace, and some songs ("Hotel Arizona," "Kingpin," "Dreamer In My Dreams") are almost demo-like in their deliberate sloppiness. In truth, I could live without these songs and the aforementioned remake, as like most double albums (note: it sold at the price of a single album, at considerable cost to the band) this one would've benefited from a bit of trimming. Still, this challenging second installment was a true tour-de-force that tried to cover all bases of the rock n' roll spectrum, and as such the sheer chutzpah of the attempt and the high overall success rate of the album is still stunning. Note: After this album Max Johnston was given his walking papers, while pedal steel player Bob Egan became a full-time band member.

Mermaid Avenue (Elektra ’98) Rating: A-
Named after the street Woody Guthrie lived on in the years after World War II, this unlikely partnership came about when Guthrie’s daughter Nora approached Billy Bragg about putting music to some of her father’s unreleased lyrics. Enlisting Wilco as further collaborators, 15 lyrics were molded into an improbably fine album, as they manage to infuse the legendary folk singer’s lyrics with a hearty rock n’ roll spirit. Wilco provides the rustic garageland sound, while Bragg and Wilco singer Jeff Tweedy alternate lead vocals (and, generally speaking, musical credits), though they also duet on the excellent “The Unwelcome Guest.” Guest vocalist Natalie Merchant lends lovely harmonies to Bragg's “Way Over Yonder In The Minor Key” and sings lead on the short but sweet “Birds And Ships,” while the loping country folk and weary vocals of “California Stars” comes across as classic Wilco. This song is so natural sounding that it seems to have always existed, while mellow songs such as “At My Window Sad And Lonely,” “One By One,” and “Another Man’s Done Gone” are other near-perfect Wilco vehicles. For his part, Bragg shines on the catchy sing alongs of “Walt Whitman’s Niece” and “She Came Along To Me,” as well as when he desperately describes “Eisler on the Go” or relives a union fight on the upbeat “I Guess I Planted.” As befitting stories that were penned over a period of many years, there is no central theme to these tales, which range from “nonsense songs for his kids like “Hoodoo Voodoo”” to “mid-century love songs like “Hesitating Beauty”” (to quote from Bragg’s liner notes). Generally speaking, Tweedy embraced Guthrie's eccentricities while Bragg was predictably more concerned with politics. This caused considerable friction during the recording sessions, as Tweedy "never did understand why we were recording songs about brownshirted Fascists clobbering people in the streets of Italy during the '30s." Yet Wilco weren't above recording political songs (witness "Christ For President"), and Bragg tackled more personal songs as well, with playfully lusty nods not only to “Walt Whitman’s Niece” but to "Ingrid Bergman." So, compromises were made and the album is surprisingly cohesive, though Wilco's songs are generally rougher, while Bragg pushed his vocals up within a slicker mix that caused much consternation in the Wilco camp. Still, aside from occasionally simplistic or repetitive lyrics and sometimes seemingly tossed off music (the loose, joyous feel of which is also a plus), this acclaimed album was an inspired collaboration that boosted the stock of all involved. Indeed, despite the ego clashes and undeniable difficulties in making the album, it sounds like they had fun making it, and it sure is fun to listen to. To quote Guthrie: “I don’t know, I may go down or up or anywhere, but I feel that this scribbling might stay.” Mermaid Avenue ensures that it will. Note: Egan's short stay in Wilco ended with this album, though in an improbable turn of events he ended up in Bragg's touring band.

Summerteeth (Reprise ’99) Rating: A
It can be argued that Wilco has yet to make a wrong artistic move. First Jay Tweedy proved that he could go it alone without former Uncle Tupelo buddy Jay Farrar, and though A.M. merely reestablished past strengths it was an accomplished effort in a familiar vein that got his new band off and running on the right foot. Being There was quite a pleasantly unexpected departure, covering considerable ground and evoking bands (Rolling Stones, The Replacements) that not many people thought Wilco could keep pace with (they did). Then came the even more surprising Woody Guthrie/Billy Bragg collaboration Mermaid Avenue, which the critics fully embraced, though to these ears it was merely another fine continuation of the band’s consistent quality. Now comes Summerteeth, making the band four for four as Wilco’s alt country roots take an even further back seat to the band’s blooming pop sensibilities. Amazingly, the lush, downright sumptuous music on Summerteeth is as different from Being There as Being There had been from A.M.. Although the album can't compete with Being There in terms of spontaneous excitement, what with its endless amounts of overdubs (spearheaded by Bennett, who was beginning to rival Tweedy in terms of importance within the band, all while Coomer and Stirratt took subservient roles, causing much friction among the band's ranks), this beautifully conceived pop album is actually superior in many ways. Sure, Wilco can still on occasion be plain and lag a little in the energy department, but at their worst this merely makes them pleasant, and most of Summerteeth sees the band at their absolute best. Indeed, glistening pop gems such as “Can’t Stand It,” “A Shot In The Arm,” “I’m Always In Love,” and “Nothingsevergonnastandinmyway(again)” should've been all over the radio in a just world, while sad and pretty ballads (with Bennett's keyboards/piano/synths often occupying center stage) are also prominent. In addition, "did he really say that?" lyrics like "you know she begs me not to hit her" (the last line of the absolutely gorgeous "She's A Jar") and “I dreamed about killing you again last night and it felt alright to me” (the first line of the crucial "Via Chicago") revealed a much darker side of himself than Tweedy had previously allowed, which is why he elected to soften the blow by delivering his often painfully personal lyrics behind the band's elaborate arrangements (which are sometimes too elaborate, as Bennett occasionally goes overboard with the moody atmospherics) . Still, it's not all darkness, as musically many of these songs are a perfect fit for a sunny day ("ELT" and "Summer Teeth" are awfully catchy as well, for example), while the sweetly sentimental “My Darling” lovingly addresses Tweedy's newborn child. These 14 mostly low-key but sometimes sprightly songs, some of which have surprisingly adventurous arrangements and twists - such as when the "Penny Lane"-ish horns kick in on the multi-sectioned “Pieholden Suite,” the album's most ambitious and arguably best song - might take a few spins to sink in. However, the majority of these songs about love, love lost (mostly, as Tweedy's marriage was clearly troubled at the time), “How To Fight Loneliness” (solution: “just smile all the time”), and “When You Wake Up Feeling Old” will likely sink in eventually, as Wilco continues to age like a fine wine in becoming one of America’s very best bands. Note: "Candyfloss" and an admittedly unnecessary reprise of “A Shot In The Arm” are bonus tracks.

Mermaid Avenue II (Elektra ’00) Rating: B+
There were plenty of leftovers from the Mermaid Avenue sessions, (Guthrie supposedly has about 2500 unrecorded lyrics!), so a mere two years later here comes Mermaid Avenue II, the rare sequel that holds its own against an inspired original. Though some songs here echo the first volume (“Black Wind Blowing” and “Eisler on the Go,” for example), there are considerable differences between the two volumes, though if you like one you’d do well to pick up the other. II is more rock oriented and encompasses a dizzying array of styles compared to its more straightforward yet slightly superior predecessor, beginning with the propulsive, Dylanesque opener, “Airline To Heaven.” “My Flying Saucer” is a simple but heartfelt love song sung by Bragg, a rarity since Wilco usually handles Guthrie’s romantic side on songs such as the poppy “Secret of the Sea,” the poetic, romantic “Remember the Mountain Bed” (at 6+ minutes the centerpiece song on the album), and the album closer “Someday Some Morning Sometime,” whose abstract prettiness again points the way towards Yankee Hotel Foxtrot. The rest of the album is much more spontaneous and rootsy sounding than either that album or Summerteeth, however. Wilco’s Jay Bennett is all over the place, playing a multitude of instruments and again showing that Wilco (who are on quite a winning streak) are far more than merely leader Jeff Tweedy. For his part, Bragg tackles socially conscious songs such as the wonderfully moody “Hot Rod Hotel,” on which Guthrie makes it known that even the most menial job deserves a certain amount of dignity and respect. Memorable lyrics also mark pointedly political songs such as “Stetson Kennedy” (“I ain’t the worlds best writer nor the worlds best speller, but when I believe in something I’m the loudest yeller, if we fix it so’s you can’t make money on a war, we’ll all forget what we’re killing folks for”) and “All You Fascists," the album's hardest rocking song. The nostalgic “Joe Dimaggio Done It Again” sees Wilco hitting an effortless country groove, but elsewhere things are far more experimental. In particular, the offbeat atmospherics of “Blood Of The Lamb” and the harsh, chaotic “Meanest Man” wouldn’t sound out of place on a Tom Waits album, while drummer Ken Coomer powers the highly percussive, groove-based (and also quite chaotic) "Feed Of Man." Guest appearances this time come from bluesman Corey Harris, who has a star turn on the oddly upbeat “Against Th’ Law,” and Natalie Merchant, who again sings lead on the child-like, nursery rhyme-ish “I Was Born.” Such far ranging styles might make this album flow less smoothly than its predecessor, which was more easily loveable, but by and large Guthrie’s lyrics again greatly benefit from these sympathetic but adventurous musical treatments, which go well beyond anything that Guthrie himself would have attempted. And with so many unused lyrics still left over, one can only hope that there will eventually be a Mermaid Avenue III.

Yankee Hotel Foxtrot (Nonesuch ’02) Rating: A-
This album is already as famous (or infamous) for the music business politics the band had to endure in order to get it released as it is for its music. Recording sessions for this album were difficult to say the least; Ken Coomer, whose instinctive, first take philosophy was often at odds with Tweedy and Bennett's exacting studio methods and increasingly impressionistic songwriting, was fired during the sessions, while Jay Bennett, who again had a huge hand in this album's creation but who grew increasingly isolated from his bandmates in the process, was unanimously kicked out of the band after the album's completion (he released The Palace at 4 A.M. with Edward Burch in 2002). Multi-instrumentalist Leroy Bach (who had actually joined the band awhile earlier) and the multi-talented, ego-less drummer Glenn Kotche (who had a light yet tight touch, not to mention a special relationship with Tweedy) rounded out the lineup, and when Wilco were finally happy with the results of their labors, they handed the finished album in to their record company, Reprise, who promptly rejected it due to its alleged lack of hit single potential. Rather than redo an album that they were very satisfied with, the band got out of their recording contract, streamed the album on the Internet, and became part of an intense bidding war due to the "story" the album had become and the rave reviews posted on Internet message boards. In an ironic turn of events, Wilco ended up on Nonesuch Records, who happen to be owned by the same parent company (Warner Brothers) as Reprise! Well, Reprise ended up with egg on their faces, as Yankee Hotel Foxtrot received rave reviews across the board. Still, I can see why they were apprehensive, for this album is easily Wilco’s most abstract and experimental to date, in part probably due to the presence of "post rock" producer Jim O’Rourke, who helps open up the band’s sound by incorporating lots of cool bits in the background, adding shade and color to these 11 sturdy songs. Yankee Hotel Foxtrot is an album of contrasts. For example, one song is called “I am Trying To Break Your Heart,” while another is called “I’m The Man Who Loves You.” Elsewhere, upbeat pop songs such as “Kamera,” “War On War,” “Heavy Metal Drummer” (so much for the album having no commercial potential) nestle side by side with more downbeat fare like “Radio Cure,” “Ashes Of American Flags,” “Pot Kettle Black,” and “Poor Places.” Ultimately, however “this is a hopeful album” (to quote Tweedy), and “Reservations” ends the album on an especially romantic note (“I have reservations about so many things, but not about you”), thereby putting to rest the lovesick doubts of Summerteeth. There are plenty of other memorable lines throughout the record, such as “you have to learn how to die, if you wanna be alive” (really about failing before succeeding), “how can I convince you it's me I don’t like,” and “every song is a comeback.” Yet Wilco’s biggest strength has always been their music, and this album’s deeply textured music is always exceedingly accomplished and consistently surprising. For example, “I’m The Man Who Loves You” adds raw Neil Young-ian guitar and Chicago-like horns to what could’ve been a simple pop melody. Then again, Tweedy isn't interested in writing simple pop songs, preferring instead to deconstruct and reconfigure his simple melodies with baroque arrangements or strange yet compelling sonic embellishments. True, a case could be made that the band goes overboard with the bells and whistles this time, as they occasionally distract from or compromise some fine melodies. Still, Wilco's sonic tinkerings are successful far more often than not, sometimes spectacularly so, such as on “I am Trying to Break Your Heart,” an all but indescribable soundscape whose inventive tape loops, white noise, and inspired studio manipulations give it an entrancing overall effect. Another highlight is "War On War," which adds instruments one at a time; acoustic guitar, synthesizers, drums, and piano. When the piano kicks in it's one of those great moments, while the song's chilly ending evokes Radiohead circa OK Computer. It is these often-subtle twists and turns that make Yankee Hotel Foxtrot worth returning to even after the 50th or 100th listen. Of course, the album’s unique flavor and attention to atmospheric details is also what makes it an album that requires repeat listens and your rapt attention for a full appreciation. It also isn’t without its flaws (in addition to the sonic overkill already mentioned). For example, an ongoing Wilco problem recurs in that some of the slower songs seem plain at first and lag a little in the energy department. Also, perhaps certain sections will seem a bit overly labored over and cerebral to those who prefer Wilco's rootsier, let's roll with it style, and maybe the extended endings to “Poor Places” and “Reservations” are overly indulgent as well. However, I for one enjoy every song here, and this is one of those albums that adds up to more than the sum of its impressive individual parts (witness the cool transition from the ultra-serious "Ashes of American Flags" to the lightly nostalgic "Heavy Metal Drummer," for example). So, is Yankee Hotel Foxtrot Wilco’s masterpiece, as several publications have claimed (the album won most 2002 year-end critic polls)? Well, I think that label sells short the band’s other albums, particularly Being There and Summerteeth, which are even better. Instead, I’d call this album the not-so-logical continuation and evolution of what is arguably America’s best band. Note: I am Trying To Break Your Heart, the Sam Jones directed documentary that captures the difficulties that Wilco had in making this album, was also released in 2002, and I'd highly recommend it as well. Note #2: Loose Fur, a Tweedy side project that was conceived when he began playing with Kotche and O'Rourke in 2000, had their self-titled debut album belatedly released in 2003. Wilco also backed Scott McCaughey's band Minus 5 on Down With Wilco.

A Ghost Is Born (Nonesuch ’04) Rating: A-
Always one to defy expectations, Jeff Tweedy ditched most of the previous album's post-production fussiness on A Ghost Is Born, the band's most spontaneous, live-in-the-studio sounding album since Being There. Songs such as "I'm A Wheel" and "The Late Greats" see the band as loose and frisky as they've been in eons, while "Hummingbird" and "Theologians" are piano-pop confections worthy of ELO or even the Fab Four. Elsewhere, Jeff Tweedy the guitar player comes to the fore as never before, possibly in part because he wanted to prove that he could cut it in a role previously occupied by Bennett. Actually, Bennett was never allowed to let loose like this on record (in concert is another story), and though Tweedy isn't near the guitarist that Bennett is from a technical standpoint, his fractured, sloppy playing is undeniably exciting in a Neil Young & Crazy Horse kind of way. In addition to an abundance of guitar solos, groove-based songs such as "Spiders (Kidsmoke) (10+ minutes that would make Stereolab proud), "Muzzle Of Bees" (which admittedly takes awhile to get going), and "Handshake Drugs" see the rhythm section flexing their muscles in impressive fashion, while piano is also prominent on many songs, often played by new Wilco member Mikael Jorgensen. Lyrically, Tweedy is getting more and more oblique, while musically many of these songs unfold leisurely (boringly, I'm sure some would say, but I'd advise you people to keep trying), and as such it should come as no surprise that this is Wilco's longest album in some time at 67 minutes. Of course, 15 of those minutes, or at least 12 of them, are a near total waste of time, as "Less Than You Think" starts slowly before veering into 12 minutes of what seems like little more than subtle variations of static-y sounds. Certainly my 3-year old son was baffled by what was emanating from my cd player, and I myself find it difficult to fathom what the band was thinking, as the song is a self-indulgent bore. Still, this egregious misfire can be skipped easily enough, and it's the only real weak song on the album, though others such as "Wishful Thinking" and "Company In My Back" might seem so at first (again, keep trying). Elsewhere, "At Least That's What You Said" gets the album off to a roaring start (scratch that "light yet tight" description of Kotche in my last review, 'cause he can come on like a monster if the song calls for it), while "Hell Is Chrome" is highlighted by a searing Tweedy solo and its sing along vocals, with Stirratt adding stirring (sorry, couldn't help myself) background vocals (his vocals have always been a valuable if rarely remarked upon asset to the band). All in all, A Ghost Is Born is nothing more or less than simply another really good Wilco album, one that has its own unique qualities (longer songs, more guitar solos and undecipherable lyrics, and an increased emphasis on groove) while also sharing qualities with previous albums (O' Rourke is again heavily involved, repeat listens are required), particularly Being There (not a bad thing as that's always been my favorite along with Summerteeth). Note: Having for years self-medicated to deal with migraine headaches, anxiety attacks, and depression (small wonder that he can be tough to work with), Tweedy checked into rehab soon before this album's release. He seems to be doing better now (late 2004), but he was saddened by the departure of Leroy Bach after the completion of this album (unlike the others, Bach left of his own accord). However, the subsequent addition of Stirratt's Autumn Defense partner Pat Sansone and the gifted jazz guitarist Nels Cline should help matters, as should O'Rourke's continued presence. Regardless, by now it's pretty clear that, no matter who is or isn't in Wilco, so long as Jeff Tweedy is steering the ship the band will not only survive, but thrive.

Kicking Television: Live In Chicago (Nonesuch ’06) Rating: A-
Far from the career encompassing live retrospective that I might've hoped for, this live album, recorded along with lively audiences over four days at the Vic Theatre in Chicago, instead culls 16 of its 23 songs from Yankee Hotel Foxtrot and A Ghost Is Born. And while I personally find this disappointing, I understand it since Tweedy has never exactly been a looking back kind of guy, and besides, I can't really fault the performances themselves, since by and large they're first rate. Wilco is a great band, plain and simple, that much is obvious, and these versions are grittier, rawer, and more rocking than their studio counterparts, with several exciting guitar epics ("Handshake Drugs," "At Least That's What You Said," "I'm The Man Who Loves You," "Muzzle Of Bees," "Ashes Of American Flags," "Spiders (Kidsmoke)") serving as obvious highlights. Perhaps there are no real shocking reinventions here, and some songs, such as "I am Trying To Break Your Heart," "Shot In The Arm," and "Heavy Metal Drummer," are noticeably inferior without the studio tricks and/or added gloss, but there are many interesting tweaks throughout, such as the Nels Cline-ized version of "I'm The Man Who Loves You" or the dramatic swells in "Via Chicago." As for Cline, the high profile new member of the band, he certainly makes his presence felt, as he fills out the band's sound and his stellar playing enables Tweedy to further embrace harsher, more dissonant sounds. Yet despite Tweedy's fondness for abrasiveness he remains above all else a great melody writer, and that's apparent throughout these 23 songs, though disc two plods a bit in places and as I previously alluded to the overall song selection could've been better. As for any added enticements for non-diehards, well, the title track new song and the old Charles Wright song "Comment" are nothing special, though I suspect that both work better in person, with the latter's "how many friends can you truly say you have?" being the kind of "we're all in this together" type of lyric that unites fans and makes for a perfect concert closer.

Sky Blue Sky (Nonesuch ’07) Rating: B+
After years of constantly changing their sound and being extremely experimental and adventurous while managing to somehow stay accessible, Wilco deserve a break. A break from reinventing themselves I mean, as Sky Blue Sky is their most conventional and least daring album in some time. They've earned that right, after all, and this time they've shed audacious sonics to focus on simple songs, most of which fortunately are of a high quality. I suppose that the Wilco album that this one most reminds me of is Summerteeth, though it also has an earthy, rootsy touch that brings Being There to mind. Then again, vibrant guitar jams are occasionally unleashed, such as on "You Are My Face" and "Slide With The Seeds," both of which make me think of A Ghost Is Born. Unfortunately, this album isn't quite as good as any of those high-quality artistic statements, though "Either Way," "Sky Blues Sky," "Please Be Patient With Me," and "Leave Me (Like You Found Me)" all have a subdued, understated beauty even though they're not exactly the most exciting songs around. The albums best song is probably "Impossible Germany," whose wonderfully melodic guitars actually bring Thin Lizzy to mind, and "Walken" is also notably different, what with its dueling slide guitars and Tweedy's distinctive falsetto vocals. The country-ish "What Light" is catchy and singable, and "On and On and On" is a dramatic, atmospheric finale that like many songs here features piano prominently. Perhaps "Shake It Off" and "Hate It Here" are awkward at times, but the album on the whole is consistently solid and is especially strong at its beginning, not unlike most albums I suppose. O'Rourke had little to do with Sky Blue Sky, which perhaps helps explain its less produced, more organic overall feel, and though perhaps Cline is underutilized given the mellow nature of the album, he does have his fair share of fine moments. Also of note is Tweedy's more direct lyrical approach, which is refreshing, but ultimately this stands as merely a good Wilco album since few of these songs rank among Tweedy's very best. Actually, about half of these songs are band co-compositions, so Tweedy seems to be tightening the reins somewhat. Still, despite breaking some new ground the overall end result is merely pleasantly enticing, and like most people I've come to expect more from this band than that. Come to think of it, the album that this one most reminds me of is A.M. in that this is another very good but unambitious album that seems destined to be underrated and overshadowed by the band's more celebrated other albums. Still, that shouldn't stop you from listening to it, for Sky Blue Sky is an enjoyable collection of unassuming songs.

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