lost highway

I repeat again that we all have no idea what the next record will actually sound like. But, comments the band has made seem to be exciting most of us..... me too. It just occurred to me that the band has not been playing as much of the new material as we may have thought. Two songs were debuted and neither has been played for some time. I wonder if the band is going to keep a tighter lid on this one, so we don't analyze it to death before we get to hear a finished work.

Serious sounding, the Neutral Milk Hotel album might have a pretty intense thematic thread, but it sounds like a fun-time circus. It's too bad that guy wanted to disappear.

Welcome to the board. How come those guys didn't come to my birthday party and give me a custom Mid Fi pedal? That's awesome. How did you come across that, you workin for Mid-Fi want me to demo any new models?

Admitting that I'm taking us further into fandork debate, which is where record geeks debate the subjective to comic ends....... 1. I find it fascinating to know a Wilco fan thinks Summerteeth a better album than YHF. 2. "Electioneering" is a much needed face melting rock song to jolt you from all of the deeply intense midtempo numbers. 3. You're right, Radiohead never lightens up. Wilco's a little more 3 dimensional there. 4. The production on Summerteeth, that is, not the instruments chosen and arranged, but the way they were recorded and mixed sounds kind of gross to me sometimes

I see what you mean, but it's pretty vague. You get these weird little chunks of evidence from that book, the fundamentals, improvisations, certain goals and sonic approaches, but there is almost no personal information. Almost nothing from Jim O. You get to hear Glenn's multi-percussion theory, a good quote from John about lots of instruments making tiny sounds, other interesting stuff about Sear Sound. I love that book, but it doesn't really give me an idea about what making the album was like, it's more a picture of the tools and the schematics. (which is totally awesome in another w

Agreed. I could write a list. This one is just the most pressing.

There's a closeup picture of Jeff's pedals as the homepage at Wilcoworld right now. You can't see them all but the 'Blister Agent' is front and center.

But that's the point. Kot has told that story. No one has told the AGIB story. I've heard snippets that are fascinating. Like, Tweedy had to sing super soft to record the vocals on AGIB because his headaches were killing him. I'm sure we'd all love one for each album, but I think AGIB is the story least told.

That's an interesting battle......In the Aeroplane is so much more playful, it's hard to put up against such serious sounding stuff. But, you might have it there.

Let me know if you want me to convince you...... I've got a case for this. (AGIB AGIB AGIB) the parentheses make it subliminal.

I love the 33 1/3 book series. I've thought about how someone should do one on Wilco, but which album? AGIB seems like the most interesting to me. YHF has been journalized to death. Most of the early experiences were covered for better or worse by Greg Kot. But the AGIB sessions are largely a mystery in spite of the Wilco Book. There is much said about the musical approach, but wouldn't it be awesome to get some good Jim O'Rourke comments. Hear Leroy's perspective after some years. I remember both John and Jeff looking at that period as dark times for the band, I'd love to see how they

Yeah Closing Time! And of course Rain Dogs. Definitely not Frankie's Wild Years. #3 is gonna have to be Blood Money. Damn it I sound like everyone else.

Sometimes I wish it would.

OK Computer kicks that shit to the curb. OK is one of the most important albums of the last couple decades. Can't say that about Summerteeth, but you can about YHF. That's why if you put YHF up against it things get confusing. Summerteeth would have been better minus about four songs. It's the only Wilco album after AM that doesn't play straight through seamlessly to me. It drags. Ok Computer has the most outstanding tracklist/flow. The gut and heart thing though, you got a point there if you look at the two bands overall. Thom Yorke definitely writes some stuff from the heart, but

I gotta say, I'm one of the chin waggers that spread false rumors about Jim. I read that SY interview and can see how Lee Renaldo thought film and no music was Jim's M.O. More than anything that appears true, except he's still making music. Which is great. Sorry, to all the new Jim O fans who asked for new work, when I erroneously told them it wont come.

I don't have the faintest guess as to what this record is going to sound like. Obviously it will have better vocals than 99% of the albums released this year. Beyond that I've got no guesses and I love that. Think I'll go listen to Fox Confessor again. It's only one of the best albums ever made, ever.

Everyone I know that has spent a lot of time with Third has been pretty mesmerized by it. I can't describe the album as something I "enjoy", but like some dramatic films it conjures emotions, and puts out an atmosphere that is intense, and somewhat disconcerting. It is definitely not a trip-hop album. I would say listen to it when you're going somewhere with headphones on. That isn't a command to like it, (or anything that ridiculous) but more to give it a chance as something that is not a "piece of shit". I think it's amazing IMHO.

I feel like Murray Street has a strong O'rourke presence. It's also one of the better, mellower, Sonic Youth albums.

It is a strange connection to make. I find it most fruitful when comparing YHF to KID A. They both were a complete shock to the bands audience. They both contemplate the room for humanity in a high tech world. They both use electronic manipulation to sonically and symbolically interrupt the lyrical landscape. In the most intuitive way possible I can imagine listening to YHF on the L in chicago and having it be the perfect soundtrack and I can imagine sitting in the tube waiting for the Jubilee line listening to KID A. YHF and the L go outdoors where there are skyscrapers, but old wood

Grammar, and defensiveness aside, I think Panther makes a great point. Yay, for still being excited!

I did a double take when John walked by last time I was in Chicago, and had to jog half a block to catch up. (didn't want to regret that one). He tried not to laugh at me while I caught my breath and shook his hand. The guy is just as nice as he seems. I saw Nels do an in-store at a small record shop in CO. Talked to him for a little while. He seemed just as eager to talk to everyone about music, as they were to him. He started talking to this lady who seemed to know him from years back and he met her daughter for the first time. She was introduced as Naima and he said "Oh, like that b

So I'm wrong, technically on that one. But the point is: everyone was already shaping their opinions on the album, but they hadn't heard one of the key tracks.

"Something In the Air" live at Redrocks. That's a good feeling.

Even if we were ranking qualitatively I wouldn't understand the flow chart here.

I feel the need to reitterate. No one has any clue what the next record will sound like. It is so weird to me when they debut two brand new songs and someone goes "Oh, shit. Next album is gonna sound like that. THat kind of sucks." I'm sure be it good, or bad, we will all be surprised when there is a new record. Does anyone remember the video where they debuted "Late Greats" it sounded like a total dud. Ended up being great. "Spiders" went through a complete overhaul. "You Are My Face" wasn't played live until after the record came out. etc. etc.