you ever seen a ghost?

Jim Morrison, a self-styled rock "poet"? please. >Wilco + Hendrix > Foo Fighters + Doors that's about it. as far as The Doors are concerned though, i like "The End"...when used in proper context in Apocalypse Now. same way i like "Don't Stop Believin'," used in proper context in...well, everybody knows that one by now... -justin

plus, let's face it, The Doors suck too. -justin

i quite like the song and i think it would have fit very comfortably on SBS. i agree that it needs little to no re-working, but i think if the next album were indeed an SBS companion piece, then i'd welcome its appearance as such. -justin

sorry, i got all wrapped up in the Dylan. i'll take that bet too. calls Jeff: "hey guy, you wanna make a cool $2,500?" -justin

hey, at least you agree with me on the fact that, despite all their much-deserved critical acclaim, people won't fully "get" "Love & Theft" or Modern Times for years. -justin

well, that's true, but Tweedy specifically said he wanted it to be on the next album. plus, you could use the same b-side argument about "Handshake Drugs"... -justin

i'm sure he will do one at some point. apparently, the follow-up (which Tweedy and several other band members did mention coming out sooner rather than later, like, in the next year even) is almost half finished, meaning, i guess that a few of the songs are recorded. i'm thinking "The Thanks I Get" (which they said would be on the next record - revamped "Handshake Drugs" style?, "Let's Fight" and maybe that "Glad It's Over" track. here's hoping sooner rather than later. i can definitely handle another SBS-like album. -justin

hey! it's already been discussed in another thread, but i'm not gonna like, berate you or anything. matter of fact, i'm not even going to link to it. i say we discuss it all over again here. the pavilion is relatively new and at the end of a neat little strip of the city. it's outdoor, but covered and apparently the show is General Admission, which is exciting because Wilco hardly play that type of show any longer. it's on a Saturday too, so my plan is to get there early (i'm coming from Richmond) and try to snag that coveted rail position. very, very exciting! -justin

yep, good article. PopMatters is one of the websites that i check every morning. wonderful site. great reviews and essays. -justin

>I read in the NY Daily News this morning that the lead singer of Relatively Clean Rivers is the father of Adam Gadahn, the American Al Qaeda guy who >has been in the news for threatening NYC with dirty bombs. that's fascinating. i recently downloaded that album and it's pretty good. Perlman's lyrics were kinda anti-estabilishment, so that's interesting. -justin

Bob said himself that Time Out Of Mind kinda flowed together and sounded like the same song...which is my main beef with it too. he also had problems with Lanois' production...even though he'd used him before on Oh Mercy. anyway, producing L & T and MT (and a handful of other misc. tracks) himself under the moniker Jack Frost was a great decision on his part. while i enjoy TOOM, i don't like it nearly as much as the other two. Dylan said that if there were to be any sort of trilogy, it would start at L & T and not at TOOM, but i'd always considered them as essentially different any

>I know it's off topic, but hell no, Dylan also made "John Wesley Harding," "Nashville Skyline," and "The Basement Tapes" (though it's not really an official album) to just name a few after his surreal world era. and of course "Love & Theft" and Modern Times. anyway, it's not really off-topic any longer! -justin

hmm...that might have actually been from the tape that circulated the most. there are probably other tapes, but i'm not sure about that one! -justin

there's probably several different recordings of the show. not sure which one i have as i don't have it here with me, but you might be able to obtain one without the obtrusive chatter. -justin

nope, i wasn't there, but when listening to the bootleg, i hear some of the fans go crazy when they finally recognize it. the thing with the George Harrison song, "Something" was neat too. someone tried to bring him a lyric sheet and he said "fuck that! get that out of here." you can hear that on the bootleg of that show too! -justin

did you know that he broke it out for the first time ever in NYC in 2002? i think he might have played it at one other show after that, but the first version was cool. definitely a shocker for the setlist watchers and the hardcore fans went apeshit. he said something to the effect of "this is a request, of course." a couple of years later, he broke out "Million Dollar Bash" for the first time ever. -justin

>It's a one-track town, just brown, and a breeze, too assuming sarcasm, if you can't have fun with "Yea! Heavy And A Bottle Of Bread" then you just plain don't like music.

>Rolling Stone has always loved Dylan, at such a critical moment for the ailing magizine and songwriter they were not about to throw his newest creation out the window it ain't just Rolling Stone. universal acclaim from both reviewers and users on the site. http://www.metacritic.com/music/artists/dy...=modern%20times >As to the Basement Tapes, I think people ALWAYS overrate what even Tweedy called "a bunch of young guys drinking coffee, smoking pot and going to the basement to make music." somewhat similiar to the process at The Loft, just without the studio equipment, no? s

yeah, i wouldn't call it his best song either, but definitely a cotender for best song from the Basement Tapes sessions.-justini think Sufjan Stevens rendition of "Ring Them Bells" should be extremely interesting. -justin

>the whole tracklist looks interesting, makes me very excited agreed. the MMJ, Calexico and Iron & Wine stuff. plus, looks like we get an official release of what some call Dylan's best song, placeholder lyrics and all. -justin

>So it's groundbreaking because a poetry journal said it was? they're a damn good source and i wholeheartedly agreed with that sentiment before i read that article, the Rolling Stone review or the RS interview with Dylan. btw, it's definitely okay by me if you diss on Rolling Stone. i do too, but some of the essays, articles and interviews they do are still very relevant. >I'll grant you the lyrical aspect may have broken new ground, but there's no way the music does. i'd agree. i mean, it all sounds so old. but the lyrics are a part of the music as a whole. as you say, it

>So it's groundbreaking because he borrowed lyrics and because Rolling Stone said it was? >P.S. I only skimmed through half of the article. hey, i wasn't trying to argue with you. as a matter of fact, i spent the time trying to find the Poetry article again so i could present you with a different viewpoint. i'm sorry if i came across the wrong way, but there really isn't any need to act that way towards me. the article makes a point that his last two albums are post-modern collage. it also says that nobody has even written songs like these before...not even the man himself. i

>Oh, I thought you meant his guitar playing, to which I'd reply, "yeah, he's sick as hell." lol. -justin

>I don't think I've heard Love and Theft, but I've listened to Modern Times a bunch. What new ground is being broken with that album? http://www.poetryfoundation.org/archive/fe....html?id=178703 please read the full article before making any further comments. also, from the Rolling Stone review: "There is no precedent in rock & roll for the territory Dylan is now opening with albums that stand alongside the accomplishments of his wild youth. Love and Theft, recorded when he'd turned sixty, was his toughest guitar rock since Blonde on Blonde in 1966, a combination of the mojo Mu

>After Dylan did Highway 61 and Blonde on Blonde, he's made virtually only 2 albums [blood on the Tracks and Desire] that even compare. not true at all. "Love & Theft" and Modern Times are both groundbreaking. yeah, you see the overwhelmingly positive reviews, but few people have touched on the real brilliance of these albums. years down the road people will though. also, besides discounting those (which to me is the real crime), you've dismissed The Basement Tapes, John Wesley Harding, etc. to the original poster: Wilco will get their due eventually. kinda like The Velvet Und