wilconut

I haven't listened to the album all the way through yet, just songs here and there, so I will reserve a more final analysis for midnight tonight when I go Cruel Country front to back with good quality headphones. But I will say that what I've heard thus far is exactly what I expected: excellent songwriting, fantastic musicianship, and a true Wilco (today's Wilco) country record with the requisite twang, plus a couple 'what the fuck was that?' moments to keep folks on their toes. 

I will also say I am a bit underwhelmed (at this point) by the album as well, and I think both points of view can be true. For me, at this point, I view Wilco like how I view Lebron James: the guy can still bring it for 55 games a season, he's still in amazing shape, and he has games where he can rip the roof of an arena. But is he the Lebron James of 2012? No. He's won four NBA Titles now, he's cemented his place and legacy, and he's in a different stage of his career. 

I think the same goes for Wilco right now. They're still one of America's most important bands. They're still my favorite band of all time. But they're not the Wilco of years ago. They're in a different stage of their career. They're likely a little bit passed their prime. And that's OK. Because if this is how post-prime Wilco sounds, who's gonna say, "No thanks, I'll pass."   

I've read maybe a handful of reviews in recent days that, while praising Ode, take shots at both Star Wars and Schmilco, which I find funny because the critical response to both of those records was also pretty strong. I can see why some folks believe Schmilco hasn't aged well (in 3 short years) and I also understand the critique that Schmilco felt slapped together, kinda disjointed, not a strong holistic effort. But Star Wars (stupid title aside) is a really, really strong record (at least for me) that is listenable all the way through, has urgency to it, and felt like more of a creative leap than anything post SBS.

Why the Star Wars shade? 

Anyone know of a place to stream (or a straight-up MP3 download) of the leak? For some reason, my phone/iPad won't process the leaked versions available thus far...I may be a bit antsy in pantsy, but waiting for my version to arrive Friday/this weekend seems so far off right now. 

Live versions, or studio versions?

Studio versions. 

Couple of tracks (White Wooden Cross, Hold Me Anyway, and We Were Lucky) are now on YouTube. Have to say, after a couple of listens to each, I was a little underwhelmed, but I'm coming around to the first two - We Were Lucky will take more time. Without a full listen, methinks Ode will be an album where you can't cherry pick tracks to enjoy on a whim. I think Ode, perhaps more than any other Wilco album, will be one you put on from beginning to end rather than saying "I'm really in the mood for X or Y song from Ode." Rather, I think the thought process will be "I'm really in the mood for Ode to Joy." My theory is this record will be heavily dependent on a full listening experience as well as on the sequencing and progression of the album from track to track - again, more than past Wilco records where it's easier to say I want to hear this song or that song right now. 

Hope that makes sense...my morning coffee is still kicking in...

Appears word on the street is Ode has leaked. Anyone confirm? Or, even better, if anyone wants to share a reputable link before I buy the record Friday, that wouldn't suck...

Anyone heard word of the album leaking? Just curious given that Schmilco leaked about a week before its release in 2016 and I have to imagine there are enough digital copies floating around out there. 

Any idea where I can hear the song without the video? I love the video, don't get me wrong, but I'd like to hear it all the way through without the stops and starts of video...

OK, um, for those of us (myself included to some degree) who are worried Ode is going to be another iteration of recent Tweedy recordings, check this gem out: 

https://www.youtube.com/watch?v=98F7I1rva6I

Hold Me Anyway. Only so-so audio quality, but the build and complexity of the sonic layering, Tweedy's more exuberant vocals as the song peaks, and tenor of Nels' guitar lines makes me supremely confident Ode to Joy is going to be another fine step forward (and into a slightly different direction) for the band. I'm pumped. 

Something of a tangent here, but I can't believe a second track from Ode hasn't been released yet. Not expecting the whole album to leak, but with the band hitting the road this week in Europe, I thought we'd have a second offering by now. 

After hearing the acoustic versions of White Wooden Cross and Empty Corner on the BUILD show, this record better leak ASAP because I haven't been this excited for a Wilco record since The Whole Love. 

So I suppose that we've heard 5/11 of the tracks already, right? Before Us (SSF installation), White Wooden Cross (SSF and Jeff's been playing it solo), An Empty Corner (SSF), Everyone Hides (St. Vincent movie soundtrack), and today's premiere of Love is Everywhere. 

 

No surprise here, but I am really enjoying Love is Everywhere. 

Curious as to whether Everyone Hides is going to be the exact same version as on the St. Vincent soundtrack. I would hope they don't simply run back that version but perhaps take a second crack at it with the full band. I really dig that song but am hoping for a reinterpretation. 

I like Nels’ guitar work on the new song, but I’m hoping the rest of the album moves away from the breezy acoustic feel of Schmilco, Warm, and Warmer.

I agree with you on Nels' guitar work, but something about the vibe and sound of this tune leads me to think the rest of the record will feel 'bigger' than Schmilco, Warm, Warmer, etc. We may be at a point in Tweedy's career where this breezy, folksy sound is more or less what he is, but something about the arrangement of Love Is Everywhere leads me to think Ode will be a much fuller sounding record. 

Dude, just get it. Tune out the noise. There's some really wonderful stuff here, subtle shifts in the arrangements and chord choices, plus some light overdubs on a few tracks that provide just enough extra texture. What I also like is that most of these songs were written and recorded when Jeff was in a much different place than he is now, and his voice is completely different. I'm really enjoying hearing these songs interpreted in this intimate setting, years after they were initially conceived. 

 

If you're disappointed, I'm sorry your expectations weren't met. I didn't really have any mega hopes for what this would be. I was simply looking forward to hearing a set of Wilco tunes recorded in this fashion, especially so you can focus on the songs underneath all the production on the Wilco records. And that's exactly what it is.

Yes, Choo-Choo is right, it's worth picking up. And yes, the record is what it's billed to be. As I said, I think my expectations were outta whack and that's 100 percent on me. As has been said, there are some really wonderful cuts here. Worth buying for the Wilco/Tweedy fan. 

I think Number 2 answers your Number 1.

 

I'm more puzzled why the box set came with a uh...puzzle. Talk about unnecessary.

 

This will be a good "Sunday Morning" record.

 

As I said in my other post, I just wish it was a bit longer considering it's just a re-release of old songs. It really should be a "bargain" release, but I do like having it on vinyl.

I think Number 2 in part answers Number 1, though not completely. Perhaps, as you somewhat referenced, it's the song selection. Maybe if the record include more 'deep cuts' or songs we really haven't heard in an acoustic setting before? I don't know...

I do agree with you: A perfect weekend morning record, which is probably where this will reside for me. And again, this record contains some fantastic cuts: Via Chicago, Laminated Cat, Ashes, Future Age, Break Your Heart, etc. But for an artist like Tweedy who prides himself on making records a holistic listening experience, this one finds me jumping from track to track more than any other release in his arsenal. 

It's been a while since I've posted here, but after giving Together At Last a few complete spins, I thought I'd chime in with my initial thoughts: 

1). On the whole, my question is: Why? Why did we need a record of all acoustic songs? While I think the super fans (me) will enjoy this, I'm left wondering what Jeff wanted to accomplish by releasing this collection? For the most (and there are some exceptions), these tracks don't feel reimagined or seem to gain much from being stripped back, etc. Perhaps this is more of passion project for Jeff and more power to him - the man has certainly created enough wonderful music and has earned the opportunity to follow his passions wherever they might take him, but I was left a bit puzzled as to why this was an actual, physical release as opposed to perhaps a strictly digital release or something like that. 

2). Now, all that being said, there are some fine, fine moments on this record - especially Via Chicago, Not for the Season, The Future Age, I Am Trying to Break Your Heart, and I'm Always in Love. Ashes is a nice cut as well. But these tracks rise above the rest, at least for me, because Jeff does a little reinterpreting of their original form and doesn't just give us an acoustic rendition. However subtle or nuanced the tweaks, they show us a different side, something new, reveal a fresh facet of these tracks that the others lack. 

3). The production is quite nice. Very warm, very intimate, though at times, at least to me (and I'm no production expert by any means) some tracks feels a little rushed - i.e. completed in one take without much thought to trying again in the hopes of refining, specifically Muzzle of Bees, which to me is the worst track on the record. Now, yes, the liner notes indicate the collection was recorded during a month span (January 2016), so I get why things might seem like one and done, but at the same time I feel more time could have been spent on rethinking how these tracks might sound with just Jeff and his voice. 

OK, so overall, despite my criticisms, I do really enjoy the record and find 7 of the 11 tracks are really interesting, fresh, and utterly beautiful. I guess my overriding concern here is whether Together At Last signals a shift toward major releases that perhaps should be digital downloads, b-sides, part of one large 'basement tapes' like collection, etc, especially since Jeff has indicated this is just the first in a series of the Loft Sessions releases. Wilco is perhaps (no, not perhaps, for sure) my favorite band and Tweedy is without a doubt my favorite songwriter, which is perhaps why I'm so polarized about a record that, to me, seems a little less vital or necessary than those that have come before. Maybe I was expecting too much, maybe I'm just not keyed in to what Tweedy was going for here, but Together At Last isn't quite the slam dunk I was hoping for - to use a basketball metaphor (since the draft was just last night), this feels like a 15 foot jumper: effective, well done, but a little safe especially with a wide open lane to drive the basket. 

Again, just me two cents and I'm curious how others will react. Cheers! 

I've had Schmilco basically on repeat since picking it up Friday morning - and I'm completely in love with it. Perhaps some of the most intimate, personal work Tweedy has put forth in a long, long time. Still struggling to find my way with Common Sense and Shrug and Destroy, but the rest of the cuts are stellar. 

Hate to create a false dichotomy here, but, since both Schmilco and Star Wars were recorded during the same period, I'm way more pleased, excited, passionate about Schmilco than Star Wars. Don't get me wrong, SW has some killer songs on it, but I rarely listen to it from start to finish. With Schmilco, at least thus far, I've only listened to it from beginning to end. Just a much stronger overall listening experience, at least for me. 

Alright, back to tending to my newborn daughter - just five days old and already she's cracked a smile or two when Cry All Day comes on. Cheers!

Cry All Day? A new Wilco classic. 

After only one listen, it's a really, really wonderful listening experience, though you do get the sense this is less of a collaborative effort and more the Tweedy show - much like Star Wars, which makes sense given what's been written about how these records were composed. That being said, as with Star Wars, there's a couple of tracks I really question/suspect multiple listens won't do much for my opinion of them - they seem hard to access for the sake of being hard to access. 

That said, more so than Star Wars at least for me, the highs on Schmilco are crazy, crazy high and the lows are pretty low. Not sure what this means yet in terms of how the record holds together. But it does prove Wilco continues to be the most forward-thinking, interesting band in America. 

If anyone is feeling generous, that wouldn't be the worst thing in the world. Cheers!

If download links are out, it has to appear at some point. No disrespect to the band, just speculating it will hit the internet sooner rather than later. 

http://oneguyonebeer.com/2016/02/24/small-pour-5-alpine-brewing-companys-duet/

Anyone heard anything about first week sales numbers for Star Wars? Just curious. 

After five or six listens, I'd give it 4.5 out of 5 stars. Easily the most adventurous and ultimately rewarding record since YHF. 

On listen number five, and I think it's safe to say Star Wars is the band's most challenging record since YHF/AGIB - and I mean challenging in the best possible way. It's gruff, rough around the edges, pretty inaccessible at times, and wholly masterful. 

I fear the critical shorthand for this record is going to be along the lines of "Wilco is back' - they never really left, folks - but Star Wars is a refreshing, complex turn for the band, especially at this stage in their career. I can't get over the urgency of it, how unfussy it feels, almost like these are demos - again, in the best way. 

Also, can we talk about sequencing for a moment? Just when you feel you can't really take another fuzzed, guitar freakout, they throw in something a bit more easy going, like Taste the Ceiling, A Joke Explained, or Magnetized. Brilliant progression. 

For me, the standouts thus far are: Random Name Generator, You Satellite, Taste the Ceiling, Where Do I Begin, and Magnetized. 

Tracks that are still giving me struggles: Pickled Ginger and King of You. 

Um, then there's this via the band's FB: https://www.facebook.com/wilcohq/photos/a.127996970420.136900.8290410420/10153437544455421/?type=1&theater

Does anyone else think this looks more like album art than a concert poster/press shot? Or is that just me...