lost highway

On occasion, usually as a product of limited space on a vinyl side, or to create a vinyl buying incentive.

Wait, I didn't think the tour started for a few days. Where are they playing?

Part of it I think is that little drum booth they have. A dead little drum room with little natural reverb. Couple that with Glenn's dry taste in drum tuning, using moon gels, tape, towels and extra heads, and you get some really tight drums. Only a drummer as good as Glenn can sound so good on such "small" sounding drums. I'm actually not wild about the overabundance of hi hat swish on the rock out ending, but why complain about a single wart on something otherwise so perfect?

Totally.

The first 5 tracks are perfect.

Yeah, totally. I don't know all the lyrics yet, but from what I've absorbed there is definitely a pretty deep look into the human experience. There are some sublime, poetic dealings with the idea of suffering. "Born Alone" has a pretty: I been through a shit storm and here's what I've figured out so far.... thing. I think "One Sunday Morning" digs deeper than anyone of us has figured out yet. Something about death and consolation (or lack thereof) in spite of religious skepticism. "Rising Red Lung" is just as big of a bitter-sweet existential sigh as many of my favorite tracks on AGIB.

I just caught how much this song's arrangement is like a Jim O'Rourke thing. In a good way I mean.

I think the nature of the Almost beast is less of a purely live recording setup. I think there was a lot of layering done in various sessions. The scattered footage showed Pat playing producer from the Ikea couch, but I bet there were days when he was patching up moogs, or guitars and fuzzboxes, or whatever. I want to know more about how they worked with the string section. I have already said how I think this album has the most successful use of strings of any Wilco record. They sound integral, not like an afterthought.

I wanna see the album credits. I'm curious who gets 'co-writing' credits with Tweedy and on which songs. I'm also curious if they were able to get such intense, hi-fi, string sounds at the loft, or if those were done in another room.

1. AGIB 2. YHF 3. TWL 4. BT 5. ST 6. SBS 7. WTA 8. AM I'm not even kidding. What's interesting is to listen to all of TWL and then put on one of their older records. They've changed a lot over the years. It's hard to compare the band that made BT to the band that made TWL. They seem to have very different ideas about playing music.

I get that. It doesn't sound like "Theologians", but it feels like it. Something like spiritual pop music, or stating some really deep convictions over something you can tap your foot to.

I don't know about anyone else, but now that I've heard the album a few times this one keeps popping into my head. It's definitely got a dance in your bedroom kind of energy. Tweedy has taken a stab at falsetto a few times over the past few records, but I feel like he only just nailed it here. This one could be really fun live. "And I know that I won't be easiest to see and I know that I won't be the last cold captain tied to the mast I'm on the other side unsatisfied (?) I'm lookin for your love."

I love Being There. I could do without the "Kingpin"- "(was I) In Your Dreams"- "Why Would You Wanna Live" part. I like "(Was I) In Your Dreams" in a Randy Newman kind of way, but at that point in the album those three seem kind of inferior to everything that came before.... it gets a little tired. One thing about BT, that I think Laughing Dog is noticing (and apparently offending people with) is "Misunderstood" (maybe "Sunken Treasure" in a way too) is the only song that deconstructs genre conventions. The rest is kind of a exuberant game of roll the genre dice. Most of the exercises ar

Black Moon is huge. Love it.

I think what was meant by "official" is the band had an idea of how the album should flow, and they came up with a sequence. That is the CD and the digital download. When applying this to the economy of vinyl it didn't evenly fit on the sides with the limited length each one can hold. So rather than stick to the regular sequence and have a 5th side of lp, more weight, and nothing on the 6th side, they swapped a couple tracks so every side would be full. It's not which format is more "official", just art interacting with format in different ways. You put a picture in a different frame and

Yeah, here is a glut of unreleased Wilco recordings out there. Every time they make a record I think it expands. Some day it could make a triple disc. They could put in the B-Sides we all know, and things that have never seen the light of day. I would buy that.

There's more verses than the ones Knotgreen grabbed. I have started to get a nebulous idea about the songs meaning, but I need to hear it more/ read the other verses.

Crap, I was gonna wait for my preorder to be delivered but this album is now firmly wedged into my mind. Anyone got a PM for me?

I wanna throw this out there again to see if anyone else agrees: the piano on One Sunday Morning reminds me of Leroy.

I've made up my mind I won't like any new threads as much as the old ones, no matter what goes on them.

The record is better than the forum.

I think of "Pieholdin Suite" as a bittersweet second act of a musical and "Capitol City" as a silly/ triumphant third act. Anyone else get that?

This is what I love about it.

I admit that ecstatic was more my M.O. on that than reasonable.

They did it! Ladies and gentlemen it is a fantastic day to be a Wilco fan. Here is my reaction, as hyperbolic and premature as it may be: The Whole Love is the best record these guys have made in 6-7 years. Every song stands up, they all transcend their respective genres, they all go beyond the other Wilco albums you could compare them to. More than anything this LP is incredible because it creates its own world the way BT, AGIB, YHF and ST did, the way SBS partially did, and the way W(TA) failed to. The acoustic based songs don't sound like a Tweedy solo track with overdubs added late