Atticus

Just saw the re-run yesterday afternoon. Had to laugh...

I never in my life thought I'd quote the New York Times, but I was just googling around trying to find the lyrics to these new songs, which everyone seems to have an opinion about--even though we don't even know if the lyrics/songs are finished--and I found this entry re the lollapalooza show:

New York Times Article

A New, Plainspoken Wilco

Is Wilco coming back down to Earth? "What you once were isn't what you want to be any more," Jeff Tweedy sang as Wilco started its Sunday afternoon set at Lollapalooza. With a full beard and a hat, dressed in a jacket with bluejeans, Mr. Tweedy had taken on the look of Neil Young, and he led the band in a set that included four songs -- tentatively titled "Impossible Germany," "What Light," Let's Fight" and "Walkin'" -- slated for Wilco's next album, due in early 2007.

The noisy, improvisational tangents that have been part of Wilco's music for the last five years were cut back for its Lollapalooza set -- not completely absent, but infrequent enough so that Wilco sometimes sounded like the straightforward roots-rock band it once was.

"What Light" was an artistic manifesto -- "Just sing what you feel, don't let anyone say it's wrong" -- set to a country waltz. A ballad, "Impossible Germany," observed, "This is still new to me, it's not what I planned" and eased into a stretch of twin-guitar jamming; "Let's Fight," a piano-based ballad with a swelling Beatles-style chorus, vowed, "Toinght, let's fight, let's get this right." For "Walkin'," a love song, Wilco added a horn section and Glenn Kotche kicked up a New Orleans drumbeat. There was more noise in one of Wilco's older songs, "Via Chicago," which (as on Wilco's live album, "Kicking Television") erupted every so often with drums and chaotic noise while Mr. Tweedy just kept singing, wistful and nonchalant. Things could change in the studio, of course, but for the moment Wilco's new songs are plainspoken.

California (All The Way) - Luna

what a great song...

He doesn't drop D. If he did the whole beginning half where he'd strum with his fingers would lack the bass A, which I hear.

 

edit: and when the big part starts, it's cumbersome to hold the 2 on the low string anyways.

 

I also came up with the "real" ALTWYS riff:

 

-------------------------
-7-5---------------------
-----7-6-4--7-6-4-2-2p0-0
-----------------------3-
7-7-7-7----5-5-5---------
-------------------------

And it's obvious from your tabbing that you're not playing it capo'd on the 5th fret. I'll be happy to send you video of him doing same. Once you've capo'd on the 5th fret, the drop-D will seem obvious, and the riff you've shown is easier.

He doesn't drop D.

[/code]

yes, actually, he does.

Could those of you posting only album covers also post the artist and album name? That would be helpful to the unhip of us.

"The Soft Bulletin" by The Flaming Lips

That flipped me out for a good couple of weeks the first time I heard it...

Wow. Just read up on it on a couple of sites. Is there a sampling under $100 anywhere? Sounds amazing...

Frank Zappa (Joe's Garage) and Tom Waits (Heart Attack and Vine)

 

And as so eloquently stated prior, Yankee Hotel Foxtrot

I've been wanting to jump into Waits' catalogue for awhile, having heard greatness from him here and there over the years. Is Heart Attack and Vine a good starter, or should I try something else first?

Expletive!!!

Don't know what to tell you, friend. Sorry for your loss...

wow.

It is frightening what free time + internet creates at times...

This thread was spawned off the thread about trying out the grateful dead's music.

I'm referring to those bands or albums that might have taken you awhile to sit with and come around to, but now you wouldn't want to live without. So if you could short-cut that "easing into" process (and most likely you really can't), what album or albums would you want to expose people to, with the caveat of: Just keep listening, you'll come around... ?

I'm certainly not attempting to be smug or contrarian, it just seemed to me it shouldn't have to be a process to go through to like any particular band. I realize the body of work is vast with the GD and the poster was soliciting advise....it just seemed to me as if it was a little forced. My bad.

It's an interesting question you pose, though, as far as the process of "discovering" a band.

In many ways I wish someone had grabbed me and put Wilco in my face long before I eventually found them through friends and/or on my own, but at the same time I doubt I'd appreciate them the way I do, having gone through albums, concerts, phases and live downloads, etc. (and of course this wonderful forum )

which related questions I think I shall pose in another thread, so as not to veer this one off course...

Should appreciating a band be this difficult?

I think the point is that a poster has said he/she'd like to try out a band, and when it's a band with a catalogue as voluminous as the dead's, I don't see any downside to asking for others' advice, so that one doesn't waste one's time or money on things one knows one won't care for. I'm not sensing any difficulty in the process. ?

Thanks for the info! I think it's the jam band stuff that has really turned me off in the past. Believe me, I've tried to get into jam bands and just cannot. I think I might get to the music store this weekend and pick up American Beauty and Europe '72. If it's of any assistance I like the song, Ripple.

In that case you might want to start with "Reckoning" instead...

just to throw $.02 in here,

I have always found the dead's studio albums to be an extremely poor reflection of the greatness of much of their material. Workingman's Dead and American Beauty are probably two notable exceptions. Most of the other albums sound like someone was playing a practical joke on the dead, engineering/recording/mixing/mastering-wise.

A lot of what you "should" try out depends on which Grateful Dead you want to hear. (disclaimer: I am no expert on the dead, just giving one guy's opinion). Some of their stuff is very down-to-earth, folksy, even country/bluegrass-tinged, some of it is spatial, electric and as "jamband"-ish as jamband can get.

I think Europe 72 and Reckoning are great starting-place recommendations. I also really enjoyed Hundred Year Hall and One From the Vault, when I first started listening...

Once you find a period or sound that you really like, then torrents and/or the dick's picks series will provide as much or little as you like.

--Neil

he'd have to be a democrat -- he's got a hot wife.

eeeewwwwwww.

Here is a Slate piece on Dylan and Keys

 

music box

Tangled Up in Keys

Why does Bob Dylan namecheck Alicia Keys in his new song?

By David Yaffe

Posted Friday, Aug. 11, 2006, at 7:20 AM ET

Bob Dylan's 44th album, Modern Times, isn't coming out until Aug. 29, but it's already planting stories in the press. The album's title alludes to Chaplin and possibly Sartre, but a shout out to an R&B diva born in 1980, the year of Dylan's Saved, has already generated advance buzz. "Dylan Searches for New Soul Mate," blared a headline from the Guardian, offering as evidence the following lines from "Thunder on the Mountain," the album's opening track:

 

I was thinking about Alicia Keys, couldn't help from crying

When she was born in Hell's Kitchen, I was living down the line

I'm wondering where in the world Alicia Keys could be

I been looking for her even clean through Tennessee.

 

Maybe Dylan looked at Keys' Wikipedia site. Keys was indeed born in Manhattan's Hell's Kitchen (when Dylan was "living down the line" in his born-again phase). Keys was asked for a sound bite about the reference, and she gushed that she was "crazy excited about it" and "honored to be on his mind." Some Dylan watchers, still reeling from his creepy 2004 appearance in a Victoria's Secret ad, may be a little less crazy excited. Does Keys inspire Dylan's tears merely because, at 26, she's way too young for him?

 

In fact, Keys is just the latest in a long line of black female singers who have besotted Dylan since his youth. (OK, Keys is half black, and maybe Dylan learned that from Wikipedia, too.) Dylan has long worshiped at the shrine of the black female voice, a source of musical inspiration, erotic obsession, and even religious conversion.

 

In the beginning, there was the mighty Mavis Staples, whose vocal on a Staples Singers record inspired the teenage Dylan to "stay up for about a week, and who, in turn, made a gospel anthem out of "Blowin' in the Wind" after she learned that this white boy had been her fan since childhood. (The white boy had also blown harmonica on a Victoria Spivey record in 1962 and said that he was first inspired to play folk music after hearing an Odetta record.) But despite Dylan's efforts, they were not to be the next Johnny Cash and June Carter. A couple of years ago, Staples revealed that Dylan had been the lost love of her life. "We courted for about seven years, and it was my fault that we didn't go on and get married," recalled Staples, who would later regret turning down his marriage proposal because she thought Dr. King wanted her to "stay black."

 

Dylan stayed black anyway. In the '60s, his attempted crossover found its way into lyrics. "Spanish Harlem Incident" : "The night is pitch black, come an' make my/ Pale face fit into place, ah, please!"; "Outlaw Blues" : I got a woman in Jackson,/ I ain't gonna say her name/ She's a brown-skin woman, but I love her just the same"; and, in a lamentable image, "I Want You" : "Well, I return to the Queen of Spades.

Great song, forgive the mullets...and the toothpick - It's Lou!

Romeo Had Juliette

I have to pull "New York" out at least once or twice a year and sing along in the car. What a fantastic album...

thanks for the vid.

--Neil

Should be required reading:

.

.

.

if you want to play it like jeff, you'll need to drop the low E down to D, then capo at 5th fret.

I'm trying to put some tabs together right now, but am having trouble finding the time. I'll try to put a rough sketch of this one together in the next week or so.

You're basically (and everything I reference is with the capo on 5th fret) going to alternate at the beginning between:

E------------

B------------

G------------

D-0-h-2-----

A-2----2----

D-2----2----

and a plain old D chord, then a modified G that looks kind of like this:

E---0---------

B---3--------

G---0---(some play a 2 here)

D---0----

A---2-----

D---0-----

. All the trills and fills will take me awhile to tab, as I plainly suck at tabbing.

Handshake Drugs is just D G F (the F might be a pain though)

Progression goes D to G to F, then D to G to C,

rinse, repeat...

via chicago...

 

D A and G all the way

you might find it easier to play as Jeff does, capoing on the 2nd fret, then playing C, G, F. Whatever's easier on your fingers.

Well, I guess you are right in that we will never know for sure if he is guilty or not.....

 

I was just amazed that someone who rides so high on their moral highhorse wouldn't do everything in their power to keep their name in tact and denounce the person who has slanderized them by calling their bluff and turning the tables on them.

let me give you an absurd example from my own current practice. I represent a couple (two of the nicest 50 or 60-somethings you've ever met, never been in trouble, totally trustworthy folks) who in 2004 sold their home to a man who had never bought a house before. This is a $400,000, 34-year old townhouse in a nice area of Houston.

Six months after the sale, a leak somewhere in a roof made part of the ceiling in the kitchen collapse. The buyer also discovered that one of the bedroom floors was off-level by about 3 inches. He also discovered that the side-yard sprinkler system was a do-it-yourselfer from home depot that my clients installed themselves.

My clients have now been sued for fraud, fraud in a real estate transaction, and violation of the Texas Deceptive Trade Practices Act. The buyer claims that my little old couple defrauded him by hiding the off-level of the bedroom floor, by disclosing on the seller's disclosure form that the lawn had a sprinkler system, and by hiding the roof leak--that my clients knew NOTHING about.

Now, the first thing I told them when they got served with the lawsuit, was that they could pay the buyer something now, through some form of mediation/settlement, and have this go away, or they could pay me and go to battle.

We are no where even near half-way through the case at this point, and their legal bill with me is already over $8,000.00 (billed at a reduced rate of $175/hour, and I bill VERY conservatively on this file because the case just pisses me off to no end). We have not had any depositions, we've not gone to mediation yet, we're probably a year away from any trial, and we're still battling discovery issues.

We probably could have settled at the very beginning for $5,000.

But they would have to live with knowing that they were extorted in broad daylight, and that the payment of money, regardless of what the settlement docs would say (they all say "we're paying you $$, but we admit no wrongdoing") they would feel like somehow the world would think they're guilty of fraud.

That's our legal system.

Now, imagine what it would cost (in $$, time, and stress) O'Reilly in a high profile case like the one we're talking about...

well, there are ample examples of his scumbucketry filling the airwaves everyday both on TV and the radio. How one chooses to define scumbucketry may differ from mine.....but in my world? he is indeed, a scumbucket.

I'm all for substantively void conclusions. But I'd honestly be interested to know to what you are referring when you speak of the everyday examples. I know he comes off like a pompous windbag, but could you cite some examples of specific scumbucketry?

thanks,

Neil

You may be right.

 

On the other hand - if someone made those allegations against me and claimed to have taped the alleged conversations as proof, I would probably call her bluff (rather than pay her million$ in a settlement).

 

But that's just me being naive I guess.

that's interesting that you are familiar with the terms of a confidential settlement agreement. Do you realize that "calling her bluff" may have cost him multiples of whatever he paid in settlement?

People settle lawsuits each and every day with the full knowledge that they did nothing wrong. It is an ugly side of our business. The fact of the matter is that with almost any lawsuit, the cost of settling up front is almost always cheaper than paying a lawyer(s) for the full prosecution of the case, even if the payor is in the right on the facts, and more importantly--even if he/she WINS the case.

Please don't get me wrong--O'Reilly may be a total pervert scumbag. I don't know. which is precisely my point--neither does any of you on this board, at least from what I've read so far. If any of you has personal knowledge of his scumbucketry, then please, put us in the know.