lost highway

yeah the whole lack of cover/info on nonesuch. Its all very strange. The my morning jacket dvd coming out around the same time already has a trailer up on the net. Im gonna be glad just to buy sunken treasure so I dont care if its poorly marketed, its just....curious.

This is one of the most deliciously dorky, sarcastic replies that encompasses that which is twenty first century. I am terrified and delighted by a world full of clever, on-time and sarcastic url links.

i myself am bummed that the stellar rendition of spiders acoustic didn't make the cut. He opened with it in denver and it was real purty.

While sure, anyone who tosses of Jay Bennett isn't realizing that he is extremely influential in the shaping of most existing Wilco records. And yes John Stiratt is possibly maybe even genetically the best bass player/back up singer you could ask for, and Mikael Jorgensen is such a talented accompaniest whose nearly complete lack of image have left him ignored and underdiscussed, and yes pat sansone holds down a lot of ends/has cute hair/does fun stuff to watch live (i.e. monster hand on the discordant ending of poor places, windmills etc.).........Glenn just doesn't receive enough rants on t

wow this song sounds a lot different then anything I've heard from him. Really fragile and a lot of space. Sounds a bit like older Songs Ohia mixed with something more strange. Captivating listen.

does anyone know what the song Lullaby for Rafters and Beams is all about? Is that a cover, or a new song?

Yeah this thing is on! thats sweet. I seriously doubt the September release claims though. Nonesuch hasnt even mentioned it on their site, and I doubt they would release it a few weeks from now without turning the hype machine a little. Lets cross our fingers for fall.

I just knew a huge chunk of you were the sort. Something about being the biggest music fan seems to make people musicians. Oh and if you get bored www.myspace.com/bigtimbermusic

After a round table discussion on Tweedy's lyrics and how emotional health affects our art, I am just curious, who of you are, or at one time were, or are spiring to be songwriters? Especially you notorious frequent posters. Not to ask who is a serious artist, or makes quality things, but just who does it. I have been really curious (and I remember Tweedy talking about this in an interview) as to where all of the traits of super fan, and musician intersect. I myself am both but I am not sure if I am one more than the other.

I think this is a bit too reductionist. Just because someone is doing well doesn't mean they don't remember what it is to be upset. And just because you're having the time of your life that doesn't mean thats all you know. There is a doubtless array of songs out there about happiness, but really does every songwriter in a good mood write about being happy. And are the dark days ever really gone. The guys obviously made a choice about his artistic direction and I don't think his lyrics are a slave to a better mood or improved health. Thats ridiculous.

So wait up here people lets not get carried away. Number one who said that all of Tweedy's interesting/classic lyrics are tortured? I dont buy it; THeologians, Muzzle of Bees, meditative, inspiring possibly a little melancholy but I dont think their greatness comes out of torture. Reservations, Radio Cures, read these lyrics, they look at problems (most great writing does) but I think that some 'tortured artist' approach only creates trite lyrics and I dare say JT would agree. Secondly I dont think anyone in their right mind would suggest that Tweedy's lyrical process is what it is right

Last interview I read with him was right after he left Sonic Youth. He said that he wanted to slow down with music and pursue film. Maybe there will be an O'Rourke short in circulation someday soon.

i would say one is better overall, but two has lonely 1, and kingpin. But what do you say?

thats okay, I'm tired of it too. Lets let the thread get dusty and eat cookies and drink beer and not post until next year when the new record comes out. We ran out of stuff since the tour ended. I could start a controversy on which disc of Being There is superior, but..... nevermind I think I will. Damnit, but after that I am staying away until next album comes out and someone says its not as good as AM, and someone else says "where is the drone?"

I am finding I have a dislike for what weve heard of "Let's Fight", which is weird cause I have really enjoyed everything else that come up. "What Light" is boardering on mixtape classic already. And I wasn't alone in thinking Impossible Germany is tops. What I wonder is did "On & ON" and "Either Way" get discarded by the band or did they just put them away to save them for the record after playing them a couple times?

I don't know whats true or not, but as far as slant goes. You can pretty much gather that Tweedy was not to comfortable by the way he handled things with Ken Coomer, and didn't look at it as one of the more admirable ways he handled himself. It seems like the only thing against Jay in the book is he decided he had something against Tweedy and wanted out and it was not well explained to Jeff. This is futher complicated by Farrar being interviewed by some magazine (Paste, or No Depression I dont remember) and saying that Tweedy was after his girl. That and what about the multi instrumental

In all honesty: at its best its a laid back, slick sounding, tastefully hit packed record. At its worst: an overrushed, less poignant Uncle Tupelo. Its always strange for me cause overall I am a huge Son Volt/Farrar naysayer and a huge Wilco devotee, but when it comes down to it I would take Trace over AM in an instant. I think Wilco did the right thing by moving on, they made amazing records once they shook off their first reflex record. I think Son Volt/Farrar proceeded to paint himself in a corner. If you think this is absolutely a ridiculous criticism, you are not alone and I can resp

Allright, I gave it a day or two, and a couple extra listens and so far I think its my least favorite newbie. BUT: thats only in respect to this early version, the song could very well change and best What Light, and Impossible Germany my current favorites of the new batch. That and I am imagining them going home to the loft to hash out some twenty odd songs weve never heard, many of which could be better then any of the new stuff.

wow, thanks for posting this. Its crazy to hear something so different then the other new ones. Does this seem potentially radio friendly to others? Not necessarily in a bad way, just real straight up, obivous riff-hook. I think I dig, but I need some more digestion.

sweet, thanks, tell your dad to hurry

Does anyone have any recordings of these. I saw them do the revised Sunken Treasure at Red Rocks last year and it was gorgeous, but Ive never heard the old version of Spiders, ever.

"Why dont you come up and get me?!" I forgot about that crazy London, story but I didn't know there was an mp3 floating around. Its so strange to hear.

oh, not able to distribute mp3's of a song performed only once in the world. Man you have failed us again Canada, and we resent that you will give quality health care to anyone. Lets fight.

Yeah, I know its a bit early, and they only played it once, but on the off chance one of you sharing VC folks might have an mp3 I thought I'd ask. or.... if you happened to be in Canada that night, what did it sound like?

I thouroughly enjoyed it, but it is already out of date. Sure we have read interviews, but if Kot had to go around and talk to Leroy Bach, Jim O'Rourke, Mikael Jorgensen and of course Glenn and John the story of making AGIB would have a lot more flesh on it. Then it would also be interesting to see how the band took to, and socially interacts with the new addition of Nels and Pat. Then there is all the stuff to come, the next record. There really cant be a good book started until the bands end, but I do know the next one wont need to rehash Uncle Tupelo, Kot really dug as much up on that a