PageTheSage1275

Hey guys — devastated to have to unload these two awesome pit tickets. I had it in my head that the show was the 7th, not the 1st, and I simply can not make the trip this weekend. Would have been my 10th Wilco show not including the Tweedy show I caught last year. 

I am in Charleston, SC and have the physical tickets. They were something like $107 with fees but I'll do $100. If you need me to overnight them we could split that cost. If you are passing through Charleston or just live here and want to go to St. Augustine (~5 hour drive), we can schedule an in person exchange. As bummed as I'd be about being out $100, the real crime would be these tickets going to waste. 

E-mail me a gstevens85 at gmail dot com

@Napalm: Don't worry, I wasn't reading any vitriol in your posts! It was a good discussion. And again, I think the riff is great...classic Wilco, creatively approached musically. We just disagree on the thematic part of the song

Well, why do you listen to music? What kind of service do you think any musician aims to provide to its audience, if not love and/or consolation?

Of course that's the kind of latent service they provide. But I don't need a friggin' song directly reminding me! Just like I don't need screenwriters injecting dialog like "Man, I sure hope our audience remembers that this movie is meant to simultaneously provide an escape and entertain!"

I disagree with this premise, that the song is marketing. And I think you and I also disagree on whether the song is self-aggrandizing. When you say, "I love you" to your wife/husband/partner/dog/cat/child before you leave for work, that's not self-aggrandizing, is it? Marketing your "brand" as father/mother/husband/wife/partner/owner? Saying, "Wilco will love you" is, well, as it says in the song, a fact. If the song said, "Buy more...buy more...buy more of Wilco's records," "Wilco...Wilco...Wilco makes your life better," "Wilco...Wilco...Wilco gets out the tough stains," then that would be a bit more self-aggrandizing, and definitely more direct marketing. What I hear in the song is, "we are as grateful for you as you are for us," which is certainly more than I've ever gotten out of a t-shirt.

 

Further, I think the perspective from which the song is written is equally as genuine as The Lonely 1. Jeff has been writing songs since, what, 198X?, and has had an audience for just as long. Why not write about his experience as the musician? On topic (whew! I knew I'd get there), one of the reasons I don't like Deeper Down is that I don't think Jeff is as skillful writing from the third-person as he is from first-person/his own perspective, and W(TS) is definitely a song from his own perspective, no different than I'm The Man Who Loves You.

I think you're taking my metaphor a little to seriously, re: branding and sort of thing. But still, I do consider the song to be self-aggrandizing, but playfully so. When I read the lyrics, I read "We are here to provide you the service of love and consolation". Based on lyrics alone, the song doesn't speak to fans, the song speaks to the general public...like, "If you experience or relate to any of the following, then Wilco will love you:" Perhaps the 'fan' part of it is implicit. Regardless, I think the song was written with tongue firmly in cheek...like, "If there was an advertisement for Wilco's music, how would it read?" I should emphasize that I don't think they're literally advertising, or marketing, via this song. I don't think they had a boardroom meeting and concluded that a song about the band would be the perfect marketing channel.

I agree w/you about Tweedy's strength lying in writing about in the 1st person. Even if it's not about himself, he's just more believable when he assumes the perspective of the song's protagonist. I think most of YHF isn't autobiographical, yet he wisely writes in the first person because it plays to his strengths as a songwriter.

I had a friend who sang "You need song, you need battle," in "I Guess I Planted". She was totally crushed when I corrected her, because it was apparently one of her favorite lyrics.

I get that, but bands push their own brand the moment they copy their first flier. Wilco has had a mailing list, t-shirts, mugs, tote bags, posters, caps - just about everything - for years. Radio play and concerts push the brand - television appearances and soundtrack deals push the brand. This self-referential form of branding wasn't even released as a single, and received pretty minimal airplay if it received any at all. It breaks a wall between the listener and the music, but it also drives home the point about why we listen to music in the first place. It's no different than any other song about putting on a record to feel better (in fact, it's a lot like The Lonely 1), except this song notes that you're putting on a Wilco record. And you are. So it's also true, in addition to being catchy.

Yeah, but why do we need that point driven home? Isn't it evident? I mean, it's the same reason I can't stand Dan Brown...I don't need you describe what just happened after every action sequence.

Using your example, I think the Lonely 1 is a brilliant approach to conveying a similar message to that of W(TS). One of the major tenets of creative writing/art in general is "show, don't tell". So instead of saying "If you feel this and this, then Wilco is the band for you!", I'd much rather hear the story of someone who depends or relies on certain music, and then draw my own conclusions. That, to be sure, is one of the greatest things about music/art, and something Tweedy has been on record as saying. I believe "What Light" sort of touches on that idea of a song/art being what the viewer/listener makes of it.

And I don't disparage Wilco or any band for marketing itself, because thinking otherwise would just be naive. But I think posting flyers and writing self-aggrandizing songs are apples and oranges. When the line between the art and the marketing of that art is blurred, I think something's lost.

But anyway, I appreciate your analysis of the tune...it doesn't validate the song for me, but it's certainly a different stance that I hadn't considered. I'm a bit oversensitive to this, I admit -- I didn't even like "Glass Onion" for the self referential bits.

I don't know, the theme has always worked pretty well for me. The moment I hear the opening riff, I remember why I love Wilco so much. Then at the end of the verse, Wilco loves me too. Pretty symbiotic. If you line it up against Wilco's other fun rock songs, the lyrics aren't much different; why does is the self-referential part bothersome?

I really can't verbalize it -- I think it's just not what I want in a musician/band. It's Wilco being cognizant of their own brand, so to speak. I don't mean to say what they've done in the past is contrived, as brand's definitively are... but I guess it makes it seem that way. We get that you "love us"...we get that these are the reasons why we listen to Wilco. They've already proved that by doing what they do.

But I guess W(TS) comes off as an advertisement for their own band. Which I know is sort of the idea, and it's supposed to be tongue in cheek. I dunno, this probably makes no sense. Just doesn't work for me

Some stray thoughts, forgive me if I'm retreading any ground:

1. Agree that Deeper Down is a top 3 album track, but it didn't land live either night I saw them this past tour.

2. W(TS) is an excellent song, but I wish it wasn't W(TS). I wish it was some other song, that lyrically had nothing to do with being self-referential.

great review. if you would like to use a picture actually from the show for your blog feel free to use one of mine.

Thanks Sarah! I may do that, thanks.

Whoever mentioned Ryan Adams hit the nail on the head. Tweedy's perceived crankiness is such a non issue compared to RA's. I've been to Adams shows when I warned chatty folks to quit talking or he'd fucking explode. Cussing matches with audience members, going on a five minute diatribe, or the worst: Just shaking his head and ignoring the audience altogether. The guy is a time bomb...

The best ever was Sam Beam from Iron & Wine though. At a chatty show in Charleston, he breathed into the mic, in that sleepy-eyed, softspoken way of his: "So... who's here to listen to some music?" (people cheer) "OK. Who's here to run their fuckin' mouth?" (laughter, talking) "Whatever, it's your money."

It was a brilliant moment.

If anyone's interested, here's my review of the Atlanta show and an analysis of why Wilco's so great at being great.

And re: The Fox's snazzy-ness... indeed! Only second to the Tennessee Theater in my opinion (although I guess that's among theaters I've been to...) Certainly a lot nicer than that boring ol' room in Savannah.

Indeed. I was very tickled that I won- thought Jeff might hand it to me right then since I was in the 3rd row right in front of him. I couldn't believe it was for $100. As a college student, that's a heck of a lot of money!

Ah yes, I remember those days from only a few years ago. Trust me: It's still a lot of money!

So jealous of your third row spot. I was on the presale at the zero hour and still got row R, all the way at the end. Damn!

GREAT review. I can't wait to read your thoughts on Atlanta.

Thanks Sarah! Are you the raffle winner in ATL? My girlfriend, also named Sarah, got excited for a second. Then she remembered she never made a request...

I was there (and in Atlanta). Fucking amazing. They keep raising the bar. I wrote a big ol' review of it at my blog here. Sorry bout the plug

Highlight was definitely "At My Window" for me, although man...that version of "Ashes" slays so hard. It was my seventh Wilco show and somehow the first time I've heard Ashes. Also was great to hear "Pot Kettle Black"...

There were some chatty bastards around me. I don't understand how people can just carry on conversations during a song, as if they're at a bar. I mean it's your money...but damn. $40+ to talk about the NCAA tourney? Ugh.

Well, never mind. I went on Ticketmaster and found one. Not the best seat, but certainly better than no seat at all!

So for any of you looking around for a Charleston ticket, check Ticketmaster. I'd imagine these are refunds for people who are either impatient or can't make it in August.

Hey everyone...so, my father is retiring from the Navy after 30+ years of service on February 29th. So, alas, I was going to be out of town (Charleston) on the day of the show.

But, they've rescheduled. And now, presumably, I'll be in town when they swing through again.

So now I am looking for a ticket. If you can not make the rescheduled date for some reason, gimme a shout! I'd be happy to buy your ticket at face value.

gstevens85@gmail.com is my address, I'd surely appreciate any leads! Thanks guys, take care.

How 'bout Kamera... all Ds, Gs, and As until the chorus, which (if I'm not mistaken) is that nifty A, Bm, G, Bm, A...sure, Bms can be tough for a beginner, but it's a good way to inure yourself to them.

Hah...I said Bms can be tough.

Thanks, fixed it.

Now I play these bits while phrasing the chords...as opposed to just playing the notes individually. It is crucial that you kinda keep strumming as you're playing them, if it makes any sense. I've included the chords above each measure.

capo 3rd fret

----D-------------------A---------------G-------------------

e-----------------------------------------------------------

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

G---2-----2---2---------2---------------0----0--------------

D---2h4---4---2h4p2-0---2----5-4--2-----0h2--0------0-------

A-----------------------0----0-0--0-------------0h2----0h2--

E---------------------------------------3----3--3------3----

---G-----------------------------D------------A-------------

e-----------------------------------------------------------

B-----0000--------------------------------------------------

G------0----2-0---------------------------------------------

D----------------2h4-2-----------0--------------------------

A-----------------------0h2-0---------------0-0--------0----

E--3----------------------------------0h2---------0---------

--Bm------------G--------------Em---------------G-----------

e-----------------------------------------------------------

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

G--------------------0---------0--0-------------------------

D--------------------0---------2-----4---2--0---0-----------

A--2-------0-------------------2----------------2-----------

E--2---2--------3--------------0----------------3-----------

----D------------------C-------Em----G--------------D-------

e---------------------------------------------------2-------

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

G---2------2---2-------0------------------0---------2-------

D---2h4----2h4-2---0---0h2--0--2--0-----0-0h2p0-----0-------

A----------------------3-------2-----2----------2-----------

E----------------------3-------0-----3----------3-----------

4th measure is repeated after every other verse.

Sorry if this has been covered a zillion times. But I wrote up a pretty good tab and I'd like to post it, but I can't post it as is because the interface messes it up. I tried the CODE thing, but that didn't seem to work. Any suggestions?

OK, the way I play this is (relative to a capo 3) is Eb, CaddG, G. For the Eb, you basically phrase a C up 4 frets, and add your pinky on the 6th fret. So here's your chord:

Eb

e 6

B 4

G x

D 5

A 6

E x

And of course CaddG is

CaddG

e 3

B 1

G 0

D 2

A 3

E x

And you have to fingerpick it...listen to the album and you can get it, but basically the strings you wanna pick are A e B A e B A e

Hope it helps.