Ghost of Electricity

you mean tweedy?

one of them still is.

Mark Olson's "Sandy Denny"

When this happens sometimes i start exploring other genres. Classical, African, and Indian classical for example have been fruitful. Part of the reason is that i know less about them, and therefore don't know what to expect. It makes for surprises and discovery. Inevitably I do come back though, to discover a few things that i missed when I was away.

RIP the person whose influence extended farther than anyone others on the music of the 20th century.

these guys make far stranger bedfellows than Wilco and Beck

Rick James was once roommates with Neil Young. Does this mean we should be comparing "Superfreak" and "A Man Needs a Maid?"

There's also the issue of age at work here. Speaking from personal experience, and having observed the same in others i know, the music which means the most is the stuff that i was listening to or "discovered" between the ages of about 18 and 30. After that you are well on the road to codgery and get stubborn. Your tastes codify. And so certain things get condemned because they aren't listened to at the right time. this isn't to say that you can't discover and enjoy new music beyond the age of 30 (far from it) but that music tends to be by artists who are totally new: i.e., someone you hav

while there is at least a grain of truth in what you say (and probably as very big one), your theory fails to take under consideration one thing: the music. It's possible that the O.P. simply doesn't like the new stuff. I too feel it isn't as strong as the earlier stuff, and i live in a place where noone has heard of wilco as is not likely to anytime soon. so snobbery (while perhaps present) does not in this case apply.

i think i'm off to listen to some bobby d right now in fact. if memory serves me your screen name is a reference to a line from Stuck inside of Mobile with the Memphis Blues Again. I'll test my memory.

i was refering to the later trilogy. Before that there was oh mercy and before that there was Blood on the Tracks...but he had his fair share of clunkers too.

Johnny Cash came out with the American Recordings, Bob Dylan had his trilogy, the Stones...hmm, might have to go back to Tatoo You...I hear share your concern (though I'm not as down on the new record as you) but won't give up hope yet. I have noticed that Tweedy, not being in so much turmoil as in the past, has started to write from different points of view, either in the third person (Deeper Down)or first person narrator who is someone different than the author (I'll Fight). This is something i can't remember him doing much of in the past (this is off the top of my head, I'm saying this n

Jeff is a fox. Jay is a hedgehog.

i have changed my signature in order to avoid a wrist slapping. and i've only been here for 200 posts...

Hmmm, yes and no. While lots of Tweedy's stuff, especially YHF era, has literary value (damn, did i just say that?) he often relies on repetition. Could you imagine reading a transcript of every single "maybe all i need is a shot in the arm," or heaven forbid, "nothin?" Mr. Zimmerman is not the type to rely on repetition like this. I've read that around the time of John Wesley Harding he made a conscious decision not to waste a word: every line sung should move the song forward. "Shot in the Arm" and "Misunderstood" work as songs, and parts of them may work on the page, condensed and tigh

a decent version of fun version of

I think Tweedy Fararr really kicks some ass, but McCartney Lennon has more iconic potential.

handshake drugs as done by a vc'ers band. there's a thread in SST about this. edit: omigosh- that's 200 posts. What does that mean?

This is partially inspired by the "let's do this right" thread, where i posited that great songwriting carries beyon the original performance/recording. So I went looking. Of course there's lots of sub-par stuff out there, but I tried to weed those out. Here are some initial findings: forget the flowers Laminated Cat

First of all, I had quite happily forgotten about color me bad, and i didn't need to be reminded of them. so shame on you. secondly, though there are plenty of reasons not to like them, one unfathomable line isn't one of them. If you can explain to me definitively what "jewels and binoculars hang from the head of the mule" refers to, please do. I have a few ideas, but i'm not really satisfied with them. Which is great, because it keeps me thinking. And no, of course i wouldn't put "makin' love until we drown" in the same category, but let's be egalitarian: the concept that something can

yes...if only i never did anything stupid.

I've approached this in terms of songwriting. What I mean by this is does the song in question stand up as an entity seperate from the recording. If I had never heard of Wilco and heard a cover of these songs, I think they would stands up because there is a timelessness of universality about them. Had I approached it differently, say, in terms of the quality of specific recordings, or Jeff's personality or emotion coming through, my list would be vastly different and would unquestionably include "Misunderstood." The order is somewhat arbitrary: 1. Forget The Flowers 2. The Long Cut 3. Jes

Let's be clear: I like SBS. I do not love SBS, I like SBS.

if i ever feel that two arms is too many i guess i know where to go. it's a mole, ignoramus.