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.

so yeah, i was playing the chords for "either way" on the piano, and i'll have to say, i'm loving the bridge (either way, i'm gonna stay, right, for you.) It sounds so deceptively simple, and it's hard to notice it at all, because it kind of gets drowned out with the string section and all that, but hearing those chords on their own, on just the piano... they are so gorgeous. It so seamlessly jumps from the A scale to the C scale for the bridge, something so hard to do. And when it does hit the C scale, it should sound so different and contrasting, since C scale has no flats, while A has 3. Bu

Thank you.

late greats.

"I am trying to break your heart", purely based on the vibe though, not neccesarily the lyrics.

I don't think one is better than the other... Theologians is the most delicious piece of candy since "Drive My Car" on the studio version, and rocks live. Walken and ITMTLY are also rocking live, but have a genuine earnestness on the studio version. Handshake Drugs is fucking amazing live, but the studio version also has a mysterious, hypnotic groove to it. Kidsmoke has more firepower live, while the studio version has more dynamics. And so on and so on. Everything in its right place.

Thank you! Even Pitchfork had their heads too far up their asses to realize that!

"George, you may be a bad president, but sometimes, you're an ok husband!"

"Often when we say a record has "atmosphere," we mean it as a put-down. From Sgt. Pepper's to the present, a record's sonic appeal-- the effects, the mood, the spaces between the notes-- is inextricable from how it hits us. But when an artist pushes atmosphere in place of songs, it's frequently thought of as a crutch. Most listeners don't trust a mood to grab their hearts the way they trust, say, a human voice; nobody counts on production to deliver the "money note." ~Pitchfork's review of "Return to Cookie Mountain" by TVOTR Initially, I thought Pitchfork would give SBS a positive review. S

Plus, Hate it Here probably filled its niche

Love those harmonies!