Moe_Syzlak

I have no doubt my first album was Kiss Alive, it was a gift. The first album I ever bought with my own money was Boston.

Nice! Mine was Love Gun.

Concert: The Stones in '81.

Yeah that worked well for the Branch Davidians and the Freemen, huh.

My DVR cut it off too, but I liked what I heard. I love Bird, but haven't seen him live. Frankly, despite rave reviews from everyone I know that has seen him, what I've heard of his live stuff (webcasts and the Fingerlings series) doesn't do much for me because the arrangements are so much sparser than the studio versions due to his use of looping. Also, he tends to totally change the melodies live. I'm an improv junkie but he takes a little too much liberty with his songs live for my tastes. That said, the half of Plasticites that I heard sounded much better than a lot of the live stuff I've heard from him. I still wish he'd get a full band though. Armchair Apocrypha is by far my favorite album of the year so far... and it isn't even nearly as good as Mysterious Production of Eggs! This dude has some talent!

I Am Downright Amazed At What I Can Destroy With Just A Hammer

In rough order...

Armchair Apocrypha - Andrew Bird

The Good, The Bad & The Queen - The Good, The Bad & The Queen

Candylion - Gruff Rhys

Sky Blue Sky - Wilco

The Magic Position - Patrick Wolf

Neon Bible - The Arcade Fire

Wincing the Night Away- The Shins

Friend Opportunity - Deerhoof

Yankee Hotel Foxtrot

A Ghost Is Born

Sky Blue Sky

Being There

Summerteeth

AM

But why ponder the guitarmonies of "Wanted" when clearly the most glorious are on "Wreck room"?

Thanks! I recently wrote a song and there is a little riff that plays during the chorus that I want to have a similar sound to the harmonies on Wanted.

So in "Wanted" what's going on? It doesn't seem to be contrasting movement. It seems as though the "same" notes (or same riffs/patterns) are being played an octave (and perhaps a fifth) apart. Is this correct? I don't have a good recording set up to experiment with this too much.

MOJO Magazine just did this for the CD that came with the March issue. Not with the same big name talent of course. I haven't even taken the cellophane off my copy yet, so I can't give a review, but here's the tracklist for those interested:

1. Simple Kid - Sgt. Pepper's Lonely Hearts Club Band

2. Puerto Muerto - With a Little Help from my Friends

3. Circulus - Lucy in the Sky with Diamonds *

4. Fionn Regan - Getting Better

5. 747s - Fixing A Hole

6. Unkle Bob - She's Leaving Home

7. Bikeride - Being for the Benefit of Mr. Kite

8. Stephanie Dosen - Within You Without You

9. Chin Up Chin Up - When I'm Sixty-Four

10. Dave Cloud and The Gospel of Power - Lovely Rita

11. The M's - Good Morning Good Morning

12. Simple Kid - Sgt. Pepper's Lonely Hearts Club Band (reprise)

13. Captain - A Day in the Life

ADDITIONAL BONUS TRACK:

14. Echo and the Bunnymen - All You Need is Love

"I got nervous about the technology on Yankee Hotel Foxtrot," Tweedy confesses. "If you need a certain amp or pedal to make a song what it is, it isn't a song."

I have a reaction to this line, but first...

Since I'm new here, I want to say upfront I love Sky Blue Sky. It will probably be among my top five favorite albums of the year. I also want to confess myself as a music junkie that considers lyrics pretty late in the equation. I was told a quote from David Byrne (although I've never been able to verify it) that I think sums up my attitude in that regard: "lyrics are tricks to get you to listen to the music longer." I mention this because I realize that many (like my girlfriend) consider Tweedy's lyrics first when evaluating Wilco songs and I somewhat miss the boat on that one. That said, I DO love SBS, but at the same time find it a bit of a disappointment. I had friends that tried to get me into Wilco and Son Volt and Uncle Tupelo for years, but I never came around until YHF. On that album I felt like the band found a sound to call their own. YHF and AGiB sound like Wilco to me -- sound unique -- and I like it. I like SBS too, but I feel like if you had Robbie Robertson sing one track, John Lennon sing another and Van Morrison sing another, you'd probably assume they were their songs rather than hear it as them doing guest vocals on a Wilco track. I'd say they were great songs by those artists which is why I still consider SBS to be a great album, but it's lacking the Wilco sound (as it exists in my mind) I found so unique on the last two albums. Does that make sense? In the end I want to be sure I don't sound too down on the album. It is a criticism, sure, but a minor one meant to convey more my reaction based on the direction the band has chosen (their right to be sure). It is a phenomenal album and one I will continue to wear out, but I do miss "the technology" that Tweedy was so nervous about.

Just finished...

Moving on to ...

I posted this question in the Wanted tablature thread but thought perhaps it might get more attention here. I'm wondering if anyone knows exactly how the harmonized guitar effect at the end of Loose Fur's Wanted is achieved? Is it just two or more guitars or is there some effect at work? What exactly is the harmonization? Octaves? Fifths? Thanks!

Walken and Hate It Here (or to a lesser extent Side With Seeds) seem like the most natural "singles" on the album to me.

Does anyone know exactly how the harmonized guitar effect at the end of this tune is achieved? Is it just two or more guitars or is there some effect at work? What exactly is the harmonization? Octaves? Fifths? Thanks!