You Can Be The Stone

Oh man, Leroy's work in "Handshake Drugs" is especially amazing. There's such a weird, pastoral vibe in it that seems to sum up a lot of AGiB.

Easily "You Are My Face". Every band member has a clear and equal influence on the song; the song itself is the perfect balance between pastoral beauty without lulling, and experimental without being alienating. Tweedy's lyrics are better than ever; And plus; "I have no idea how this happened!"

Let's not forget that he's a great songwriter and vocalist too; listen to Autumn Defense self-titled, "Where You Are", "This Will Fall Away" and "See You Now".

I'm wondering what everyone else thought of the sound engineering; I couldn't hear Nels whatsoever on 'Side with the Seeds', nor Mikael on 'Walken', hell, I couldn't hear John on any of Kidsmoke.

Bring back the Roots!

But you were supposed to sugarcoat it, or at least flat out lie! Now I'm bummed

I'm going to Merriweather, and leaving Fredericksburg at 6:00 PM. Apparently Low gets on at around 7:30, and I'm wondering how long Low has usually been, and what the gap between them usually is? Trying to figure out how late I'll prolly be.

I remember leaving GMU on a weekday evening to see M. Ward, The Shins, and the White Stripes about a year and a half ago, and for some freakish reason, 495 Eastbound was clear as the sky blue sky. I'll be at the show tonight; I hope there's plenty of people-in-the-lawn-based banter again!

It seems like a lot of Summerteeth has gone to the solo shows now; Kot's book gave the impression that Jeff regretted having to bury the songs in the studio

Yes, "A Shot in the Arm" has some ass live. I most particularly remember them *effing nailing* it at Lollapalooza. While intensity is great, so is the great shape-shifting subtleties and dynamics of the post-Reprise material. "Impossible Germany" won't have the intensity of "Shot in the Arm", but "Shot in the Arm" also won't be the greatest thing Television never did either. Although, I will admit that so far, judging from the bootlegs, SBS in a live setting doesn't seem to have that raw power that many of the "Ghost is Born" songs had live.

Ok, guess I got a little self-righteous there with that statement. I've given ST a lot of unjustified flack just as I've been gushing over SBS lately, but I listened to the album recently, and actually enjoyed and appreciated it for the very interesting album that it was. It seemed to so accurately capture the hell that was described in Kot's book. It was also the first album where they played the re-invention card so well, so yes, very essential, artistically. However, I hope the band doesn't return to the album's three flaws; bloated production, lyrics that came from planet trying-too-hard

Ken Coomer *owns* ELT... As for Summerteeth, I think SBS has pretty much made it irrelevant.

This thread gets my seal of approval!

I have mixed feelings about the song; I think in terms of sequencing, it's probably the most natural bridge between the middle section to the final three songs; great lyrics, and great songwriting, but I thought it just had some very weak arrangements.

Yeah, it is actually in D Major. The tabs section has it in the A scale, so I was just being lazy; still, it's relatively the same, pretty much.