jbray

It was an incredible show, I had a friend who left after Outtasite because he felt that the night was too perfect and didn't want to risk it. It's a shame because I thought the encore was more enjoyable tonight. I have been waiting to hear Kidsmoke electric since Solid Sound 2 so that put the fans around me and myself right into the post-Star Wars set with a fervor.

I would agree with you that the people shouting were tenfold more irritating and concert-ruining (there is one guy in particular I'm thinking of) than the two guys, but gauge the room, the majority didn't want to stand and the guys didn't give a shit. That's rude even if it's fun. Also, some people stood for "Heavy Metal Drummer", more stood for "I Am the Man Who loves You" and then those that had stood in the center balcony sat back down until the last couple songs before the encore. Standing commitment in that area was lackluster at best and the night suffered for it. Frankly it was kinda em

That is good news for me because I am in row J tonight! (I'll be too nerdy in my cherry ghost t-shirt). I was in Row E 213/214 last night and the sound itself was great. The two guys in question were in D about at say 209-210. Everywhere else didn't have much standing from when I looked back except maybe the upper orchestra and eventually most of the area to the right of the entry (even side) from about halfway up to the upper orchestra which I don't remember happening until after Star Wars. I was really pleased by the AGIB tracks last night and I thought "Late Greats" killed it. Kinda bumme

In center balcony it seemed to be lukewarm, but I was closer to the front so did not have the best vantage point. Most of Star Wars was clouded by two guys who were standing in the dead center of the front row of the balcony and nobody behind them wanted to stand. This resulted in a lot of (let's say) angry remarks shouted at them for most of the album including during the first half of songs. The two guys were pretty disrespectful about it to the people behind them and eventually were removed by staff during "Company In My Back" to great cheers (I'm interested to see if you can hear it in the

A companion in arms! I sacrifice listening to new music for close readings of albums I love so Wilco is frequently on my radar. I would say I average 5 Wilco albums a week with new albums and lead up to live shows raising that significantly higher. I listened to Star Wars three or four times a day for the first week after it came out (A thirty-three minute run-time makes that easier). When you've found a favorite band, why not listen to them?

I guess it depends on what you mean by "asymmetry and discord". Would you mind defining it? I mean, "Misunderstood" or "Via Chicago" could easily be fall under the discord label and songs like "Pieholden Suite" and "Shot in the Arm" could be seen as asymmetrical but maybe I'm being to literal?

The Red Vinyl is for sale on the Kung-Fu store for any of you who wanted it but didn't subscribe. Don't know if it says anything about being the 20th anniversary edition.

It's been holding up for me as well. I still probably spin it 3-4 times a week because of how fun, quick, and different it is. I liked TWL and even W(tA), but I don't think I've given a Wilco record this much attention since Summerteeth (which I listened to lastish of their catalog in '10. Some of us had to catch up you know...).

I'll be in the balcony for both nights in Boston so hopefully there are less stick-in-the-mud types than at the Wang when nobody stood at a rock show.

"Magnetized", "The Joke Explained", and "Where Do I Begin" will become the deep cuts. "You Satellite", "More...", "Taste the Ceiling", and "Random Name Generator" are the regulars. "Pickled Ginger" and "Cold Slope/King of You" enter the encore rotation.

Mikael Jorgensen for me.

That is because AGIB is one of the greatest albums of the last decade. It's a grower for sure and it's pretty magical.

The List is as follows: 10. You Satellite 9. Misunderstood 8. California Stars 7. Hummingbird (Soma/Alternate Version) 6. Magazine Called Sunset 5. Radio Cure 4. Spiders (Kidsmoke) 3. Venus Stop the Train 2. I am Trying to Break Your Heart 1. Impossible Germany Only 4 and 5 would translate to my top ten so, to each their own.

They unleashed The Whole Love at SS2 so I am inclined to say that this was a combination of releasing on the "hometown crowd" instead (even if Pitchfork was more casual listeners) and a brilliant exposure marketing ploy. I think they should have released it that Monday which could have forced Pitchfork to give it a higher rating to boost their own festival, but that might not have worked.

Pitchfork is a staff aggregate so we're seeing a negotiated score with a designated writer who might have a differing opinion. If I remember correctly, it was similar for The Whole Love in terms of score vs written review. Agreed. I wouldn't call SBS the most accessible, instead I would point out that if you fell in love with a certain aspect of Wilco early and then had to transition through 5 or less albums of differing approaches and styles, SBS could just be the breaking point. I started on SBS with no preconception on what Wilco was or should sound like and I wore that record down an

Wilco (the Album) could be argued to have more weaknesses though: Sonny Feeling, I'll Fight, Deeper Down. And, as a matter of taste I'd say the middling songs that I could give or take were Wilco (the Song), You and I, You Never Know, and Everlasting Everything (my mood varies on this one). I would argue it is an album that has a few of the greatest songs in the catalog (One Wing) buried by underwhelming songs that I haven't truly been sad to see leave the live roster. It was a fine record. The Whole Love has a match for match or two with those songs that might not necessarily sound the same

1. A Ghost is Born 2. Yankee Hotel Foxtrot/Sky Blue Sky 3. Summerteeth/Being There 4. The Whole Love/Star Wars 5. A.M./Wilco (The Album) Edit: If forced to play my hand and actually choose, they are in order.

Maybe that was part of the deal with "What's Your Twenty?" and "Alpha Mike Foxtrot" and if so, that aids the theory that AMF might be a big middle finger at Nonesuch

"You Satellite" and "Magnetized" stuck out to me and this record is about to get worn out by my throughout the weekend!

Oh HOT DAMN

The reason it sounds fuller in drop D is because the rhythm guitar on the recording is played on a baritone and as such doesn't translate to a regular guitar with the same feel and tone. Take a look at those credits: http://wilcoworld.net/#!/song/im-always-in-love/

I'm sorry if I helped contribute to that. I'm actually really excited for whatever they have in store. I also still hope there are some unexpected and weirdly specific focus points to great effect. -> I.e. Ghost and the hammer dulcimer

It would be cool to hear what Nels could add if you took the jaguar/jazzmaster out of his hands. My biggest complaint (and I think Nels has been a wonderful addition to the band), is how frequently the material written for albums he was with the band on has sounded similar in tone. To be more precise, it is really only a problem on W(tA) following SBS as the TWL was a different creative step for this line-up. I'm afraid that we'll another same-y album like W(tA) that takes away from how special the album before it was (in that case SBS).

Did anybody else notice that Nels' guitar was out of tune on Kingpin? During the pre-solo downward vamp, it was really noticeable. It took me out of the song until he fixed it before the new breakdown.

I'm sorry! I should have clarified that I have of course heard of the Byrds and have listened to their music. I have not given them much attention and have not listened to anything outside of a "greatest hits" capacity. There is a lot of music from 1960 till today, it can be quite daunting to try and cover it all, but I will get on it now.