Orkie

Really boring piece of work. A pretty good example of the power Web 2.0 has in overhyping a mediocre product.

Guy made some great music with Wilco and was a huge part of their best albums. They were never the same band without him.

RIP.

That's fair enough. Olson's voice has always been sort of an acquired taste. I just don't see how anyone can put that album above Olson's best solo, especially lyrically.

This isn't trash, its just nothing to get excited about. Nothing moves me like I thought that they still could do; its a bit sad. You always expect something from the artists that have touched on perfection.

 

Sky Blue Sky was a bit of a letdown as well, just to give context: following A Ghost Is Born was tough, but at least it still had "You Are My Face" and "Either Way" and the guitar solo on "Side With the Seeds" and (arguably) a very cool slide guitar solo on "Impossible Germany." However, when combined with several shitty B-side cuts, the album sort of dragged its feet and finished with a whimper. Wilco (The Album) reeks more like the lyrics on "Hate It Here" and the melody of "Shake It Off," a very Tweedy vocal-centric performance that just doesn't do justice to what they used to be. Hell, when pop music was still cool they could do it on Summerteeth, but they've found more of a kindred spirit with the Moms and Dads out there and drifted towards a different sound. The duet on this album sounds as if its intended for the same target market as the people who love the new Robert Plant vocal work. The live show was sweet in Lollapalooza last August, but they missed a memorable few Yankee Hotel Foxtrot songs for the sake of what I consider inferior material. I hope that they don't make any rash 'performatory' decisions with this new material at their disposal.

 

Less of the artistry, more entertainment, if entertainment means that sound changes to fit a new demographic. What happened to the piano parts of "I Am Trying to Break Your Heart" and "Poor Places" that elevated their alt-country sound to symphonic mastery, the electronic fuzz and the Americana overtones that encircled the entire "Wilco aesthetic" that they established. Has Jeff Tweedy found new inspiration in his family to the point that his melancholy-ridden poet's soul is sated?

 

And regarding this album, ultimately?

 

I've got reservations...

Very well said. Bottom line is that these guys lost their edge after AGIB. You could almost, almost hear it tailing away on that one, but that record contains enough of it to pass.

Come on guys., There are some great songs on it, but it comes awfully close to MOR.

I still prefer Blue Earth, Hollywood Town Hall, and Tomorrow The Green Grass above all the rest. Much like Ryan Adams, their earlier work has more raunch, which they seem to have put aside as time went by.

You should deifnitely listen to some of Olson's solo work then. Check out My Own Jo Ellen and The Original Harmony Ridge Creek Dippers:

http://www.lala.com/#search/my%20own%20jo%20ellen

http://www.lala.com/#album/72339069015066470

Much better records than Sound of Lies, Smile and Rainy Day Music. While Louris is a great talent, he really headed for the middle of the road adult contemporary sound.

I didn't care for the album, so I did not buy it. I don't agree with all of your comments though. They certainly did change.

Yes they did. For the worse. Any band can change, only some can change witha positive result (As was my point).

Top 4

HTH

TTGG

Blue Earth

Sound of Lies

We have to throw in Olson's solo work(and the new Olson/Louris album) as well as the Louris solo album in this to be fair,and I will rank them all:

1. Hollywood Town Hall

2. Tomorrow The Green Grass

3. Blue Earth

4. My Own Jo Ellen

5. The Salvation Blues

6. December's Child

7. The Original Harmony Ridge Creek Dippers

8. Pacific Coast Rambler

9. Ready for the Flood

10. Bunkhouse

11.. Rainy Day Music

12.. Zola and the Tulip Tree

13. The Sound of Lies

14. Political Manifest

16. Smile

17. Vagabonds

18. Mystic Theater

As I'm sure I've said countless times before, Sound of Lies is a terrific sounding album, but those lyrics ...

Olson was the lyrics man.

I noticed that in the most recent thread, there is talk of Sound Of Lies. It's interesting how all most all Jayhawks threads contain a discussion on the merits or failures of that album. I was thinking about this the other day, when I heard read something where yet another band from those days voiced their displeasure at being called alt-country. It's amazing to me how almost all of the bands from that time have distanced themselves from that genre. For me, I quit being interested in the music when they turned away from twang.

Not every band is capable of evolving into other genres or styles. The Jayhawks were definitely one of them. That's Olson's fault though. He simply left the band which allowed that to happen.

All of the post-Olson releases have some excellent tracks, but they are INCREDIBLY inconsistent with some real clunkers.

I was incredibly excited for the Olson/Louris reunion album Ready for the Flood, but sadly it turned out to be a weed session between Olson, Louris and Chris Robinson(who hasn't been relevant since 1994). The album lacks any kind of energy at all - and that's a shame because the material they had was outstanding. It's just way underproduced and poorly executed for the sake of capturing a "raw" vibe. The song that Olson and Louris did on Olson's 2003 solo album December'sChild called "Say You'll Be Mine" is superior to anything on Ready For the Flood and does indeed have vitality and energy. The same can be said for Olson's 2008 solo album The Salvation Blues.

I'd liek to see these guys get back into the studio, but this time bring a task master and some Red Bull instead.

Anyone notice that "Country Disappeared" is the exact same song as "Mornington Crescent" from Belle and Sebastian?

Record of the year so far along with Middle Cyclone.

You know that this doesn't conflict what he said, right?

Blame the quote feature for excluding the other quote.

Radiohead isn't mainstream?

Radiohead are at the top of their game? That's funny.

It's a pretty weak effort.

how anyone can think a Wilco album is worse than a Hold Steady one is beyond me, the Hold Steady are one of the biggest piece of crap bands i have ever heard in my life, for all you who like them tell the singer to learn how to sing and to stop looking like a fairy on stage. This albums not bad, all wilco albums take a few listens, I didnt like YHFT or ST the first time I heard them, but now I do

You just offended 80% of Urban Outfitter shoppers.

who are your top 5 bands right now doing better work in your opinion?

I'm not that poster I'll respond to that:

The Drive By Truckers

The Felice Brothers

Neko Case

The Hold Steady

Fleet Foxes

M83

There are a few just for starters.

I'm just really curious what other people are going crazy for who think this new album is just 'good.' A little perspective and maybe a recommendation of some good music is all I'm asking. Welcome to VC, by the way.

I hate to break it to you but on other music forums this album is widely considered boring.

You and I will probably end up on Grey's Anatomy (I will put money on that

haha no doubt. That's not a song that a rock band hitting its stride makes. I'm sorry.

The album lacks energy and edge.

There's nothing edgy, nothing gritty here.

That's the problem. They really haven't had the edge that separates adult easy listening from edgier rock/pop since AGIB.

Because it's nice sometimes when a band recognizes you don't have to throw every idea onto a record just because you can. I think 45 minutes is the perfect length for an album.

Either a band can fill an album with good songs or not. The length has nothing to do with anything really.

This album isn't very good. Whatever ear these guys had for good music got lost at some point after "Muzzle of Bees" and "Hummingbird".

42 minutes... nice and concise too

Why does this matter?

what is everyone's thoughts on the Lips. I haven't heard the Xmas on Mars stuff and I wasn't on this board when AWWTM was released. Are they still anywhere close to making stuff as moving and relevant as Bulletin or Yoshimi. I don't think AWWTM is awful, but for the standard they set, it definetly falls off the radar lyrically especially. Just wondering?

Listening to the WAND and Pompeii from AWWTM, they are still very capable. Also, their new cover of Madonna's Borderline is brilliant.

I have nothing but high hopes for the new record. This is the greatest American rock band of the last 20 years.

Another bad baseball analogy to try to make my point. David Gilmore is to the guitar as Gaylord Perry is to pitching. There are all sorts of pitchers, speed pitchers, control, students of the game who win by guile, but all of them apply fingers to stitches and throw the ball. Gaylord doctors the ball. He won a lot of games, does he belong in the HoF? Many say yes, some say no.

 

David Gilmore is a great guitarist, in his own category, and Pink Floyd is a great band. The thread subject is greatest guitarist of all time, and I can frankly make a case for dozens of guitarists that mastered fingers against wire and ebony or rosewood.

This is really strange stuff. When Pink Floyd reunited at Live 8 and stole the show, what was doctored? Watch this from the five minute mark on and let me know how this 60+ YO guitar player doctored this performance:

http://www.youtube.com/watch?v=7bjXbx4zyUg

That moment right there in the thick smoke at 6:00, where he hit's that high note is one of the many reasons why the all time Fender poll has him at #1.

You mean after the oyster discussion?

 

I note they talk about how much work the "equipment" requires and how much sorting out and how they had already been years at it. And "you can get lost behind it."

They were talking about the equipment they created which pioneered how we see live shows (Azimuth coordinator). Note the references to live shows.