rselz

The second you start the record, you know exactly in which decade it was produced. The production dated itself, um, in 1976.

You've got the causality flipped: Born to Run defines the decade, the decade doesn't define it.

The better the seats, the better...

Please email robselzer@mac.com...

Thanks a bunch!!

Re the show: Amazing. My girlfriend and I splurged for the VIP tickets and I have to say that they were worth every penny. There's quite a bit of venom on this site directed at the very idea of a VIP section, which I understand, but I felt like Crossroads did a great job straddling the line between providing the VIP section with value and not completely screwing the GA folks. The VIP section was full and lively and totally into the show. I'm embarrassed to admit that I almost got into a fight with a bunch of VIP meatheads during Andrew Bird because they were shouting about the MU/OU game in voices that were clearly loud enough for Bird to hear over the sound of his own instruments. I shushed them and they sort of gave me some lip back and I got VERY pissed off and said some regrettable things. But they DID shut up, and the rest of the night was incredible.

Anyone who doubts whether Wilco can still rock needs to hear this show. This was a rock show. That second encore was insane. Just insane. Each song more intense and thrilling than the last. Rapturous.

I liked the venue very much, and while Stretch was kind of douchey, his intensity and passion were endearing. My mom told me later that he's a friend of a friend, which gave me some context, and now I feel much differently about him.

I'll never understand why anyone doesn't love KC. I grew up there but haven't lived there in 15 years. It's not perfect, but it's home.

either:

"I have no idea how this happens"

or

"AND I SHOULD TAKE CARE!!"

For the record, the only reason that I am a Wilco fan is because of a VW ad. Some of you may remember an old spot that showed a road trip from cold weather to the beach accompanied by Son Volt's "Chanty". I saw the ad and thought, "wow, that's a pretty tune," and searched for the title and artist in the interweb. So I found the info and did some research on Son Volt and read about Uncle Tupelo and Farrar and Tweedy and went out and bought Being There and Wide Swing Tremolo. Now I'm a serious fan. I go to shows when they're around, buy all their records, download live shows, push them on my friends, etc etc. I suppose that I could have come across Wilco in a more organic way, and I definitely agree with some of the more cynical views presented in this topic, but I'll always be thankful for that one commercial, if for no other reason than it got me interested in Wilco.

Incidentally, I have to take some issue with the idea that music in film/TV is in any way divorced from this conversation. More and more, movies and TV shows show their hipness by having soundtracks laced with hip music. It wasn't just a coincidence that Jim from the Office was playing "Clap Your Hands Say Yeah" at his party a couple seasons ago. It signified his character's cred. And that's diagetic sound (sound that's part of the narrative--compare to non-diagetic sound, like in Cameron Crowe and Zack Braff movies). Cameron Crowe doesn't use Radiohead because it's perfect for Vanilla Sky, he uses it because it signifies him as "with-it". K-Billy's supersounds in Reservoir Dogs (which was an admittedly cool conflation of diagetic and non-diagetic sound...) was nothing but Tarantino showing off his deep reverence for 70s pop music--but make no mistake, those choices were about branding himself as cool. No different than VW or Apple or whomever branding themselves by choosing Son Volt or Bob Dylan for their spots.

...and what about the live tweedy stuff? sometimes when he's solo the new stuff sounds like old stuff. does that work for you? too many chord changes? it can become tiresome.

This is SO easy!!

1. Far, Far Away (current live version)

2. Hate It Here (how amazing is the transition from the penultimate verse to the chorus: "...and I should take care!")

3. Kamera (from YHF, not the fuzzified version)

4. Impossible Germany (the Allman Bros.-inspired twin guitar riff is off the charts)

5. Wait Up (okay, so that's a UT song, but I'm including it...)

unless...

1. I'm Always In Love

2. This Is New

3. Pot Kettle Black

4. That's Not The Issue

5. Panthers

of course, maybe it's...

1. Shake It Off

2. You Are My Face

3. Bob Dylan's 49th Beard

4. Dreamer In My Dreams

5. Forget The Flowers

see? easy.

thanks for the nickel creek songs. they're pretty cool. the only reason i asked the question was to sort of piggyback off the thread about what band we'd like to hear play what wilco song. i realized that i'd never heard anyone cover a wilco song and seeing as how most of us agree that tweedy is one of the best songwriters alive it seems strange that no one's taken advantage of wilco's particular genius for their own benefit. any thoughts on why folks don't cover wilco songs?

Does anyone know of any bands that have covered Wilco songs? Just curious...

It doesn't seem to get much love around these parts, but I'm a huge fan of Shake It Off...